Playing Music for Morris Dancing
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Why Do Morris Dancers Wear White? Chloe Metcalfe Pp
THE HISTORIES OF THE MORRIS IN BRITAIN Papers from a conference held at Cecil Sharp House, London, 25 - 26 March 2017, organized in partnership by Historical Dance Society with English Folk Dance and Song Society and The Morris Ring, The Morris Federation and Open Morris. Edited by Michael Heaney Why do Morris Dancers Wear White? Chloe Metcalfe pp. 315-329 English Folk Dance and Song Society & Historical Dance Society London 2018 ii English Folk Dance and Song Society Cecil Sharp House 2 Regent's Park Road London NW1 7AY Historical Dance Society 3 & 5 King Street Brighouse West Yorkshire HD6 1NX Copyright © 2018 the contributors and the publishers ISBN 978-0-85418-218-3 (EFDSS) ISBN 978-0-9540988-3-4 (HDS) Website for this book: www.vwml.org/hom Cover picture: Smith, W.A., ca. 1908. The Ilmington morris dancers [photograph]. Photograph collection, acc. 465. London: Vaughan Wil- liams Memorial Library. iii Contents Introduction 1 The History of History John Forrest How to Read The History of Morris Dancing 7 Morris at Court Anne Daye Morris and Masque at the Jacobean Court 19 Jennifer Thorp Rank Outsider or Outsider of Rank: Mr Isaac’s Dance ‘The Morris’ 33 The Morris Dark Ages Jameson Wooders ‘Time to Ring some Changes’: Bell Ringing and the Decline of 47 Morris Dancing in the Earlier Eighteenth Century Michael Heaney Morris Dancers in the Political and Civic Process 73 Peter Bearon Coconut Dances in Lancashire, Mallorca, Provence and on the 87 Nineteenth-century Stage iv The Early Revival Katie Palmer Heathman ‘I Ring for the General -
Hornpipes and Disordered Dancing in the Late Lancashire Witches: a Reel Crux?
Early Theatre 16.1 (2013), 139–49 doi: http://dx.doi.org/10.12745/et.16.1.8 Note Brett D. Hirsch Hornpipes and Disordered Dancing in The Late Lancashire Witches: A Reel Crux? A memorable scene in act 3 of Thomas Heywood and Richard Brome’s The Late Lancashire Witches (first performed and published 1634) plays out the bewitching of a wedding party and the comedy that ensues. As the party- goers ‘beginne to daunce’ to ‘Selengers round’, the musicians instead ‘play another tune’ and ‘then fall into many’ (F4r).1 With both diabolical interven- tion (‘the Divell ride o’ your Fiddlestickes’) and alcoholic excess (‘drunken rogues’) suspected as causes of the confusion, Doughty instructs the musi- cians to ‘begin againe soberly’ with another tune, ‘The Beginning of the World’, but the result is more chaos, with ‘Every one [playing] a seuerall tune’ at once (F4r). The music then suddenly ceases altogether, despite the fiddlers claiming that they play ‘as loud as [they] can possibly’, before smashing their instruments in frustration (F4v). With neither fiddles nor any doubt left that witchcraft is to blame, Whet- stone calls in a piper as a substitute since it is well known that ‘no Witchcraft can take hold of a Lancashire Bag-pipe, for itselfe is able to charme the Divell’ (F4v). Instructed to play ‘a lusty Horne-pipe’, the piper plays with ‘all [join- ing] into the daunce’, both ‘young and old’ (G1r). The stage directions call for the bride and bridegroom, Lawrence and Parnell, to ‘reele in the daunce’ (G1r). At the end of the dance, which concludes the scene, the piper vanishes ‘no bodie knowes how’ along with Moll Spencer, one of the dancers who, unbeknownst to the rest of the party, is the witch responsible (G1r). -
Trinity Irish Dance Study Guide.Indd
● ● ● ● ● Photo by Lois Greenfield. About the Performance The Performance at a Glance Each of these different elements can be the basis for introducing students to the upcoming performance. Who are the Trinity Irish Dance Company? Trinity Irish Dance Company were formed in 1990 by Mark Howard in an effort to showcase Irish music and dance as an art form. The company is made up of 18- 25 year olds, and has received great critical and popular acclaim from audiences throughout the world. They have performed all over the world, and have collaborated with many notable contemporary choreographers and musicians. Trinity holds a unique place in the dance world, offering a highly skilled presenation of progressive Irish step dance. Who is Mark Howard? Mark Howard is the founder and artistic director of the Trinity Irish Dance Company, and choreographs much of the company’s work. Born in Yorkshire, England, and raised in Chicago, Mark Howard began dancing at the age of nine, and later went on to become a North American champion Irish dancer. He started the Trinity Academy of Irish Dance at the age of 17, and dancers from this school have won 18 world titles for the United States at the World Irish Dance Championships in Ireland. Howard wanted to find a way for his dancers to do more than just compete for tropies and prizes, so in 1990 he founded the Trinity Irish Dance Company as a way to showcase Irish music and dances as an art form. Mark Howard continues to choregraph new works for the company, and he has expanded his independent career to work in theater, television, concert and film. -
ATL 2016 Bios of Leaders & Musicians
ACROSS THE LAKE ~ JUNE 10, 11, 12, 2016 English Country Dance Weekend on the Vermont side of Lake Champlain OUR TEACHERS Scott Higgs began dancing in college, and started teaching soon thereafter, when the knowledgeable dancers graduated! For many years he has traveled the world (25 states and 6 foreign countries) delighting dance enthusiasts at weekends and week- long dance camps. His engaging programs make everyone welcome: offering nuances to engage experts, with a light- hearted approach that makes novices feel comfortable and successful. Scott takes particular pleasure in helping dancers stretch their skills and discover new aspects of music and dance, with an emphasis on fun! Scott has composed many of his own dances, and has developed and led intensive dance leadership workshops. Scott has served as a program director for CDSS at Pinewoods and has also served on the CDSS Board of Directors. Melissa Running discovered she could take folk dance for PE credit in college, and never looked back. She started playing for dances and then calling English in the Philadelphia area. She now lives in Silver Spring, MD, calls nationally, plays piano for English and Scottish country dancing, and plays the nyckelharpa for pleasure and for Swedish dancing (and a little Norwegian, and sometimes English). She’s written a number of dances and a larger number of tunes. In her other life, she is a technical writer for a government contractor, where she may yet convince her colleagues to come dancing after work. She is renowned for her warm, accessible, and fun-loving style leading English Country dance. -
DVD 2 Dance Description
( * !1*-$/ Dance - OF !*'& KIDS= = = Descriptions for FolkStyle Productions ) . TEACHERS Dance DVD No. 2 along with (the PURPLE one) Sanna Longden “More Favorite Folk Dances as she reviews 12 enjoyable ethnic dances, for all levels of Kids & Teachers” of learners, in live teaching situations with schoolchildren, families and folk 12 enjoyable ethnic dances, dancers. for all levels of learners, FolkStyle Productions DVD & taught by Sanna Longden Syllabus No. 2 Dances on the DVD The Bear Went Over the Mountain and in this book: Yan Petit Barnereinlender Scratch Pop Goes the Weasel Troika Te Ve’Orez Epo i tai tai e How Do You Dootee Raas/Raj Baztango Esku-Dantza Paddle Dance This book accompanies the DVD Music for these dances can be found and is included in the price. on CD No. 1 and CD No. 1½. CONTENTS FOR DVD #2 SYLLABUS (in the order they appear in the DVD/video) Pages CD track Background and Foreword 2-3 Bear Went Over the Mountain, The (USA) 2 we sing it Yan or Jean Petit (southern France) 5 16 (CD#1) Barnereinlender (Norway) 6 2 (CD#1) Scratch (USA) 7 use many recording Pop Goes the Weasel (USA) 8 we sing it Troika (Russia) 9 13 (CD#1½) Te Ve’Orez (Israel) 10 12 (CD#1) Epo i tai tai e (Hawai’i/Samoa) 11-12 5 (CD1½) How Do You Dootee (Australia) 13 we chant it Raj/Raas/Dandiya Raas (India) 14 9 (CD#1) Baztango Esku-Dantza (Basque) 15 3 (CD#1) Paddle Dance (French Canada and others) 16 8 (CD#1) Index of CDs and DVD/videos 17-18 Alphabetical Index of World Dances 19-20 Index by Continents and Islands 21-23 1 BACKGROUND AND FOREWORD Teaching traditional dance in educational settings by Sanna Longden Thank you so much for your order of my world dance materials. -
Northwest Passage 2020
Footnotes Portland Country Dance Community • May-June 2020 playing both ECD and contra, including Roguery and The Northwest Passage 2020 Whoots, and collaborates with performers such as By Richard Scher storyteller/harpist Patrick Ball, poets Jane Hirshfield and “Hope springs eternal” – and we do hope that the Kay Ryan, clown Jeff Raz, and performs in many coming months will see the return of our joyous world of theatrical and dance productions, including the California music and dance. Northwest Passage 2020 is still on the Revels and the Oregon, California and San Francisco calendar for Labor Day weekend, September 4-7 at the Shakespeare Festivals. The strangest place Shira has Kiwanis Camp near Mount Hood. Registration is open played is in the elephant pit of the Jerusalem Zoo. NOW, online only, along with all you need to know about Jim Oakden went to college on a music scholarship, the camp, at http://NWPassageDanceCamp.org. but ended up in grad school for marine biology. However, The Northwest Passage Committee is closely following he continued to avidly pursue an interest in early music our current health crisis, and will make a determination by and then later became a dance musician. He performs the end of June if it becomes clear that we need to cancel with many bands in a host of genres on an absurd array of the camp. All registration fees would of course be instruments. He is very dedicated to passing on his refunded. Meanwhile, here is our flyer for the camp: http:// knowledge at symposia, workshops and dance and music NWPassageDanceCamp.org/2020color_flyer.png. -
WINSTER MORRIS DANCERS Printed |
Winster Morris dance in the Derbyshire villages. But we also visit other Morris teams all over England. This is us, dancing the Winster Reel, at Thaxted in Essex WINSTER MORRIS DANCERS Printed | www.figcreative.co.uk In 2012 we danced at the Pentecost Festival in And we were guests of Monterubbiano, our twin village in Italy Abingdon Morris at their ‘Mayor of Ock Street’ We also have links with celebrations Ungstein, a wine-making village near Frankfurt in Germany - this is Eva and Wolfgang And with Onzain, a Lords of Misrule: Frank (the Witch) and John (the King) French village on the banks of the Loire We’ve also danced in Poland, Lithuania, Romania and Denmark “This is it and that is it CONTACT US And this is Morris Dancing, If you like the idea of beer and The piper fell and broke his neck foreign travel and want to dance And said it was a chancer. with us - get in touch with: You don’t know and I don’t know Chris Gillott What fun we had at Brampton, Here we are in front of our home crowd, processing through Call: 01629 650404 With a roasted pig and a cuddled duck Winster on Wakes Day 2013 Email: [email protected] And a pudding in a lantern” WHAT ON EARTH IS MORRIS DANCING? Winster Morris dance No one can be sure of its origins. The earliest references, dating with four traditional from around 1500, are to Royal entertainments. But we know characters - a King, that by 1700 it had become a firmly established part of English Queen, Jester and a life. -
Winter 2017 AR
Published by the American Recorder Society, Vol. LVIII, No. 4 • www.americanrecorder.org winter 2017 Editor’s ______Note ______ ______ ______ ______ Volume LVIII, Number 4 Winter 2017 Features love a good mystery, and read with interest David Lasocki’s article excerpted Juan I and his Flahutes: What really happened fromI his upcoming book—this piece seek- in Medieval Aragón? . 16 recorder in Medieval ing answers about the Aragón By David Lasocki (page 16). While the question of what happened may never be definitively Departments answered, this historical analysis gives us possibilities (and it’s fortunate that research Advertiser Index . 32 was completed before the risks increased even more for travel in modern Catalonia). Compact Disc Reviews . 9 Compact Disc Reviews give us a Two sets of quintets: Seldom Sene and means to hear Spanish music from slightly later, played by Seldom Sene, plus we Flanders Recorder Quartet with Saskia Coolen can enjoy a penultimate CD in the long Education . 13 Flanders Recorder Quar tet collaboration Aldo Abreu is impressed with the proficiency of (page 9). In Music Reviews, there is music to play that is connected to Aragón and to young recorder players in Taiwan others mentioned in this issue (page 26). Numerous studies tout the benefits to Music Reviews. 26 a mature person who plays music, but now Baroque works, plus others by Fulvio Caldini there is a study that outlines measurable benefits for the listener, as well (page 6). As I President’s Message . 3 write these words, it’s Hospice and Palliative ARS President David Podeschi on the Care Month. -
Scottish Country Dance Kentucky Dance Institute, July 19 – 25, 2020 Harry Khamis
Scottish Country Dance Kentucky Dance Institute, July 19 – 25, 2020 Harry Khamis PRELIMINARY NOTES In Scottish Country Dance (SCD) the top of the set is where the music is located, the bottom of the set is at the opposite end. For most SCDs, the dancers are in a 3-, 4-, 5-, or 6-couple longways set facing their partner; mens’ left shoulders are toward the top and womens’ right shoulders are toward the top. The couples are numbered from the top: 1, 2, 3, … . Some SCDs are in a four couple square set formation, the man and woman in a couple stand beside each other with woman on man’s right: 1st couple has their back to the music, 2nd couple is to their left with right shoulders toward the music, 3rd couple faces 1st couple, and 4th couple faces 2nd couple (note: the numbering starts at the top and proceeds clockwise around the square). Generally, there are only three basic dance rhythms used in SCDing: reel, jig, and strathspey. In each case there are four counts for each bar (or measure) of music. Generally, the distinction among the three types of music can briefly be given as follows: · reel: quick, four even counts · jig: slightly longer time between counts 1 and 2 · Strathspey: slow, four even counts In the SCD dance titles below, the type of dance and formation are given in abbreviated form. So, for example, 32J3 = 32-bar jig for 3 couples, 32R2 = 32-bar reel for 2 couples, 5x32R = 32-bar reel played 5 times through, 32S3 = 32-bar strathspey for 3 couples, etc. -
History of Cornish Dance and Its Origins
History of Cornish Dance Folk dance is more than just a collection of steps movement and music; it is a form of human expression and its essence lies within its community role and social context rather than purely commercial or artistic interests. Sharp was riding the crest of European romantic nationalism when he collected, and mediated, folk dances as an expression of Englishness in the first quarter of the twentieth century. At much the same time there was a parallel, but Celtic, revivalist movement in Cornwall. As well as identifying with the revival of the Cornish language and links with the other Celtic communities this movement was also pro-active in recording and promoting folk customs, including dance. The story of folk dance in Cornwall, from medieval roots, through narratives of the nineteenth Century folklorists, the activity of the Celtic revivalists and on to the present day, is a fascinating one that reflects the distinct cultural profile of Cornwall. A tantalising glimpse of medieval dance in Cornwall is provided a twelfth Century Cornish / Latin vocabulary which was written to aid the learning of Latin. It is a short vocabulary of common words people were expected to be familiar with and includes the translation of the Cornish lappior as saltator and lappiores as saltatrix; male and female dancer respectively. Lapyeor continued to be used as a dialect term for dancer in the eighteenth and nineteenth centuries and by the early twentieth century was associated with step dancing. It is poignant to learn that the small boys employed as surface workers in the tin industry were called lapyeors because one of their first tasks was to aid separation of the ore as it was washed by “dancing” on it ankle deep in the cold water. -
Corrina Hewat Reviews
Corrina Hewat | reviews | My Favourite Place Footstompin Music FSR1719 (2003) After 10 years as a full-time musician, and having already appeared on albums by some 20 different artists and groups, Scottish harpist and singer Corrina Hewat hasn't exactly rushed into releasing her debut solo CD but she's not been idle, either, emerging as a performer, composer, arranger and tutor of equal note, with a touring schedule that's taken her across three continents. She's also been a key figure in several landmark Scottish ventures of recent years, including the 2002 Scottish Women tour, Linn Record’s Complete Works of Robert Burns series, and the 31-strong Unusual Suspects concert at this year's Celtic Connections festival. The central trait unifying Hewat's multiple gifts is her fondness and facility for exploring interfaces -- chiefly between folk and jazz, but also in among blues, soul and classical influences. All this breadth of experience and style finds marvellously concentrated yet spacious expression on My Favourite Place complemented by David Milligan on piano, percussionist Donald Hay, and Karine Polwart's backing harmonies. On the vocal front, tracks range from a bold, spiky updating of Sheath And Knife to an understated take on the jazz standard When I Dream. Hewat's own compositions -- such as the brilliantly wayward Traffic and the soulful, title track -- feature prominently among the tunes, together with a handful of beautifully wrought traditional numbers. Sue Wilson The Sunday Herald As soon as I started to listen to Corrina’s beautiful debut solo CD – a delicious, mellow, richly satisfying fusion of jazz/roots/blues styles (pure magic to a person of my musical tastes!), I was immediately transported to my very own ‘favourite place’. -
COUNTRY DANCE and SONG 21 March 1991
COUNTRY DANCE AND SONG 21 March 1991 , <2./ I Country Dance and Song Editor: David E. E. Sloane, Ph.D. Managing Editor: Henry Farkas Associate Editor: Nancy Hanssen Assistant Editor: Ellen Cohn Editorial Board Anthony G. Barrand, Ph.D. Fred Breunig Marshall Barron Paul Brown Dillon Bustin Michael Cooney Robert Dalsemer Elizabeth Dreisbach Emily Friedman Jerome Epstein, Ph.D. Kate Van Winkle Keller Christine Helwig Louis Killen David Lindsay Margaret MacArthur Jim Morrison John Ramsay John Pearse Richard Powers Sue A Salmons Ted Sannella Jay Ungar Jeff Warner COUNTRY DANCE AND SONG is published annually; subscription is by membership in the Country Dance and Song Society of America, 17 New South Street, Northampton, Massachusetts, 01060. Articles relating to traditonal dance, song, and music in England and America are welcome. Send three copies, typed, double-spaced, to David Sloane, Editor CD&S, 4 Edgehill Terrace, Hamden, CT 06517. Thanks to the University of New Haven for editorial support of this issue. co COUNTRY DANCE AND SONG, March 1991, Copyright Country Dance and Song Society of America. Cover: Figure 1 for "Morris Dancing and America": frontispiece for 1878 sheet music, reprinted courtesy of the Library of Congress. Country Dance and Song Volume 21 March 1991 CONTENTS Morris Dancing and America Prior to 1913 by Rhett Krause . 1 Dancing on the Eve of Battle: Some Views about Dance during the American Civil War by Allison Thompson . 19 Homemade Entertainment through the Generations by Margaret C. MacArthur ........................... 26 Seymour's Humorous Sketches by Alfred Crowquill .......................... ..... 40 Treasured Gifts, Joyous Times: Genny Shimer Remembered by Christine Helwig .