Morris dance
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A morris dance is a form of English folk dance. It is based on rhythmic stepping and the execution of choreographed figures by a group of dancers. Implements such as sticks, swords, tobacco pipes, and handkerchiefs may also be wielded by the dancers.
There are English records mentioning the morris dance dating back to 1448,[1] though dances with similar names and some similar features are mentioned in Renaissance documents in France, Italy, and Spain. The origins of the term are uncertain, but one of the most widely accepted theories is that the term was "moorish dance" and "Moresco" (in Spain), which eventually became "morris dance". Another, perhaps simpler, explanation is that "Morris" comes from the Latin "Mores", meaning "a custom". This is consistent with the word (with various archaic spellings) sometimes being used to describe some other folk customs such as folk plays.[2]
In the modern day, it is commonly thought of as a uniquely English activity, although there are around 150 morris teams in the United States. British expatriates form a larger part of the morris tradition in Australia, Canada, New Zealand, and Hong Kong, and there are isolated groups in other countries, for example that in Utrecht, Netherlands.
"Morris" is sometimes capitalized though in this context it is not a proper noun.
In the nineteenth century, morris was danced mainly by men, but today there are male, female and mixed sides dancing in all styles.
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[edit] History in England
Before the English Civil War, the working peasantry often took part in Morris dances, especially at Whitsun. In 1600 the Shakespearean actor William Kempe famously morris danced from London to Norwich, an event chronicled in his Nine Days Wonder (1600). The Puritan government of Oliver Cromwell, however, suppressed Whitsun Ales and other such festivities. When the crown was restored by Charles II, the springtime festivals were restored. In particular, Whitsun Ales came to be celebrated on Whitsunday, as the date coincided with the birthday of Charles II.
Morris dancing continued in popularity until the industrial revolution and its accompanying drastic social change. Four teams claim a continuous lineage of tradition within their village: Abingdon (their Morris team kept going by the Hemmings Family [3]), Bampton, Headington Quarry and Chipping Campden. Other villages have revived their own traditions, and hundreds of other teams across the globe have adopted (and adapted) these traditions, or have created their own styles from the basic building blocks of morris stepping and figures.
Several English folklorists were responsible for recording and reviving the tradition in the early 20th century, often from a bare handful of surviving members of mid-19th-century village sides (teams). Among these, the most notable are Cecil Sharp, Maud Karpeles, and Mary Neal. Boxing Day 1899 is widely regarded as the starting point for the morris revival. Cecil Sharp was visiting at a friend's house in Headington, near Oxford, when the Headington Quarry morris side arrived to perform. Sharp was intrigued by the music and collected several tunes from the side's musician, William Kimber; not until about a decade later, however, did he begin collecting the dances, spurred and at first assisted by Mary Neal, a founder of the Esperance Club (a dressmaking cooperative and club for young working women in London), and Herbert MacIlwaine, musical director of the Esperance Club. Neal was looking for dances for her girls to perform, and so the first revival performance was by young women in London.
In the first few decades of the 20th century, several men's sides were formed, and in 1934 the Morris Ring was founded by six revival sides. In the 1960s and especially the 1970s, there was an explosion of new dance teams, many of them women's or mixed sides. At the time, there was often heated debate over the propriety and even legitimacy of women dancing the morris. This debate had largely subsided by the end of the 20th century.
Partly because women's and mixed sides are not eligible for full membership of the Morris Ring, two other national (and international) bodies were formed, the Morris Federation and Open Morris. All three bodies provide communication, advice, insurance, instructionals (teaching sessions) and social and dancing opportunities to their members. The three bodies cooperate on some issues, while maintaining their distinct identities.
[edit] Styles
Today, there are three predominant styles of morris dancing, and different dances or traditions within each style named after their region of origin.
- Cotswold morris: dances from an area mostly in Gloucestershire and Oxfordshire; an established misnomer, since the Cotswolds overlap this region only partially. Normally danced with handkerchiefs or sticks to embellish the hand movements.
- North West morris: more military in style and often processional. Clogs are a characteristic feature of this style of dance.
- Border Morris from the English-Welsh border: a simpler, looser, more vigorous style, normally danced with blackened faces (or sometimes otherwise coloured, given the negative connotations for some of blackface).
[edit] Cotswold
Lionel Bacon records Cotswold morris traditions from these villages: Abingdon, Adderbury, Ascot-under-Wychwood, Badby, Bampton, Bidford, Bledington, Brackley, Bucknell, Chipping Campden, Ducklington, Eynsham, Headington Quarry, Hinton-in-the-Hedges, Ilmington, Kirtlington, Leafield ("Field Town"), Longborough, Oddington, Sherbourne, Stanton Harcourt, and Wheatley[4] .
Bacon also lists the tradition from Lichfield, which is Cotswold-like despite that city's distance from the Cotswold morris area; the authenticity of this tradition has been questioned. Other dances listed by Bacon include border morris dances from Brimfield, Bromsberrow Heath, Evesham, Leominster, Much Wenlock, Pershore, Upton-on-Severn, Upton Snodsbury, and White Ladies Aston, and miscellaneous non-Cotswold, non-border dances from Steeple Claydon and Winster. There are a number of traditions which have been invented since the mid twentieth century, though few have been widely adopted. Examples are Broadwood, Duns Tew[1], and Ousington-under-Wash in the Cotswold style, and Upper and Lower Penn in the Border style. In fact, for many of the "collected" traditions in Bacon, only sketchy information is available about the way they were danced in the nineteenth century, and they have been reconstructed to a degree that makes them largely twentieth century inventions as well. Some traditions have been reconstructed in several strikingly disparate ways; an example would be Adderbury, danced very differently by the Adderbury Morris Men and the Adderbury Village Morris.
[edit] North west
The North West tradition is very different, and has always featured mixed and female sides - at least as far back as the eighteenth century. There is a picture of Eccles Wakes (painted in the 1820s, judging by the style of dress of some of the participants and spectators) that shows both male and female dancers.
The dancers always wore clogs and were often associated with rushcarts at the local wakes or holidays. The dances themselves were often called 'maze' or 'garland dances' as they involved a very intricate set of movements in which the dances wove in and out of each other. Some dances were performed with a wicker hoop (decorated with garlands of flowers) held above the dancer's head. Some dancers were also associated with a tradition of mumming, holding a pace egging play in their area.
The Britannia Coco-nut Dancers, named after a mill not far from Bacup, are unique in the tradition, in that they used sawn bobbins to make a noise, and perform to the accompaniment of a brass ensemble. They are one of the few morris groups that still black up their faces. It is said that the dance found its way to the area through Cornishmen who migrated to work in the Rossendale quarries.
Towards the end of the nineteenth century, the Lancashire tradition was taken up by sides associated with mills and nonconformist chapels, usually composed of young girls. These lasted until the First World War, after which many mutated into 'jazz dancers'. (A Bolton troup can be seen in a pre-war documentary by Humphrey Jennings) They later evolved into 'pom pom' dancers (still called 'morris dancers' by older people). During the folk revival in the 1960s, many of the old steps to dances such as 'Stubbins Lane Garland' were often passed on by old people.
[edit] Border
The term "border morris" was first used by E. C. Cawte in a 1963 article[5] on the morris dance traditions of Herefordshire, Shropshire, and Worcestershire -- counties along the border with Wales. Characteristics of the tradition as practiced in the nineteenth and early twentieth centuries include blackface (in some areas); use of either a small strip of bells (in some areas) or no bells at all (in others); costume often consisting of ordinary clothes decorated with ribbons, strips of cloth, or pieces of colored paper; or sometimes "fancy dress"; small numbers of dances in the team repertoire, often only one and rarely more than two; highly variable number of dancers in the set and configurations of the set (some sides had different versions of a dance for different numbers of dancers); and an emphasis on stick dances almost to the exclusion of hankie dances.[6] Dances tended to be uncomplicated in form, e.g. alternation of sticking with a hey; stepping was likewise not elaborate. While performances at various times of the year are recorded, the most common dancing occasion was Boxing Day. Border morris performance persisted into the early twentieth century before it died out.
Many dances were collected, by Cecil Sharp and later collectors, and several were included in Bacon's book,[4] but border morris was largely neglected by revival morris sides until late in the twentieth century. The Silurian Morris Men of Ledbury, Herefordshire changed over from Cotswold to border morris in 1979,[7] and the Shropshire Bedlams were founded in 1975;[8] both became pioneers of a resurgence of border morris among revival sides in the following decades. Silurian has emphasized re-creation of the traditional border dances, while the Shropshire Bedlams have created a new repertoire of what some call "neo-border" dances, tending to be more complex and theatrical than the collected dances.
[edit] Sword dancing
Sometimes regarded as a type of morris, although by many of the performers themselves as a traditional dance form in its own right, is the sword dance tradition, which includes both rapper sword and longsword traditions.
[edit] Mumming
The English mummers play occasionally involves morris or sword dances either incorporated as part of the play or performed at the same event.
[edit] Other traditions
Other forms include Molly dance from Cambridgeshire. Molly dance, which is associated with Plough Monday, is a parodic form danced in work boots and with at least one Molly man dressed as a woman.
There is also hoodening which comes from East Kent, and the Abbots Bromley Horn Dance.
Another expression of the Morris tradition is Vessel Cupping. This was practiced in the East Riding of Yorkshire up to the 1920s. It was a form danced by itinerant ploughboys in sets of three or four, about the time of candlemas.
[edit] Music
Music is traditionally provided by either a pipe and tabor or a fiddle. These are still used today, but the most common instrument is the melodeon. Accordions and concertinas are also common, and other instruments are sometimes used.
Cotswold and sword dancers are most often accompanied by a single player, but Northwest and Border sides often have a band, usually including a drum.
For Cotswold and (to a degree) Border dances, the tunes are traditional and specific: the name of the dance is often actually the name of the tune, and dances of the same name from different traditions will have slightly different tunes. For Northwest and sword dancing there is less often a specific tune for a dance: the players may use several tunes, and will often change tunes during a dance.
[edit] Terminology
Like many activities, morris dancing has a range of words and phrases that it uses in special ways.
Many participants will refer to the world of morris dancing as a whole as the morris.
A morris troupe is usually referred to as a side or a team. As can be seen in preceding paragraphs, the two terms are interchangeable. (Despite the competitive connotation of both words, morris dancing is hardly ever competitive).
A set (which can also be referred to as a side) is a number of dancers in a particular arrangement for a dance. Most Cotswold morris dances are danced in a rectangular set of six dancers, and most Northwest dances in a rectangular set of eight; but there are many exceptions.
A jig in morris dancing is a dance performed by one (or sometimes two) dancers, rather than by a set. Its music does not usually have the rhythm implied by the word jig in contexts outside morris dancing.
The titles of officers will vary from side to side, but most sides have at least the following:
- The role of the squire varies. On some sides the squire is the leader of the side, who will speak for the side in public, will usually lead or call the dances, and will often decide the programme for a performance. On other sides the squire is more of an administrator, with the foreman taking more of a leadership role, and with dances being called by any experienced dancer.
- The foreman is the person who teaches and trains the dancers, and is responsible for the style and standard of the side's dancing.
- The bagman is traditionally the keeper of the bag - that is to say, the side's funds. On some sides today the bagman acts as secretary (particularly bookings secretary) and there is often a treasurer separate from the bagman.
- On some sides a a ragman manages and co-ordinates the team's kit, or costume. This may include construction of bell-pads, ribbon bads, sashes and other accoutrements.
Many sides have one or more fools. A fool will usually be extravagantly dressed, and will be communicating directly with the audience, whether in speech or in mime. Often the fool will dance around and even through a dance without appearing to really be a part of it, but it usually takes an unusually talented dancer to pull off such fooling while actually adding to and not distracting from the main dance set.
Many sides also have a beast: a dancer in a costume which is made to look like a real or mythical animal. Beasts mainly interact with the audience, particularly children. In some groups this dancer is called the hobby.
Most Cotswold dances alternate common figures (or just figures) with a distinctive figure (or chorus). The common figures are common to all (or some) dances in the tradition; the distinctive figure distinguishes that dance from other dances in the tradition. Sometimes, (particularly in corner dances) the chorus is not identical each time it comes in a dance, but has its own sequence of forms specific to the tradition; nevertheless something about the way the chorus is danced will distinguish that dance from other dances. Frequently several traditions will have essentially the same dance, where the name, tune, and distinctive figure are the same or similar, but each tradition uses its own common figures and style of dancing.
In England, an ale is a private party where a number of morris sides get together and perform dances for their own enjoyment rather than as a performance for an audience. Usually food will be supplied, and sometimes this is a formal sit-down meal known as a feast or ale-feast. Occasionally an evening ale will be combined with a day or weekend of dance, where all the invited sides will tour the local area and perform their dances for the public. In North America the term is widely used to describe a full weekend of dancing involving public performances and sometimes workshops. In the sixteenth to nineteenth centuries, the term "ale" referred to a church- or village-sponsored event where ale or beer was sold to raise funds. Morris dancers were often employed at such events.
[edit] See also
The dance may have given name to the board games three men's morris, six men's morris and nine men's morris.
Erasmus Grasser, a German sculptor, created 16 realistic animated wood figures in the late 15th century called the morris dancers.
[edit] Discography
- Morris On (1971)
- Son of Morris On (1972)
- Absolutely Classic - The Music of William Kimber (2001)
- Mally's Cotswold Morris (2001)
- The English Folk Dance Project - Cotswold Series, VOL. 1 (2001)
- Grandson of Morris On (2002)
- Roll a Ferret for Jesus (Black Pig Border Morris)
- The Duck Race (2004)
- Great-grandson of Morris On (2004)
- The Magic of Morris (2005)
- Lost Morris: Tunes from Lost Cotswold Morris Traditions (2005)
[edit] References
- ^ Michael Heaney, "The Earliest Reference to the Morris Dance?", Folk Music Journal 8.4, 2004, 513-515
- ^ Angelfire, folk
- ^ Hemmings tradition
- ^ a b Bacon, Lionel 1974 A Handbook of Morris Dances. Published by The morris Ring
- ^ Cawte, E. C. (1963). "The Morris Dance in Hereford, Shropshire and Worcestershire". Journal of the English Folk Dance and Song Society 9 (4): 197-212.
- ^ Jones, Dave (1988). The Roots of Welsh Border Morris. Morris Ring.
- ^ History. Silurian Border Morris Men. Retrieved on 2006-10-11.
- ^ Kirkpatrick, John (1979). "Bordering On the Insane". English Dance and Song 41: 12-14.
[edit] External links
- The Morris Book, a history of morris dancing by Cecil J. Sharp, from Project Gutenberg
- The Morrisdancing Page (links to morris sides and organizations)
- Morris Dancing FAQs, a database of morris-related information
- Morris Dancing Wiki, a world-wide directory of morris and ritual dance teams
- The Origins of Morris, by Chris Farr (Dartington Morris Men)
- The English Folk Dance and Song Society at Cecil Sharp House, London
- iPod video of Morris Dancers at Sweeps Festival Rochester 1997
- From Ritual to Romance, by Jesse L. Weston, at Project Gutenberg has a chapter with some historical information, but the discussion of the origins / development / significance of morris dancing presented therein is now considered thoroughly discredited by nearly all researchers.
