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Morris dance

Morris dancing is a form of English folk dance. It is based on rhythmic stepping and the execution of choreographed figures by a group of dancers in costume, usually wearing bell pads on their shins and/or shoes. A band or single musician, also costumed, will accompany them. Sticks, swords, handkerchiefs, and a variety of other implements may be wielded by the dancers.

"Morris music" redirects here. For the former jazz record store in New Orleans, see Karnofsky Tailor Shop–House.

Morris dancing first appeared in England in the 15th century. Its earliest surviving mention dates to 1448 and records the payment of seven shillings to Morris dancers by the Goldsmiths' Company in London.[1] The term "Morris" comes from a Flemish form of "Moorish", although Morris dancing has no known historical connection to the Moors.


Three prominent groups organise and support Morris in England: Morris Ring,[2] Morris Federation[3] and Open Morris;[4] all three organisations have members from other countries as well.


There are around 150 Morris sides (or teams) in the United States.[5] English expatriates form a large part of the Morris tradition in Australia, Canada, New Zealand[6] and Hong Kong. There are relatively isolated groups in other countries, for example those in Utrecht and Helmond,[7] Netherlands; the Arctic Morris Group of Helsinki, Finland[8] and Stockholm, Sweden; as well as in Cyprus[9] and St Petersburg, Russia.[10]

Morris Men

Cambridge

Morris

Letchworth

Morris Men

Thaxted

East Surrey Morris Men

Greensleeves Morris Men (based in )

Wimbledon

Morris (which was not at the initial ring meeting at Thaxted but was influential in the creation of the Ring's constitution).[32]

Oxford

Cotswold Morris: dances from an area mostly in and Oxfordshire; an established misnomer, since the Cotswolds overlap this region only partially. Normally danced with handkerchiefs or sticks to accompany the hand movements. Dances are usually for 6 or 8 dancers, but solo and duo dances (known as single or double jigs) also occur.

Gloucestershire

North West Morris: more military in style and often processional, that developed out of the mills in the North-West of England in the 19th and early 20th centuries.

from the English-Welsh border: a simpler, looser, more vigorous style, occasionally danced with blackened or coloured faces.

Border Morris

from Yorkshire and southern County Durham, danced with long, rigid metal or wooden swords for, usually, six or eight dancers.[44]

Long Sword dance

from the Northumberland and Durham Coalfield, danced with short flexible sprung steel swords, usually for five dancers.

Rapper sword

from Cambridgeshire. Traditionally danced on Plough Monday, they were Feast dances that were danced to collect money during harsh winters. One of the dancers would be dressed as a woman, hence the name. Joseph Needham identified two separate families of Molly dances, one from three villages in the Cambridge area and one from two in the Ely area.

Molly dance

Ploughstots (alternatively Vessel Cupping and Plew-ladding) from the East and North ridings of Yorkshire, also danced on Plough Monday. The dancers often held "flags", used similarly to handkerchiefs in Cotswold and Border dances to emphasise hand movements, or rattling bones, rather than wearing bells but for the same purpose.

A similar Plough Monday tradition exists in the East Midlands; some of these dances involve swords, usually danced over in a similar manner to baccapipes jigs from Oxfordshire.

[45]

The role of the squire varies. In some sides the squire is the leader, who speaks for the side in public, usually leads or calls the dances, and often decides the programme for a performance. In other sides the squire is more an administrator, with the foreman taking the lead, and the dances called by any experienced dancer.

The foreman teaches and trains the dancers, and is responsible for the style and standard of the side's dancing. The foreman is often "active" with the "passive" dancers.

The bagman is traditionally the keeper of the bag—that is to say, the side's funds and equipment. In some sides today, the bagman acts as secretary (particularly bookings secretary) and there is often a separate treasurer.

On some sides a ragman manages and co-ordinates the team's kit or costume. This may include making bell-pads, ribbon bads, sashes and other accoutrements.

Like many activities, Morris dancing has a range of words and phrases that it uses in special ways.


Many participants refer to the world of Morris dancing as a whole as "the Morris".


A Morris troupe is usually referred to as a side or a team. The two terms are interchangeable. Despite the terminology, Morris dancing is hardly ever competitive.


A set (which can also be referred to as a side) is a number of dancers in a particular arrangement for a dance. Most Cotswold Morris dances are danced in a rectangular set of six dancers, and most Northwest dances in a rectangular set of eight; but there are many exceptions.


A jig is a dance performed by one (or sometimes two) dancers, rather than by a set. Its music does not usually have the rhythm implied by the word "jig" in other contexts.


The titles of officers vary from side to side, but most sides have at least the following:


Many sides have one or more fools. A fool is usually extravagantly dressed, and communicates directly with the audience in speech or mime. The fool often dances around and even through a dance without appearing really to be a part of it, but it takes a talented dancer to pull off such fooling while actually adding to and not distracting from the main dance set.


Many sides also have a beast: a dancer in a costume made to look like a real or mythical animal. Beasts mainly interact with the audience, particularly children. In some groups this dancer is called the hobby.


Most Cotswold dances alternate common figures (or just figures) with a distinctive figure (or chorus). The common figures are common to all (or some) dances in the tradition; the distinctive figure distinguishes that dance from others in the same tradition. Sometimes (particularly in corner dances) the choruses are not identical, but have their own sequence specific to the tradition. Nevertheless, something about the way the chorus is danced distinguishes that dance from others. Several traditions often have essentially the same dance, where the name, tune, and distinctive figure are the same or similar, but each tradition employs its common figures and style.


In England, an ale is a private party where a number of Morris sides get together and perform dances for their own enjoyment rather than for an audience. Food is usually supplied, and sometimes this is a formal meal known as a feast or ale-feast. Occasionally, an evening ale is combined with a day or weekend of dance, where all the invited sides tour the area and perform in public. In North America the term is widely used to describe a full weekend of dancing involving public performances and sometimes workshops. In the sixteenth to nineteenth centuries, the term "ale" referred to a church- or dale-sponsored event where ale or beer was sold to raise funds. Morris dancers were often employed at such events.

Evolution[edit]

Continuance of Morris tradition[edit]

The continuance of Morris is as much in the hands of independent groups of enthusiasts as it is in the nationwide groupings such as The Morris Ring or The Morris Federation. So while for some sides there is a feeling that the music and dance recorded in the 19th century should be maintained, there are others who freely reinterpret the music and dance to suit their abilities and including modern influences. In 2008 a front-page article in the Independent Magazine noted the rising influence of neopaganism within the modern Morris tradition.[61] The article featured the views of Neopagan sides Wolf's Head and Vixen Morris and Hunter's Moon Morris and contrasted them with those of the more traditional Long Man Morris Men. The Morris may have become popular in neopaganism thanks to the scholarship of James Frazer, who hypothesized that rural folk traditions were survivals of ancient pagan rituals. Though this view was fiercely criticized even by Frazer's contemporaries, it was fully embraced by Sir Edmund Chambers, one of the first to produce serious writing on English folk plays and dances, and who became a major influence on popular understanding of Morris dancing in the 20th century.[62]

The dance may have given name to the board games , six men's morris and nine men's morris.

three men's morris

a German sculptor, created 16 realistic animated wooden figures in the late 15th century called the Morris dancers.

Erasmus Grasser

Two ships named served in the Royal Navy in the 20th century.

Morris Dance

Forrest, John (1999). The History of Morris Dancing, 1458–1750. Cambridge: James Clarke & Co.

at Cecil Sharp House, London

The English Folk Dance and Song Society

The Morris & Sword: Dances of England