The Morris Book written by Cecil J. Sharp
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Cecil J. Sharp >> The Morris Book
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In the high step, used chiefly in the figures called "Capers" (_see_ p.
50), the dancer must, if his activity will allow of it, raise the forward
foot until its toe is as high as the knee of the rear or supporting leg.
It is an exercise not to be attempted all at once in its completeness,
because it is one well calculated to send the inexperienced enthusiast
sprawling on his back. Its study should be approached gently, by way of
familiarity with the simpler movement, which, once it is mastered, may
easily be extended to the harder one. The latter must be approached with
caution--that is all. And the novice is to bear constantly in mind that,
in the matter of vigour, he simply cannot put too much of it into his
Capers. There will be little trouble about his remembering that, however;
the Morris Caper-music will not let him forget it for a moment.
This step is called in the Notation--High.
It has always to be remembered that in Morris dancing, unless definite
instructions be given to the contrary, every movement or part of a
movement is begun by stepping out with the right foot.
DIAGRAMS OF MORRIS STEPS.
WITH NOTATION MARKS ADDED.
Steps used in 4-time music (whether simple or compound). The letters R
and L signify right or left foot.
[Illustration: BEATS 1 2 3 4
STEPS R L R L]
This is called in the Notation--4/1.
[Illustration: BEATS 1 2 3 4 1 2 3 4
STEPS R R L L R R L L]
This is called in the Notation--4/2.
[Illustration: BEATS 1 2 3 4 1 2 3 4
STEPS R L R R L R L L]
This is called in the Notation--4/3.
[Illustration: BEATS 1 2 3 4 1 2 3 4
STEPS R R R R L L L L]
This is called in the Notation--4/4.
STEPS USED IN 6-TIME (i.e., COMPOUND 2).
WITH NOTATION MARKS ADDED.
[Illustration: BEATS 1 2 3 4 5 6 1 2 3 4 5 6
STEPS R L R L]
This is called in the Notation--6/1.
[Illustration: BEATS 1 2 3 4 5 6 1 2 3 4 5 6
STEPS R R L L R R L L]
This is called in the Notation--6/2.
[Illustration: BEATS 1 2 3 4 5 6 1 2 3 4 5 6
STEPS R L R R L R L L]
This is called in the Notation--6/3.
These steps are perfectly simple, and all but one may be learned at a
glance, even by one who has no knowledge of music, for such a one has
only to keep his eye upon the beats, which give the rhythm.
The exception--the only one that presents a difficulty at first--is the
one marked 4/3 and 6/3, these two being one, since only the time differs;
the feet step the same in each. A hint will make this step come as easily
as the rest. Let the beginner in temporary difficulty with it bethink
himself of the polka-step; sing a stave of the polka, and dance round the
room to it. He will find that his feet are stepping exactly in order of
the Morris 4/3 and 6/3 step--left, right, left, hop-left; right, left,
right, hop-right, and so on. Now, all he has to do in order to adapt the
polka to the Morris four-time step of 4/3 is, firstly to manage his feet
as described, then to make the hop at end of each bar of the polka not as
it were a dotted note, but in even measure with the other beats: for the
last step of each bar to Morris four-time music is a hop, as in the
polka, but in even time and in the Morris fashion.
Now, having adapted the polka step to the Morris 4/3, let the learner
simply count six to the bar and step to it in exactly the same way. He
will find, given just an average ear for rhythm, that he will soon be
dancing thus, counting as he
1 2 3 4 5 6
dances--1, 2, 3, 4, 5, 6--Right--left, Right--right;
1 2 3 4 5 6
Left--right, Left--left.
Having mastered these, one last instruction may be given. The 4/3 Morris
step is occasionally varied, so as to make it exactly like the
polka-step--that is, with the final hop danced like a dotted note; like a
quaver, if the music be in common time. This is a variation practised
occasionally by the Morris men themselves, and the enthusiastic amateur
will find himself dropping into it occasionally, following his
enthusiastic leader. No instructions for this changing of the step will
be given in the Notation, for it cannot be specified. The whole side will
fall into it naturally, upon occasion: for instance, where there is a
long stretch of the step, danced in one position, couples facing, arms
swinging and handkerchiefs waving, as in "Blue-eyed Stranger." This is
fairly intoxicating to the dancer, and here the hop will often suggest
itself. And again, in hurrying, if one gets left behind a pace, as, for
instance, in the Chain. But to hop, or not to hop, unevenly in the 4/3
step, that is a matter that will be easily arranged by the spirit of the
dancers and the discretion of their leader. We desire merely to indicate
a rule that, upon occasion, may be agreeably infringed.
POSITIONS, AND CHANGE OF POSITION.
The Morris side, when in position for dancing, stands in, or returns to,
the positions as shown hereunder. The only exception to these is the
Ring, as explained below.
POSITION 1 (COLUMN). POSITION 2 (Front).
^ ^
1 2 1> <2
^ ^
3 4 3> <4
^ ^
5 6 5> <6
Thus the six stand in two parallel lines of three each. The top, as the
rule is in dancing, is set towards the music. The angles represent the
dancers: the apex of each angle points as the dancer's face is turned;
the numbers within the angles will be used throughout in describing
movements of individual dancers.
The dancer at the top left-hand corner, No. 1, is _invariably_ the leader
of the side. No figure is completed, and no dance can end, until No. 1
has returned to his place at the top left-hand corner.
It is the duty and privilege of No. 1 to call loudly and clearly the name
of each figure or part of a figure as each falls due for
performance--"Corners," "Chain," "Back-to-back," and so forth, and to
announce the end of the dance by the call of "All in."
In Position 1, or Column, the dancers stand in two files, and all face
the same way.
This is called in the Notation--Column, or Col.
In Position 2, or Front, the dancers are turned inward, and face each
other in pairs.
This is called in the Notation--Front, or Fr.
The change of position, from Column to Front, or _vice versa_, whether
made by jumping or by stepping to measure, is executed invariably thus:--
To change Column to Front the dancers turn inward. Thus, in Position 1,
Nos. 1, 3, and 5 make a half-turn to the right; Nos. 2, 4, and 6 make a
half-turn to the left.
To change Front to Column, in Position 2, Nos. 1, 3, and 5 will make a
half-turn to the left; Nos. 2, 4, and 6 a half-turn to the right.
In changing from Column to Front when the column is reversed--that is,
the dancers having their backs to the music--the half-turns as given
above will be reversed also.
As for the distance to be maintained between individual dancers, whether
in Column or Front, the files (i.e., odd and even numbers) should stand
so far apart that, when arms are extended, the hands of each will overlap
his neighbour's hands.
The distance between the files will vary according to the nature of the
dance. In the Stick and Handkerchief dances, pairs (Nos. 1 and 2, &c.)
stand near enough to clap hands or tap sticks with each other. In the
Corner dances, as will readily be seen from the descriptions and
Notation, the files must be well apart to give plenty of room for the
necessary movements. The right distance will easily be found; roughly,
the side should form a square measuring some twelve feet each way.
In the Notation, the term "Partners" is used to denote the pairs as they
stand fronting or abreast, Nos. 1 and 2, 3 and 4, 5 and 6.
The term "Opposites" is used in referring to couples when they must
change places, or re-change, as in Corners and Capers, Nos. 1 and 6, 2
and 5, 3 and 4. The latter couple, the centres, it will be noticed, will
have both terms applied to them, according as the movement described is
Corners or Capers, or another, such as hand-striking.
In some dances, as, for instance, in "Bean-setting," the side forms a
ring, and many dances end in this formation. Instructions for this, as
and where it occurs, will be found in the Notation, and will be marked
under Formation, thus:--Ring.
EVOLUTIONS.
Here follows a detailed description, with diagrams, of the various
evolutions necessary to the dances which we have embodied in this series;
to each evolution a Notation word is attached.
The best way for a teacher who has never seen the dances performed, yet
wants to teach them from the book, is to study the diagrams and learn by
heart the Notation word for each. He should then stand a side upon the
floor, make them go through the evolutions by word of command, or
Notation word, slowly, as described; counting the beats, but without
music.
This manner of beginning is advised only when the teacher has nothing but
the book for guide: where an experienced dancer is available we have
found it best for the novices to set to at once upon the dance; the
practised one showing steps, evolutions, &c, as they occur.
DOWN-AND-BACK; AND UP-AND-BACK.
This movement occurs at the beginning of so many dances that to simplify
matters it will be described here, and symbols will be attached to the
description and used in the Notation. The movement is executed as
follows:
The side stands in Column, and starts by advancing for the first two
bars, and retiring for the second two bars. Each file advances and
retires its own length; that is, Nos. 1 and 2 will move ahead, the others
following, until Nos. 3 and 6 have come to the places of Nos. 1 and 2; in
the next two bars all get back to position.
The two bars' advance is made always according to the time of the music,
either at 4/3 or 6/3 step: the two bars' retiring is always made at 4/2
or 6/2 step (_see_ p. 48).
The whole movement is made in eight bars. In one dance, the second four
bars are danced the same way as the first four; but in all the others the
Column is reversed at the end of the first four bars. The two ways of
executing the movement will be marked in the Notation as follows:
When the side is to advance and retire twice, without reversing at end of
fourth bar, and is to form Front at the end of bar 8, this will be marked
in the Notation, so:
MUSIC. | MOVEMENTS. | FORMATION.
| |
A. | Down-and-back twice, then j. | Col. to Fr.
| (Forming Fr.) |
When the side is to advance and retire, reversing position at beginning
of fifth bar, and in bars 5 to 8 facing the opposite way, then at end of
bar 8 forming Front, this will be found marked in the Notation, so:
MUSIC. | MOVEMENTS. | FORMATION.
| |
A. | Down-and-back, Ju. | Column.
| Up-and-back, j. (forming Fr.) | Col. to Fr.
THE CHAIN.
This movement is also completed in eight bars.
In the following diagram (Figs. 1, 2, and 3) the movements of the leading
three, Nos. 1, 3, and 5, are shown separately to avoid confusion.
To begin the Chain the side stands in Column (_see_ p. 48). No. 1 turns
_outward_, that is, to the left, and goes forward in an S-shaped double
curve as shown, passing in the middle of the curve the place of No. 3,
and finishing in the place of No. 5.
No. 3 starts out to rightward, and goes in a circle, in the second half
of which he is following the first half of No. 1's track.
No. 5 starts to leftward, making a double curve as No. 1, but opposite,
passing in the middle of it the place of No. 3, and finishing in the
place of No. 1.
[Illustration: Fig. 1.]
[Illustration: Fig. 2.]
[Illustration: Fig. 3.]
Therefore, No. 8 follows No. 1, and No. 5 follows No. 3 round the track
of an imaginary figure 8, or double circle, for that is the shape of the
completed movement. Thus:
[Illustration: Fig. 4.]
[Illustration: Fig. 5.]
[NOTE.--At middle and completion of Chain, all turn inward, as shown in
Fig. 5, and face partners as they jump (_see_ p. 48).]
At the end of the second bar, No. 5 should be at No. 3's place, in the
centre of the figure; No. 1 should have already passed it, and No. 3 be
coming to it, so that No. 5 passes between Nos. 1 and 3. In second half
of Chain, same positions are to be observed.
In the second four bars, for completion of the Chain, the movements
already described are simply reversed. As No. 1 is always leader (_see_
p. 38), and must turn outward and be followed by Nos. 3 and 5 on the
lines of the figure 8, he must now return to his station along the double
curve travelled in the first four bars by No. 5. No. 3 must follow No. 1
in the other circle of the 8, and No. 5 must get back to his station
along the double curve travelled in the first four bars by No. 1. Thus:
[Illustration: Fig. 6.]
[Illustration: Fig. 7.]
The Chain is danced by Nos. 2, 4, and 6 precisely in the same way: No. 2
is always leader; always turns _outward_; and Nos. 4 and 6 always follow
No. 2 on the lines of the double curve, or figure 8. No. 6, as No. 5,
passes between Nos. 2 and 4, in chaining.
Occasionally, as for instance in "Country Gardens," the term "Half-chain"
will be found. This means that the movement shown in Fig. 4 is executed
to four bars of music; another movement follows; then "Half-chain" again,
bringing numbers back to original stations.
If, as very often occurs, the Chain follows a movement executed in Front
formation, the dancers simply turn and follow one another as shown in
diagrams, when the Chain music begins.
This is called in the Notation--Chain.
CROSS-OVER.
This movement is executed in Front formation, to eight bars of music, as
follows:
In the first two bars each dancer crosses over and takes the place of his
partner, setting the pairs back to back, thus:
[Illustration: Fig. 1.]
[Illustration: Fig. 2.]
In crossing and re-crossing, _invariably_, each must keep his partner to
the right, that is, the right shoulder of each passes by the right
shoulder of each partner.
In bars 3 and 4 (keeping up the step all the time) all come to the
right-about, that is, face inward again, by turning to the rightward
(maintaining position all the time), thus:
[Illustration: Fig. 3.]
[Illustration: Fig. 4.]
In bars 5 and 6 all cross over again, right shoulder to right shoulder,
bringing the side back to back and in original stations.
In bars 7 and 8 all make a full turn to the right (as in Fig. 3) bringing
the side again to Front.
As there are two bars to turn in after crossing over, and again after
re-crossing, the dancer must, of course, turn slowly and evenly, so that
the turn is completed just in time for the jump in bars 4 and 8.
This is called in the Notation--Cross-over.
BACK-TO-BACK.
As with the Cross-over, this movement is completed in eight bars.
In the first four bars partners advance, right shoulder to right
shoulder, but not touching, pass one another, move to the right, re-pass
partners (left shoulder to left shoulder), and retire to position, moving
backwards. Thus:
[Illustration: Fig. 1.]
In bars 4 to 8 partners advance, left shoulder to left shoulder, pass,
move to the left, retire backwards, re-passing right shoulder to right
shoulder, and so to original station. Thus:
[Illustration: Fig. 2.]
This is called in the Notation--Back-to-back.
GO-AND-COME.
This is a form of the Cross-over, but made without turning. It is
executed in Front formation, to eight bars of music. In the first two
bars partners cross exactly as in the Cross-over--right shoulder to right
shoulder. In bars 3 and 4, instead of turning, retire backwards in the
line they crossed--right shoulder to right shoulder. In bars 5 and 6 they
cross again, but left shoulder to left shoulder, and in bars 7 and 8
retire on the same line--left to left again.
This is called in the Notation--Go-and-Come.
THE RING.
In this, wherever it occurs, partners simply alter positions so that the
whole side forms a ring, or circle. It is sometimes used at the finish of
a dance; and in "Bean-setting" it occurs at the beginning. (_See_
diagrams, p. 51.)
This is called in the Notation--Ring.
STEPS IN FOREGOING EVOLUTIONS.
Unless special instructions are given to the contrary, the step used in
bars 1 and 2 of "Chain," "Cross-over," "Back-to-back" and "Go-and-come,"
is always 4/3 or 6/3, according to time, and 4/2 or 6/2 in bars 3 and 4;
likewise, 4/3 or 6/3 in bars 5 and 6, and 4/2 or 6/2 in bars 7 and 8.
THE JUMP.
The manner of the Jump has been described already (_see_ p. 33). It
remains to tell of the different ways in which the movement is employed,
and to assign to each a Notation number.
The Jump is used in two ways only, as follows:--
1. In position. That is, the dancer jumps where he stands, without
changing front.
This is called in the Notation--Ju.
2. To make a half-turn. That is, in military phrase, to make a
"half-right--or left--turn."
This is called in the Notation--j.
For direction--to left or right--of turning, _see_ instructions under
"Positions, and change of position."
The following rules as to the Jump apply to Handkerchief and Corner
dances, and are invariable. In Stick dances tapping to a great extent
takes the place of jumping, but in these, where the Jump is to be used,
it will be found marked in the Notation. Movements of the hands, which
invariably go with the Jump, will be found under heading "The Hands."
The first general rule is this: Every dancer whose turn it is to execute
any movement whatsoever, must jump on last half-bar before that movement
begins. This applies, as the case may be, to the whole side, or to any
pair of opposites about to execute any figure or movement.
For instance, the whole side is to dance Down-and-back and Up-and-back,
so on last half-bar of "Once to Yourself," the whole side jumps
together--then starts the figure. Also in all figures executed by the
whole side in common--in "Chain," "Cross-over," "Back-to-back,"
"Go-and-come"--all jump together on last half-bar before the figure
begins.
It is the same with pairs or opposites. In Corners and Capers each pair
whose turn it is to dance together jump on last half-bar before they
begin. As each pair finishes the next must be ready to jump on last
half-bar before their turn. So with the third pair; and as they finish,
and the whole side takes up the next figure in common, then the whole
side jumps together on last half-bar.
So much for the Jump as an invariable preliminary to all figures in the
Stick and Handkerchief dances. We come now to the Jump as made at the
middle and end of figures.
In the first place there are the figures executed by the whole side in
common.
All, then, having jumped on last half-bar before the figure is begun,
jump also at middle and end of the figure as follows:--
In "Down-and-back," Ju., "Up-and-back," j. (forming Fr.), _see_ Notation,
the side goes forward and back as described (_see_ p. 40) for four bars;
jumps together on half-bar of bar 4, still facing in the same direction.
That completes "Down-and-back," Ju. Then, instantly, they all make a
complete turn to the right--right-about--dance as before in bars 5 to 8,
and on last half-bar of bar 8 all jump, and as they jump make a half-turn
inward. That completes "Up-and-back," j. (forming Fr.).
The Chain, though it is executed in Column formation, follows upon a
figure executed in Front. So the preliminary jump, before beginning
Chain, is made Front; files make half-Chain, end numbers change places,
and at half-bar of bar 4, all jump, j., in a half-turn to Front; then
complete Chain and jump to Front again, j., on last half-bar of bar 8.
In "Cross-over," "Back-to-back," "Go-and-come," all executed in Front
formation, the whole side jumps in position, Ju., at half-bar in bars 4
and 8.
In Corners and Capers, _wherever opposites change places_, the rule is
that they jump on last half-bar, as they finish their part in the
figure--that is, as they complete the movement of changing or re-changing
places.
In "Blue-eyed Stranger," where the whole side dances in position for
eight bars, all jump at half-bar in bar 8. Should the side elect to keep
up the step for sixteen bars (_see_ p. 50), then all jump at half-bar in
bar 16.
In "Bluff King Hal" and "Morris Off," there is no Jump at all.
THE HANDS.
The movements of the hands are made invariably according to rule, as
follows:--
These rules apply, as with the Jump, to all Handkerchief and Corner
dances.
In making the Jump, the hands are always, with rigid arms, thrown above
the head.
In "Down-and-back" and "Up-and-back," "Chain," "Cross-over,"
"Back-to-back," "Go-and-come," movements of the hands are always the
same. That is: Commencing with the preliminary Jump, when the hands are
above the head, on beginning of first bar, with first step (of 4/3 or 6/3
step), hands are swung backward; forward on half-bar; back again,
beginning of bar 2, and forward on half-bar of bar 2. In bar 3 (4/2 or
6/2 step) the hands, being already upward and forward, are swung twice in
a circle, commencing inward, so that the handkerchiefs are waved in a
double circle over the head. At beginning of bar 4 the hands are lowered
straight in line with the body, and at half-bar of bar 4, with the Jump,
they are thrown straight above the head on rigid arms.
These movements of the hands are always the same in every Handkerchief
and Corner dance. Whenever the 4/3 or 6/3 step is used the hands are
swung as already described. Also, wherever there are the two bars of 4/2
or 6/2 step, the hands are also used as already described--double circle
overhead; down, and up on the Jump.
In Capers, wherever the 4/1 or 6/1 High Step is used, the hands are swung
backward on beginning of bar, forward and upward on half-bar; and this
movement is continued all the time the High Step (4/1 or 6/1) is used.
The arms in all these movements described, should really be swung as far,
both backward and forward, as possible. The Morris-men themselves swing
the arms behind to an angle of 45 degrees or so; but in the forward swing
their hands are raised forward and a little higher than the head, on arms
slightly bent at the elbows.
THE CALL.
In the Notation it will be seen that at the end of some dances the side
is instructed to "Call." This means that on last half-bar all raise their
voices on a high-note "Ah!" something after the manner of Scottish
dancers, though the Morris "Call" is less of a war-whoop and more of a
lusty shout.
LENGTH OF DANCES.
It must always be remembered that the Morris-men themselves vary the
length of their dances, according to the humour of the moment, and their
freshness or fatigue. A dance can always be shortened by leaving out one
or more figures: the musician will know what to do by the call of the
leader.
In "Blue-eyed Stranger," for instance, if the side is feeling
particularly high-spirited, the whole sixteen bars of "B" music may be
danced; but as a rule this will be found too long. Again, to extend "Rigs
o' Marlow" (another trying dance) the music may be played four times
instead of three, when Back-to-back will be danced to "A" music. "Bluff
King Hal," danced to its full length as shown in the Notation, will as a
general rule also be found too long. It can easily be shortened by
leaving out repetitions or certain figures. In brief, once the dances are
learned it is a very simple matter, and quite according to tradition, to
lengthen or abbreviate them in any way desired.
SPECIAL INSTRUCTIONS FOR VARIOUS DANCES.
BEAN-SETTING (STICK DANCE).
TO FORM RING.
This is the only one of those dances we have described that begins with
the Ring. The side starts in Column. To form Ring, Nos. 3 and 4 move a
little outward from the line as "A" music begins. Then all dance in Ring
formation to the right (_see_ Fig. 1) until, at the beginning of bar 4,
all opposites have changed places: that is, Nos. 1 and 6 are each in the
other's position, Nos. 3 and 4, 2 and 5 have also changed. In bar 4,
files close in slightly, j. (_i.e._, form Column), and tap sticks across
on half-bar of bar 4. In remaining four bars of "A" music form Ring
again, and all return to position as they came (_see_ Fig. 2). At
half-bar in bar 8, all j. (forming Column), and partners tap sticks
across.
[Illustration: Fig. 1.]
[Illustration: Fig. 2.]
DIBBING.
This is the term used in the dance, as it is used in field and garden
work, for making a hole with a dib, or dibber, in the soil, into which
the seed is dropped. The dance, of course, represents the setting of
beans--more truly and largely, the sowing of the seed in springtime.
In dibbing (_see_ [small box] in music) all stoop well forward, holding the
right hands outward, with sticks pointing to the ground. The act of
dibbing consists in thumping the stick firmly on the floor and at once
lifting it again.
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