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Barn Dances, Ceilidhs, and Country Dancing in England 1945-2020: an Examination of Non-Specialist English Social Folk Dance

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Barn Dances, Ceilidhs, and Country Dancing in England 1945-2020: an Examination of Non-Specialist English Social Folk Dance Barn Dances, Ceilidhs, and Country Dancing in England 1945-2020: An Examination of Non-Specialist English Social Folk Dance Chloe Elizabeth Middleton-Metcalfe MA, BA (Hons) A thesis submitted in partial fulfilment of the requirement for the degree of PhD Department of Dance University of Roehampton 2021 1 Barn Dances, Ceilidhs, and Country Dancing in England 1945-2020 CEMM Abstract This thesis is a genre-centred investigation of one dance form which is known by a variety of names including: barn dance, ceilidh, country dance, and (English) folk dance. A hitherto academically neglected dance genre, this thesis takes a mixed diachronic and synchronic approach to explain and contextualise the developments of English social folk dance from the mid-twentieth century. In so doing it contributes to an under-studied area of research: the experiences of occasional, or novice adult dancers. In order to answer the central question of ‘why do people hold English social folk dances?’ this thesis examines the genre’s recent history. The approach of Douglas Kennedy, head of the English Folk Dance and Song Society (EFDSS) from 1924-1961 is examined. Consideration is given to the influence of other dance genres (in particular square dance and old time) on the formation of an English folk repertoire. The neo-traditionalist approach of the ceilidh movement in the 1970s and the quest for an English sound and dancing style is examined. Folk dance in English schools is charted, providing a counter- story to modern educational dance centred histories. The second half of this thesis utilises ethnographic fieldwork from thirty dance events (2017-2018), supplemented with interviews and questionnaire data. I locate dance events in time and space, analyse how and why they are financed, document who attends such events, investigate what choreographies are utilised, and discuss how they are taught and realised. 2 Barn Dances, Ceilidhs, and Country Dancing in England 1945-2020 CEMM Finally, in order to assess the role national identity plays in encouraging participation I consider whether this dance form is associated with notions of Englishness. I conclude that amongst non-specialist dancers, there is a largely ambiguous relationship. This uncertainty has at least three identifiable causes, the use of Celtic and/or North American terminology, music, and themes; a disassociation between traditional dance and Englishness; and a broader societal discomfort amongst the white middle classes with identifying as English rather than British. Instead of identity the importance of ‘fun’ is emphasised by participants and organisers. How fun is experienced and construed by attendees is analysed building upon approaches advocated by sociologist Walter Podilchak (1985, 1991). 3 Barn Dances, Ceilidhs, and Country Dancing in England 1945-2020 CEMM Contents I. Acknowledgements ...................................................................................................... 8 II. Preface ......................................................................................................................... 10 Part One: Setting the Scene 1:1 Introduction 1:1:1 A Church Barn Dance in Buckinghamshire ........................................................... 15 1:1:2 Research Aims and Objectives ............................................................................. 17 1:1:3 Nomenclature ......................................................................................................... 20 1:1:4 Thesis Structure .................................................................................................... 29 1:2: Literature Review and Methodology 1:2:1 Introduction ........................................................................................................... 30 1:2:2 Literature Review .................................................................................................. 31 1:2:3 Theoretical Framework ........................................................................................... 39 1:2:4 Dance and Music Analysis ..................................................................................... 44 1:2:5 Writing History ...................................................................................................... 46 1:2:6 A Multi-Sited Dance Ethnography ....................................................................... 48 1:2:7 Data Collection and Analysis 1:2:7:1 The Field Site .................................................................................................. 52 1:2:7:2 Event Criteria ................................................................................................. 55 1:2:7:3 Fieldwork ........................................................................................................ 58 1:2:7:4 Interviews ........................................................................................................ 63 1:2:7:5 Questionnaires ................................................................................................. 66 1:2:7:6 Difficulties ...................................................................................................... 67 1:2:8 Conclusion ............................................................................................................. 68 Part Two: Folk Dance Past 2:3 The Douglas Kennedy Years: 1945-1961 2:3:1 Folk Dance in the 1920s ........................................................................................ 70 2:3:2 Douglas Kennedy’s New Approach ....................................................................... 72 2:3:3 Kennedy’s Justification and Influences ................................................................. 83 2:3:4 The Square Dance Boom ....................................................................................... 94 2:3:5 Conclusion ............................................................................................................ 103 2:4 The Post-Kennedy Years: 1962-2019 2:4:1 Introduction .......................................................................................................... 105 2:4:2 Neo-Traditionalists and The Ceilidh Movement ................................................. 107 2:4:3 The Decline of the EFDSS ................................................................................... 119 2:4:4 The Development of Tyro Folk Dancing ............................................................. 123 2:4:5 Conclusion ............................................................................................................ 136 4 Barn Dances, Ceilidhs, and Country Dancing in England 1945-2020 CEMM 2:5 Folk Dance in Education 2:5:1 Introduction .............................................................................................................. 137 2:5:2 Douglas Kennedy and Folk Dance in Education ................................................. 138 2:5:3 The Slow Decline of Folk Dance Provision in Schools ...................................... 142 2:5:4 Creative Folk Dance Provision ........................................................................... 149 2:5:5 Conclusion ........................................................................................................... 151 2:6 Repertoire 2:6:1 Introduction ......................................................................................................... 152 2:6:2 Collected Dances .................................................................................................. 154 2:6:3 North American Influences .................................................................................. 165 2:6:4 Couples Dances and the Old Time Dance Revival .............................................. 172 2:6:5 International Dances ............................................................................................. 181 2:6:6 Newly Composed Dances .................................................................................... 186 2:6:7 Conclusion ........................................................................................................... 196 Part Three: Folk Dance Present 3:7 The Dance Event 3:7:1 Introduction .......................................................................................................... 198 3:7:2 Contemporary Social Context 3:7:2:1 Organisers ...................................................................................................... 199 3:7:2:2 Locating Events in Space and Time .............................................................. 203 3:7:2:3 Themes .......................................................................................................... 210 3:7:2:4 Music ............................................................................................................. 215 3:7:3 The Economic Event ............................................................................................. 221 3:7:4 Attendees 3:7:4:1 Demographic ................................................................................................. 229 3:7:4:2 Orientation to English Social Folk Dance ..................................................... 240 3:7:5 Conclusion ............................................................................................................. 247 3:8 The Realisation of the Dance 3:8:1 Teaching .............................................................................................................. 249 3:8:2 Music ....................................................................................................................
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