What Instrument Families Are Included in the Performance of Moorish Dance?

English functioning folk dance

"Morris music" redirects hither. For the former jazz record shop in New Orleans, see Karnofsky Tailor Shop–House.

Morris dancers with handkerchiefs in York

Morris dancing is a form of English folk dance ordinarily accompanied by music. It is based on rhythmic stepping and the execution of choreographed figures by a grouping of dancers, usually wearing bell pads on their shins. Implements such as sticks, swords and handkerchiefs may besides exist wielded by the dancers. In a modest number of dances for one or two people, steps are near and across a pair of clay tobacco pipes laid one across the other on the floor. They clap their sticks, swords, or handkerchiefs together to friction match with the dance.

The earliest known and surviving English written mention of Morris dance is dated to 1448 and records the payment of seven shillings to Morris dancers by the Goldsmiths' Company in London.^[one] Further mentions of Morris dancing occur in the late 15th century, and there are likewise early on records such equally bishops' "Visitation Articles" mentioning sword dancing, guising and other dancing activities, also as mumming plays.

While the earliest records invariably mention "Morys" in a courtroom setting, and a little later in the Lord Mayors' Processions in London, it had causeless the nature of a folk trip the light fantastic performed in the parishes by the mid 17th century.

There are around 150 Morris sides (or teams) in the United States.^[two] English language expatriates form a larger part of the Morris tradition in Australia, Canada, New Zealand^[iii] and Hong Kong. There are isolated groups in other countries, for case those in Utrecht and Helmond,^[iv] Netherlands; the Arctic Morris Grouping of Helsinki, Finland^[5] and Stockholm, Sweden; as well as in Cyprus^[6] and Leningrad, Russian federation.^[7]

The world of Morris is organised and supported by three organisations: Morris Band,^[8] Morris Federation^[9] and Open up Morris.^[10]

Name and origins [edit]

Throughout history, the Morris seems to have been common. Information technology was imported from hamlet festivities into popular entertainment after the invention of the courtroom masque by Henry 8. The word Morris patently derived from "morisco," pregnant "Moorish." Cecil Sharp, whose collecting of Morris dances preserved many from extinction, suggested that it might take arisen from the dancers' blacking their faces as role of the necessary ritual disguise.[2]

The name is showtime recorded in English in the mid-15th century every bit Morisk dance , moreys daunce , morisse daunce , i.e. "Moorish dance". The term entered English via Flemish mooriske danse. Comparable terms in other languages include German Moriskentanz (also from the 15th century), French morisques, Croatian moreška, and moresco, moresca or morisca in Italy and Spain. The modern spelling Morris-trip the light fantastic first appears in the 17th century.^[11] In Edward Phillips's The New Globe of English Words, first published in 1658, the term morisco was referenced as both "a Moor" and "the Morris dance, every bit it were the Moorish dance", while John Bullokar divers it in 1695 as "a certain dance used amongst the Moors; whence our Morris dance".^{[12] [13]}

A minor statue of a "Moriskentänzer" made past Erasmus Grasser in 1480 for Old Townhall in Munich, one of a set of 16, of which simply 10 remain. This dancer has an advent which would be described at the time as "moorish", but all the other 9 surviving carvings are fairer-skinned. All wear bells on their legs.

It is unclear how the dance came past this proper name, "unless in reference to fantastic dancing or costumes", i.due east. the deliberately "exotic" flavor of the operation.^[xiv] The English dance thus apparently arose as office of a wider 15th-century European fashion for supposedly "Moorish" spectacle, which also left traces in Castilian and Italian folk trip the light fantastic. The means and chronology of the manual of this style is now difficult to trace; the London Relate recorded "spangled Spanish dancers" performed an energetic dance earlier Rex Henry VII at Christmas in 1494, but Heron's accounts also mention "pleying of the mourice dance" iv days earlier, and the attestation of the English term from the mid-15th century establishes that there was a "Moorish dance" performed in England decades prior to 1494.^{[fifteen] [16]}

An alternative derivation from the Latin 'mos, moris' (custom and usage) has also been suggested.^[17]

It has been suggested that the tradition of rural English language dancers blackening their faces may be a form of disguise, or a reference either to the Moors or to miners;^[18] the origins of the practice remain unclear and are the bailiwick of ongoing fence. In June 2020 the Articulation Morris Arrangement chosen for the apply of black makeup to be discontinued in response to the Black Lives Matter movement. Groups that used face up paint inverse to blueish, green, or yellow and blackness stripes.^[19]

History in England [edit]

Analogy of William Kempe Morris dancing from London to Norwich in 1600

Morris dancers and a hobby equus caballus: detail of Thames at Richmond, with the Old Royal Palace, c. 1620

While the earliest (15th-century) references place the Morris trip the light fantastic toe in a courtly setting, it appears that the dance became part of performances for the lower classes by the later on 16th century; in 1600, the Shakespearean histrion William Kempe Morris danced from London to Norwich, an event chronicled in his Nine Daies Wonder (1600).

Nearly nothing is known about the folk dances of England prior to the mid-17th century.^[20] While it is possible to speculate on the transition of "Morris dancing" from the courtly to a rural setting, it may have acquired elements of pre-Elizabethan (medieval) folk dance, such proposals will always be based on an argument from silence every bit at that place is no direct record of what such elements would take looked like. In the Elizabethan period, there was significant cultural contact betwixt Italy and England, and it has been suggested that much of what is now considered traditional English language folk trip the light fantastic, and particularly English language country dance, is descended from Italian dances imported in the 16th century.^[21]

Past the mid 17th century, the working peasantry took office in Morris dances, especially at Whitsun.^[22] 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 (Pentecost), as the appointment was close to the altogether of Charles Two.^{[ clarification needed ]}

A regional reference occurs in Horsham, Sussex in 1750.^[23]

Morris dancing continued in popularity until the industrial revolution and its accompanying social changes. 4 teams claim a continuous lineage^{[ description needed ]} of tradition within their village or town: Abingdon (their Morris team was kept going by the Hemmings family),^[24] Bampton, Headington Quarry, and Chipping Campden.^[25] Other villages have revived their own traditions, and hundreds of other teams across the globe have adopted (and adapted) these traditions, or take created their own styles from the basic edifice blocks of Morris stepping and figures.

By the late 19th century, and in the West State at least, Morris dancing was fast condign more than a local memory than an activeness. D'Arcy Ferris (or de Ferrars), a Cheltenham-based singer, music teacher and organiser of pageants, became intrigued by the tradition and sought to revive it. He start encountered Morris in Bidford and organised its revival. Over the following years he took the side to several places in the Due west Land, from Malvern to Bicester and from Redditch to Moreton in Marsh. By 1910, he and Cecil Sharp were in correspondence on the subject.^[26]

Several English folklorists were responsible for recording and reviving the tradition in the early 20th century, often from a blank handful of surviving members of mid-19th-century hamlet sides. Among these, the most notable are Cecil Sharp and Mary Neal.

Revival [edit]

Boxing Day 1899 is widely regarded every bit the starting point for the Morris revival.^[27] Cecil Precipitous was visiting at a friend'southward house in Headington, well-nigh 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, including Country Gardens.^[28] A decade later he brainstorm collecting the dances, spurred and at kickoff assisted by Mary Neal, a founder of the Espérance Club (a dressmaking co-operative and guild for young working women in London), and Herbert MacIlwaine, musical managing director of the Espérance Lodge. Neal was looking for dances for her girls to perform, and so the get-go revival performance was past young women in London.

Organisations [edit]

Morris dancers in Northward Yorkshire

In the first few decades of the 20th century, several men's sides were formed, and in 1934 the Morris Ring was founded past six revival sides. In the 1950s and especially the 1960s, there was an explosion of new dance teams, some of them women'south or mixed sides. At the time, there was often heated debate over the propriety and even legitimacy of women dancing the Morris, fifty-fifty though at that place is evidence equally far dorsum equally the 16th century that there were female Morris dancers.^[29] There are now male person, female and mixed sides to be found.

Partly because women's and mixed sides were not eligible for full membership of the Morris Band (this has now changed), 2 other national (and international) bodies were formed, the Morris Federation and Open up Morris. All three bodies provide communication, advice, insurance, instructionals (teaching sessions) and social and dancing opportunities to their members. The three bodies co-operate on some issues, while maintaining their distinct identities. An umbrella body that includes all three, the Joint Morris Arrangement, organises joint events and discusses issues that affect all members, such as access to both public liability and personal insurance embrace.^[30]

Styles [edit]

Today, there are six predominant styles of Morris dancing, and different dances or traditions within each style named after their region of origin.

• Cotswold Morris: dances from an expanse mostly in Gloucestershire and Oxfordshire; an established misnomer, since the Cotswolds overlap this region simply partially. Normally danced with handkerchiefs or sticks to accompany the paw movements. Dances are commonly for six or viii dancers, but solo and duo dances (known equally single or double jigs) also occur.
• North W Morris: more than military in style and often processional, that developed out of the mills in the North-West of England in the 19th and early 20th centuries.
• Border Morris from the English-Welsh border: a simpler, looser, more than vigorous style, occasionally danced with blackened or coloured faces.
• Long Sword dance from Yorkshire and Teesdale, danced with long, rigid metal or wooden swords for, ordinarily, six or 8 dancers.^[31]
• Rapper sword from Northumberland and County Durham, danced with short flexible sprung steel swords, usually for 5 dancers.
• Molly dance from Cambridgeshire. Traditionally danced on Plough Mon, they were Banquet dances that were danced to collect money during harsh winters. 1 of the dancers would exist dressed equally a woman, hence the proper noun. Joseph Needham identified two separate families of Molly dances, one from three villages in the Cambridge expanse and one from ii in the Ely surface area.
• Ploughstots (alternatively Vessel Cupping and Plew-ladding) from the E and North ridings of Yorkshire, too danced on Plough Monday. The dancers often held "flags", used similarly to handkerchiefs in Cotswold and Border dances to emphasise hand movements, or rattling basic, rather than wearing bells but for the same purpose.
• A similar Plow Monday tradition exists in the Eastward Midlands; some of these dances involve swords, usually danced over in a similar mode to baccapipes^[32] jigs from Oxfordshire.

Cotswold [edit]

Lionel Bacon records Cotswold Morris traditions from these towns and 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, Upton-upon-Severn and Wheatley.^[33]

Bacon also lists the tradition from Lichfield, which is Cotswold-similar despite that city's distance from the Cotswold Morris area; the authenticity of this tradition has been questioned.^{[ by whom? ]} In 2006, a small number of dances from a previously unknown tradition was discovered by Barry Care, MBE, keeper of The Morris Ring Photographic Archive,^[34] and a founding fellow member of Moulton Morris Men (Ravensthorpe, Northamptonshire)—two of them danceable.^{[ citation needed ]}

Other dances listed past Salary include Border Morris dances from Brimfield, Bromsberrow Heath, Evesham, Leominster, Much Wenlock, Pershore, Upton-upon-Severn, Upton Snodsbury, White Ladies Aston, and miscellaneous non-Cotswold, non-Border dances from Steeple Claydon and Winster. There are a number of traditions which take been collected since the mid-twentieth century, though few have been widely adopted. Examples are Broadwood, Duns Tew,^[35] 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 style they were danced in the nineteenth century, and they have been reconstructed to a degree that makes them largely twentieth century inventions also. Some traditions have been reconstructed in several strikingly disparate ways; an instance would be Adderbury, danced very differently by the Adderbury Morris Men and the Adderbury Village Morris.

Northward West [edit]

Horwich Prize Medal Morris Men, a North West Morris side based near Bolton

The Northward West tradition is named later the North Westward region of England and has ever featured mixed and female sides, at least as far back equally the 18th century. There is a picture of Eccles Wakes painted in 1822 that shows both male and female person dancers.^[36]

Historically, nearly sides danced in various styles of shoes or boots, although dancing in clogs was also very common. Modern revivalist sides have tended more than towards the wearing of clogs.^[37] The dances were oftentimes associated with rushcarts at the local wakes or holidays, and many teams rehearsed only for these occasions. While some teams continue to rehearse and dance for a single local festival or event (such equally the Abram Morris Dancers^[38]), the bulk of teams at present rehearse throughout the year, with the majority of performances occurring in the spring and summer. The dances themselves were oftentimes called 'maze' or 'garland dances' as they involved a very intricate set up of movements in which the dancers wove in and out of each other. Some dances were performed with a wicker hoop (decorated with garlands of flowers) held in a higher place the dancer'south head. Some dancers were besides associated with a tradition of mumming and hold a pace egging play in their area.

North West Carnival Morris troupe dancing in Skipton, Yorkshire in 1987

The Britannia Kokosnoot 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 North West Morris groups that still blackness up their faces. It is said that the dance found its fashion to the surface area through Cornishmen who migrated to work in the Rossendale quarries.

Towards the end of the 19th century, the Lancashire tradition was taken up past sides associated with mills and nonconformist chapels, usually composed of immature girls. These lasted until the Get-go Globe War, afterwards which many mutated into "jazz dancers". (A Bolton troupe can be seen in a pre-state of war documentary by Humphrey Jennings.) The dances accept evolved stylistically and the dancers' apparel has changed to include pompoms and elements from other groups, such every bit cheerleaders and Irish dancers. Yet, they refer to themselves as "Morris dancers", wear bells, and are notwithstanding mainly based in the Northwest of England. This type of Morris has been around since the 1940s and is also referred to every bit Funfair or "fluffy Morris" dancing. They have role in many different competitions during the year and end it with a "Championship" where one trip the light fantastic toe troupe is crowned the champions. This type of Morris is likewise institute in the north of Wales, where at that place are many different organizations with many dissimilar troupes. In 2008 NEMDCO (North of England Morris Dancing Funfair Organization) held a large competition at Blackpool in the Blackpool Tower Ballroom. The winner of this competition was Valencia, a troupe from Liverpool.^[39] During the folk revival in the 1960s, many of the sometime steps to dances such as "Stubbins Lane Garland" were often passed on by erstwhile people.^{[ citation needed ]}

Border [edit]

A Morris dancer with coloured disguise which was oftentimes used by dancers from the borders of Wales and England

The term "Border Morris" was first used by E. C. Cawte in a 1963 article^[xl] on the Morris trip the light fantastic toe traditions of Herefordshire, Shropshire and Worcestershire: counties along the border with Wales. Characteristics of the tradition as practised in the 19th and early 20th centuries include: blackface or coloured facepaint (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 wearing apparel decorated with ribbons, strips of cloth, or pieces of coloured newspaper; or sometimes "fancy dress", pocket-sized numbers of traditional dances in the team repertoire, often just 1 and rarely more than than two, highly variable number of dancers in the fix and configurations of the fix (some sides had dissimilar versions of a trip the light fantastic for different numbers of dancers), and an emphasis on stick dances almost to the exclusion of hankie dances.^[41]

Sword dancing [edit]

Usually regarded as a type of Morris, although many of the performers themselves consider it as a traditional dance course in its ain right, is the sword dance tradition, which includes both rapper sword and longsword traditions. In both styles the "swords" are non actual swords, just implements specifically fabricated for the dance. The dancers are usually linked one to some other via the swords, with one end of each held by one dancer and the other end by another. Rapper sides consist of five dancers, who are permanently linked-up during the trip the light fantastic toe. The rapper sword is a very flexible strip of spring-steel with a wooden handle at each end. The longsword is about two'half dozen" (0.8 metres) long, with a wooden handle at one end, a edgeless tip, and no edge. Sometimes ribbons are threaded through a pigsty in the tip of the sword, and the dancers grab on to them during the course of the dance. Longsword sides consist ordinarily of five to 8 dancers. In both rapper and longsword there is often a supernumerary "grapheme", who dances effectually, exterior, and inside the prepare.

Mumming [edit]

The English mummers play occasionally involves Morris or sword dances either incorporated as part of the play or performed at the aforementioned issue. Mummers plays are often performed in the streets near Christmas to gloat the New year's day and the coming springtime. In these plays are central themes of decease and rebirth.

Other traditions [edit]

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 every bit a woman. The largest Molly Dance event is the Whittlesea Straw Comport Festival, established in 1980, held at Whittlesey in Cambridgeshire in January.

There is also Stave dancing from the south-west and the Abbots Bromley Horn Trip the light fantastic.

Another expression of the Morris tradition is Vessel Cupping. This was practised in the Eastward Riding of Yorkshire until the 1920s. It was a form danced by afoot ploughboys in sets of iii or four, about the time of Candlemas.

Additionally, there is a specifically Welsh version of this terpsichorean art^[42] that is singled-out from the Borders Morris mode. This way is called Nantgarw tradition after a small village in the Taff Valley.^[43] One Nantgarw dance, Y Caseg Eira, is derived directly from notes fabricated on traditional Welsh dances from the 1890s. These notes were made by Dr. Ceinwen Thomas in the 1950s from the babyhood recollections of her mother, Catherine Margretta Thomas.^[44] Others are more modernistic inventions fabricated in the style of older dances.^[43] Dances in the Nantgarw manner include; Caseg Eira (The Snow Mare), Hela'r Sgwarnog (Hunting The Hare) and Ty Coch Caerdydd (The Scarlet House of Cardiff).^[45]

Music [edit]

Dancing to piano accordion music, York (June 2018)

Music was traditionally provided by either a pipage 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. Oftentimes drums are employed.

Cotswold and sword dancers are about ofttimes accompanied by a single histrion, but Northwest and Border sides oftentimes take a band, commonly including a pulsate.

For Cotswold and (to a degree) Border dances, the tunes are traditional and specific: the proper name of the dance is oft actually the proper name of the tune, and dances of the aforementioned name from unlike traditions will take slightly different tunes. For Northwest and sword dancing in that location is less often a specific tune for a dance: the players may employ several tunes, and will ofttimes alter tunes during a dance.

For dances which have ready tunes, there is often a short vocal set to the tune. This is sung past the musician(s) or by the whole side as an introduction to the tune earlier the dance. The songs are usually rural in focus (i.e. related to agricultural practices or village life) and oft bawdy or vulgar. Songs for some dances vary from side to side, and some sides omit songs altogether.

Several notable albums have been released, in particular the Morris On series, which consists of Morris On, Son of Morris On, Grandson of Morris On, Great Grandson of Morris On, Morris on the Road, and Female parent of all Morris.

Terminology [edit]

Pete the Majestic Freedom Morris fool

Similar many activities, Morris dancing has a range of words and phrases that it uses in special ways.

Many participants refer to the globe of Morris dancing as a whole equally "the Morris".

A Morris troupe is usually referred to equally a side or a team. The 2 terms are interchangeable. Despite the terminology, Morris dancing is hardly ever competitive.

A set (which can too be referred to as a side) is a number of dancers in a particular organisation for a dance. Most Cotswold Morris dances are danced in a rectangular set of half-dozen dancers, and most Northwest dances in a rectangular set of viii; only in that location are many exceptions.

A jig is a trip the light fantastic performed by one (or sometimes two) dancers, rather than by a set. Its music does non usually have the rhythm implied by the word "jig" in other contexts.

The titles of officers vary from side to side, just about sides have at to the lowest degree the following:

• The role of the squire varies. In some sides the squire is the leader, who speaks for the side in public, usually leads or calls the dances, and often decides the plan for a performance. In other sides the squire is more an administrator, with the foreman taking the atomic number 82, and the dances called by any experienced dancer.
• The foreman teaches and trains the dancers, and is responsible for the style and standard of the side's dancing. The foreman is oftentimes "active" with the "passive" dancers.
• The bagman is traditionally the keeper of the bag—that is to say, the side'southward funds and equipment. In some sides today, the bagman acts as secretary (especially bookings secretarial assistant) and there is oftentimes a separate treasurer.
• On some sides a ragman manages and co-ordinates the team'due south kit or costume. This may include making bell-pads, ribbon bads, sashes and other accoutrements.

Many sides have ane or more fools. A fool is commonly extravagantly dressed, and communicates directly with the audience in oral communication or mime. The fool frequently dances effectually and fifty-fifty through a dance without appearing really to be a part of information technology, only information technology takes a talented dancer to pull off such fooling while actually calculation to and not distracting from the main dance set.

Many sides as well accept a animal: a dancer in a costume made to look like a real or mythical creature. Beasts mainly collaborate with the audience, particularly children. In some groups this dancer is chosen the hobby.

A tradition in Cotswold Morris is a collection of dances that come up from a particular area, and have something in common: normally the steps, arm movements, and dance figures. Many newer traditions are invented by revival teams.

Most Cotswold dances alternate common figures (or just figures) with a distinctive figure (or chorus). The mutual figures are common to all (or some) dances in the tradition; the distinctive effigy distinguishes that trip the light fantastic toe from others in the same tradition. Sometimes (particularly in corner dances) the choruses are not identical, just have their ain sequence specific to the tradition. Nevertheless, something about the style the chorus is danced distinguishes that dance from others. Several traditions often have essentially the aforementioned dance, where the name, tune, and distinctive figure are the same or similar, but each tradition employs its common figures and way.

In England, an ale is a private party where a number of Morris sides gather and perform dances for their own enjoyment rather than for an audience. Nutrient is usually supplied, and sometimes this is a formal meal known as a banquet or ale-feast. Occasionally, an evening ale is combined with a twenty-four hour period or weekend of trip the light fantastic, where all the invited sides bout the surface area and perform in public. In N America the term is widely used to depict 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 dale-sponsored consequence where ale or beer was sold to enhance funds. Morris dancers were often employed at such events.

Development [edit]

Constancy of Morris tradition [edit]

The continuance of Morris is every bit much in the easily of independent groups of enthusiasts as it is in the nationwide groupings such every bit The Morris Band or The Morris Federation. And so while for some sides there is a feeling that the music and trip the light fantastic recorded in the 19th century should exist maintained, there are others who freely reinterpret the music and dance to adapt their abilities and including mod influences. In 2008 a front end-page commodity in the Independent Magazine noted the rising influence of neopaganism within the modern Morris tradition.^[46] The commodity featured the views of Neopagan sides Wolf's Caput and Vixen Morris and Hunter'due south Moon Morris and assorted them with those of the more traditional Long Human being Morris Men. The Morris may have become popular in neopaganism thanks to the scholarship of James Frazer, who hypothesized that rural folk traditions were survivals of ancient pagan rituals. Though this view was fiercely criticized even past Frazer'due south contemporaries, information technology was fully embraced by Sir Edmund Chambers, i of the first to produce serious writing on English folk plays and dances, and who became a major influence on pop understanding of Morris dancing in the 20th century.^[47]

Age and Gender Bug [edit]

In Jan 2009 the Telegraph published a report predicting the demise of Morris dancing inside 20 years, due to the lack of young people willing to take part.^[48] This widespread story originated from a senior member of the more traditionally-minded Morris Band, and may only reverberate the state of affairs in relation to member groups of that one organisation.

A contempo survey published in December 2020 ^[49] identified how the profile of morris dancers has evolved since the starting time survey published in 2014. The number of morris dancers in the UK has increased from 12,800 in 2014 to thirteen,600 in 2020. The average age of a morris dancer in the Uk is 55, upward from 52 in 2014. The survey also reported that at that place is at present an fifty-fifty residue betwixt male and female performers.

Use of the Cyberspace [edit]

The appearance of the Internet in the 1990s has also given Morris sides a new platform upon which to perform. Many Morris sides now have entertaining websites which seek to reverberate the public persona of the individual sides as much as record their exploits and list forthcoming performances.

There are also a multitude of thriving Morris-related blogs and forums, and individual sides are to be found maintaining an interactive presence on major social networking sites. Surveys of employ of social media services by morris sides found that the Westminster Morris Men YouTube channel has received over 100,00 views ^[fifty] and the Shrewsbury Morris' Twitter account has over 100,00 followers.^[51]

In popular culture [edit]

The success of Terry Pratchett's Discworld novels has seen the entirely invented Night Morris tradition being brought to life in some form by 18-carat Morris sides such as the Witchmen Morris and Jack Frost Morris.^[52] Dark Morris has been described as having been "evolved from the border revival of the 1970s which was part of a wider neo-traditionalist surge of involvement in regional morris styles".^[53]

Kit and wear [edit]

There is great variety shown in how Morris sides apparel, from the predominantly white clothing of Cotswold sides to the tattered jackets worn by Border teams. Some mutual items of vesture are: bellpads; baldrics; braces; rosettes; sashes; waistcoats; tatter-coats; knee joint-length breeches; wooden clogs; straw hats, top hats, or bowlers; neckerchiefs; armbands.

Namesakes [edit]

• The dance may take given name to the board games three men's morris, 6 men's morris and nine men's morris.
• Erasmus Grasser, a High german sculptor, created 16 realistic animated wooden figures in the belatedly 15th century called the Morris dancers.
• Two ships named Morris Dance have served in the Regal Navy in the 20th Century.

Come across also [edit]

• Ball de bastons
• Călușari
• State trip the light fantastic toe – Type of social trip the light fantastic
• Maculelê (dance)
• Matachines – Ritual dancers
• Moresca
• Moreška
• Morris: A Life with Bells On – 2009 film past Lucy Akhurst
• Pipe and tabor
• Saint George's Day in England – 23 April
• Way of the Morris – 2011 documentary film, a 2011 documentary film by Tim Plester and Rob Curry
• Weapon Dance – Course of dance using weapons

References [edit]

Notes

1. ^ Heaney, One thousand. (2004). "The Earliest Reference to the Morris Trip the light fantastic?". Folk Music Journal. 8 (iv): 513–515. JSTOR 4522721.
2. ^ Llewellyn's 2012 Witches' Companion. Llewellyn Worldwide. 2011. p. 126.
3. ^ "New Zealand Morris Dancing". Morrisdancing.org.nz. Retrieved 28 May 2013.
4. ^ "Morrisdansgroep Helmond". Archived from the original on xiv Nov 2016. Retrieved 19 June 2012.
5. ^ Helsinki Morrisers
6. ^ "Cyprus Morris". Cyprusmorris.net. 23 May 2012. Retrieved 28 May 2013.
7. ^ "Happy Kelpie Morris". vk.com.
8. ^ "The Morris Band".
9. ^ "The Morris Federation".
10. ^ "Open up Morris".
11. ^ OED, s.five. "morris dance" and "Morisk". D. Arnold, The New Oxford Companion to Music, vol. two (Oxford University Press, 1983), p. 1203.
12. ^ Phillips, Edward (1658). The New World of English Words.
13. ^ Bullokar, John (1695). An English Expositour.
14. ^ OED, etymonline.com.
15. ^ Billington, Sandra (1984). A Social History of the Fool. Harvester Press. pp. 36, 37.
16. ^ "morris dance". Oxford English language Dictionary (Online ed.). Oxford Academy Press. (Subscription or participating institution membership required.)
17. ^ The Pocket Oxford Lexicon (1913 / 1994) Oxford Academy Press, Oxford.
18. ^ Okolosie, Lola (14 October 2014). "Cameron and the morris dancers: a sign of our nationalistic mood". The Guardian. Is the prime minister an skillful in the complicated and obscure history of blacking up in Morris dancing? Perhaps he is, and this is why he felt comfortable posing for this picture, because he is sure that the tradition is either related to a heathen ritual to ward off evil spirits; a commemoration of Moorish beginnings; the prevalence of mining in particular communities; or a disguise donned by poor men who went begging during the 1800s.
19. ^ "May Day Morris dancers wear blueish makeup over racism concerns". BBC News. 1 May 2021.
20. ^ the showtime description of such dances was John Playford'south The English Dancing Master, published in 1651.
21. ^ One thousand. Dougal MacFinlay & Thousand. Sion Andreas o Wynedd, To Tame a Pretty Conceit, volume 4 of the '0'Letter of Trip the light fantastic toe (1996).
22. ^ Llewellyn's 2012 Witches' Companion. Llewellyn Worldwide. 2011. p. 125.
23. ^ "Highwayman's 1750 confessions reveal 'unusual' ambivalence almost gay sex". The Guardian. xiii February 2021.
24. ^ Hemmings tradition Archived 2 April 2006 at the Wayback Machine
25. ^ Chipping Campden Morris Men | Homepage Archived 8 February 2007 at the Wayback Machine
26. ^ Judge, Roy (1984). "D'Arcy Ferris and the Bidford Morris". Folk Music Journal. 4 (5): 443–480. JSTOR 4522157.
27. ^ Burgess, Paul (2002). "The Mystery of the Whistling Sewermen: How Cecil Precipitous Discovered Gloucestershire Morris Dancing". Folk Music Journal. eight (2): 178–194. JSTOR 4522669.
28. ^ "Country Gardens (Cecil Precipitous Manuscript Drove (at Clare Higher, Cambridge) CJS2/10/946)". The Vaughan Williams Memorial Library . Retrieved 17 Nov 2020.
29. ^ William Kempe, Kemps Nine Daies Wonder (1600) :"At Chelmsford, a Mayde not passing foureteene yeares of historic period, dwelling with one Sudley, my kinde friend, made request to her Master and Dame that she might daunce the Morrice with me in a great large roome. They being intreated, I was soone wonne to fit her with bels; besides she would haue the olde style, with napkins on her armes; and to our iumps we fell. A whole houre she held out; but and then being prepare to lye downe I left her off; just thus much in her praise, I would haue challenged the strongest man in Chelmsford, and amongst many I thinke few would haue done then much".
30. ^ "Morris Federation: Joint Morris Organisation". morrisfed.org.united kingdom of great britain and northern ireland. Retrieved 5 July 2020.
31. ^ Jaffé, Nigel Allenby (1990). Folk Trip the light fantastic of Europe. Europe: Folk Dance Enterprises.
32. ^ "Bacca Pipes". British Columbia Sociology Society. 2017. Retrieved 9 January 2017.
33. ^ Bacon, Lionel 1974 A Handbook of Morris Dances. Published by The Morris Ring
34. ^ "The Morris Tradition | The Morris Ring". themorrisring.org . Retrieved viii Apr 2019.
35. ^ "The Duns Tew Morris 'Tradition'".
36. ^ 'Eccles Fair Wakes - Mayday 1822' by Joseph Parry| [1]
37. ^ Use of clogs
38. ^ "Abram Morris Dancers".
39. ^ "MORRISDANCERS.NET The original home of all things Morris". Archived from the original on 13 July 2018. Retrieved 8 April 2020.
40. ^ Cawte, E. C. (1963). "The Morris Trip the light fantastic toe in Hereford, Shropshire and Worcestershire". Journal of the English Folk Dance and Song Society. 9 (four): 197–212. JSTOR 4521671.
41. ^ Jones, Dave (1988). The Roots of Welsh Edge Morris. Morris Ring.
42. ^ "Cardiff Morris Dwelling Page". Cardiffmorris.org. Retrieved 28 May 2013.
43. ^ ^{a b} "Nantgarw". Myweb.tiscali.co.uk. Archived from the original on xix October 2012. Retrieved 28 May 2013.
44. ^ "Easter Course Accost (English) | cgdwc ~ wnfds". Dawnsio.com. Archived from the original on 11 July 2012. Retrieved 28 May 2013.
45. ^ "Cardiff Morris Videos". YouTube. 28 July 2011. Retrieved 28 May 2013.
46. ^ Moreton, Cole (11 May 2008). "Hey nonny no, no, no: Goths and pagans are reinventing Morris dancing". The Independent. London. Retrieved 14 March 2010.
47. ^ Hutton, Ronald. The Stations of the Lord's day: A History of the Ritual Year in Britain. Oxford University Printing, 1996. pp. 218–225
48. ^ The Daily Telegraph, 5 January 2009
49. ^ "Findings from the 2020 Morris Census" (PDF). Morris Federation. Retrieved 5 Oct 2021.
50. ^ "Survey: Utilize of YouTube". Morris Federation. Retrieved 3 December 2021.
51. ^ "Survey: Utilize of Twitter". Morris Federation. Retrieved 3 Dec 2021.
52. ^ "Picasa Spider web Albums – Jack Frost – May Twenty-four hour period 2010". Picasaweb.google.com. 30 April 2010. Retrieved 28 May 2013.
53. ^ "The History & Development of Dark Border Morris" (PDF). October 2021. Retrieved 24 October 2021.

Bibliography

• Forrest, John. The History of Morris Dancing, 1458–1750. Cambridge: James Clarke & Co Ltd, 1999.

External links [edit]

• The English language Folk Dance and Song Social club at Cecil Sharp House, London
• The Morris & Sword: Dances of England

fleetwooddomay1984.blogspot.com

Source: https://en.wikipedia.org/wiki/Morris_dance

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