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HISTORY AND THE MORRIS DANCE: A LOOK AT MORRIS DANCING FROM ITS EARLIEST DAYS UNTIL 1850 PDF, EPUB, EBOOK

Cunningham, who would have turned this year, would sometimes flip a coin to decide the next move, giving his work a nonlinear, collagelike quality. These were ideas simultaneously being explored in visual art, which was engaged in a similar resetting of boundaries as Pop, Minimalism and conceptual art replaced Abstract Expressionism, with which modern dance was closely aligned; for one, both were preoccupied with working on the floor, as in the paintings of Jackson Pollock and the dances of Martha Graham. Postmodernists remained keen on gravity, however. Certain choreographers would come to treat the floor as a dance partner, just as multidisciplinary artists like Ana Mendieta and Bruce Nauman used it in their performance pieces as a site for symbolic regeneration or heady writhing. Forti considered her work as much dance as sculpture, its human performers art objects like any other — but it hardly mattered, since, for this brief and exceptional window, art, dance and music were almost synonymous. The s New York art scene was famously small, and disciplines blended together as a result. In time, though, the moment of equilibrium passed and the community collapsed, reality itself acting as a sort of score. After the last Judson dance concert in , Childs taught elementary school for five years to support herself before returning to the field. Forti lived for a time in Rome, crossing paths with the Arte Povera movement, and Deborah Hay eventually landed in Austin, where she hosted group workshops. That gap only widened as contemporary art became ever more expensive, and by the s, art institutions had little incentive to invest in something as inherently ephemeral and thus nearly impossible to own as performance. She preceded other modern dancers in rebelling against any formal technique, in establishing a company, and in making films. Duncan brought a vocabulary of basic movements to heroic and expressive standards. She performed in thin, flowing dresses that left arms and legs bare, bringing a scale to her dancing that had immense theatrical projection. Her revelation of the power of simple movement made an impression on dance that lasted far beyond her death. Formal teaching of modern dance was more successfully achieved by Ruth St. Denis and Ted Shawn. Denis based much of her work on Eastern dance styles and brought an exotic glamour to her company. Shawn was the first man to join the group, becoming her partner and soon her husband. Nonballetic dance was formally established in , when they founded the Denishawn school. From the ranks of Denishawn members, two women emerged who brought a new seriousness of style and initiated modern dance proper. Doris Humphrey emphasized craftsmanship and structure in choreography , also developing the use of groupings and complexity in ensembles. Martha Graham began to open up fresh elements of emotional expression in dance. At the same time in Germany, Mary Wigman , Hanya Holm , and others were also establishing comparably formal and expressionist styles. Horizontal movement close to the floor became as integral to modern dance as the upright stance is to ballet. In the tense, often intentionally ugly, bent limbs and flat feet of the dancers, modern dance conveyed certain emotions that ballet at that time eschewed. Furthermore, modern dance dealt with immediate and contemporary concerns in contrast to the formal, classical, and often narrative aspects of ballet. It achieved a new expressive intensity and directness. Another influential pioneer of modern dance was dancer, choreographer, and anthropologist Katherine Dunham , who examined and interpreted the dances, rituals, and folklore of the black diaspora in the tropical Americas and the Caribbean. By incorporating authentic regional dance movements and developing a technical system that educated her students mentally as well as physically, she expanded the boundaries of modern dance. Her influence continues to the present day. This was the most popular court dance and was performed by two partners using slow and low movements, almost appearing to walk. This is a passive dance. Movements are made in procession and mainly done in entrance to a court. A lively dance performed by three couples using a verse and chorus style applied in country dances. Two couples dance this dance. They make many turns and inter connect with other couples as the couples join the dance. This style of dance is a country dance and involves making figure eight movements around bales of hay. This line dance differs by starting using the right foot instead of the left. The ladies are always on the right side of their partner. They move away from each other dropping their hands. They then move towards each other again, turn to face the line again and then join right hands again. What is significant about this Morris Dance, is that it is the oldest dance which remains the same as it was since its introduction with King Edward the third. The Morris was danced in medieval times around a maypole with bells adorning their knees and carrying sticks representing swords. The dancers therefore dressed in character. Morris dance - Wikipedia

This line dance differs by starting using the right foot instead of the left. The ladies are always on the right side of their partner. They move away from each other dropping their hands. They then move towards each other again, turn to face the line again and then join right hands again. What is significant about this Morris Dance, is that it is the oldest dance which remains the same as it was since its introduction with King Edward the third. The Morris was danced in medieval times around a maypole with bells adorning their knees and carrying sticks representing swords. The dancers therefore dressed in character. The Jig was also very much like the Black Alman with several kick, jumps and aerobic type movements. This type of Medieval dances are like types of folk dances. It is identified by line dances or circular dances with couples facing each other or facing the public in lines. It consists of plenty clapping and spinning. Scottish dances are usually very lively dances with plenty circular moves and gliding steps. National Scottish dances consisted of the reel, strathpeys from the district of Strath Spay and flings. This dance was named after a popular middle ages Easter game and dancing of the egg dance meant that the dancers moved between the eggs and try to damage as little eggs as possible. Playing the melodeon Some Morris men use handkerchieves Some even use metal rappers A square Morris ring? Water music? It's bloomin' Betsy! Mind your step Anyone have a cold? When the squire says jump Time for a rest for the younger dancers Fertility symbols are used: flowers Traditional art at the National Gallery Martha Graham began to open up fresh elements of emotional expression in dance. At the same time in Germany, Mary Wigman , Hanya Holm , and others were also establishing comparably formal and expressionist styles. Horizontal movement close to the floor became as integral to modern dance as the upright stance is to ballet. In the tense, often intentionally ugly, bent limbs and flat feet of the dancers, modern dance conveyed certain emotions that ballet at that time eschewed. Furthermore, modern dance dealt with immediate and contemporary concerns in contrast to the formal, classical, and often narrative aspects of ballet. It achieved a new expressive intensity and directness. Another influential pioneer of modern dance was dancer, choreographer, and anthropologist Katherine Dunham , who examined and interpreted the dances, rituals, and folklore of the black diaspora in the tropical Americas and the Caribbean. By incorporating authentic regional dance movements and developing a technical system that educated her students mentally as well as physically, she expanded the boundaries of modern dance. Her influence continues to the present day. Like Dunham, Trinidadian-born dancer and choreographer Pearl Primus studied anthropology. Her studies led her to Africa she ultimately took a Ph. Lester Horton , a male dancer and choreographer who worked during the same period as Dunham and Primus, was inspired by the Native American dance tradition. He was involved in all aspects of the dance, lighting, sets, and so on and also was a noted teacher, whose students included Alvin Ailey, Jr. Eventually rejecting psychological and emotional elements present in the choreography of Graham and others, Cunningham developed his own dance technique, which began to incorporate as much ballet as it did modern dance, while his choreographic methods admitted chance as an element of composition and organization. Also in the s Alwin Nikolais began to develop productions in which dance was immersed in effects of lighting , design, and sound, while Paul Taylor achieved a generally vigorous and rhythmic style with great precision and theatrical projection in several works responding to classical scores. Cunningham was a prime influence on the development of postmodern dance in the s and later. Based especially in New York City , a large number of new dancers and choreographers— Trisha Brown , Yvonne Rainer , Pina Bausch , and many others—began to abandon virtuoso technique, to perform in nontheatre spaces, and to incorporate repetition, improvisation, minimalism, speech or singing, and mixed-media effects, including film. Out of this context emerged artists such as Twyla Tharp , who gradually reintroduced academic virtuosity, rhythm, musicality, and dramatic narrative to her dance style, which was based in ballet and yet related to the improvisatory forms of popular social dance. Since its founding, modern dance has been redefined many times. Though it clearly is not ballet by any traditional definition, it often incorporates balletic movement; and though it may also refer to any number of additional dance elements those of folk dancing or ethnic, religious, or social dancing, for example , it may also examine one simple aspect of movement. : Folk - Dance: Books

Logically speaking, the adjective folk should modify the noun dance to indicate a certain kind of dance and dancing and perhaps the style or some other distinguishing feature of the dance or performance. It should also imply who the performers are. However, the term folk dance , which has been in common use since the late 19th century, along with its parent term folklore , which was coined in , is not as descriptive or uncontroversial as it might seem. Much of the problem lies in the attitudes and purposes of early scholars and their audience. Usually, the designation folk was used by those who did not consider themselves to belong to the folk and were confident that they knew which other people were the folk. Many scholars of the late 19th and early 20th centuries postulated a sort of Darwinian social evolution that passed from imagined beginnings through existing folk dances to arrive at modern recreational dances. This attitude was part of a larger worldview that sometimes went so far as to place certain other groups of people farther down the human evolutionary tree from themselves and their peers. Not surprisingly, a backlash developed, and since the middle of the 20th century the word folk has often been avoided because of the condescending attitude its use is thought to represent. Many cultural groups around the world demanded that their performing arts not be characterized by the term. Thus, some archives and organizations found it expedient to change the word folk to traditional in their names. Its study section on dance broadened in scope from folk dance to ethnochoreology, the study of all dance forms in a culture. The descriptors traditional and authentic are problematic too when applied to folk dances that are self-consciously developed, revived, and restaged for public display in order to reinforce a national identity, to attract tourists, or both. Neither does the word traditional comfortably identify dances that are transplanted from one context to another, such as the European folk dances performed by the Matachines Society of the Yaqui Indians of southern Arizona in the United States and Sonora, Mexico. These are discussed below. Of major significance, a point that is critical to the understanding of folk dance is the following fact: folk dance is not a universal genre of dance. When folk dances are compared from one culture to another, they have in common no universal movement, figure, form, style , or function. Neither does a specific movement, figure, form, style, or function identify a dance as a folk dance. The simplest approach to definition might be to say that folk dances are those dances identified with and performed by folk dancers. By the same reasoning, folk dancers are those persons who perform folk dances. Yet these circular definitions are inadequate. Some persons who perform what outsiders define as folk dances do not themselves identify their dances as folk dances. And some persons who perform such dances do not identity themselves as folk dancers. Others reject the word folk entirely, as having nothing to do with who they are or what dances they do. The matachines dances are a good example of how fluid the definitions of folk dance and folk dancers are. The Yaqui Indian Matachines Society is a group in northern Mexico and southern Arizona whose members continue to observe a sacred vow to dance their devotions for the Virgin Mary with medieval European folk dances taught to them after by Jesuit padres. These Yaqui do not think of their dances as folk dances, nor do they think of themselves as folk dancers, although persons from the outside readily make those assignments. Although the origins of the matachines dances of other parts of the Americas are similar, the dances themselves are different. It contains jump movements. This was the most popular court dance and was performed by two partners using slow and low movements, almost appearing to walk. This is a passive dance. Movements are made in procession and mainly done in entrance to a court. A lively dance performed by three couples using a verse and chorus style applied in country dances. Two couples dance this dance. They make many turns and inter connect with other couples as the couples join the dance. This style of dance is a country dance and involves making figure eight movements around bales of hay. This line dance differs by starting using the right foot instead of the left. The ladies are always on the right side of their partner. They move away from each other dropping their hands. They then move towards each other again, turn to face the line again and then join right hands again. What is significant about this Morris Dance, is that it is the oldest dance which remains the same as it was since its introduction with King Edward the third. The Morris was danced in medieval times around a maypole with bells adorning their knees and carrying sticks representing swords. The dancers therefore dressed in character. The Jig was also very much like the Black Alman with several kick, jumps and aerobic type movements. This type of Medieval dances are like types of folk dances. It is identified by line dances or circular dances with couples facing each other or facing the public in lines. It consists of plenty clapping and spinning. Scottish dances are usually very lively dances with plenty circular moves and gliding steps. National Scottish dances consisted of the reel, strathpeys from the district of Strath Spay and flings. This dance was named after a popular middle ages Easter game and dancing of the egg dance meant that the dancers moved between the eggs and try to damage as little eggs as possible.

Dance in the Middle Ages - The Finer Times

Bogdanov, C. Woodstra and S. Erlewine, All music guide to rock: the definitive guide to rock, pop, and soul Backbeat Books, 3rd edn. Else, J. Attwooll, C. Beech, L. Clapton, O. Berry, and F. Poole: Blandford Press; p. Redwood and M. Archived from the original on Opie and P. Carpenter and M. Pegg, Folk Wildwood House: London, , p. Aldrich, S. Hammond, A. Lee and M. Wilson and M. Raven, ed. Stenning London: Routledge, , pp. Binfield, ed. Peddie, ed. Reuss and A. Goodman and A. Mackay, ed. Griffin, Peek and K. Shepherd, Continuum Encyclopedia of Popular Music, vol. Dobson and J. London, ; C. Burne, ed. Jackson , rpt. O'Shaughnessy, ed. Palmer, ed. Halliwell, ed. Harland, ed. Warne, ; S. London, Bell, ed. Collingwood, and J. Watson, T. Gregory, 'A. Mathieson, ed. Woodhouse, Cornish Bagpipes: Fact or Fiction? Truro: Truran, Hays, C. McGee, S. Newlyn, eds. O'Connor, Ilow Kernow 3 St. Ervan, Lyngham House, Borough of Helston. Hudleston and M. Gordon and R. Adams Scarborough: G. Pindar and Son, and P. Davenport, ed. English folk music. Cornwall Northumbria Somerset Sussex. Portal:England Portal:Music. Music of the United Kingdom. Caribbean England Ireland Scotland Wales. Folk and indigenous music. Cape Breton folk music. Scottish highland dance Scottish sword dances Traditional square dance. Accordion Fiddle Great Highland bagpipe Piano. Aeolian mode Dorian mode Ionian mode Mixolydian mode Pentatonic scale. Irish music. Cape Breton fiddling English folk music Scottish folk music. Scottish folk music. Common forms by metre. Polka Highland Schottische. Jig Two-step. Slip jig. Aeolian Dorian Ionian Mixolydian Pentatonic. Scotch snap. English folk music Irish traditional music particularly the Donegal fiddle tradition Cape Breton fiddling. Welsh folk music. Eisteddfod Noson Lawen Twmpath. Categories : English folk music English styles of music. Hidden categories: Webarchive template wayback links CS1 maint: archived copy as title Articles with short description Short description matches Wikidata Use British English from May Articles with hAudio microformats All articles with unsourced statements Articles with unsourced statements from May Namespaces Article Talk. Views Read Edit View history. Help Learn to edit Community portal Recent changes Upload file. Vitus superstition may have triggered a stress-induced hysteria that took hold of much of the city. Other theories have suggested the dancers were members of a religious cult, or even that they accidentally ingested ergot, a toxic mold that grows on damp rye and produces spasms and hallucinations. But if you see something that doesn't look right, click here to contact us! Twice a week we compile our most fascinating features and deliver them straight to you. Live TV. This Day In History. History at Home. Petersburg, Russia. The name is first recorded in English in the midth century as Morisk dance , moreys daunce , morisse daunce , i. The term entered English via Flemish mooriske danse. The modern spelling Morris-dance first appears in the 17th century. It is unclear how the dance came by this name, "unless in reference to fantastic dancing or costumes", i. The means and chronology of the transmission of this fashion is now difficult to trace; the London Chronicle recorded "spangled Spanish dancers" performed an energetic dance before King Henry VII at Christmas in , but Heron's accounts also mention "pleying of the mourice dance" four days earlier, and the attestation of the English term from the midth century establishes that there was a "Moorish dance" performed in England decades prior to An alternative derivation from the Latin 'mos, moris' custom and usage has also been suggested. It has been suggested that the tradition of rural English dancers blackening their faces may be a form of disguise , or a reference either to the Moors or to miners; [18] the origins of the practice remain unclear and are the subject of ongoing debate. While the earliest 15th-century references place the Morris dance in a courtly setting, it appears that the dance became part of performances for the lower classes by the later 16th century; in , the Shakespearean actor William Kempe Morris danced from London to Norwich , an event chronicled in his Nine Daies Wonder Almost nothing is known about the folk dances of England prior to the midth century. In the Elizabethan period, there was significant cultural contact between Italy and England, and it has been suggested that much of what is now considered traditional English folk dance, and especially English country dance , is descended from Italian dances imported in the 16th century. By the mid 17th century, the working peasantry took part in Morris dances, especially at Whitsun. When the crown was restored by Charles II , the springtime festivals were restored. Morris dancing continued in popularity until the industrial revolution and its accompanying social changes. Four teams claim a continuous lineage [ clarification needed ] of tradition within their village or town: Abingdon their Morris team was kept going by the Hemmings family , [22] Bampton , Headington Quarry , and Chipping Campden. However, by the late 19th century, and in the West Country at least, Morris dancing was fast becoming more a local memory than an activity. D'Arcy Ferris or de Ferrars , a Cheltenham-based singer, music teacher and organiser of pageants, became intrigued by the tradition and sought to revive it. He first encountered Morris in Bidford and organised its revival. Over the following years he took the side to several places in the West Country, from Malvern to Bicester and from Redditch to Moreton in Marsh. By , he and Cecil Sharp were in correspondence on the subject. Several English folklorists were responsible for recording and reviving the tradition in the early 20th century, often from a bare handful of surviving members of midth-century village sides. Among these, the most notable are Cecil Sharp and Mary Neal. Boxing Day is widely regarded as the starting point for the Morris revival. Sharp was intrigued by the music and collected several tunes from the side's musician, William Kimber. Neal was looking for dances for her girls to perform, and so the first revival performance was by young women in London. In the first few decades of the 20th century, several men's sides were formed, and in the Morris Ring was founded by six revival sides. In the s and especially the s, there was an explosion of new dance teams, some of them women's or mixed sides. At the time, there was often heated debate over the propriety and even legitimacy of women dancing the Morris, even though there is evidence as far back as the 16th century that there were female Morris dancers. There are now male, female and mixed sides to be found. Partly because women's and mixed sides were not eligible for full membership of the Morris Ring this has now changed , two other national and international bodies were formed, the Morris Federation and Open Morris. All three bodies provide communication, advice, insurance, instructionals teaching sessions and social and dancing opportunities to their members. The three bodies co-operate on some issues, while maintaining their distinct identities. An umbrella body that includes all three, the Joint Morris Organisation, organises joint events and discusses issues that affect all members, such as access to both public liability and personal insurance cover. Today, there are six predominant styles of Morris dancing, and different dances or traditions within each style named after their region of origin. Bacon also lists the tradition from Lichfield , which is Cotswold-like despite that city's distance from the Cotswold Morris area; the authenticity of this tradition has been questioned. There are a number of traditions which have been collected since the mid-twentieth century, though few have been widely adopted. In fact, for many of the "collected" traditions in Bacon, only sketchy information is available about the way they were danced in the nineteenth century, and they have been reconstructed to a degree that makes them largely twentieth century inventions as well. Some traditions have been reconstructed in several strikingly disparate ways; an example would be Adderbury, danced very differently by the Adderbury Morris Men and the Adderbury Village Morris. The North West tradition is named after the North West region of England and has always featured mixed and female sides, at least as far back as the 18th century. There is a picture of Eccles Wakes painted in the s, judging by the style of dress of some of the participants and spectators that shows both male and female dancers. Historically, most sides danced in various styles of shoes or boots, although dancing in clogs was also very common. Modern revivalist sides have tended more towards the wearing of clogs. While some teams continue to rehearse and dance for a single local festival or event such as the Abram Morris Dancers [33] , the majority of teams now rehearse throughout the year, with the majority of performances occurring in the spring and summer. The dances themselves were often called 'maze' or 'garland dances' as they involved a very intricate set of movements in which the dancers wove in and out of each other. Some dances were performed with a wicker hoop decorated with garlands of flowers held above the dancer's head. Some dancers were also associated with a tradition of mumming and hold a pace egging play in their area. The Britannia Coconut Dancers , named after a mill not far from Bacup , are unique in the tradition, in that they used sawn bobbins to make a noise, and perform to the accompaniment of a brass ensemble. They are one of the few North West Morris groups that still black up their faces. It is said that the dance found its way to the area through Cornishmen who migrated to work in the Rossendale quarries. Towards the end of the 19th century, the Lancashire tradition was taken up by sides associated with mills and nonconformist chapels, usually composed of young girls. These lasted until the First World War, after which many mutated into "jazz dancers". A Bolton troupe can be seen in a pre-war documentary by Humphrey Jennings. However, they refer to themselves as "Morris dancers", wear bells, and are still mainly based in the Northwest of England. This type of Morris has been around since the s and is also referred to as Carnival or "fluffy Morris" dancing. They take part in many different competitions during the year and end it with a "Championship" where one dance troupe is crowned the champions. This type of Morris is also found in the north of Wales, where there are many different organizations with many different troupes. The winner of this competition was Valencia, a troupe from Liverpool. The term " Border Morris " was first used by E. Cawte in a article [35] on the Morris dance traditions of Herefordshire , Shropshire and Worcestershire : counties along the border with Wales. Characteristics of the tradition as practised in the 19th and early 20th centuries include: blackface in some areas , use of either a small strip of bells in some areas or no bells at all in others , costume often consisting of ordinary clothes decorated with ribbons, strips of cloth, or pieces of coloured paper; or sometimes "fancy dress", small numbers of traditional dances in the team repertoire, often only one and rarely more than two, highly variable number of dancers in the set and configurations of the set some sides had different versions of a dance for different numbers of dancers , and an emphasis on stick dances almost to the exclusion of hankie dances. Usually regarded as a type of Morris, although many of the performers themselves consider it as a traditional dance form in its own right, is the sword dance tradition, which includes both rapper sword and longsword traditions. In both styles the "swords" are not actual swords, but implements specifically made for the dance. The dancers are usually linked one to another via the swords, with one end of each held by one dancer and the other end by another. Rapper sides consist of five dancers, who are permanently linked-up during the dance. The rapper sword is a very flexible strip of spring-steel with a wooden handle at each end. The longsword is about 2'6" 0. https://files8.webydo.com/9590236/UploadedFiles/99095EE1-24F5-BB0C-3884-504FFF8A5958.pdf https://files8.webydo.com/9586481/UploadedFiles/00A40059-EF30-7E9D-664D-4153B4019B1C.pdf https://uploads.strikinglycdn.com/files/27be5a76-9e6f-4124-b2a4-2b91134a0f29/rocky-mountain-dogs-996.pdf https://static.s123-cdn-static.com/uploads/4640628/normal_60213cb272b80.pdf https://files8.webydo.com/9585899/UploadedFiles/D94B1274-2D4C-399B-A06D-39A1F74CB3EA.pdf