Histories Of Morris - English Folk Dance And Song Society

2y ago
18 Views
2 Downloads
1,012.98 KB
21 Pages
Last View : 16d ago
Last Download : 3m ago
Upload by : Julius Prosser
Transcription

THE HISTORIES OF THE MORRIS IN BRITAINPapers from a conference held at Cecil Sharp House, London,25 - 26 March 2017, organized in partnership by HistoricalDance Society with English Folk Dance and Song Society andThe Morris Ring, The Morris Federation and Open Morris.Edited by Michael HeaneyThe Women’s Morris Federation – fromStart to FinishVal Parkerpp. 279-293English Folk Dance and Song Society & Historical Dance SocietyLondon 2018

iiEnglish Folk Dance and Song SocietyCecil Sharp House2 Regent's Park RoadLondon NW1 7AYHistorical Dance Society3 & 5 King StreetBrighouseWest Yorkshire HD6 1NXCopyright 2018 the contributors and the publishersISBN 978-0-85418-218-3 (EFDSS)ISBN 978-0-9540988-3-4 (HDS)Website for this book: www.vwml.org/homCover picture: Smith, W.A., ca. 1908. The Ilmington morris dancers[photograph]. Photograph collection, acc. 465. London: Vaughan Williams Memorial Library.

iiiContentsIntroduction1The History of HistoryJohn ForrestHow to Read The History of Morris Dancing7Morris at CourtAnne DayeMorris and Masque at the Jacobean Court19Jennifer ThorpRank Outsider or Outsider of Rank: Mr Isaac’s Dance ‘The Morris’33The Morris Dark AgesJameson Wooders‘Time to Ring some Changes’: Bell Ringing and the Decline ofMorris Dancing in the Earlier Eighteenth CenturyMichael HeaneyMorris Dancers in the Political and Civic ProcessPeter BearonCoconut Dances in Lancashire, Mallorca, Provence and on theNineteenth-century Stage477387

ivThe Early RevivalKatie Palmer Heathman‘I Ring for the General Dance’: Morris and Englishness in theWork of Conrad NoelMatt Simons‘Pilgrimages to Holy Places’: the Travelling Morrice, 1922–1939Roy Fenton‘Destruction not Inscription’: How a Pioneering Revival SideDevelopedElaine BradtkeMorris Tunes Collected by James Madison Carpenter115133151161The Later RevivalSue AllanMerrie England, May Day and More: Morris Dances in Cumbria inthe Early Twentieth Century179Derek SchofieldA Different Sort of Revival: The Life and Times of the ManleyMorris Dancers203Sean Goddard and Ed BassfordConsequences of Bringing North-west Morris to the South-east ofEngland: The Chanctonbury Ring Effect215Robert DunlopMorris Dancing at Kirtlington Lamb Ale: Heyday, Decline andRevival251

vWomen in MorrisSally WearingWhat to Dance? What to Wear? The Repertoire and Costume ofMorris Women in the 1970sVal ParkerThe Women’s Morris Federation – from Start to FinishLucy WrightThis Girl Can Morris Dance: Girls’ Carnival Morris Dancing andthe Politics of Participation267279295Material CultureChloe MetcalfeWhy do Morris Dancers Wear White?David PettsMaterializing Morris Dancing: Tangible Aspects of an IntangibleHeritage315331

Val ParkerThe Women’s Morris Federation – fromStart to FinishIntroductionMost readers will no doubt know that the Morris Federation is one ofthree support organizations for UK morris sides, and was founded inthe 1970s as the Women’s Morris Federation.I was in the thick of it during the formation and development of theFederation and, because of that, I have been engaged more recently,together with Sally Wearing, Sue Swift and Shirley Dixon, in writingits history. When the Histories of Morris conference was announced,it seemed an obvious thing for us to take the opportunity to offersome of what we have been writing. What follows is therefore an insider’s view of WMF’s formative years.The Influence of Tubby and Betty Reynolds at theUniversity of BathAny history of the Women’s Morris Federation must begin with theUniversity of Bath, as that was where it all began. Although I vaguelyknew there was a thing called morris dancing, it wasn’t until I arrived at the University as an undergraduate in 1971 that I truly andliterally discovered it. On my first Saturday in Bath, I stopped towatch Chipping Camden Morris, who happened to be dancing inKingston Parade, next to the Abbey. I did not know at that

Dance Society with English Folk Dance and Song Society and The Morris Ring, The Morris Federation and Open Morris. Edited by Michael Heaney English Folk Dance and Song Society & Historical Dance Society London 2018 The Women’s Morris

Related Documents:

Eugenio, 2007 classifies Philippine Folk Literature into three major groups: Folk narratives, folk speech, and folk songs. Folk narratives can either be in prose - the alamat (folklore), the legend, and the kuwentong bayan (folktale) - or in verse, as in the case of the folk narratives. Folk speech includes the bugtong (riddle) and .

Folk Music The purpose of folk music is to tell stories or to disseminating information. Folk music typically originates from an anonymous hearth. As people migrate, folk music travels with them as part of the diffusion of folk culture. Popular Music Popular music is deliberately written to be sold and performed. While some forms of

A) Folk culture would not exist without small scale and local migration. B) Folk culture does not diffuse through relocation diffusion. C) Several elements of folk culture may have multiple, unknown origins. D) Folk culture can only be transmitted orally across time and location. E) Several elements of folk culture tend to replace elements of .

intangible cultural heritage and non-material-traditional literature : folk tales, folk wisdom, folk poetry, etc., folk songs and instruments and folk dances, folk visual art in various traditional media (stone, wood, metal, etc.) and ofall genres as well as handcrafting and homemade handmade objects.

2.2.1 Classification of folk dance culture . Chinese folk dances are divided into two categories: Han folk dances and ethnic folk dances. Ethnic folk dances; if functionally dividedthey can be divided into sacrificial dances, , self-entertainment dancesceremonial dances, and production, Labor dance and other types. ; from

4 Why folk tales (folk literature)? Folk tales are more popular, attractive and accessible to a wide range of people. They are universal in theme, in wisdom and appeal to people from all walks of life. So they have a universal appeal. Folk tales offer moral teaching, e.g., Aesop

2. The Development of Folk Culture in Yimeng Area . 2.1 Development of Characteristic Art . In terms of commodity development, take folk plastic arts as an exampleWe need to know that . many folk culture resources are not commodities. Only through art processing and continuous improvement and creation can folk culture have more commodity value.

Tourism is not limited only to activities in the accommodation and hospitality sector, transportation sector and entertainment sector with visitor attractions, such as, theme parks, amusement parks, sports facilities, museums etc., but tourism and its management are closely connected to all major functions, processes and procedures that are practiced in various areas related to tourism as a .