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An Exploration of the Work of David Bintley, a Very City Research Online City, University of London Institutional Repository Citation: Wallis, L (2010). An exploration of the work of David Bintley, a very ‘English’ choreographer, with particular reference to his use of English Morris dance in Still Life at the Penguin Café and the process of translating ‘genuine’ English Morris dance to a theatrical environment.. (Unpublished Doctoral thesis, Trinity Laban Conservatoire of Music and Dance/ City, University of London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/17616/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] An exploration of the work of David Bintley, a very ‘English’ choreographer, with particular reference to his use of English Morris dance in Still Life at the Penguin Café and the process of translating ‘genuine’ English Morris dance to a theatrical environment. Lucy Wallis, BA (Hons), AISTD Submitted for the degree of Doctor of Philosophy at Trinity Laban Conservatoire of Music and Dance in the graduate school. August 2010 1 Table of Contents List of illustrations ....................................................................................................... 5 Dedication ..................................................................................................................... 7 Acknowledgements ....................................................................................................... 8 Declaration .................................................................................................................... 9 Abstract ....................................................................................................................... 10 Introduction ................................................................................................................ 11 Chapter one Methodology ................................................................................................................ 16 1.1 Ethnographic modes of study and approaches to fieldwork .................................. 16 - Participant observation .............................................................................................. 18 - Insider/outsider approaches ....................................................................................... 21 - Embodiment ............................................................................................................... 26 - The individual researcher: Reflexivity ...................................................................... 28 1.2 Methods used in the development of an analytical model ..................................... 29 - Hungarian folk dance models .................................................................................... 29 - G. Martin and E. Pesovár .......................................................................................... 30 - Lionel Bacon’s A handbook of Morris dances (1974) ............................................... 32 - Laban’s theories of movement and space .................................................................. 35 1.3 Approach to practice based research methods ....................................................... 36 1.4 An overview of historical figures concerned with English folk dance .................. 39 - Mary Neal (1860-1944) and Cecil Sharp (1859-1924) .............................................. 39 - John Forrest ............................................................................................................... 46 - Chris Bearman ........................................................................................................... 48 - Theresa Buckland ...................................................................................................... 50 Chapter two David Bintley: Influences, ideological inheritance and the preservation of an ‘English’ tradition ........................................................................................................ 52 2.1 The concept of Englishness .................................................................................... 52 2.2 Bintley and an English ballet tradition ................................................................... 60 - Realism in English ballet ........................................................................................... 76 - Bintley and the Birmingham Royal Ballet ................................................................. 81 2.3 An overview of Bintley’s career ............................................................................ 83 2 2.4 David Bintley: A summary of his creative process and practice ........................... 89 2.5 Still Life at the Penguin Café and the preservation of culture ............................... 93 Chapter three In the field: Ethnographic study with the Ravensbourne Morris Men ....................... 107 3.1 The Ravensbourne Morris Men and questions of identity, age, gender and personal style .............................................................................................................. 107 - Local identity and discretion.................................................................................... 112 - Age and gender ........................................................................................................ 114 - The Morris tradition and questions of style ............................................................. 117 3.2 Bintley’s experiences of the authentic Morris dance tradition............................. 119 3.3 English Cotswold Morris tradition vs. Bintley’s theatrical form: A table of comparisons ............................................................................................................... 121 Chapter four Still Life at the Folk Café ........................................................................................... 144 4.1 Workshop analysis ............................................................................................... 144 - Key variations .......................................................................................................... 155 - Weight and flow....................................................................................................... 156 - Flexion of the knee and foot .................................................................................... 157 - Flexibility ................................................................................................................. 158 4.2 The rehearsal process ........................................................................................... 158 4.3 The performance of Still Life at the Folk Café ................................................... 165 4.4 Reflections on the creation of a folk-inspired ballet dance .................................. 173 Chapter five Training workshop with the Ravensbourne Morris Men ........................................... 181 5.1 Crossing of genres: Professional versus folk dance practice ............................... 181 5.2 Style specific variations and teaching methods ................................................... 186 5.3 My changing role as a researcher ......................................................................... 196 5.4 Gender issues ....................................................................................................... 199 3 5.5 ‘Invisible techniques’ and the pasing on of the dance tradition ........................... 201 5.6 Bintley and the translation of the folk dance form ............................................... 202 Chapter six Conclusions and further recommendations for research ............................................ 207 6.1 The future of Morris dance .................................................................................. 207 6.2 The development of a Morris-inflected dance style ............................................. 210 - Deciphering the language of Morris dance .............................................................. 215 6.3 The study of other folk dance styles .................................................................... 217 6.4 Bintley’s national and international identity ........................................................ 218 6.5 The future of the English ballet tradition ............................................................. 221 Appendix ................................................................................................................... 224 - Fig A: Full list of figures and steps from Lionel Bacon’s A handbook of Morris dances ......................................................................................................................... 224 - Fig B: Full list of arm movements, hand-clapping and stick-striking
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