MASARYKOVA UNIVERZITA

PEDAGOGICKÁ FAKULTA Katedra anglického jazyka a literatury

One Hundred Years of the Morris Dance: The Role of Tradition

Diplomová práce

Brno 2016

Supervisor : Written by: PhDr. Irena Přibylová, Ph.D. Bc. Ivana Maršálková

Bibliografický záznam MARŠÁLKOVÁ, Ivana. Morris dance and its portrayal within works of art : diplomová práce. Brno : Masarykova univerzita, Fakulta pedagogická, Katedra anglického jazyka a literatury, 2016. 65 l.. Vedoucí diplomové práce Irena Přibylová.

Anotace Tato diplomová práce s názvem One Hundred Years of the Morris Dance: The Role of Tradition pojednává o podobě tradičního anglického tance Morris ve vybraných dílech, na nichž je ukázané, jak se vyvíjel vztah k tradici a konkrétně k tanci Morris. Vybranými díly jsou kniha od novozélandské autorky Ngaio Marsh Smrt za zimního slunovratu, film natočený formou dokumentu Morris: Life with Bells on podle scénáře Charlese Thomase Oldhama a dokument Tima Plestera Way of the Morris. Tato díla jsou analyzována a srovnávána zejména s teoretickými pracemi Erica Howsbawma a Nigela Watsona, které se zaměřují na význam tradice a životního stylu v současné době, popř. postmoderního životního stylu. Ve srovnání je patrný rozdíl mezi pojetí a vnímání tance Morris díly současnými, jmenované dva filmy (rok 2009 a 2010), a detektivním románem Smrt za zimního slunovratu (poprvé vyšla v roce 1957). V díle Ngiao Marsh je tanec Morris součástí každodenního života, i když je prezentován pouze v dané dny v roce. Toto pojetí reflektuje postavení tradice v tehdejší společnosti. Zatímco ve filmu Morris: Life with Bells on jsou patrné známky postmoderního pojetí tradice. Tanec Morris je životním stylem a kukátkem do minulosti, nikoli tradice v pravém slova smyslu. Dokument Way of the Morris se pokouší představit klasickou podobu tance Morris a nepřímo reaguje na nesprávné pojetí tohoto tradičního tance ve filmu Morris: Life with Bells on.

Annotation This diploma thesis named One Hundred Years of the Morris Dance: The Role of Tradition deals with the picture of Morris dance within chosen works of art, on these a relationship towards tradition and specifically towards Morris. Among the chosen works of art is a book, detective novel, by Ngiao Marsh Off with his Head (1957), mockumentary Morris: Life with Bells on (2009) film according a screenplay by Charles Thomas Oldham and documentary film by Tim Plester Way of the Morris (2010). These works are analysed and compared with two main theoretical works, which have given a background for the analysis, written by Eric Hobsbawm and Nigel Watson. The two theoretical works focus on the currant meaning of tradition and lifestyle, especially a postmodern lifestyle. Within the analysis, there is a significant difference of perception towards tradition and Morris dance in the work by Ngaio Marsh. Morris dance is a part of everyday life, it has its annual cycle. This reflects the position of tradition within the society of 1957. While the mockumentary approaches Morris as a part of a lifestyle, considering the postmodernism introduced by Watson. The documentary film Way of the Morris attempts to introduce Morris in its traditional form. It indirectly addresses the incorrect presentation of the dance in the mockumentary Morris: Life with Bells on.

Klíčová slova Tanec Morris; tradice; postmodernismu; životní styl; podoba tradičního tance Morris

Keywords Morris dance; tradition; postmodernism; lifestyle; portrayal of Morris dance

Prohlášení

„Prohlašuji, že jsem závěrečnou práci (diplomovou), vypracovala samostatně, s využitím pouze citovaných pramenů, dalších informací a zdrojů v souladu s Disciplinárním řádem pro studenty Pedagogické fakulty Masarykovy univerzity a se zákonem č. 121/2000 Sb., o právu autorském, o právech souvisejících s právem autorským a o změně některých zákonů (autorský zákon), ve znění pozdějších předpisů.“

V Brně dne 25.března 2016 Ivana Maršálková

Poděkování Na tomto místě bych rád poděkovala vedoucí své práce PhDr. Ireně Přibylové, Ph.D., za její trpělivost, vstřícnost a za připomínky, které mně pomohly mou práci nasměrovat a uvědomit si problematiku daného tématu. Dále bych ráda poděkovala své rodině, manželovi a dětem, za trpělivost a pomoc při překonávání překážek ve formě běžných domácích prací, na které nezbyl čas.

Table of contents

INTRODUCTION ...... 7 1. THEORETICAL PART ...... 10

1.1. MORRIS DANCE AS A PART OF TRADITION ...... 11 1.1.1. Technical meaning of the term tradition ...... 11 1.1.2. Eric Hobsbawm The Invention of Tradition ...... 12 1.1.3. Nigel Watson: “Postmodernism and Lifestyles” ...... 16 1.2. WHAT IS MORRIS DANCE? ...... 21 1.2.1. Morris dance omitted ...... 22 1.2.2. Morris dance in detail ...... 25 1.2.2.1 Cecil Sharp ...... 26 1.2.2.2 The Variations of Morris Dance ...... 28 1.3. THE FOLK REVIVALS...... 30 1.4. CLOSING OF THE THEORETICAL PART ...... 32 2. PRACTICAL PART ...... 35

2.1. NGAIO MARSH : OFF WITH HIS HEAD ...... 36 2.1.1. The story of Mrs. Bünz...... 36 2.1.2. Morris and its picture presented by Ngaio Marsh ...... 38 2.1.2.1 The picture – the blended style of the Morris ...... 39 2.1.2.2 Is tradition traditional? ...... 41 2.2. MORRIS: LIFE WITH BELLS ON ...... 46 2.2.1. The line of the story ...... 46 2.2.2. Interviewing, Points of View ...... 46 2.2.2.1 Squire of Millsham Morris, The Working-class View ...... 47 2.2.2.2 Scholar's approach, Professor Compton Chamberlayne ...... 47 2.2.2.3 Politics by Morris Circe ...... 48 2.2.3. Derecq's story ...... 48 2.2.4. Morris Dance in Morris: A Life with Bells on ...... 50 2.2.5. Reflection of Watson's thoughts ...... 50 2.3. WAY OF THE MORRIS ...... 51 2.3.1. Morris Dance, the ridicule ...... 52 2.3.2. Billy Bragg's commentary ...... 53 2.3.3. Original theories ...... 54 2.3.4. The Folk Revival ...... 54 2.3.5. Adderbury Village Morris Men ...... 55 2.3.6. Tim Plester's conclusion ...... 57 2.4. ENGLISH FOLK SONG AND DANCE SOCIETY ...... 58 CONCLUSION ...... 60 WORKS CITED: ...... 63

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Introduction This Master’s thesis analyses the face of Morris dance developing over the past hundred years in three works of art. The aim is to describe the changing attitude towards this tradition as the authors present it and to examine whether they reflect the form presented in the theoretical literature considering this traditional dance and the tradition as such. This work aims to compare the picture of Morris dance in the works of art with the opinion of the specialist stated in their theoretical works. The picture and the role of Morris dance in each of the works of art are put in contrast in order to underline the difference of attitude changing through the time. As one of the folk dances of Great Britain Morris dance has a significant role and position. The Morris men, the men who devote some of their time to the Morris dance, might feel both proud and ashamed to be part of such a charismatic and old tradition as it happens to be the object of ridicule. This work aims to analyse the attitude towards this tradition within the British population following the works of art; it does not consider its role for the international audience deeper. In post-modern society the role of tradition has changed, therefore, this work also takes the post-modern approach to discusses the role of Morris dance. Due to my personal attitude toward the Czech folk traditions I find the folk traditions of different countries or ethnic groups appealing; therefore, I was astonished to realize that being part of Morris dance could be a shame, too. I have first realized this perspective during my stay in England in 2002. I was brought up in Southern Moravia; here the folk tradition is a part of everyday life. I see it rather an honour to participate in any traditional event. Folk dancers and folk music groups might be seen presenting their work on public events organized by towns, villages and other interest associations. The work is divided into two main parts: theoretical and practical part. The theoretical part studies the Morris dance as a part of British tradition and culture and Morris dance itself, within the study of tradition as a notion changing its understanding through the time, The Folk Revivals are ideas to be considered. I have worked with materials introducing and studying the British culture and folklore, the key folklorist source is Introduction to English Folklore by Violet Alford, concerning the value of tradition a historical essay Invention of Tradition is worked with. The essay “Postmodernism and Lifestyles”, which might be labelled as a reflection essay on the

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approach of society to casual living, presents another untraditional view towards traditions and structures given by our ancestors. The main features of the dance are described. Definitions of Morris dance by encyclopaedias are given. In this part, tradition is taken as a concept which has been approached and understood in different ways. During the past hundred years understanding of tradition has changed therefore the role of Morris dancing as a folk tradition has changed, too. This work underlines the change and explains it on the broader term tradition and then projects it on the face of Morris dance in the chosen works. The main sources for the theoretical background are Eric Hobsbawm and Terence Ranger’s collection of essays The Invention of Tradition, Nigel Watson’s essay “Postmodernism and Lifestyles”, published in a compilation of essays The Routledge Companion to Postmodernism by Stuart Sim, Georgina Boyes`s The Imagined Village and Introduction to English Folklore by Violet Alford. The official website of The Morris Ring, The National Association of Men's Morris & Sword Dance Clubs served factual information about the Morris Dance and Sword Dance. A popular source of information the website of Wikipedia is used to support this theses with supplementary information, as the works of art might be considered popular, too. These publications and some minor sources provide the data for theoretical chapter. They are critically examined and compared. The practical part is a case study of four sources which concern Morris dance. The first of these is a book by Ngaio Marsh Off with his Head first published in 1956. It is a detective novel where Morris traditional feast is a scene of a crime. The second source is a film Morris: Life with Bells on produced in 2009, which is a mockumentary; it is a satirical work on the Morris dance and the Morris men. The third item is a document The Way of the Morris produced in 2010, which appears to as it is a reaction on the mockumentary Morris: life with Bells on. The last subject to be studied is English Folk Dance and Song Society (EFDSS), the EFDSS itself has a long tradition started in 1898. Nowadays, EFDSS offers a Morris Dance Project, here the Morris dance loses some of its traditional, or better, original features and it becomes the tradition understood rather as a lifestyle. The thesis aims to show the development of the attitude toward tradition on the example of one specific part of English tradition, Morris dancing. We trace the development from Ngaio Marsh and her detective novel Off with his Head and her

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approach through the mockumentary and documentary film towards contemporary Project of EFDSS. It appears that the contemporary British society seeks the value within the folk tradition, including the Morris dance, and it attempts to use it and gain a profit from this folk heritage while ignoring its strict rules.

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1.Theoretical part

The theoretical part aims to introduce Morris dance as a part of tradition. I will look at the term tradition closely to understand the meaning and possibly a value of tradition for the British society. The main sources to help me capture the word tradition are dictionaries and encyclopedias along with historical essay written by Eric Hobsbawm Inventing Traditions, which is an Introduction of a collection of essays “The Invention of Tradition”, and article “Postmodernism and Lifestyles” written by Nigel Watson, this work was published in the book The Routledge Companion to Postmodernism edited by Stuart Sim. Before the focus targets on Morris Dance, I will search some cultural guides and textbooks of British culture to determine the position of folk traditions and the Morris dance. As I will see, the folk traditions do not take any particular strong position in the society as many of the guides miss folklore out completely. This is compared with the position of traditions in the Czech Republic. Farther in the theoretical part, Morris Dance is introduced with its main features. Morris Dance is an English folk dance and it takes different form in various parts of England (occasionally the Morris dance can be seen in villages of Wales). Again, dictionaries and encyclopedias provide the definitions and short overview first. A brief commence is devoted to some inferior forms of this dance, however, as these forms are not presented within the depicted works of art, I will not study these in detail. In contrast, a sword dance is mentioned due its presents in the work by Ngaio Marsh Off with his Head. Sword Dance and Morris Dance are often interconnected or confused together and that is the other reason to present it in this theses. The resources providing factual information about the form are two websites, an official site of the Morris Ring and a popular internet encyclopedia Wikipedia, and a historical folklore study by Violet Alford, Introduction to English Folklore, first published in 1953. After having read the theoretical, or rather philosophical works by Hobsbawm and Watson where the authors discuss ideology, understanding and possible views, the practice of traditions, folk songs and dances, are taken in the account. Last section of the theoretical part is a fusion of the form, the shape of the Morris Dance presented, and the approach, the ideology, because the it focuses on the

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collectors. Cecil Sharp as the protagonist of the first Folk Revival is introduced and in the next sub-chapter some basic facts about the first and second Folk Revival are given. Introduction to English Folklore by Violet Alford addresses the problem briefly, only concerning the first Revival, and The Imagined Village by Georgine Boyes questions both the Revivals; thus publications by these women are the main source for this section. Both the women perceive the work of collectors dubious. The work of the collectors was very beneficial for the society, on the other hand it could be judged subjectively but mostly presented objective. The traditions changed their face and value.

1.1. Morris Dance as a part of tradition Morris Dance is part of British cultural heritage. Oxford guide to British and American culture offers a definition of Morris dance.

`morris dance a type of old English dance traditionally performed by men wearing special (usually white) costumes, often with small bells around their legs below knee. Dances from some parts of Britain involve waving handkerchiefs, and in others the dancers knock sticks together. (Oxford guide 310)

It is a traditional folk dance and, as any other tradition, it has its annual cycle and its traditional forms. This chapter studies the approach towards tradition. The aim is to focus on tradition as it is a broader term covering also the Morris dance. This might enable us to distinguish Morris dance as an object of ridicule from its value as a heritage of the past. As the research of the term shows, tradition is important part of everyone’s life, we attempt to incorporate traditions and costumes into everyday routine. If we search a dictionary for the definition of the term tradition we find several explanations. In this chapter these definitions are given in contrast with essay collected in the book The Invention of Tradition by Eric Hobsbawm and Terence Ranger. And later the comparison with Nigel Watson's essay which studies postmodernism and lifestyle including the concept or understanding of tradition in post-modern period.

1.1.1. Technical meaning of the term tradition

Encyclopedias and dictionaries try to grasp the meaning of words or concepts as clearly as possible, they are supposed to be explicit enough, yet the definitions should not be obscure. However, some terms might emerge broad and its meaning change

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through the time, additionally, their explanation might fall into a question of ideology. The term tradition is one of the broad terms which is not easy to grasp, nevertheless, the definition must be stated. Merriam and Webster Dictionary explains tradition as

1. a : an inherited, established, or customary pattern of thought, action, or behaviour (as a religious practice or a social custom) b : a belief or story or a body of beliefs or stories relating to the past that are commonly accepted as historical though not verifiable 2: the handing down of information, beliefs, and customs by word of mouth or by example from one generation to another without written instruction 3: cultural continuity in social attitudes, customs, and institutions 4: characteristic manner, method, or style (“tradition” Merriam-Webster.com)

Already within the first explanation we could track a connection to past. Both the terms inherited and established carry a notion of something ancient. Another feature interconnected with the word tradition is continuity. Chambers Encyclopedic English Dictionary gives similar definition where continuity and handing down or passing on is underlined.

Tradition noun 1 the handing down of doctrines, beliefs, customs, etc. from generation to generation. 2 a doctrine, belief, custom, story, etc. that is passed on. 3 a particular body of doctrines, beliefs, customs, etc. belonging to particular group of people, religion, country, family, etc. 4 the continuous development of a body of artistic, literary, or musical principles or conventions. [from Latin tradition, trader, to give up] (Allen 1296)

However, this definition in the option number 4 suggests development of principles or conventions. The change throughout the time is treated in this point attentively. This development could link us to Eric Hobsbawm's essay discussed in the next chapter.

1.1.2. Eric Hobsbawm The Invention of Tradition

In 1983, Eric Hobsbawm and Terence Ranger edited a collection of essays called The Invention of Tradition. The base for this book was formed on a conference organized by journal Past & Present, which is a historical journal published by Oxford University Press (1).

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The name itself suggests some kind of uncertainty in the term “tradition”. Tradition is usually understood as something old or historical; as it is explained in the previous chapter focusing on the term within encyclopedias and dictionaries; it is often put in contrast with modernity. (“Tradition” Wikipedia) Whereas Eric Hobsbawm serves us a very untraditional connection of the two words “invention of tradition”. Considering tradition as a term which possesses an idea of ancient, in contrast, invention is something utterly new. Hobsbawm in his essay brings up a new view. He searches the track of chosen traditions to reveal the invention of it thus he points to the habit of contemporary society to classify events as a tradition or traditional even though some have only recently arisen. More over he shows that the contemporary society has the habit to change the traditions according contemporary needs. “‘Traditions’ which appear or claim to be old are often quite recent in origin and sometime invented.” (1) Eric Hobsbawm divides the ‘invented traditions‘ into two subgroups. The first one is a group of “actually invented, constructed and formally instituted traditions” such as The royal Christmas broadcast, we can trace the first appearance in 1932. The second group includes the traditions which do not have one specific date of beginning. (1)

‘Invented tradition’ is taken to mean a set of practices, normally governed by overtly or tacitly accepted rules and of a ritual or symbolic nature, which seek to inculcate certain values and norms of behaviour by repetition, which automatically implies continuity with the past. In fact, where possible, they normally attempt to establish continuity with a suitable historic past. (Hobsbawm 1)

Here Hobsbawm defines the term “invented tradition” as a set of practices with certain rules. Set of rules itself resembles the definition of tradition; same as repetition does. Chambers Encyclopedic English Dictionary states in the explanation of the term a phrase: “a particular body of doctrines, beliefs, customs” (Allen 1296) which could be loosely matched with the notion rules; whereas, the concept of continuity and repetition, could be linked to the words 'passed on', 'handing down', 'practice' or 'costume', all quoted within the two definitions given in the chapter 1.1.1. Hobsbawm underlines also the importance of the past which is often blurred or absent in the cases of the invented tradition. However, he mentions the attempt to connect these traditions with the past, especially with the suitable historic past. That means that not only do we establish new traditions but we also search the adequate equivalent within the history.

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Following Hobsbawm's thoughts, the essay goes into more detail to study this subject. The term “invented tradition” marks not only entirely new costumes, beliefs or set of rules, but it also covers revivals, rituals and attempts to renew old traditions which had disappeared through the time. The connection with the past is essential for invented traditions as well as traditions understood as a technical term in dictionaries and encyclopaedias. It is the repetition which creates the sense of continuity as Hobsbawm asserts. (1) He also draws attention to the form and reason of such inventions which cannot be omitted to understand the intention of contemporary society to keep and develop traditions. In short, they are responses to novel situations which take the form of reference to old situations, or which establish their own past quasi- obligatory repetition. It is the contrast between the constant change and innovation of the modern world and the attempt to structure at least some parts of social life within it as unchanging and invariant […] (Hobsbawm 2)

Hobsbawm points out the novel situations, the change within society, system, environment, possibilities and living conditions change; therefore, the traditions cannot bare the same value, form and reason as they had in the past. It appears that Hobsbawm sees its main contemporary value in its unchanging and invariant quality for society. It is not the original reason to maintain traditions in case of the revived traditions. And the invented traditions based on or rather connected with some historical past do not carry the same value. “Inventing traditions', it is assumed here, is essentially a process of formalization and ritualization, characterized by reference to the past,… It is probably most difficult to trace where such traditions are partly invented, partly evolved in private groups (where the process is less likely to be bureaucratically recorded), or informally over a period of time as, say, in parliament and the legal profession. (Hobsbawm 4)

Again the author tries to reveal the process of invention and he distinguishes traditions established by an official representative, where we can trace the beginning easily as these new traditions are likely to be recorded. As well as traditions invented and set by a single person where the moment of its beginning might be traced easily, too. The hardest work for historians could be to trace the traditions found and evolved in private groups. The traditions might evolve within private groups more freely and these groups need not keep records of such changes.

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Hobsbawm expects new tradition arise in next years, as the life evolves. There are different living conditions, the population has profited of industrial inventions and it adopts to “rapid changes on the demand or supply side” (5), therefore, the traditions develop and change.

[…] a rapid transformation of society weakens or destroy the social patterns for which 'old' traditions had been designed, producing new ones to which they were not applicable, […] Such changes have been particularly significant in the past 200 years, and it is therefore reasonable to expect these instant formalizations of new traditions to cluster during this period. (Hobsbawm 5)

Here we read that it is the transformation which builds the “invented traditions”. It is mainly the practical reason to conceive these kinds of new traditions and impossibility to adopt the old ones. The author gives couple of examples of such changes and he explains the reasons for the novelties. Repeatedly, he underlines the connection to past yet he stresses its freshness: “In all such cases novelty is no less novel for being able to dress up easily as antiquity.” (6) As it occurs nowadays folk-songs are altered to be used for different purposes. Traditional folk-songs are taken and changed into something new with new words and new objectives, for example to carry patriotic – progressive content. (Hobsbawm 6). The essay does not overlook revived traditions, it draws attention to “the break in continuity which is sometimes clear even in traditional topoi of genuine antiquity.” (Hobsbawm 7). Once more the purpose and reason is emphasized. The importance of reason is stressed in a footnote in which the invention and revival of tradition is meant to draw attention to diversity among social levels and groups.

the revival of tradition for purposes which actually demonstrated its decline. 'The farmers' revival (around 1900) of their old regional dress, folk dances and similar rituals for festive occasions was neither bourgeois nor traditionalistic feature. On the surface it could be viewed as a nostalgic longing for the old-time culture which was so rapidly disappearing, but in reality it was a demonstration of class identity […] (Hobsbawm 7-8)

Hobsbawm divides the revival according the purpose between 'the farmers' revival and revival driven by traditionalist movement or middle-class collectors. The second subgroup, according the text, is incapable to “develop or preserved a living past”, therefore, they create 'invented traditions'. (8) Whereas, the former group tries to grasp the rest of the costumes and traditions there are left to determine their social group from

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“townspeople” on one side and from the “cottars, craftsmen and labourers” on the other side. (Hobsbawm 7-8) A distinction between the old and new tradition is given, too. This distinction will lead us into the ideas and concepts introduced in Nigel Watson's essay “Postmodernism and Lifestyles”.

One marked difference between old and invented practices may be observed. The former were specific and strongly binding social practices, the later tended to be quite unspecific and vague as to the nature of values, rights and obligations of group membership they inculcate:‘patriotism’, ‘loyalty’, ‘duty’, ‘playing the game’, ‘the school spirit’ and the like. (Hobsbawm 10)

To Hobsbawm, there are both the “invented traditions” and the old ones more or less preserved and unchanged traditions. The change is obvious to happen as the society evolves and the supply for living vary through the time. Along with the supply, the needs, values and reasons to keep the traditions modify. The purpose of traditions and their forms might be different nowadays compared to history. Historians are to research the roots of traditions as they are valuable resource of information which helps them to understand the development better. (Hobsbawm 12) At present the “invented traditions” focus on ‘patriotism’, ‘loyalty’, ‘duty’, ‘playing the game’, ‘the school spirit’ and the like. (Hobsbawm 10) All together we could generally name these qualities or values as a part of a lifestyle, as I will follow this concept within the work of Nigel Watson.

1.1.3. Nigel Watson: “Postmodernism and Lifestyles”

The article “Postmodernism and Lifestyles” was published within a book called The Routledge Companion to Postmodernism edited by Stuart Sim in 1998. The book compiles “articles on postmodernism and philosophy, politics, feminism, lifestyles, television, and other postmodern essentials.” (“Book Details”) Stuart Sim describes the term postmodern as imprecisely used term nowadays. (vii) He collected 14 articles concerned about postmodernity reflecting in various parts of life to specify the meaning of the term and to understand it better. I will only focus on the essay by Watson called “Postmodernism and Lifestyles”. However, first we will look at Sim's interpretation of the term “postmodernism”.

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“In general sense, postmodernism is to be regarded as a rejection of many, if not most, of the cultural certainties on which life in the West has been structured over last couple of centuries. It has called into question our commitment to cultural 'progress'[…], as well as the political systems that have underpinned this belief. Postmodernists often refer to the 'Enlightenment project' […]. In the view of postmodernists this project, laudable though it may have been in one time, has in its turn come to oppress humankind, and to force it into certain set ways of thought and action. It is therefore to be resisted, and postmodernists are invariably critical of universalizing theories […], as well as being anti-authoritarian in their outlook. To move from modern to the postmodern is to embrace scepticism about what our culture stands for and strives for. (Sim vi-vii)

Sim underlines the scepticism and uncertainty within the structure we build our lives on. These two are the main features of postmodernism according to the extract. While Watson adds “retro styling and the dissolution of tradition”. (63)

What is the lifestyle? Watson as well as “other writers” concur that lifestyle is defined by our consumerism.(62) The choice we make when shopping or spending our free time, determines the image we gain “in the eyes of others”. “Our self-image is built upon the meanings associated with the objects which surround us and the activities which we follow.”(Watson 62) All that together we could name the lifestyle and it appears that it depends widely on our shopping list. Nigel Watson draws the attention to history, or rather recent past, to connect postmodernism with “everyday lifestyle”.(62) He declares that the term postmodernity “moved from the academic literature into popular consciousness” and thus become actual for wider public “during late 1980s and early 1990s”. (Watson 62) According to Watson, one of the postmodern features of styling and design is well known as retro. Same as “invented tradition” the word “retro” correlate with the old days. Watson describes it as “our desire to recreate the mood of an imagined past.”(62) The society searches the values of contemporary life within the recent history objects. The importance is on the surface rather than reason or motivation. Antiquities bear only a decorative value, for example an oil lamp is not usually used nowadays, yet it can be seen as a decoration. The article then shortly discusses the politics. The politics reflects the situation in society: “Postmodern politics are said to revolve around particular campaigning issues in which previously disparate groups coalesce and then dissolve again.” The political

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parties or interest groups changes the approach and goal according to their needs and opinions discussed among people.

Values and allegiances are now transitional and no longer centred in the old alliances of production-based relationships and class-based political parties. (Watson 63)

This proves the transformation of society, the political parties cannot rely on the long lasting relationships and loyalties connected with class membership. Watson focuses on the United Kingdom and its industrial areas to demonstrate the shift.(64) Besides the political impact, the shift bears alternation of attitudes towards traditions and traditional values associated to specific class membership. As the possibilities for the working class develop, meaning the accessibility of education, transport, and affordable goods including clothing, the bound to their workplace evaporate. Therefore the attachment to the traditions connected to their class level and place fade, too.

Their personal, collective and cultural identities were rooted in the locality around the workplace and in the values of industry for which they worked. […] We no longer conform to the traditions of the old occupational cultures and instead we choose a lifestyle. (Watson 64)

Nowadays it is matter of our personal decision, whether our lifestyle follows our ancestors or we decide to build all different self-image. Watson also considers the part of population or nations which are excluded of this process due to their social status by which he underlines the voluntariness of the rest of the consumerist society to be consumer. While it is important to remember that some people in developed societies and many throughout the world are excluded from this process, it is equally important to understand that the construction of identity through the acquisition of consumer goods is a voluntary one. (Watson 64)

However, as “retro” is one of the qualities of design and styling, as well as other parts of our lifestyles, of postmodern epoch, it is the tradition which we would like to see, too.

“We pay our money and are entertained by consuming second-hand experience which once formed the basis of everyday life. To a significant extent we have become tourists in our own cultures.” (Watson 64)

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We visit museums to be taught about our past, to see the way of living of our ancestors and experience the past. Many folk festivals are organized to introduce folk traditions which are now presented by people who choose to devote their time to this specific pastimes; “we like to be identified with the style that best represents the way that we wish to be seen.” (Watson 65) Another feature of postmodernism and its consumer market is the role of a man considered as a decorative item in the advertising industry. Man is not only a technical help to a woman any more, as it used to be in the 1950s. “Men are the focus of a shifting process of consumerization in which image overrides utility.” (Watson 65) Watson serves us qualities of postmodern lifestyle along with introduction of the focus of the market, which is the moving power for probably all fields of life. The market considers the population carefully, it also cares about our health.

A massive, worldwide industry has developed devoted to assisting us in our responsibilities to maintain our bodies. […] Although we are surrounded by health- promoting messages which encourage us to exercise ant to eat the 'right' food, the drive for us to achieve fitness is related as much to the desire for surface attractiveness as it is to the protective dimensions of health promotion. (Watson 65)

The lifestyle is closely linked to the food we choose to eat, as well as to the style of fashion we decide to dress, and both have an impact on the surface appearance, the image we create for the others to look at. Health is another dimension given by the chosen lifestyle. There is an emphasis on the manner we foster our body condition, the advertises and campaigns warn us not to overlook the effect of certain components of our daily diet more over they aspire to boost the interest of the population into the 'right' nutrition balance. “Postmodern fragmentation extends into dietary habits in which contradictory messages can be believed and simultaneously followed.” (Watson 66) Watson sees the advertising industry as a moving power. The advertisements surround us extensively, they present the society the values and norms that it should follow. However, the amount and content of the influence the advertising industry aims to gain, is often controversial and irreconcilable with possibilities of a person accept and understand all the messages served by the adds. They “leave us frustrated and unfulfilled.” (Watson 66) Nevertheless, as the article suggests the longing for beauty, health and success is not any novel desire.

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“Humankind has almost certainly always desired better health, greater beauty, sexual fulfilment and longer life. The issue is, however, whether these are now sought at the expense of other more substantial aspects of life.” (Watson 66)

We can only agree with the statement, there has always been effort to prolong our lives, capture the beauty or attempt to improve health. The former two desires are described within many literary works, one example is Oscar Wild and his work The picture of Dorian Gray, but as Watson emphasizes, beside these two passions some other values were taken into account. The good health condition inevitably had to be concerned about, yet, the consumerism, advertising and health industry transformed the health care into an item partly reachable by the indicated “shopping.” The author continuous with the study of lifestyle and postmodernism in a similarly sceptical manner. Scepticism is a common feature of postmodernism as Stuart Sim asserts. (Sim vii) A sub-chapter called A few necessary theoretical points focuses on art. Immediately in the first paragraph, though, it highlights the lost boundary between “high art and popular culture”. Watson compares the value of a Shakespeare along with a soap operas and he claims that it is “not possible to assert” which is better. (66).

Many commentators have observed that the distinction between high art and popular culture has been lost because of the uncertainty which now surrounds establishing unequivocal criteria for judging the value of cultural forms. (66)

This approach could lead us off the path we were given by our culture and background. Not even Shakespeare bears the values asserted by scholars and teachers. Fortunately, Watson serves us also the other possibility.

Certainly there are writers for whom this would be an absurd statement because they continue to believe in the traditional standards by which literary merit is judged, and who would counter any assault on these standards with bitter and hostile academic debate. (Watson 66)

Despite the scepticism of the lost values within high art, we are allowed to accept the approach of traditional scholars who continue to praise the art according traditional standards. Nevertheless, it is one of the main features of postmodernism to question the grand narratives and standards the grand narratives gave to our culture and social structures. We are asked to doubt and critically assess what we are introduced as an art.

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“It is any longer possible to agree on absolute truth.” (Watson 67) This impossibility will later help us to understand, judge or analyse selected works of art. To conclude, Watson writes the important dimension of this loss of structure, standards or limits.

[…], postmodern ideas are democratic, and it is argued that the dissolution of old class barriers and the strongholds of elite culture give all of us greater opportunities for full social participation. (Watson 71)

As it is asserted, the democracy of the postmodern approach, which does not respect the barriers and limits of the class structure of society, offers different possibilities for people of the whole society. The society is also allowed to reach and advocate different opinions, more over, all of the opinions are considered equal.

1.2. What is Morris dance?

Morris dance is a part of English folk tradition. It is one of traditional English dances. This chapter is devoted to Morris Dance. I shall study its features and possible forms. For this reason I shall examine cultural guides and folklorist literature to gain an overview as well as in-depth information. I shall start with a brief definition of Morris dance given by Chambers Encyclopedic English Dictionary.

Morris dance a ceremonial form of traditional English dance, in which performers dressed in white, some wearing bells, stamp and hop, waving a stick, handkerchief, or garland, accompanied by an accordion or concertina with bass drum. [from Middle English moreys, Moorish] (Allen 839)

This definition would be probably found inaccurate by scholars and specialist of English folk dances and folk traditions, as not all the morris sides wear white and accompaniment by violin is completely left out. On the other hand, the note to Morris dance is not an obvious attribute of all cultural guides, for this reason, we should overlook these small inaccuracies. A sub-chapter is given to cultural guides omitting morris dance as well as any other folk dances. The omission signalises the position and recognition of morris dance and folk tradition within the British society, therefore it is important to emphasize it.

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A comparison to several Czech cultural guides is given. As it has been mentioned within the Introduction, I myself come from Southern Moravia. This part of Czech Republic might be regarded as a part of the country where tradition, especially the folk tradition, is still part of cultural life of many people, either passively or actively. The folk groups are present in substantial number of villages and towns in this region. And it is a common practice in this region, that the groups present folk dances or folk songs at any feast, holidays or special event organized by the town or village, such events as feast of wine, Christmas fair, Easter fair and many others, Some of the traditions might be named 'invented traditions', e.g. the fairs, festivals, feast of wine and Historical buildings Opened Doors Day. But there are several traditions kept through the periods of time till today, e.g. Easter Monday and its Easter egg painting; yet, these traditions decline.

1.2.1. Morris dance omitted

Morris dance is often left out of a publications concerning Great Britain. By studying several culture guides and publication aimed at British culture I can conclude that folk traditions are not in the focus of major part of population. It is rather a pastime of minor group of British. There is no reference to May Day or any other festival concerning Morris dance within a book How to live and work in the UK, (published in 2010) written by Mathew Collins and Nicky Barclay, which is guide to UK immigration, it also includes Life in the UK test. In the list of the festival and traditions are New Year, Valentine’s Day, April Fool’s Day, Mother’s day, Halloween, Guy Fawkes Night and Remembrance Day only, May Day is completely left out. (Collins, and Barclay 26) Nor does a book Life in Britain notes Morris dance. David McDowall in his in-depth study of the changing face of contemporary Britain published in 1993, Britain in close-up (210) devotes one chapter to pubs and another to culture; however, he does not mention any folk tradition at all either. Britain 1993 and Britain 1989 are two of 44 official handbooks of Britain. The review of the book Britain 1993 summarizes this handbook as a compilation of the latest facts about Britain.

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Comprehensive, succinct and accurate, it presents the latest facts and figures on most aspects of British life. Britain 1993 describes the working of government and many other major institutions; the various sectors of the economy; and social, environmental and cultural matters.. (Britain 1993 500)

Chapter named Sport and Active Recreation (Britain 1993 438) and Sport and Recreation (Britain 1989 445) gives an extensive list of possibilities to spend pastime in Great Britain. It names fishing, rugby, football, etc., yet again, none of these contains any leisure activity concerning morris dance neither any other folk tradition activity. May Day is within a list of public holidays but no explanation nor detailed information is supplied. Finally, some information can be found in a textbook Britain for Learners of English (published in 2009) by James O`Driscoll.

May Day (the first Monday in May) In Britain, this day is associated more with ancient folklore than with workers. In some villages, the custom of dancing round a maypole is acted out. (O`Driscoll 213)

As we can see, folk traditions are not the main focus nor they are introduced deeply to wider audience of learners of English. Simply, traditional dances, whether we speak about morris dance, sward dance or any other kinds of dances, are not recognized as a part of British culture according the publications mentioned. Hopefully, this attitude is changing.

Being personal, I will go to my country of origin, which is the Czech Republic. I would like to demonstrate the difference within the attitude of the society towards the folk tradition as it has been mentioned earlier. I was born and brought up in Uherské Hradiště, a town in Southern Moravia. The area surrounding this town is called Moravian Slovácko. This region is well known for its passion for tradition and folklore. (Ludvik et al. 27) To be part of a folk group either singing or dancing section is an honour. As a child I remember going to traditional folklore festival in Strážnice, a small town nearby, every year and it had always been crowded. The traditional hammered dulcimer band or just a violin and clarinet players used to stand around the park, where the folklore festival took place, and the folk songs were everywhere.

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Nowadays, there are several more festivals organized in Moravian Slovácko area. The public keeps its interest and therefore the festivals1 flourish. To prove the position of folk dance and folk songs in the Czech Republic, and particularly in Moravian Slovácko, I have studied several works concerning the Czech Republic, these were either cultural or tourist guides. Firstly, I would like to mention The Czech Republic: Brief Characteristics, Points of Interest, Practical Information, (1997) collective work by several authors. This book only consists of 30 pages of the characteristic, after this it draws the attention on interesting places, giving a list of these. Within about 22 pages there is a sub-chapter called Vernacular Architecture and Folklore. Here the authors offer a brief look at this field. They note the architecture, as well as the traditional costumes.

National costumes are no longer worn in everyday life. But they can be seen on festive occasions and holidays in Chodsko […] and in the Moravian Slovacko area. Folklore festivals are held in the Moravian Slovacko and the Chodsko area. […] Girls wear folk costume on the occasion of ethnographical festivals. (Ludvik et al. 27)

Another book called The Travel Book: Czech, Moravia and Slovac (Cestovní kniha: Cechy, Morava, Slovensko tr.IM) (1994) dedicates also a whole chapter to folklore, it is called Folk Art and folklore tradition. It regards the folk traditions as a source of inspiration for all fields of arts, considering painting eggs, songs to vernacular architecture. (Cestovni kniha 166) This book believes the crucial influence is in the power of village, which became dominant in certain historic phases. (Cestovni kniha 166) The authors mention folk heritage in some other subchapters, too. The consciousness of tradition is also traceable in two A to Z lexical books, listing of various places of interest for tourists, when mentioning Strážnice, as a historical town it does not overlook the festival of folklore and museum of folk traditions. (Kidlesova, Špaček, and Černy 529) a (Axamitova 822) The folk tradition is essential part of Czech culture for these four publications and it is worth to be mentioned. For me personally, folk songs and dances possess quality that capture the attention of observers. During my stay in England I was lucky to see and experience the Morris dancers' performance. However, I was astonished to realize that the interest of the other villagers

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was low and I could even feel the sense of ridicule when speaking about Morris to the English audience. As I have been brought in the area where folk traditions are presented in every festive occasion and are treated with respect, the attitude of the English men was puzzling for me. Fortunately, it appears that the interest arise as Garland demonstrate this trend on increasing numbers of sides and clubs practising Morris and Sword dances not only in the UK but also around the world. (Garland themorrisring.org)

1.2.2. Morris dance in detail

This sub-chapter aims to describe the traditional form of the dance. The main material to be followed is historic study of English folklore written by Violet Alford. The book was first published in 1952. This book had given the background information for Ngaio Marsh when she was writing her book Off with his Head (Marsh 5). Another fundamental source of factual information for this chapter is a website of the Morris Ring, which is The National Association of Men's Morris & Sword Dance Clubs. Morris dance is traditionally performed by a group of men called side, teams, or nowadays a name club can be found, too. Usually, there are six men, one fool and Man- woman dancer. However, the arrangement may vary. (Alford 104) Compared to informations given by Garland, the Morris side might have more than these.

A side will have a Squire or Captain, a Bagman or Secretary, and often a Foreman responsible for teaching the dances. […] Many sides have a Fool and/or an Animal to amuse the audience. (Garland themorrisring.org)

Wikipedia notes also a Ragman, a person responsible for the kit of the team. (“Morris Dance” Wikipedia) The origin is blurred. None of the sources is sure about the beginning nor they explain the name clearly. Some possibilities are suggested by Alford, namely she interconnect English Morris with Spanish Morisca or French Moresque. The resemblance of French Moresque and Morris seem more plausible to Alford. (Alford 108) The Morris clubs are divided according their origin: Cotswold Morris, Border Morris, Molly dancing, Rush-Bearing, Rapper Sword Dance, Longsword Dancing and North West Morris – Lancashire and Cheshire. A closer look is devoted to depicted subtypes later in this chapter.

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Garland expounds the link between the “traditional” and contemporary clubs. He asserts that most of the Morris sides were formed as a 'revival'. The World War I caused fade of morris, as a male’s dance during a war is likely to happen. After the World War I, several sides turned up, yet the `revival` came in the thirties and later a stronger concern in tradition came in 1960`s and 1970`s. Hobsbawm calls even these revivals `invented traditions`, and as Garland relate the later revival to “surge in interest in dancing” (Garland themorrisring.org), the reason is not the one of the farmers, as Hobsbawm calls it `farmer's revival' and he puts it in about 1900. (8). Hobsbawm divided the revival according the reason into two subgroups, the first, one mentioned before, is the “farmer's revival” where the main motivation was to distinguish certain social group from the others. The second group is formed by intellectuals or middle class collectors. (7) The later group appears to have greater effect because their work has been stored to be used as an inspiration not only for the present generation but for any other to come. The leading collectors were Percy Manning, Thomas Carter, Maud Karpeles, Mary Neal, Herbert Macllwaine, Janet Blunt, Vaughan Williams, Percy Grainger and Cecil Sharp. The last one to be mentioned is the one most important for the Revival. Many more collectors, taking part in both the first and the second Revival, could be added into the list. Different resources, academic, folklorist, popular or historic, introduces with different value different collectors, their choice depends on the focus of the particular work.

1.2.2.1 Cecil Sharp Cecil Sharp has been well respected folk collector. His first encounter with Morris occurred on Boxing Day in 1899, while he spent Christmas in Headington, a village close to Oxford, with his wife's family. Sharp saw a procession of men dressed in a costumes. They stood in front of the house and performed 'Laudnum Bunches', which is well known Morris Dance today. Sharp was astonished and pleased to hear these folk songs. He was impressed by William Kimber, this side's concertina-player. It is interesting to note that the team and dance he saw that day had been already revived form. (Garland themorrisring.org)

Cecil Sharp was fond of music. Despite his education in mathematics and experiences as a clerk, he stared his amateur musician career during his stay in Adelaide, Australia in 1882-1892. He developed his skills and evolve his talent. After

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his return to Great Britain he kept his focus on music and worked only on positions connected with music.

After the encounter with Headington Quarry Morris Dancers, Sharp devoted his interest into Morris Dance and its tradition; being a musician his first attention was drawn only to the tunes of the songs. Yet, his work did not start until 1903, when he copied the tunes of the songs from the Christmas 1899 into his notebook. (Burgess 178) Burgess cites Sharp's confession in his article.

“the sight of them on the day after Christmas Day 1899 affected me so profoundly that without exaggeration I may say that it changed the whole current of my thoughts, provided me with a new occupation and led to the publication of a large number of books and eventually brought about a small revolution in the social life of England.” (Burgess 179) It was not only Sharp enthusiastic about the work he did, many scholars and collectors appreciate it, too. Mary Neal was one of those who were interested in Sharp's work.

Mary Neal was also a collector of folk songs and dances, she co-found Espérance Girl's Club for working-class girls from London. They learnt and then performed Scottish and Irish traditional dances, they had learnt these directly from Scotch-men and an Irish lady, this way they earned some money. Mary Neal aimed to enlarge their repertory and asked Sharp to cooperate with them, this was in 1906. (Burgess 179)

The cooperation was well productive, Sharp introduced Neal to William Kimber and the girls of the Club learnt Morris dances and would preform them on public. Sharp and Neal continued with the partnership together with Herbert Macllwaine. The roles were given, Neal searched new dances and taught the girls, Sharp wrote down the tunes of the songs and Macllwaine noted the dances. Together they published The Morris Book, Part 1, in 1907. Another Morris Books written by Cecil Sharp followed. (Burgess 180) All the books and work are significant for the society, as asserts. They are still source of inspiration and his work inspired many other people.

The books and his collective works are now stored among other material concerning folk traditions, dances, songs in “Vaughan Williams Memorial Library, England's national collection of folk music and dance.” (“About us” cecilsharphouse.org)

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1.2.2.2 The Variations of Morris Dance The next lines are given to the different forms of Morris as they are mentioned earlier. “Cotswold Morris” - Violet Alford questions the name Cotswold Morris. She founds the term inaccurate and explains her opinion. “This type of Morris is now found in Oxfordshire and in a few Cotswold villages, but once lived all over the Midlands, in Worcestershire, Herefordshire, the Forest of Dean; at Lichfield; […] , even so far west as St Columb Major in Cornwall. […] When, then, you hear the expression “Cotswold Morris” it is a useful but modern classification without historical significance, ignoring as it does the shrinkage of Morris terrain.” (Alford 103)

Nevertheless, the term has been established by now. It has its meaning and is used as such in this theses. The Cotswold Morris is the best known form of Morris. Cecil Sharp devoted much time collecting morris tunes falling into this category. The costumes consists of white shirt and usually white trousers. The dancers wear black shoes. On their heads, they have a black hat with flower decorations. Each of them wear his kit: baldrics (a ribbon) – usually red, handkerchiefs – mostly white, and bells are worn under knees. (Garland themorrisring.org) “The set dances include handkerchief dances, processional dances, stick dances and hand clapping dances, there are also jigs for one or two dancers.” (Garland themorrisring.org)

The side is formed by six dancers, a Fool and musician, usually concertina-player, fiddle, pipe and tabor player or other instruments accompany the dances nowadays. Sometimes a cake bearer can be seen. (Garland themorrisring.org) There are peculiar traditions held in various villages, the dress code may vary, as well as some songs and dances. But the difference is not that major, the main characteristics like white shirt and white handkerchiefs are common. Border Morris – the costumes are very distinctive to Cotswold Morris. The main area, where this style is performed, is by the Welsh border; Herefordshire, Worcestershire, Shropshire. It is said to be the old version of Morris as it is simpler in its steps and figures. (Garland themorrisring.org) The Border dancers have blacken faces, to keep anonymity. The costume may vary, they are usually dark, with small rags sewed onto a coat, or a white shirt with pieces of colourful ribbons and dark trousers. The bells are under knees pads. The dancers wear soft hats with ribbons, rags or feathers. (Garland themorrisring.org) There are usually four, six, eight or twelve dancers in the side. The music is present, of course. The fiddle, pipe and tabor, percussion, accordion, concertina and

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others are possible to see. The original musical support was the pipe and tabor players. Border Morris has couple of handkerchiefs dances and most are stick dances. (Garland themorrisring.org) Longsword Dancing – also called Sword Dance. It has two forms depending on the sword. There are swords with one or two handles. Swords with two handles are called rapper and are shorter. The longsword has one handle. Here the focus is on the Longsword Dancing. The dance is performed in a circle, each sword is held by two dancers, each side of the sword is held by one. They make various figures, intertwine among themselves. “The dancers would not let the swords go until they form a Lock” (Garland themorrisring.org) Lock, also called Rose or Nut, is a pattern, where swords are interwoven into “pentagonal, hexagonal or octagonal star according to their number.”(Alford 80) Once the lock is formed, one dancer, called Capitan, show it to the audience. The Longsword dancers have various costumes, they never wear bells. There are usually groups of five to eight dancers. (Garland themorrisring.org) They were performed during Christmas and Winter Solstice period. “Some sword dances are connected with a play”(Alford 82) She asserts the traditional Sword dance (by this she meant the dance performed in the specific time, not done by the men any other time, only to revived the dance, “making a modern brotherhood” (Alford 85)) to be ritual dance. The Fool is often present; to Alford, he has a special ritual power, sense or position. He should have a Lady on his Arm, addressing her to make the observers laugh. Sometimes a Man-in-woman clothes figure appears.

According to Alford the Sword dance is distinctive group of dances apart from Morris dance. „The study is made more difficult by the indiscriminate way of calling Sword dances 'Morris' and Mumming plays 'Sword dances'. (84) The North West Morris – this is unusual kind of Morris. It comes from areas around Lancashire and north Cheshire, from its industrialised towns. These were performed by “multiple of four dancers standing in two lines.” (Garland themorrisring.org). It is procession dance. The team would walk along the street stopping once in a while to do “one or two figures.” (Garland themorrisring.org) There is a Leader to give the steps and to conduct the dance. The music accompaniment is also

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distinct of the other dances. There is a band, which might be for special occasion even a brass band. They play popular songs of 19th century. As to the costume, the Morris ring side describes it it as such:

The costumes are visually striking with broad sashes and generously flowered hats. The majority of current teams wear clogs, with irons nailed to soles and heels. [...] Rather than the handkerchiefs or long sticks used by Cotswold teams, dancers carry decorated short sticks, mollies, tiddlers, or slings (depending on which town/suburb the dance is from) ; or occasionally hooped garlands. (Garland themorrisring.org)

The Travelling Morris – this term collocates with Cotswold Morris dancers at the first place. A Morris side would travel around Cotswold villages in order to present Morris, moreover the aim was to meet elderly Morris dancers. The side on tour meant to gain a feedback on their dances as well as new inspiration from these experienced men. “The Travelling Morrice has toured twice a year, nearly every year since 1924 and continues to the present day.” This is a case of Cambridge Morris Men. They claim to be the oldest side in England. The tours really brought the profit for the side in terms of experiences and inspiration, as they assert it.(“Travelling Morrice” Cambridge Morrismen.org) The Morris Ring website is a source of actual information; whereas Violet Alford's publication Introduction to English Folklore reflect the form of Morris before 1953.

1.3. The Folk Revivals

The English traditions, folk songs and folk dances, were explored and revived in two waves. The first one is dated to the beginning of the 20th century and was driven by Cecil Sharp and Mary Neal. Both of them were born into middle-class families, whereas the folk traditions come from the working class. They searched for something new to bring for the public. Cecil Sharp was very pleased and surprised to hear Morris tunes in 1899 and desired to study these. His early studies are connected with William Kimber, a concertina player. (Garland themorrisring.org) Sharp would rewrite the folk songs, passed orally till that time, and later published them in compilation of other folk songs, dances and traditions The Morris Books. (Burgess 180) Mary Neal founded a club for working-class girls, Esperance Girl's Club in London. The girls learnt traditional dances and songs, and performed them on public. It

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could be compared to choirs learning various songs from various authors and of different origins. They would not spread or continue the value of tradition. The folk heritage is used in this matter only as a source of inspiration. The audience would come to see a performance compared to a concert, again this had nothing to do with handing down a tradition from generation to generation. (“tradition” Merriam-Webster.com) Cecil Sharp and Mary Neal inspired many other individuals to devote their time to collecting folk songs and dances. Georgina Boyes explored another view on the Revival, mentioned by Hobsbawm, too, as a necessity to balance the strong currant movements in the working class at the beginning of the twentieth century.

[…], the need for a radical reform of all manifestations of popular culture was accepted as an urgent priority across ideological spectrum. Commercial popular culture – particularly that associated with the working classes – had implications which were unacceptable to the political, arts and educational establishment […] , popular music was variously perceived as a challenge to the class system, a thread to morality and a perverter of art. The construction of folk culture as a national art with 'no sham, no got-up glitter and no vulgarity', […] offered both a welcome counterbalance and an obvious and necessary source of replacement. (Boyes 63)

Nevertheless, the aim of collectors must be appreciated for the fact that their work preserved many folk songs and dances to the next generations as there were some customs which disappeared without a notice. (Alford 104) Perhaps, the development of social structure, its new ideological movements, and the change of values deteriorate the long practice of passing the traditions down. Here the information and facts stored might come in hand once. Boyes comments this lose of interest and “creative ability of the Folk. There was a necessity to emerge the Revival movement to save what was left. “A national movement was called for so that all that was deepest, most characteristic and best in English culture would once again be in the hands of the race, where its value would be fully appreciated.” (Boyes 64) This utterance is probably patriotic and pathetic, yet, it reflects the value of the cultural heritage, and whatever value of the 'invented tradition'.

The second Folk Revival could be dated into the 1960s and 1970s. Part of this second Folk Revival was called Electric Folk. The name arose of the usage of folk songs by a band Fairport Convention. The band merged the folk songs with rock style,

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they would play the songs accompanied by electric guitars with a rock rhythms. (“Way”) To the leaders of the revivals, this time the desire to re-flourish the traditions and folk customs arose from the working class as Lloyd asserts. Within the last twenty years or so a new interest in folk songs has arisen, nourished by the former revival, but coming from below now, not imposed from above, affecting a broader section of society, employing a wider repertory and involving a greater variety of uses and usages than were ever imagined in Sharp's time. ( qtd. in Boyes viii)

The second Revivals in England builds its way and development on the sources collected during the first Revival. It appears, that the reason for the revival bears a strong value as it influences its achievements. Hobsbawm emphasised the reason for the farmer's revival in 1900 which might be the same to the reason of the second Folk Revival in the sixties and seventies. The difference is that the 'farmers' in the later revival would have nothing or no-one to follow if there are no collections and studies from the first revival.

1.4. Closing of the theoretical part

The theoretical part introduced possible approaches to tradition, it draw the attention to Hobsbawm's term 'invented tradition' and Watson's post-modern view of lifestyle, therefore the perceiving inherited values. The acceptance or position of Morris Dance is compared with the values of traditions in Czech Republic, as it was relevant for me, the author of this theses, to choose this topic. Later it looks on the Morris dance through its characteristics. As the time pass, the tradition of Morris Dance, as well as other folk heritage, was in decline due to the socio/cultural changes. There came the collectors and revivalists to save what remained among the folk. The protagonist of the Morris Dance Revival was Cecil Sharp, thus, a chapter was devoted to this person. The Folk Revival is divided into two parts, as some scholars divides them, because of their different reasons and results. Firstly, the term tradition was specify by two dictionary entries to acknowledge the definition. The definitions both agreed that tradition is something inherited, passed down from generation to generation. It is a belief or body of believes. (“tradition” Merriam-Webster.com).

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Hobsbawm's term 'invented tradition' or invention of tradition reflects contemporary conditions. He explains that invented traditions exist mostly on a connection with past. The invention, or change had to occur as the circumstances and progress of the population go on. Hobsbawm emphasized the need of people to keep traditions to balance the continuing changes in society. The other reason is to demonstrate ones identity, his/her affiliation with certain social group or to signalize his/her patriotism; some of these are considered by Watson as characteristic of post- modern lifestyle, it is what we want to be seen as. Watson focuses on lifestyle and postmodernism. Postmodernism was a cultural movement, which shifted from art into all levels of life. We lived in a postmodern era and we were influenced by the main ideological streams. Postmodernism questions the structures and beliefs given to us by former generations, traditions. The politics change its coat reflecting the development of the opinion in society, the traditional class driven politics fade. Another feature of postmodernism is respect and tolerance for various opinions, therefore, judgements of works of art might be very different, and equal. The society is conducted by commercialism, advertising industry and our desire to be seen in a way we want to be understood. The cover we present to others determines ourselves. The next sub-chapter addresses the cultural guides of Great Britain. There I searched a picture of tradition, yet, there was a little note about this issue. The British, according to Watson, do not wish the students of English or other readers to view Great Britain as a country having tradition as value. Compared to the Czech Republic and its cultural guides, tradition is considerably valuable aspect for the Czech population. My personal attitude is explained as it was one of the reasons to choose this topic to study. Morris Dance is introduced with its main features and the varieties. The history is shortly given, here the attentions is drawn to collectors. The main collector Cecil Sharp and his life and collecting work formed base for the Folk Revival. His collections helped to preserve the tunes, lyrics and dances for folk traditions. His main focus was on Cotswold Morris, however, he studied the other varieties, too. Several forms of Morris are described. Attention is also given to Sword Dance, which is not usually integrated into the list of Morris varieties. Ngaio Marsh, the author of one of the analysed works, incorporate Sword Dance into her novel, thus it is correct to introduce the dance, too. The last part is devoted to the Folk Revival. Some authors write about the first and second Revival. It seemed plausible to divide it, because the reasons and conditions

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were diverse. The first one was driven by individuals from middle-class and intellectual. The political background appears to have its role. Whereas, the second Revival arose from the working class. Interestingly, the both Revivals are interconnected with a strong bound. The second Revival would not be possible it the collectors of the former one would not store and published the folk songs and dances as they did.

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2.Practical part The practical part is a case study of four items. The items are taken chronologically. The first one to be analysed is a detective novel by Ngaio Marsh Off with his Head. The book was first published in 1956. The second work in focus is a mockumentary Morris: A Life with Bells on, filmed in 2010. The third item is documentary by Tim Plester Way of the Morris, filmed in 2011. The last part is devoted to English Folk Dance and Song Society (EFDSS). The EFDSS is shortly introduced as well as its work. Off with his Head is a detective novel. The story is set in a village of Mardian. The villagers approach their traditional Morris ceremony, taking place once a year, in the 'traditional way'. The costume of Morris is handed down from generation to generation (Allen 1296), the costume, the ceremony, is performed by particular group of people, whereas, another group follow the rule to be the audience without any doubt. Into this village a collector Mrs. Bünz comes. She disrespect the folk in Mardian and their wish to keep the ceremony secret. Mrs. Bünz represent a collector of the first Revival. The mockumentary Morris: A Life with Bells on is a story of gifted Morris dancer Derecq Twist of Millsham Morris and Jeremy the 'documentary' producer. In this film, the postmodern approach towards tradition is self-evident. Even the title “A Life with Bells on” signalize the position of Morris within 'life'. Compared to Watson's thoughts, Morris is a lifestyle. The producers and author of the script changed the rules of Morris in order to create a 'cover', 'appearance' of their film. Way of the Morris, the documentary film by Tim Plester, introduces Morris in its form according the tradition. The film follows Tim Plester and Morris side of Adderbury. This side arose during the second Revival. The tradition bears a similar value to the traditional understanding. Here the lifestyle goes aside to experience a deeper values. Way of the Morris could be contrasted to the mockumentary film Morris: A Life with Bells on, as the first one mentioned seems to react on the second one. The last item is EFDSS, it is shortly introduced with its role and contemporary projects concerning folk dances, especially the Morris Dance.

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2.1. Ngaio Marsh : Off with his Head Ngaio Marsh is author of many detective novels. She was born in 1895 in New Zealand and she moved to England in 1928. She wrote her first detective novel A Man Lay Dead in 1934. Ngaio Marsh introduced detective Roderick Alleyn from Scotland Yard who featured in more than 30 other detective novels so called “whodunit.” Some of her works has been transformed to be played in a theatre. (Ngaio) Off with his Head (could be found also as Death of a Fool ) is a detective novel. It was first published in 1957. And it is also one of the detective novels featuring superintendent Roderick Alleyn. The story takes place in a small village of Mardian in England in the time of Winter Solstice. The village is on remote place; there is no train and the roads are not that busy. (69)There are only several cottages in two lines, a small shop, church, a vicarage and smithy a little farther. (16) The particular year is not given, however, the clues point to a year after the World War II.

2.1.1. The story of Mrs. Bünz

Mrs. Bünz comes to Mardian Castle to study the Mardian Morris of Five Sons, which is a traditional dance preformed in this village on Winter Solstice, precisely on the first Wednesday evening following the 21st December. Mrs. Bünz introduces herself as a German student of European folk traditions. She claims that she had come to England before the war with her husband (Germans were not welcome due to the war). She appears to be very curious person keen to watch the traditional dance and to record the dance in detail in order to store such a treasury folk tradition. Mrs. Bünz drives to Mardian Castle to gain particular material and information concerning the Dance of Five Sons as she had been given the instruction by Lord Rekkage. Lord Rekkage was a member of Mardian family one day, yet he left it and got involved in a society studying the folk traditions of England. He was considered insane parson by the family as he left his possessions to this society, therefore mentioning this person did not do very well. Mardian Castle is Victorian mansion inhabited by Dame Alice Mardian, she is 94 years old, and her great niece Dulcie Mardian. The house was built within a shell of Norman castle. The ruins were partly making a circle around the mansion. In front of the house on its courtyard was an ancient stone altar called Mardian Stone. Around this

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stone the traditional Morris specific for this village, is being performed every year on Winter Solstice. Dame Alice agreed to keep it in secret, only for the villagers, to preserve it from the collectors. Dame Alice was bound to traditional structure and social system. She kept the same attitude towards traditions, too. To Dame Alice class was unremarkable and existed in the way that continents and races exist. Its distinctions were not a matter of preference but of fact. To pay at being of one class when you were actually of another was pointless. (54)

The same formula she applied to the traditions. She tried to keep the house running in the `old` manner and re-equipped the castle by the historical furniture after it had been burned down. Mrs. Bünz came to the castle to ask about this secret costume, it has been told that the Mardian Morris of Five Sons is not performed for about fifteen years now. She found only a note about this tradition on one a the papers inherited by Lord Rekkage. She was very curious as the dance was not known on wider public and she expected it to be a treasury tradition with no similar or equal value within the folk traditions gathered by the collectors so far. It had not been collected by any folk collector due to the secrecy, or mystery. When Mrs. Bünz meats Dame Alice and explains her the reason of her visit, her presence is obviously not appreciated. Dame Alice does not speak to this lady any more. Fortunately for this woman, Ralph Stayne, Dame Alice's great-great nephew, comes and accidentally, or by the flow of the small talk, shares some information about the incoming event on the Winter Solstice. Despite the disapproval of her interest, and therefore her presence, Mrs. Bünz decides to stay in a nearby pub The Green Man until the Winter Solstice, the day of the performance. On the way to the pub, she meats a blacksmith William Andersen, called Guiser by the community, and his five sons, they should be the leading dancers. At the Green Man, miss Camilla is accommodated, too. That is a grand-daughter of William A., she has not been to Mardian for five years and her relationship with the Andersens was poor. She has come over to improve it. The barn next to the pub serves in this time as a place to practice the dance. The five sons Andersens, their father, and three more men involved gather here to drill all the ceremony. The other three men are Ralph Stayne, who was the Man-woman figure called Betty – “fertility symbol” (16), Simon Begg, he wears the Hobby Horse called Crack, and Dr. Otterly, the musician, fiddle accompaniment.

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Mrs. Bünz, keen to note the dance down, stands secretly by a window of the barn and watches the men practising every night. By the day of the public performance, she gains reasonable amount of knowledge about the ceremony. The window was the major source, however, Simon Begg exchanged some minor facts seen during the dance for a possible business (Mrs. Bünz would buy a car from this man). The Winter Solstice night has come, all the villagers arrive to the Mardian Castle to see the dance, have the traditional Mardian punch and enjoy the feast. The ceremony, or performance starts and under certain circumstances, the Guiser is killed. Here comes superintendent Roderick Alleyn to solve the murder. As the detective work is out of the interest if this theses, we will not follow the story farther.

2.1.2. Morris and its picture presented by Ngaio Marsh

This subchapter aims to distinguish the forms of Morris in this work. And the approach of the author towards the tradition is studied in depth. Ngaio Marsh confesses at the front pages that the form of the dance is imaginary one. She has blend several dances and mumming plays together to make a `treasury and unique tradition of Mardian`. She mentions her two major sources: England's Dances by Douglas Kennedy and Introduction to English Folklore by Vilotel Alford.(Marsh 5)

The work was first published in 1956 that is not more than 11 years after the World War II. The first Folk Revival started at the beginning of the 20th century and after the war restored. The collectors already had an example of Cecil Sharp`s work. They would travel around country, speak to the folk and noted and stored the folk songs dances and traditions. As Lloyd asserts this first Revival was mostly driven by educated people. These middle-class collectors came to the working-class men to ask him/her to share the heritage passed from generation to generation. (Boyes viii) Their aim was praiseworthy, most of the traditions were being forgotten and left behind. The preservation of these could either help them to survive or to serve as an inspiration for future generations,not only to arose the costumes but also to stimulate the national culture and art. On the other hand, the materials could be skilfully adopted and abused to ideology battles. (Boyes 63). This way of perceiving and using folk traditions mentions also Hobsbawm in his essay Inventing Traditions. (6) The collectors had a controversial position and in the novel Off with his Head, we are able to trace the unclear status of Mrs. Bünz, too.

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2.1.2.1 The picture – the blended style of the Morris

As mentioned earlier, the Dance of the Five Sons is a combination of several dances together. The event returns every year and has certain rules. For the audience the dancers prepared programmes, “neatly typed” (Marsh 58) To study the dance, the programme helps us as a guide. `WINTER SOLSTICE`

The Mardian Morris of Five Sons

The Morris Side: Fool, William Andersen Betty, Ralph Stayne Crack, Simon Begg Sons, Daniel, Andrew, Nathaniel, Christopher, and Ernest (Whiffler) Andersen

The Mardian Morris, or perhaps more strictly, Morris Sword Dance and Play, is performed annually and the first Wednesday after the Winter Solstice. It is probably the survival of an ancient fertility rite and combines, in one ceremony, features of a number of other seasonal dances and mumming plays.

ORDER OF EVENTS 1 General Entry The Five Sons 2 The Mardian Morris 3 Entry of The Betty and Crack 4 Improvisation Crack 5 Entry of the Fool 6 First Sword Dance (a) The Glass is Broken (b) The Will is read (c) The Death 7 Improvisation The Betty 8 Solo D. Andersen 9 Second Sword Dance 10 The Resurrection of the Fool

First to the composition of the Side, there are five dancers. This is quite unusual, as it is mostly six dancers for the Sword Dance, Cotswold, as well as the Border Morris. (Garland themorrisring.org) The North West Morris is too distinct of the form described. The other characters involved are Fool, Betty and Crack. Fool is the `protagonist`. Yet in the Mardian Morris he is the last to arrive and according the programme he is not present and actively dancing long time. As during the first Sward Dance the Fool is made death, this moment is referred in the programme by note “(c) The Death”. Betty, the Man-woman role, he symbolizes the fertility. The Man-in-woman`s clothes is a comic figure. Alford connects the Man-woman figure to the Fool to form a

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couple. (83) Compared to the Morris described in the novel, Betty entries the scene with Crack, the Hobby Horse figure. Ngaio Marsh describes the costume of Betty in detail. “Betty was a man-woman, black-faced, masculine to the waist and below the waist fantastically feminine. Its great hooped skirt hung from the armpits and spread like a bell-tent to the ground. On the head was a hat, half topper, half floral toque. There was a man's glove on the right hand and a woman's on the left, a boot on the left food, a slipper on the right. (Marsh 61)

The studies do not give exact description, however, some pictures of Border Morris show this character and it is usually a man dressed all in woman's clothes. Consequently, the description by Marsh emerges a little artificial, illustrating the hands and shoes. Crack – the Hobby Horse, there are two types according Alford : tourney type and horse-skull type. Crack is the horse-skull type as he was all covered. There is one described by Alford called Old Hoss from Padstow.

[…] Old Hoss, round as table, black as the devil, [...]His body is a hoop about 6 feet in diameter covered with tarpaulin through which the man stands, the tarpaulin `cloak` drawn up about his neck. In front is a small wooden horse-head with a clacking jaw and a cowtail for a beard. The man's head disappears under a devilish mask about 2 feet high finished with a horsehair plume, a red tongue hanging from the mouth. […] The Hoss immediately begins his job of chasing the women and girls in the crowd. (Alford 55-6)

Crack is described similarly: `Crack had been hammered out at Copse Forge (the smithy), how many centuries ago none of the dancers could tell. His iron head, more bird/like than equine, was doubled with paint after the fashion of a witch-doctor`s mask. It appeared through a great, flat, drumlike body: a circular frame that was covered to the ground with canvas and had a tiny horsehair tail stuck through it. `crack` snapped his iron jaw and executed a solo dance of some intricacy. (Marsh 36)

Crack had the same job, compared to the Old Hoss, he would chase women and girls, only Crack had hot tar to put on the ladies, which is not mentioned by Alford, but is mentioned to be done in Padstow by Marsh. (Marsh 37) The kind of horse-skull Hobby Horse must have been used in the novel, because the space under the canvas is used during the murder. Probably, the material chosen for the head – iron was only a matter of the blacksmith family in the novel. Fool – is presented as the central role of the play. As mentioned before, he is meant to form a comic couple with Betty. Within the side Foot is usually the conductor

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and the best dancer. Apart of the expectation of comic couple, the other characteristics matches the novel. There is no detail description in the novel, except a rabbit-skin cap and stick-and-bladder. Five Sons costume – they wore white trousers, bells on the legs – only for some dances, and dark cap. They would use the longsword with handle on one end and a red ribbon to hold for the neighbour on the other end of the sword. Their faces are blacken.

According the programme, there are several dances. Two Sword Dances should be danced, Mardian Morris and some solos (jigs – in Morris terminology). To the blacken faces, the dances resemble the Border Morris. There are really mixture of Morris and Sward Dance with Mumming plays. Even the costumes vary.

2.1.2.2 Is tradition traditional? We can approach the tradition of three perceptions. One would be the perception of the author Ngaio Marsh, the second would be the perception of Mrs. Bünz – folk collector, and the third one is the perception of Dame Alice, William Andersen and the folk of Mardian. Ngaio Marsh noted at the very beginning that she had used several dances to form something unique. By this announcement, she demonstrated her great respect for the tradition. She has given her major sources for inspiration. Her descriptions of dances and costumes reflect the book written by Violet Alford. Before she started her work Ngaio Marsh had to devote considerable amount of time to study these traditions in detail. More over, she touches the question of collecting folk traditions. Marsh has taken pieces of folk songs, dances and plays to make a patchwork of these to create a suitable environment for the story and very unique costume of Mardian. Some parts might be considered exaggerated, for example the murder on a scene of ceremonial dance, as well as some other sequences, e.g. description of Betty. However, the genre excuses, or more, it expects this kind of drama to grasp readers attention. Overall, Morris Dance, Sword Dance and preservation of tradition by the Folk could only profit of the adaptation. Ngaio Marsh had taken the Folk into the account and made their possible opinion about disapproval with the work of collectors heard.

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Mrs. Anna Bünz is a folk collector, she represents a society called “Friends of British Folklore, Guide of Ancient Customs, The Hobby Horses.” (Marsh 9) As mentioned, she came to Mardian to research a very unique custom The Mardian Morris of Five Sons. Mrs. Bünz was over-excited regarding her major focus of interest, the folklore. When dealing with people, she would stress her knowledge and expertise about all the British Folk traditions. Her ability to respect others privacy and culture was very low. She showed no respect to the class-based structure and behaviour when she arrived to the Mardian mansion without any previous notification. “This is, of course, surprise,' she said. 'Perhaps I should have written first but I must tell you – frankly, frankly – that I was so transported with curiosity – no, not that, not curiosity – rather with the zest of the hunter, that I could not contain myself. Not for another day, another hour even!' […] 'If you will glance at the card,' (Marsh 9)

After this enthusiastic entrance, Mrs. Bünz gave Dulcie, who opened the door, the card of the society 'Friends of British Folklore'. The phrase “glance at the card” illustrate her expectations, it is enough to give the card a brief look to understand the importance of Mrs. Bünz, because she assumes to represent the interest of the English Folk, she does not acknowledge any other view. Also she stresses that it is not curiosity but “zest of the hunter”. By this she asserts her determination to fulfil the task she wants to deal with. Mrs. Bünz has set her aim and without consideration of the opinion of 'the owner' she decided to reach it. She claims to be the expert many times, underlining her importance. Mr. Stayne, I am a student of the folk dance, both Central Europe and – particularly English. My little monographs on the Abram Circle Bush and the symbolic tea-pawt have been prised. […] This is merely to satisfy you that I may in all humility claim to be something of an expert. (Marsh 13)

And again later when she came to the smithy to hand a note, she wanted to see the traditional equipment. And even though one of the five sons tried to keep her out of the smithy, she still desired to push her way inside, emphasizing her knowledge: “ you'd all be surprised to hear how much I know about blackschmidts.” (19) Mrs. Bünz has often mispronounce words due to her German origin. And later in the story, she returns to her mastery telling Simon Begg “I am, I must tell you, Mr. Begg, an expert. (43) Mrs. Bünz is confident about her benefit for the whole society. The same attitude could be traced in the Sharp's words: “I brought about a small revolution in the social

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life of England.” (Burgess 179) Interestingly, Georgina Boyes notes on the Revival with similar view. “The Revival is therefore, one of the few contemporary movements which a large number of individuals not only perceive discretely but regarded themselves as having played a historical role in developing. In describing their activities as singers or dancers, members or organisers of folk clubs, researchers in folksong or folk musician, Revivalists frequently express a sharp and direct sense of their contribution to the growth[...] (Boyes vii)

Mrs. Bünz displayed her status of an educated person who has a beneficial effect as she aims to research a tradition which has not been researched yet. She demonstrated her knowledge and awareness of the value of the Mardian Morris :“It suggests., Mr Stayne, that unknown to research, to experts, to folk dancers and to the societies, the so- called Mardian Mawris (the richest immeasurably of all English ritual dance- play)[...].”(Marsh, 14) Every time Mrs. Bünz mentioned the ritual dance, she mentioned its great value. Begg underestimates it and calls it 'a bit of fun' to turn her attention somewhere else, as the folk of the village were not to speak about it openly, thus they, this time Simon Begg, could feel to fail when having a discussion about the ceremony with a stranger.

'it's only a bit of fun, anyway.' Fun? Yes. It is also,' Mrs. Bünz added, 'an antiquarian jewel, a precious survival. For example, five swords instead of six, have I never before seen. Unique!I am persuaded of this.' (Marsh 42)

However, Mrs. Bünz is convinced about her importance. Her role and aim seems for her to be in public interest. She urged to finish the task successfully. On the other hand, her disregard for the values of class distinction considering Dame Alice as well as her ignorance of a possible meaning and usage of a phrase “Godmercy”. She used it couple times to the amazement of the others.

'Godmercy. It is one of your vivid sixteenth century English ejaculations. My little circle has revived it. For fun,' Mrs. Bünz explained. (Marsh 13)

Her explanation of her usage of the phrase 'For fun.' signalize her general approach to the tradition. Probably here we see the first signs of viewing traditions and approaching their performance as a matter of lifestyle. The Mardian Morris of Five Sons

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was supposed to become her trophy and a commodity on a list of works to be performed by groups and societies interested in folklore.

The folk of Mardian – Mardian is a little village. When the ceremony by the Mardian Castle occurred “not more than fifty people” came to see the “village affair.” (56) There were mostly just the inhabitants of Mardian, and its close surrounding. Dame Alice was 94 years old woman, she was the nobility of that area and as the oldest one, Dame Alice possessed the power to state opinion aloud and expected the others to respect what she says. This was the traditional attitude of traditional structure of class driven society. Dame Alice perceived the folk tradition, The Mardian Morris of Five Sons in the same way.

Up at the castle, Dame Alice gave some hot-tempered orders to what remained nowadays of her staff: a cook, a house-parlourmaid, a cleaning woman, a truculent gardener and his boy. All of them except the boy were extremely old. […] A sort of hot cider punch must be brewed in the boiler-house. Cakes of a traditional kind must be baked. A bonfire must be built. (Marsh 39)

Overlooking her age, Dame Alice insisted to serve the punch herself as it was part of the tradition. Also despite the cold December weather, she sat outside according to the costume, she displayed her respect for the dancers and the villagers. (54) The respect of a person of the upper class serves as a sample for the whole community. The same respect is displayed by old William Andersen. His doctor, Dr. Otterly tried to suggest him not to take part in the dance to protect his health, but William Andersen understood it as his duty. (36) Not even his granddaughter was allowed to watch the men practice in the barn. Camilla asked her grandfather only to teas him. She was aware of the principles and respected them. 'May I watch?' 'You can not. 'Tis men's work and no female shall have part nor passel in it.' 'Just too bad,'said Begg,'isn't it, Miss Campion? I think we ought to jolly well make an exception in this case.' 'No, no!' Camilla cried, ' I was only being facetious. It's alright, Grandfather. Sorry. I wouldn't dream of butting in.' (34)

Camilla obeyed the principles, only she mentioned the possibility as she faced the different values and attitudes in London, where she lived. Moreover, the respect for the traditional values of her grandfather she revealed when addressing William

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Andersen by the formal variation of the notion expressing the relative position 'Grandfather'. As mentioned before, the two main bearer of the tradition were Dame Alice and William Andersen, nicknamed Old Guiser. They meant to protect the ceremony of the wider publicity. Both of them, Dame Alice and William Andersen wished that to stay the very local affair, prevented it to become a tourist attraction. 'Er – yes. But we have been rather careful not to sort of let it be known because everyone agrees it'd be too ghasty it the artsy-craftsy boys – I'm sure,' Ralph said, turning scarlet,' I don't mean to be offensive but you know what can happen. Ye olde goings-on all over the village. Charabancs even. My family have all felt awfully strongly about it and so does the Old Guiser.' […] 'Look, Mrs. Burns, I – I do ask you a great favour not to talk about this to anyone, or – or write about it. And for the love of Mike not to bring people here.' (15)

The folk of the village almost all of them, adhere to this 'agreement,' therefore, the presence of Mrs. Bünz is unpleasant and unwelcome. Despite the common agreement, Mrs. Bünz claimed to be the hunter and she behaves obsequiously, she manages to acquire information she aims at. She offers a favourable exchange to a man, Simon Begg – the Crack. The folk of the village adhere the tradition. Some of them perform and the rest comes every year to Mardian Castle to watch the ceremony, which is same every year. They keep and pass the tradition, a body of customs, from generation to generation. (Allen 1296) On contrary, the bearers of the tradition were the two oldest people of Mardian. The costume might disappear as many other folk traditions with their deceases, unless, some collector note it down. Camilla and Ralph touches the question at the very end of the novel,. 'Well,' she said under her breath, 'that's the last of the Mardian Morris of the Five Sons, isn't it? 'Think so?' (251)

Fortunately for Mardian, Dame Alice, aunt Akky, is still alive, therefore the Mardian Morris should be carried on the next year.

'Aunt Akky,' said Dulcie, 'does like things to happen. She's been saying what a long time it seems to the next Sword Wednesday.' (251)

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2.2. Morris: Life with Bells on

Morris : A Life with Bells on is a mockumentary filmed in 2010. It is based on a screenplay written by Charles Thomas Oldham and it was directed by Lucy Akhurst. The main theme is Morris and its value and role. It is set in South West England and it is meant to be a contemporary documentary film about Morris dance.

2.2.1. The line of the story Jeremy, a film producer, comes to Millsham to film a documentary about Morris Dance, especially about Millsham Morris side and Derecq Twist, a man fully devoted to this dance and to the side of his village. He attempts to introduce the background of Morris, Jeremy distinguishes its role for the public and performers of Morris dance. He gives us a question which he attempts to answer. Is the Morris only pastimes or is it rather “aggressively contested contact sport dominated by politics, intimidation and resistance to change”? (“Morris”) Throughout the mockumentary Jeremy questions several people to answer the question and he follows Derecq Twist`s footsteps. He tries to capture and record the value of the dance which it has for the people involved. Jeremy detects the overwhelming passion of the people who devote their time to this cultural entity. The surrounding of Millsham is an idyllic countryside of the South West of England (film); this surroundings gives the film calm and peaceful atmosphere in the connection with Millsham. Millsham is closely linked to nature and all the people seem to have the same close and natural relationships among each other. On the other hand, the colours are very bright and the scenes are arranged to have a beautiful charming surface. Watson connects the importance of surface with the lifestyle we present and the audience we desire to address. (65) Even though, Watson has written that the distinction of popular and high art is not clear in the post-modern culture, Morris: the Life with Bells on putting the priority on the face, is considered a popular art.

2.2.2. Interviewing, Points of View

As mentioned before, Jeremy interviews different people from different levels of society to get opinions from various points of view. There are working class people, a scholar and a higher class representative to reach a wider view on Morris dance.

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2.2.2.1 Squire of Millsham Morris, The Working-class View The first person to be interviewed is Derecq Twist, Squire of Millsham Morris. Derecq is a thirty two year old tractor mechanic. Derecq is the key person, protagonist, of the story. He is well gifted for the dance according to the opinion of various people interviewed. The first sentence he says characterizes his attitude towards Morris as well as towards life itself: “Morris is my life.” (“Morris”) Derecq is already dressed in a costume for Morris, and as the importance of the beautiful countryside had been mentioned, the first interview takes place somewhere on a meadow where a trunk of a tree lies on a ground. The scene as a whole is picturesque and pathetic. Derecq expresses his dedications: “I live for it, I breath for it. To be honest I would die for it.” (“Morris”) Derecq describes Morris with a great passion and he underlines its importance by the seriousness his performance. He aims to incorporate new influences into Morris, because he feels that Morris should evolve and change to take its place within the contemporary society.

2.2.2.2 Scholar's approach, Professor Compton Chamberlayne Another person to be interviewed is Professor Compton Chamberlayne, Emeritus Professor of International Folk Dance. It is a woman, a scholar, who gives her opinion on Morris. All the interviews with this educated woman take place on a Princes Collage ground. She is told to be a trusted specialist concerning the field of folk dances. As such she approaches Morris as a scholar who is not involved in the dance itself, yet, she devotes her time to study this “phenomenon” as she calls Morris Dance. (“Morris”) Chamberlayne drives the attention to various aspects of the study of morris, such as the origin of the name “morris”, presents in the works of art, its ambitions, morris on international level etc. Going back to the origin, Chamberlayne claims it to be uncertain; approving the other source of the thesis. She finishes her speech by a statement what is morris: “It is not only a dance. Morris is simply a phenomenon.” She sees Morris as “living and breathing entity.” (“Morris”)

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2.2.2.3 Politics by Morris Circe The third point of view is presented by Quentin Neely, CBE, Chief Executive of the Morris Circle, The governing body of Morris dancing in England based in the City of London. Morris Circle is presented to be the governing body for all the Morris sides in England, every side is subordinate and must obey rules given by this institution. Quentin Neely explains in his initial speech what is Morris: “Morris is like a hot- house, full of delicate flower, extraordinary and different flowers.” (“Morris”) Quentin compares the hot-house and the co-existence of the miscellaneous flowers to the circle of miscellaneous morris sides. The flowers in the hot-house share nutritions, roots, ideas, they not only survive but they live together and share the supply of the hot-house. It is a sensitive system, thus, and must be looked after. A bad influence brought in the hot-house could disrupt the system and even destroy it. The same applies to Morris, a bad influence could destroy the it. (“Morris”)

Beside these three people several more are interviewed. As the story follows Derecq Twist people of his surrounding is taken into account, for example members of Millsham Morris side, his friend of some other side, as well as several Americans as Derecq moves to the US for some time.

2.2.3. Derecq's story

Derecq Twist, the squire, together with Will Frosser, the foreman of Millsham Morris side, plan and discuss the repertoire. They would like to achieve the best results, therefore, they practice very often. Moreover, Derecq wants to incorporate new elements into morris dance to help it evolve. As he suggests in the film, he takes the inspiration anywhere, concerning Morris as a resource, he admits that “much is from within and much is from without”. (“Morris”) This approach is claimed to be against the rules of the Morris Circle, as the fragility of the idea of Morris. This opinion is not the one that Professor Compton Chamberlayne would share fully. The Millsham Morris side is said to be the best side in the region. The amount of practice and the support of the people around is extraordinary. They gather in a public house and they have dedicated table there. The landlady and the landlord are both fans of the team. The landlord is French. He is said to be part of the Morris team from Millsham. He is also interviewed.

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Jean-Babtiste Poquelin does not speak English much. It was an accident which brought him to Millsham and to be the landlord. He describes the day he came and then he focus the attention to morris and cider. Morris and cider are interconnected for him. The cider he chose to drink defines and characterize the perception and production of morris dancing formed under the influence of that particular drink. Jeremy questions Derecq and Jean-Babtiste to understand the communication as Derecq does not speak French and Jean-Babtiste does not speak English much. A naive answer is given by Derecq: “Morris is the only language we need, really” (“Morris”) Derecq a Will Frosser practice with their team for performance, where the they are going to present a new version of Morris Dance, invented and blended by the two men. As the Morris Circle, Quentin Neely, asserted, the change to Morris is not welcome, thus a representatives of Morris Circle come on the stage, where the team is ready to start their dance, with a command to expel Derecq's side of the Morris Circle, consequently to forbid them to dance Morris. All the scene is again artificial and affected. These circumstances lead the team, after the shock and depressive phase, into a New Morris. Twist and Frosser did not surrender and they founded a 'New Morris'. On the first practice, Frosser died on heart attack. Derecq fell in depression again. Jeremy interferes in the life of the person he films documentary and direct Twist to California in the USA to teach Morris a group of dancers interested in Morris. The approach to Morris in California is distinct from the one in England. The dance is purely an item to be performed. Traditional wooden sticks are replaced by a lighter stick, instead of black shoes the dancers wear “lightweight” trainers. (“Morris”) The Californian group had a performance in a huge hall, attended by many people, with a great success. The Morris performed was a fusion of the traditional form with a pop music. The aim is comparable to the Electrify Folk Revival. Derecq's journey continues with Sonja, a woman Derecq fell in love with. Together they move to a different state. Derecq is unhappy there because he could not dance Morris but only square dances. The burden of living without Morris and England appears unmanageable for Derecq, thus they relocate to Millsham together. Hearing about Twist dancing square dances, which is humiliation of his talent, Neely changed his decision and allowed him back in the Morris Circle. The politics changed according the needs.

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2.2.4. Morris Dance in Morris: A Life with Bells on Concerning the form, the Millsham Morris would fall into Cotswold Morris. The approach of the author is rather postmodern, the form and features appear loosely inspired by the folk tradition. The Millsham Morris side consists of seven man. There is no Fool, Hobby-horse nor Man-woman figure. No musicians are introduced or seen accompanying the dancers. The side has its team physio, a woman taking care of the physical fitness of each man. She watches the dancers diet, the nutritions must be kept balanced. The costume is a white shirt with a black vest, red trousers, white socks and black shoes. The bells are on pads under knees with red and yellow ribbons, a stripe with bells and ribbons of the two colours are also on arms. Over the vest a red sash is worn.

2.2.5. Reflection of Watson's thoughts

In this chapter the film Morris: A Life with Bells on is approached as a postmodern product. The Morris Dance as a folk tradition and cultural heritage is not presented in the film. Charles Thomas Oldham, the author of screenplay, wrote a fictional story about a Morris dancer and a team, which struggles with the unchanged form and image. Their desire is to modify the Morris as they urge to update it to contemporary era. The desire to change links loosely to the scepticism, which is typical for the postmodernism. Watson's essay discloses a number of aspects of postmodernism starting with consumerism. The self-image is outstanding quality which determines our choices. To make acceptable and desirable self-image, an individual should shop accordingly. (62) Oldham created Derecq as confident and focused man, who does not doubt his goals. He appears to have strong personality and well built self-image. A distinctive yet firm self-image characterize also Chamberlayne and Neely. Their clothes reflect the image the viewer is supposed to see. Mrs. Chamberlayne wears slightly eccentric outfits, demonstrating her openness in fashion. Whereas Neely is dressed in a suit, keeping the traditional values at the beginning, and casual clothes later accepting Derecq back in Morris Circle. Another aspect of postmodern era is politics not bound to a particular doctrines. (Watson 63) The politics of Morris Circle evolve through the film and alter the opinions.

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The film involves the health issue, the food, nutritions, and keeping fit. The Millsham Morris team has its own 'physio' looking after the health conditions of every man of the side. Watson notes all these to be linked to the lifestyle nowadays. The health is underlined in advertises and elsewhere. (66) The film addresses the viewer with the aspects of postmodern lifestyle, capturing fashion, charming countryside, health issue and politics. However, the tradition disappeared in the attempt to produce the image.

2.3. Way of the Morris

The documentary film The Way of the Morris was produced by Fifth Column Films in 2011. It was directed by Tim Plester and Rob Curry. The film starts with the legend, the creation myth, of Dancing Fox as it created the world, sun, stars and moon. The legend is supported by symbolic animation by Elliot Dear. After the lead in, a pictures of English countryside appear. These are not too bright. The colours do not shine out of the screen. The whole documentary is kept in this matte mood, yet the pictures are clear. The mood supports not only the brightness of the screen but also the leading voice of the documentary by Donald Sumpter, the creation legend, and Tim Plester. The speech is clam and slow and it helps the viewer to flow throughout pleasantly. The documentary film is a journey of Tim Plester back to his childhood which was accompanied by the sounds of morris, as his father and uncle were in their local side The Adderbury Village Morris Men, dancing a Cotswold Morris. In Tim Plester's commentary of the film, he explains the aim of recalled memories, which was to emphasize the connection with the past; the folklore relates to the past as well as his trip to his childhood. The term “past” is used to connect contemporary occurrences in Plester's life (the tradition) with former times (history), just as Hobsbawm stresses throughout the essay Invention of Tradition the connection with suitable past concerning the 'invented traditions'. Due to the vast amount of videos and photographs the film encourages the viewers to travel back and forth in the time easily. The relationship of Tim Plester and Morris Dance unfolds within the film, starting at a stage of joke, ending in submission of Morris Dance and becoming one of the Adderbury Morris man.

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Going back, Plester recalls his memories of a camera filming more or less significant moments, he depicts the characteristics of his idyllist childish views of bright colours, beautiful weather; and the sounds of Morris men.

[...] sound which accompanied these memories, the swish, swish of the handkerchiefs, flapping in the early morning breeze, the clapping of wooden sticks […] the sounds of the Morris men (“Way”)

The sequence of a Morris dancer walking through a nature is accompanied by lyrical almost pathetic description of the sounds. The poetry in these lines finishes by confession of the contemporary position of Morris for the majority of English population, as Plester perceive it. to an average checked man on the street, it's seen a little less than a national joke, a bad national joke of that, something to ridicule, something to be ashamed of. (“Way”)

The documentary film Way of the Morris follows Tim Plester and Adderbury Village Morris Men. The main features, origin and history of Addenbury Morris are set in a sequences of nature. The viewer is taken in Addenbury and its surroundings. The commentaries as well as the interviewed people reflect the reality, this is partly due to the work of camera, which appears to be a part of the environment.

2.3.1. Morris Dance, the ridicule

The question of ridicule returns several times in the film Way of The Morris. Tim Plester asks about this feature of Morris dance some people around, but he also questions himself. The last quotations in previous chapter proves the impression an observer could gain when speaking about Morris dance with English men, as this has happened to me, written in the theoretical part. The ridicule is dealt with several times again in the film, and even in the additional material included on the DVD. This issue is taken seriously, and it is appreciated that the question of ridicule is mentioned right at the beginning and follows the documentary film because it is the reason for many men not to get involved. Tim Plester even admits, the fact of being of a 'Morris family' was the skeleton in his “particular” closet. Plester focuses mainly on Adderbury and the Adderbury Village Morris Men, where the tradition has its place and respected position as it has been present for a long

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time, consequently the ridicule is not evident that much among the people of Adderbury. “Morris has a proud tradition amongst the people of my village, it has been danced upon this rich red soil for longer than anyone cares to remember.” (“Way”)

Plester questions a boy approximately in his seventeen's or eighteen's, who is a onlooker of an annual traditional Morris dance in Adderbury. The boy does not perceive it as any humiliating activity, He rather states it is a tradition and so he respect it as such. Despite his father and uncle involvement in Morris men, Tim Plester had never danced Morris, what he confesses in the film. He admits the Morris “to be part of his heritage or legacy, part of his folklore”(“Way”) Bryan Sheppard, the Fool of the Adderbury side, comments on the perception of the younger inhabitants of the village. “ 'what fools they are to dance Morris' the youngsters say, and as they grow older their interest in Morris increase.” (“Way”) Older the men are more they understand the importance of Morris for the village, says Bryan Sheppard.

2.3.2. Billy Bragg's commentary

Billy Bragg, English singer-songwriter, gives an interview to the film-makers. He notifies the interviewer that his experiences with Morris songs are mainly from folk festivals where he sang. He is aware of the embarrassment among the English men concerning Morris Dance, he offers his explanation for this kind of general opinion: the Morris is an “urban or rural hangover”, something that does not fit the industrialised nation of Great Britain. Dancing is something shocking to be done by English men. (“Way”) He discusses the approach and attitude towards tradition by the contemporary society. He compares the Bonfire night and Morris. It is our desire to recall our past memories by attending these occasions. The folk do not visit these events because its historical values; James I nor Guy Fawkes have any importance for most of the people celebrating the night.

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2.3.3. Original theories

As any other source, Way of the Morris draws the attention to the origin of Morris with no particular outcome. The authors did not disclose the truth about the beginning of Morris in England. Nevertheless, they offered the viewer theories, starting with a phrase “it may” or “it may not” keeping the possibilities open. it may or it may not' have its roots in Arabian Peninsula. And it may or may not have come with the crusades. The name may come from the Spanish word Morisca which may be in turn a corruption of the word Moorish or not. (“Way”)

The thoughts continue in the say tone to question its original form and aim, again not reaching any plausible conclusion. Only Tim Plester conclude that it is imported idea. Comparing some typical English symbols, like tea, three golden lions and the red cross, which were all imported. He emphasized the change of face of each imported idea.

2.3.4. The Folk Revival

The interest in Morris tends to fade. The author of the documentary, Tim Plester, even remarks that Morris dancers might be signed among endangered species. It may disappear in next twenty years. However, as Plester asserts, the fade is nothing new for the Morris team of Adderbury. the First World War meant the end of Morris for a long time, because the whole team went to the war to fight for “the King and country” and only one dancer returned, so the Morris tradition perished. “they had to pack-up their kid-packs and go on the battlefields to Northern Europe.” (“Way”) The team plans to visit the memorial in France, where the Morris dancers from Adderbury are burier. The documentary film follows the team to France. A sequence is devoted to these men, reading their names one by one by the memorial. The Adderbury Village Morris Men are revived team. The Revival in this village was lead by Bryan Sheppard, “it was passion that had always been there” said Sheppard, the Fool, describing the moving power. (“Way”) The Revival started in late sixties and continued to seventies. The starting point for revivalists of Adderbury was the newly released album by Fairport Convention called Liege&Lief, 1969. The folk music was blended with Rock. That was the turning point for the folk traditions fading in that time, as Chris Leslie claims in a short

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interview in the film. The album was very successful and it inspired many men to establish new teams. Tim Plester calls it Electrify Folk Revival.(“Way”) In 1972, an album Morris on was released and helped Morris dance to find its new way to folk. Bryan Sheppard describes the procedure of their revival. They started in the Cecil Sharp's House. The materials collected during the first revival came in hand now. They went through the songs and dances to hand-copy the one belonging to Adderbury. Cecil Sharp as well as other collectors kept detailed information about the tunes, steps, location and event to be performed traditionally. Cecil Sharp is again prised as the most prolific collector. The first songs they copied were Happy Man, The Postman Knock, Buffoon, Shepard Hey. The last to mentioned is the first to be taught the new in-comers. Their first performance fell onto 26th April 1975. The folk of the village would first regard the dance as odd, and gradually they got use to it and nowadays the perceive it as a tradition. Hobsbawm notes this traditions, invented by an organized group, where the beginning is easy to trace. Also the Adderbury Village Morris Men built the tradition on a past Morris team of that village. (Hobsbawm 4) As the Sheppard comments their revival, they wanted to recreate the history. He respected all the “working-class men and other skilled blokes involved” in Morris dancing before the war. The aim of their revival was not to preform but to renew a tradition. Compared to Watson's thoughts of lifestyle do not apply exactly, even though, choosing tradition may be assessed as choosing a lifestyle nowadays. Setting the rules, the author starts with the principle of the gender issue. Morris dance is only for male, moreover, the men must have been born in the village or in some neighbouring parish. According this principle, the new in-comers are not really allowed to join in, but their children once born living in this village could get involved. Here, the group did not set new rules, they decided to follow the ones given by Cecil Sharp and Janet Blunt. Janet Blunt was a folk collector, she lived in Adderbury in 1859-1950. (“Way”) Her influence is discussed in the next chapter.

2.3.5. Adderbury Village Morris Men

The 'protagonist' of the documentary film, Tim Plester, meant to film the document to introduce Morris as he perceive it. He focuses on his own experience and linkage to Morris dance, which is his father and uncle in the team of Adderbury Village

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Morris Men. The team was revived in 1975 by five men, one of the leading person was Bryan Sheppard. Bryan Sheppard features the Fool of Adderbury Village Morris Men. The expected qualities of this character or dancer are introduced. The Fool is the linkage between the dancers and the audience, he addresses both the dancers and the people standing around. He often has a pig-bladder blown as a balloon on a string or a stick to hit anyone who comes into his way. “He is conductor, trickster and the wild card. The fool is usually the best dancer.” (“Way”) Bryan Sheppard seems to have a great respect of the author of the documentary film. Couple photographs are showed, where the Fool wears different funny costumes, these reflect the contemporary figures or films. The Fool is not only the link between the audience and dancers, but also, by the variety of costumes, he connects the traditional dance with present. The Adderbury side have two musicians: a concertina-player, and a fiddle player. There is a man wearing hobby-horse, it is the tourney type hobby-horse. The Hobby- horse of this team is called Charlie. He inherited his name after the only Morris man returned from the First World War. The man Charlie Coleman was a skilled smith. The Addebury Village Morris Men danced in front of his house, when he was alive (he died in 1978), to honour him. (“Way”) The costume of this side consists of white shirt, white trousers, black hat decorated with flowers, black shoes, bell-pads worn under knees, dark tie and dark- green baldrics and white handkerchiefs. The team started their dances according Cecil Sharps notes, later they decided to study the notes written by Janet Blunt. She was a local person to Adderbury and she described the dances in slightly different manner. The Adderbury Village Morris Dance resolved to change the coat and nowadays this team follows the Blunts instructions. There are two teams in Adderbury, one follows the Blunt's principles – the Adderbury Village Morris Men, and the second one follows Sharp's notes – Adderbury Morris Men. Both the sides cooperate well.(“Way”) The Adderbury Village Morris Men now dance eleven stick dances, three handkerchief dances, two hand-clapping dances and three jigs – a solo dances. The themes of the tunes vary: ale, love, tobacco, longing, regret, postman, shepherd, friendship, music and Adderbury.

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2.3.6. Tim Plester's conclusion

The team travels to North France to the memorial, Tim Plester follows the team to honour the men of Adderbury died in the First World War. It is there, in a pub by a glass of bear, where Tim is taught the first steps. He is encouraged by a young man to try it. After the visit of the pub, all the team moves to the memorial and cemetery, where the soldiers, Morris men, are buried. One by one is read, the tragedy of the war is emphasized. The war disconnected the continuity of lives and culture of nations.

Much was lost [...]The war raptured the historical continuum. Set all kinds of unwanted records in terms of scale, the biggest guns, the most bombardments, the largest loss of life. And perhaps we lost some part of the soul of England […] (Way, 28`16)

The strong experience is carefully passed on the viewer all through the documentary. The war and its bad impact on society is stressed several times. Additionally, it is the strong feeling of past and a need of continuity which convinced Tim Plester to carry the link from past forward. At the very end he joins the Morris team. “Let the laughing boys laugh, and let the scoffers scoff” (“Way”) The documentary film Way of the Morris by Tim Plester attempts to grasp the Morris in the form it is presented in Adderbury. The viewer follows Tim Plester, interviewing or rather questioning people; he asks and speaks to onlookers and several people are questioned privately, among these are Bryan Sheppard – Fool of the team, Billy Bragg – a singer/songwriter and some of the dancers. Pictures of countryside link the scenes. There is a commentary accompanying the shots of countryside. The theme of ridicule persists all through the film. Tim Plester returns to it and questions the people about it. Another intense issue is the First World War because it meant a break in continuity in Morris Men in Adderbury. The team renewed the tradition in 1976, during the second Revival in to 'invented tradition' described by Hobsbawm. The team desired to set a tradition on the roots from the past with great respect for the past and its principles. They studied the material stored in Cecil Sharp's House to get to the roots as close as possible. The men speak about the collectors with esteem. Way of the Morris react indirectly on the film Morris: A Life with Bells on. The commentary by Plester denotes a principle concerning the origin of the dancers; the

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dancers must have been born in the village or neighbouring parish, unlike the French dancer in the mockumentary. Another remark focuses on the Fool, as a conductor, and the wild card, this figure is absent in the Millsham Morris side. Both the films have similar schema, there is a reporter coming to a village to study Morris, to introduce the village Morris team and discover the value of the dance for the team and people around. The question of origin is dealt with in either work. There are even similarities in shots of nature, the Morris: A Life with Bells on shows romantic, bright, picturesque and artificial shots, whereas, Way of the Morris shows various pictures of countryside, both picturesque, artificial, and realistic and lifelike. Derecq is asked by Jeremy; how do people get involved? Derecq explains, that a man cannot “get involved”, it is not a matter of a bear in a pub, as he exclaims. “It is much more difficult.” (“Morris”) Then in the documentary Way of the Morris Tim tries his first steps in a pub over a bear. (“Way”) Concerning all the similarities of the two films, Way of the Morris occurs as a reaction on the mockumentary Morris: A Life with Bells on. As if Way of the Morris means to correct the discrepancies in the other film. Morris: A Life with Bells on tries to attract the audience and underline the beauty of Morris disregarding its values.

2.4. English Folk Song and Dance Society

Last part concerns an English Society focused on folk traditions. It is at the end to conclude the relationship towards the Morris dance as English Folk Song and Dance Society has contemporary project The Full English. The Full English is a project to promote folk traditions. Therefore, it is a source of possible view on traditions in the very present. This chapter briefly introduces the English Folk Song and Dance Society (EFDSS). The Society was established 1898 by Sabine Baring-Gould, Lucy Broadwood and Frank Kidson as Folk Song Society. In 1932 they joined English Folk Dance Society and formed EFSDD. It desired to preserve and promote folk heritage. (The English Folk Dance) In 1930, “Cecil Sharp House, the first dedicated folk arts centre in the UK, opens as a memorial to Cecil Sharp, following his death in 1924.“ (The English Folk Dance) And later in 1998, The Society opened Vaughan Williams Memorial Library a place where the collections, manuscripts are stored as well as any other folk heritage. Beside

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this preserving activities, The Society promote the tradition by encouraging artists, communities and folk groups to get inspiration within the folk traditions. In 2012 a large project The Full English started. The project aimed several fields. One was to digitalized the manuscripts archived in Vaughan Williams Memorial Library. Nowadays the manuscripts are available for the public in digitalized form on the internet. The Society encourages people to use it freely as a source of inspiration. Another aim of the project is educational. They focus on schools, parents, teachers, but also communities, groups, choirs, etc. The traditional usage of each song or dance might be introduced; however, the children, just like anyone else, are supported to learn various folk-songs and dances to try and perform disconnected with the traditional settings and principles. In this case, the approach could not be compared to Hobsbawm's theory of 'invented tradition' nor it should be linked to Watson's description of tradition as a lifestyle. The parallel could be found with the work of the first Revival. We can trace some higher impulse, just as Boyes described it to happen during the first Revival. (63)

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Conclusion The aim of the thesis was to study the changing attitude towards Morris dance in the English society. The attention was drawn to three works of art. I meant to compare the approach towards the tradition by the authors of these works with academic texts concerning traditions. The three works were a detective novel by Ngaio Marsh Off with his Head, a mockumentary film Morris: A Life with Bells on and documentary film Way of the Morris. English Folk Dance and Song Society is introduced to give contemporary approach to the Morris Dance and tradition. The theoretical works by Eric Hobsbawm and Watson look at tradition in the broad term. Hobsbawm elaborate on the term 'invented tradition'. Contemporary society invent traditions or they modify the old once according the need and supply. The traditions reflect the time and society. Watson sees the value of tradition for people living in postmodern lifestyle as a mean to build self-image. The aim of the diploma work was also to compare the form of Morris dance presented within the works of art with the form presented in theoretical work concerning Morris dance. Ngaio Marsh published her book in 1956, she listed two main sources which inspired her to create a detective story with the Mardian Morris of Five Sons. One of them was Alford's study of English Folklore. Alford's influence is traceable in the novel. Ngaio Marsh blended several dances together keeping their main features. Within the story, I can perceive three approaches towards tradition. One is the author's approach, Marsh adjusted the tradition to suit her story, however, she informed the reader at very beginning that the picture is not according genuine custom. The details follow Alford's notes. The other two approaches are found directly in the narrative. Mrs. Bünz, the collector, is eager to gather details about a traditional dance in Mardian. It was the time of the first Revival, when the educated middle-class individuals travelled around England noting down folk songs and dances, as they were disappearing with the oldest generation; which would be probably the case of Mardian Morris, too. In contrary, the folk of Mardian did not want to have the tradition, ceremonial dance, changed into a tourist attraction. They tried to protect it from other onlookers in order to keep it as a community tradition, passed down orally. Marsh in her work portrays the traditional approach, the one given by dictionaries as they specify the term “tradition”. Marsh has not invented tradition in the manner Hobsbawm writes about, her version is purely for her novel.

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The second work to be analysed was Morris: Life with Bells on released in 2009. It is a mockumentary filmed according a screenplay by Charles Thomas Oldham. This work bears postmodern features. It does not adhere to the form of Morris completely. Morris is not perceived as a folk traditional heritage carrying a value in its pure form. Morris is a product to be spread and modified. The film shows aspects of postmodern lifestyle as they are presented by Watson. Watson asserts the values of the contemporary society and its main interests. Consumerism is a driving power not only for individuals, but also for whole industries, governing bodies. The surface is the important image we create for the other. The film Morris: A Life with Bells on builds its image the same way. There in all the surface Morris as a folk tradition is getting lost. The documentary film by Tim Plester Way of the Morris reflects the form of the Morris dance presented in the theoretical works. The author follows a team of Addenbury to illustrate the tradition, the way it is passed down. It concerns the ridicule deeply. The leaders of Addenbury team discusses the historical development of Morris and their side. The last entity to be compared with the theoretical works is English Folk Dance and Song Society. EFDSS focuses on preservation of folk traditions. The society started by collecting and storing material, and consequently, their performing. The performances promoted the folk songs and dances taken off their traditional time and place. The folk heritage is a source of inspiration. In 2013, the project The Full English started its work. The project be divided into two interconnected parts. One part is digital archive accessible freely on the internet full of digitalized manuscripts from many collectors. Anyone can search the archive to find song or dance to get inspiration. The second part is educational project. The tradition is meant to be spread among people, disregarding the traditional settings. The song or dance may be sing or danced by anyone and anywhere. There is a separation of tunes and steps from the environment and principles. Overall, the thesis proved the connection of theoretical works and the works of art. The approach traced in the artworks reflects the period. In the 1950s the respect was a dominant feature, whereas in the later works of 2009 the value of tradition disappeared. However, the approach in the 2009 and 2010 may vary as the possibilities are open, the author might decide whether to accept the principles or make a new ones with new values. The EFDSS promotes the dancing and singing folk songs and dances.

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They do not bond traditional settings of the customs. Girls are allowed and encouraged to get involved and dance Morris. Ridicule appears to be part of Morris dance nowadays identity. It is a young man who is ashamed to be involved, to wear a costume, to dance around with bells on. On the other hand, it is the man that should dance Morris. As in Addenbury, there are sides in England treating the traditional settings with respect, and there are places open to invite any dancer of any gender.

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