Dancing at Lughnasa explores the tension between two opposing forces: the world of duty and morality (aligned with Catholicism), and the escapist world of fantasy (aligned with paganism). As a staunch Catholic and the head of the family, Kate opposes distractions from their day-to-day responsibilities, and she resents the Marconi’s “aul pagan songs” (35) that lead to romantic thoughts, dancing, and self-abandonment. She opposes the traditional pagan Irish celebration of Lughnasa, referring to the back-hills inhabitants as savages. Describing the Festival of Lughnasa as a “fever” that has infected the town, Kate positions herself and her faith as the antidote for pagan desires. However, much like the quinine that “won’t cure” Jack’s malaria but rather “help to contain it” (11), it is clear that Kate—and the Catholicism she represents—cannot control the rising “fever” of her family.

Furthermore, Jack’s descriptions of Ugandan rituals illustrate that this “fever” extends far beyond Ballybeg, Ireland, and that many of their traditions are very similar. Jack relates the celebration of a Ugandan harvest festival that revolves around drinking and dancing, much like the Festival of Lughnasa. He describes Ugandan households like their own wherein multiple women raise “lovechildren” (40) like

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