There are two main types of Scottish dancing, which are not at all alike. Country Dance is more like social, or ballroom dancing, while Highland Dances are performed as solos. Some say that Highland Dance requires similar skills and training as ballet, as they both call for precise, difficult movements and need a lot of stamina and good co-ordination. In addition to much stamina, great arm and leg strength is necessary.

Highland dancing is performed on the balls of the feet, and evolved from solo step dancing. Bagpipes accompany the dancers, with the versions pipers play today dating back to the 16th century.

Dancers wear an outfit consisting of a plaid kilt, white blouse and a velvet, lace-up jacket over the blouse. On their feet, black, lace-up shoes called ghillies are worn, with coloured knee-high tartan socks matching the colours in the kilt.

Originally, Highland Dances were danced only by men, which shows in the strength and sharpness of each movement. Nowadays more girls and women are seen performing these dances than boys and men. The most predominant dances are the following:

The Highland Fling
The most basic and first dance beginners learn, it requires a lot of stamina. With a goal to dance in the same spot throughout the dance, steps can vary from four to six to eight, depending on a dancer's level. 

The Sword Dance
Known as a victory dance, its origins come from clansmen who would cross their swords before a battle and if they completed the dance without touching the crossed swords, it meant they'd be victors. Danced counter-clockwise, it is usually the second dance learned and dancers need to really understand body coordination to not touch the swords.

The Seann Triubhas (pronounced trews)
The origins are obscure, but depict a person in the act of shedding their trousers (triubhas). The slow tempo shows dancers incorporating French influences like pirouettes and a French-style entrechat.

The Sailor's Hornpipe
Usually accompanied by the horn pipe, the dance calls for dancers to get in to character and sport a cap and a sailor outfit. Common in many parts of the UK, the arm movements used in the dance imitate many of the actions used by sailors in the days of wooden ships.

The Strathspey and Highland Reel
Performed with four people (but competing as an individual), there is some elements of a figure eight and stop to perfom steps similar to that of a Highland Fling. The first beat of each bar is emphasized with lesser importance on the third beat. These are the closest to approach social dancing, but in competitions dancers are judged indiviually.

The Irish Jig
While there's not much facial expression in highland dance, this character dance calls for as much expression an "angry washer woman" can give. The dance is about a woman who chases kids because they have ruined laundry she spent all day washing. Different shoes are worn (similar to tap shoes, but the tap is only on the heel) and the outift is usually a red or green dress with a white half apron.

Scottish Lilt/Flora MacDonald’s Fancy/Scotch Measure/Earl of Errol
All considered women's dances, the costume consists of a vest and peasant skirt. The movements are much more fluid and the arms are mainly used to pull out the skirt.

Highland dancing has now become a highly competitive sport and its steps are standardized by the Scottish Official Board of Highland Dancing (SOBHD) which was formed in 1950. A World Highland Dance Competition has been held annually in the Scottish Highlands since 1934, with three different levels: Juvenile, Junior and Adult.

As dancers move up through levels of competition, the dance becomes significantly longer with a variety of combinations. Dancers are judged on three criteria:

Timing -the ability of the dancer to follow the rhythm of the music in the dance. Feet, arms and head must be placed in very precise positions simultaneously with the music
Technique -co-ordination of the footwork, head, arms and hands – but good positioning of the feet is most important.

General deportment -concerning the dancer’s interpretation and ability to capture the spirit and motif of the dance. Upright posture is essential, along with an ability to dance with ease, with no signs of strain and no elaborate showiness.