History of Cornish Dance and Its Origins
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CORNISH ASSOCIATION OF NSW - MEMBERS LENDING & RESEARCH LIBRARY - Jan 2008 Search using Edit, Find in this page (Firefox) For more information or to borrow contact Eddie or Eileen Lyon on: (02) 9349 1491 or Email: [email protected] Id No BOOK NAME AUTHOR DESCRIPTION 1 Yesterday's Town: St Ives Noall Cyril Book - illustrated history 2 King Arthur Country in Cornwall Duxbury & Williams Book - information 3 Story of St Ives, The Noall Cyril Book 4 St Ives in the 1800's Laity R.P. Book 5 Cornish Surnames, A Handbook of G. Pawley White Book 6 Cornish Pioneers of Ballarat Dell & Menhennet Book 7 Kernewek for Kids Franklin Sharon Book - Copper Triangle Puzzles, Stories 8 Australian Celtic Journal Vol.One Darlington J Journal 9 Microform Collection Index (OUT OF CIRCULATION) Aust. Soc of Genealogy Journal 10 Where Now Cousin Jack? Hopkins Ruth Book 11 Cornwall - A Genealogical Bibliography Raymond Stuart Journal LOST 12 Penwith - The Illustrated Past Noall Cyril Book 13 St Ives, The Book of Noall Cyril Book - pictorial history LOST IN FIRE 14 Cornish Names Dexter T.F.G. Book 15 Scilly and the Scillonians Read A.H. & Son Book - pictorial history 16 Shipwrecks at Land's End Larn & Mills Book 17 Minerals, Rocks and Gemstones in Cornwall Rogers Cedric Book - collector’s guide 18 King Arthur, Tintagel Castle & Celtic Monuments Tintagel Parish Council Book 19 Shipwrecks on the Isles of Scilly Gibson F.E. Book 20 Which Francis Symonds Symonds John Symonds history - Cornwall and Australia 21 St Ives, The Beauty of Badger H.G. Illustration Booklet 22 Little Land of Cornwall, The Rowse A.L. -
Hornpipes and Disordered Dancing in the Late Lancashire Witches: a Reel Crux?
Early Theatre 16.1 (2013), 139–49 doi: http://dx.doi.org/10.12745/et.16.1.8 Note Brett D. Hirsch Hornpipes and Disordered Dancing in The Late Lancashire Witches: A Reel Crux? A memorable scene in act 3 of Thomas Heywood and Richard Brome’s The Late Lancashire Witches (first performed and published 1634) plays out the bewitching of a wedding party and the comedy that ensues. As the party- goers ‘beginne to daunce’ to ‘Selengers round’, the musicians instead ‘play another tune’ and ‘then fall into many’ (F4r).1 With both diabolical interven- tion (‘the Divell ride o’ your Fiddlestickes’) and alcoholic excess (‘drunken rogues’) suspected as causes of the confusion, Doughty instructs the musi- cians to ‘begin againe soberly’ with another tune, ‘The Beginning of the World’, but the result is more chaos, with ‘Every one [playing] a seuerall tune’ at once (F4r). The music then suddenly ceases altogether, despite the fiddlers claiming that they play ‘as loud as [they] can possibly’, before smashing their instruments in frustration (F4v). With neither fiddles nor any doubt left that witchcraft is to blame, Whet- stone calls in a piper as a substitute since it is well known that ‘no Witchcraft can take hold of a Lancashire Bag-pipe, for itselfe is able to charme the Divell’ (F4v). Instructed to play ‘a lusty Horne-pipe’, the piper plays with ‘all [join- ing] into the daunce’, both ‘young and old’ (G1r). The stage directions call for the bride and bridegroom, Lawrence and Parnell, to ‘reele in the daunce’ (G1r). At the end of the dance, which concludes the scene, the piper vanishes ‘no bodie knowes how’ along with Moll Spencer, one of the dancers who, unbeknownst to the rest of the party, is the witch responsible (G1r). -
Playing Music for Morris Dancing
Playing Music for Morris Dancing Jeff Bigler Last updated: June 28, 2009 This document was featured in the December 2008 issue of the American Morris Newsletter. Copyright c 2008–2009 Jeff Bigler. Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.3 or any later version published by the Free Software Foundation; with no Invariant Sections, no Front-Cover Texts, and no Back-Cover Texts. This document may be downloaded via the internet from the address: http://www.jeffbigler.org/morris-music.pdf Contents Morris Music: A Brief History 1 Stepping into the Role of Morris Musician 2 Instruments 2 Percussion....................................... 3 What the Dancers Need 4 How the Dancers Respond 4 Tempo 5 StayingWiththeDancers .............................. 6 CuesthatAffectTempo ............................... 7 WhentheDancersareRushing . .. .. 7 WhentheDancersareDragging. 8 Transitions 9 Sticking 10 Style 10 Border......................................... 10 Cotswold ....................................... 11 Capers......................................... 11 Accents ........................................ 12 Modifying Tunes 12 Simplifications 13 Practices 14 Performances 15 Etiquette 16 Conclusions 17 Acknowledgements 17 Playing Music for Morris Dancing Jeff Bigler Morris Music: A Brief History Morris dancing is a form of English street performance folk dance. Morris dancing is always (or almost always) performed with live music. This means that musicians are an essential part of any morris team. If you are reading this document, it is probably because you are a musician (or potential musician) for a morris dance team. Good morris musicians are not always easy to find. In the words of Jinky Wells (1868– 1953), the great Bampton dancer and fiddler: . [My grandfather, George Wells] never had no trouble to get the dancers but the trouble was sixty, seventy years ago to get the piper or the fiddler—the musician. -
Trinity Irish Dance Study Guide.Indd
● ● ● ● ● Photo by Lois Greenfield. About the Performance The Performance at a Glance Each of these different elements can be the basis for introducing students to the upcoming performance. Who are the Trinity Irish Dance Company? Trinity Irish Dance Company were formed in 1990 by Mark Howard in an effort to showcase Irish music and dance as an art form. The company is made up of 18- 25 year olds, and has received great critical and popular acclaim from audiences throughout the world. They have performed all over the world, and have collaborated with many notable contemporary choreographers and musicians. Trinity holds a unique place in the dance world, offering a highly skilled presenation of progressive Irish step dance. Who is Mark Howard? Mark Howard is the founder and artistic director of the Trinity Irish Dance Company, and choreographs much of the company’s work. Born in Yorkshire, England, and raised in Chicago, Mark Howard began dancing at the age of nine, and later went on to become a North American champion Irish dancer. He started the Trinity Academy of Irish Dance at the age of 17, and dancers from this school have won 18 world titles for the United States at the World Irish Dance Championships in Ireland. Howard wanted to find a way for his dancers to do more than just compete for tropies and prizes, so in 1990 he founded the Trinity Irish Dance Company as a way to showcase Irish music and dances as an art form. Mark Howard continues to choregraph new works for the company, and he has expanded his independent career to work in theater, television, concert and film. -
ATL 2016 Bios of Leaders & Musicians
ACROSS THE LAKE ~ JUNE 10, 11, 12, 2016 English Country Dance Weekend on the Vermont side of Lake Champlain OUR TEACHERS Scott Higgs began dancing in college, and started teaching soon thereafter, when the knowledgeable dancers graduated! For many years he has traveled the world (25 states and 6 foreign countries) delighting dance enthusiasts at weekends and week- long dance camps. His engaging programs make everyone welcome: offering nuances to engage experts, with a light- hearted approach that makes novices feel comfortable and successful. Scott takes particular pleasure in helping dancers stretch their skills and discover new aspects of music and dance, with an emphasis on fun! Scott has composed many of his own dances, and has developed and led intensive dance leadership workshops. Scott has served as a program director for CDSS at Pinewoods and has also served on the CDSS Board of Directors. Melissa Running discovered she could take folk dance for PE credit in college, and never looked back. She started playing for dances and then calling English in the Philadelphia area. She now lives in Silver Spring, MD, calls nationally, plays piano for English and Scottish country dancing, and plays the nyckelharpa for pleasure and for Swedish dancing (and a little Norwegian, and sometimes English). She’s written a number of dances and a larger number of tunes. In her other life, she is a technical writer for a government contractor, where she may yet convince her colleagues to come dancing after work. She is renowned for her warm, accessible, and fun-loving style leading English Country dance. -
DVD 2 Dance Description
( * !1*-$/ Dance - OF !*'& KIDS= = = Descriptions for FolkStyle Productions ) . TEACHERS Dance DVD No. 2 along with (the PURPLE one) Sanna Longden “More Favorite Folk Dances as she reviews 12 enjoyable ethnic dances, for all levels of Kids & Teachers” of learners, in live teaching situations with schoolchildren, families and folk 12 enjoyable ethnic dances, dancers. for all levels of learners, FolkStyle Productions DVD & taught by Sanna Longden Syllabus No. 2 Dances on the DVD The Bear Went Over the Mountain and in this book: Yan Petit Barnereinlender Scratch Pop Goes the Weasel Troika Te Ve’Orez Epo i tai tai e How Do You Dootee Raas/Raj Baztango Esku-Dantza Paddle Dance This book accompanies the DVD Music for these dances can be found and is included in the price. on CD No. 1 and CD No. 1½. CONTENTS FOR DVD #2 SYLLABUS (in the order they appear in the DVD/video) Pages CD track Background and Foreword 2-3 Bear Went Over the Mountain, The (USA) 2 we sing it Yan or Jean Petit (southern France) 5 16 (CD#1) Barnereinlender (Norway) 6 2 (CD#1) Scratch (USA) 7 use many recording Pop Goes the Weasel (USA) 8 we sing it Troika (Russia) 9 13 (CD#1½) Te Ve’Orez (Israel) 10 12 (CD#1) Epo i tai tai e (Hawai’i/Samoa) 11-12 5 (CD1½) How Do You Dootee (Australia) 13 we chant it Raj/Raas/Dandiya Raas (India) 14 9 (CD#1) Baztango Esku-Dantza (Basque) 15 3 (CD#1) Paddle Dance (French Canada and others) 16 8 (CD#1) Index of CDs and DVD/videos 17-18 Alphabetical Index of World Dances 19-20 Index by Continents and Islands 21-23 1 BACKGROUND AND FOREWORD Teaching traditional dance in educational settings by Sanna Longden Thank you so much for your order of my world dance materials. -
Northwest Passage 2020
Footnotes Portland Country Dance Community • May-June 2020 playing both ECD and contra, including Roguery and The Northwest Passage 2020 Whoots, and collaborates with performers such as By Richard Scher storyteller/harpist Patrick Ball, poets Jane Hirshfield and “Hope springs eternal” – and we do hope that the Kay Ryan, clown Jeff Raz, and performs in many coming months will see the return of our joyous world of theatrical and dance productions, including the California music and dance. Northwest Passage 2020 is still on the Revels and the Oregon, California and San Francisco calendar for Labor Day weekend, September 4-7 at the Shakespeare Festivals. The strangest place Shira has Kiwanis Camp near Mount Hood. Registration is open played is in the elephant pit of the Jerusalem Zoo. NOW, online only, along with all you need to know about Jim Oakden went to college on a music scholarship, the camp, at http://NWPassageDanceCamp.org. but ended up in grad school for marine biology. However, The Northwest Passage Committee is closely following he continued to avidly pursue an interest in early music our current health crisis, and will make a determination by and then later became a dance musician. He performs the end of June if it becomes clear that we need to cancel with many bands in a host of genres on an absurd array of the camp. All registration fees would of course be instruments. He is very dedicated to passing on his refunded. Meanwhile, here is our flyer for the camp: http:// knowledge at symposia, workshops and dance and music NWPassageDanceCamp.org/2020color_flyer.png. -
A Poetics of Uncertainty: a Chorographic Survey of the Life of John Trevisa and the Site of Glasney College, Cornwall, Mediated Through Locative Arts Practice
VAL DIGGLE: A POETICS OF UNCERTAINTY A poetics of uncertainty: a chorographic survey of the life of John Trevisa and the site of Glasney College, Cornwall, mediated through locative arts practice By Valerie Ann Diggle Page 1 VAL DIGGLE: A POETICS OF UNCERTAINTY VAL DIGGLE: A POETICS OF UNCERTAINTY A poetics of uncertainty: a chorographic survey of the life of John Trevisa and the site of Glasney College, Cornwall, mediated through locative arts practice By Valerie Ann Diggle Thesis submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy (PhD) University of the Arts London Falmouth University October 2017 Page 2 Page 3 VAL DIGGLE: A POETICS OF UNCERTAINTY VAL DIGGLE: A POETICS OF UNCERTAINTY A poetics of uncertainty: a chorographic survey of the life of John Trevisa and the site of Glasney College, Penryn, Cornwall, mediated through locative arts practice Connections between the medieval Cornishman and translator John Trevisa (1342-1402) and Glasney College in Cornwall are explored in this thesis to create a deep map about the figure and the site, articulated in a series of micro-narratives or anecdotae. The research combines book-based strategies and performative encounters with people and places, to build a rich, chorographic survey described in images, sound files, objects and texts. A key research problem – how to express the forensic fingerprint of that which is invisible in the historic record – is described as a poetics of uncertainty, a speculative response to information that teeters on the brink of what can be reliably known. This poetics combines multi-modal writing to communicate events in the life of the research, auto-ethnographically, from the point of view of an artist working in the academy. -
Scottish Country Dance Kentucky Dance Institute, July 19 – 25, 2020 Harry Khamis
Scottish Country Dance Kentucky Dance Institute, July 19 – 25, 2020 Harry Khamis PRELIMINARY NOTES In Scottish Country Dance (SCD) the top of the set is where the music is located, the bottom of the set is at the opposite end. For most SCDs, the dancers are in a 3-, 4-, 5-, or 6-couple longways set facing their partner; mens’ left shoulders are toward the top and womens’ right shoulders are toward the top. The couples are numbered from the top: 1, 2, 3, … . Some SCDs are in a four couple square set formation, the man and woman in a couple stand beside each other with woman on man’s right: 1st couple has their back to the music, 2nd couple is to their left with right shoulders toward the music, 3rd couple faces 1st couple, and 4th couple faces 2nd couple (note: the numbering starts at the top and proceeds clockwise around the square). Generally, there are only three basic dance rhythms used in SCDing: reel, jig, and strathspey. In each case there are four counts for each bar (or measure) of music. Generally, the distinction among the three types of music can briefly be given as follows: · reel: quick, four even counts · jig: slightly longer time between counts 1 and 2 · Strathspey: slow, four even counts In the SCD dance titles below, the type of dance and formation are given in abbreviated form. So, for example, 32J3 = 32-bar jig for 3 couples, 32R2 = 32-bar reel for 2 couples, 5x32R = 32-bar reel played 5 times through, 32S3 = 32-bar strathspey for 3 couples, etc. -
LIFE in CORNWALL in a Village Called Herland Cross, Cornwall
Alma Ward Hampton Memoir Page 1 LIFE IN CORNWALL In a village called Herland Cross, Cornwall, England, lived John Hampton (born about 1814), who married Elizabeth Curtis (Born about 1818). John rented or leased land which was near Godolphin Cross where the owner of the Estate lived, which contained a house and shed and land enough to keep a few cows and chickens. Over the years they had three sons and three daughters, John, Grace, William, Annie, James and Elizabeth. William known as Billy, who eventually came to Maple Ridge in the year 1879, was born February 19, 1854, and it is his story that will be related. For centuries Cornwall has been famous for its copper, tin and lead, and ships came from afar to obtain them. In those times work was provided for women and children at the surface which they called "the Bal a Celtic name for "mine place". Ore was brought up and placed on tables and was then broken into small pieces with hammers. At an early age, Billy did this work, until he was old enough to go down into a mine to work. At this time it was tin that was mined. The men went down the mine shaft in a bucket to a great depth. Sometimes they were given a fast ride for a prank, which was rather scary. Here he learned how to hammer in the iron drill, which they called a needle, to make a hole for the gunpowder for blasting. In the early days they used a goose quill for the fuse. -
Englis Curious Customs and Festivals*
В копилку учителя /2(14) 65 Englis Curious Customs and Festivals* long time ago the year was marked out with special May Eve was known as Mischief Night in some parts days which marked the passing year. These were of Britain and all sorts of practical jokes were played and a A days of celebrations where people would do things, general nuisance made. eat things or make things which they would not normally May Day was an important day in the Middle Ages and do. Some of these celebrations may seem strange, funny was a favourite holiday of many English villages. People and even mad to visitors to England. Where else can you used to cut down young trees and stick them in the ground watch adults run down a steep hill chasing a ball of cheese? in the village to mark the arrival of summer. This is the origin Below is a calendar of unusual customs, ceremonies and of the maypole. People danced around them in celebration traditions in England and other parts of Britain. of the end of winter and the start of the fine weather that would allow planting to begin. May In the very early morning, young girls went into the fields and washed their faces with dew. They believed this The first day of the month of May is known as May Day. made them very beautiful for the following year. May Day, It is the time of year when warmer weather begins and was also the day when the young men of each village tried flowers and trees start to blossom. -
Meeting Our Cornish Cousins
Meeting our Cornish Cousins Whenever possible, members of the TCA connect with our Cornish cousins; the descendants of those courageous Cornish emigrants who took the risky steps of leaving their homeland to seek brighter pastures for themselves and their families in the New World. At each meeting, we share our love of Cornwall and make new friends and sometimes meet long lost relatives! These meetings have, and will, take place in Australia, North America and Cornwall itself. The Kernewek Lowender Kernewek Lowender (or Cornish Happiness) is a weeklong event organized by the Cornish Association of South Australia and usually takes place every two years in the Yorke Peninsula also known as “Australia’s Little Cornwall”. It was here that many Cornish miners and their families settled in the 1850’s where they laboured to tame the hot, desolate land and build a new life. The first such Kernewek Lowender gathering attended was in May 2013. From the tours we took and the talks we attended, we learnt of the hardships and the joys experienced by those brave Cornish pioneers. One of the most moving events was the “Dressing of the Graves” at Moonta Cemetery. Local school children dressed in smocks for the girls and cap and vest for the boys, clothing that would have been worn by children in the 1800’s, scattered rose petals over the unmarked graves of children who died from the drinking the water contaminated by mining. There were so many deaths that it was impossible to mark them all. PHOTOS: Left - Right Cornish Language Quilt, Marion Stephens-Cockroft at the local pasty shop, Joy Dunkerley, President, N.S.W.