The Morris Book Part 1 A History Of Morris Dancing With A Descr

Chapter 4

Chapter 42,815 wordsPublic domain

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.

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.

Bar 1.--Dib all together at beginning and half-bar, as shown in music ([small box]).

Bar 2.--Remain stooped; at beginning of bar, pairs tap sticks across--odd numbers tapping even numbers. Hold sticks crossed as they were tapped for remainder of bar.

Bar 3.--Dibbing, as in bar 1.

Bar 4.--Beginning, partners tap across; half-bar, No. 1 taps No. 3.

Bar 5.--Beginning, No. 3 taps No. 5; half-bar, No. 5 taps No. 6.

Bar 6 (9/8 time).--Beginning, No. 6 taps No. 4; second beat, No. 4 taps No. 2; third beat, partners tap across, as in bar 2.

In remaining six bars of "B," repeat dibbing and tapping as in the first six bars.

In the notation of "Bean-setting" (p. 61), the term "Dibbing" will be used to denote all the actions, here explained in detail, that go to the music of "B."

COUNTRY GARDENS (HANDKERCHIEF DANCE).

In the hand-striking figure of this dance (for hand-strokes, _see_ mark O in "B" music) there are four movements, as follows:--

Each dancer strikes both hands together. This is called in the Notation that follows--b.

Each, with the right hand, strikes the right hand of partner. This is marked in the Notation--r.

Each, with the left hand, strikes the left hand of partner. This is marked in Notation--l.

Each throws up hands. This is marked in Notation--u.

In striking, handkerchiefs are held bunched together in the hands.

CONSTANT BILLY (STICK DANCE).

In this, sticks are held and used, both in the "A" and "B" music, as explained in "Rigs o' Marlow" (_see_ p. 55).

Stick-tapping in "B" music is done according to the following diagram: signs, &c., to be read as in diagrams for "Rigs o' Marlow" (_see_ X in music). The beats whereon stick-tappings occur are written in diagram as b. (bar); and h.-b. (half-bar).

In the first bar of "B" music, at half-bar, No. 1, with top end, taps butt of No. 2. In the second bar, at half-bar, No. 2, with top end, taps butt of No. 1. In the third bar, at half-bar, No. 1 taps No. 2 as in first bar. In the fourth bar, No. 1, at the beginning, with the butt, taps No. 2's top end; and at half-bar, No. 1, with top, taps top end of No. 2, thus:--

The steps are the same for all. When tapping is continued (_see_ Notation) for eight bars, then, in the last four, all start on the left foot, and step thus: L.L.R.R.L.L.R.L. Tapping is the same in first and second four bars.

In tapping, of course, odd numbers do as No. 1 in diagram, even numbers as No. 2.

RIGS O' MARLOW (STICK DANCE).

In this the sticks are held throughout by the middle, in the manner explained (_see_ p. 60). In all single-tapping passages, to "A" music, sticks are held slanting upward, like a single-stick, but with the upper arm close to the body. In Column formation, odd numbers--that is, leading file--hold the forearm to rightward; even numbers--right file--hold the forearm across the body, so that the sticks cross between files, ready for tapping. Leading file always taps the other file, which holds the sticks firm.

In the double-tapping, to "B" music, sticks are held in the middle, hand below stick, which is now held straight, parallel with the ground, advanced towards partner, and raised about as high as the neck.

The following diagram will show how sticks are tapped in this movement. Angles and numbers, as in p. 54, &c., represent the leader and partner, Nos. 1 and 2: the other pairs, of course, tap precisely as these two, odd and even numbers respectively.

The arrows between angles represent sticks. As tapping has now to be done with both ends of the sticks, these are shown in this way. The barbed end is the top, the feather the butt-end. The top is held always to the right--butt, or barb, to leftward of each dancer. The tapping will be shown bar by bar. The steps shown apply to _all_ the dancers.

In the first bar of "B" music, No. 1, with top end, taps the butt of No. 2, on beats 3 and 4, thus:--

In the second bar of "B" music, No. 2, with top end, taps the butt of No. 1, on beats 3 and 4, thus:--

In the third bar of "B" music, No. 1 taps No. 2 precisely as in bar 1. Same step.

In the fourth bar of "B" music, No. 1 taps No. 2 on every beat, as follows:

First beat, No. 1, with butt end, taps No. 2 on top end. Second beat, with top end, taps butt. Third beat, with butt, taps top. Fourth beat, with top end, taps top of No. 2. Thus:--

This double-tapping looks complicated, both in dance and diagram, but is really very simple. A few hints upon the most difficult bar, the fourth, will explain the whole. In this, on beat 1, No. 1, to tap with his butt the top of No. 2's stick, raises the wrist and hand till the stick is above and at right-angles to No. 2's, then thrusts outward till his butt strikes No. 2's top. On beat 2, No. 1 lowers his hand, keeping the stick perpendicular, moves hand to right and taps his top on No. 2's butt. Beat 3 is as beat 1; on beat 4, No. 1 simply lowers hand and taps No. 2 on his right, or top end. This explains all the taps that occur.

For the method, which is invariable, except where specially stated, of holding the stick (_see_ p. 60).

In the second four bars of "B," double-tapping and steps are repeated precisely as in first four bars; and throughout the dance it is the same to "B" music, four bars of double-tapping, repeated, up to the call "All in."

BLUFF KING HAL.

In this the step is 4/3 throughout. It should be danced something after the fashion of "Morris-Off," but not quite so soberly; yet the step is less vigorous than the normal Morris step. Like "Morris-Off" it has, what with its length and staid monotony, a quaintness all its own. To teach and to learn the right way of dancing "Bluff King Hal" is more a matter of drill and precision than lusty _abandon_: it must be danced evenly, seriously almost, and quite quietly, or its true effect will be marred or lost.

The music is marked _ad libitum_: the musician simply brings his labours to an end in whichsoever section he shall hear the warning call of "All in." Even the Morris-men themselves do not invariably go through all the movements. These instructions are given in order that, should audience or dancers weary of the exercise, it can be curtailed. Where we have taught the dance to novices, we have found, at first, curtailment to be advisable, for the length and monotony of it palled. Later, however, when the learners had mastered its curious intricacies, we found no weariness amongst them, but a constant demand for every single movement to be performed in its traditional completeness, and over and over again, as long as we chose to play it. We shall therefore describe it here at length, and leave it to the tact and discretion of the teacher where and when and to what extent it shall upon occasion be abbreviated. The files should stand as in Corner Dances--about twelve feet apart.

HOW D'YE DO (CORNER DANCE).

This dance, as will be clearly seen from the Notation (_see_ p. 75), serves as illustration of the national method of settling quarrels--by a bout of fisticuffs. All the dances are typical of the race; this one is of course singularly so. Where boys are found disposed to look favourably upon the Morris dance, "How d'ye do" may be recommended as the very best to encourage the tendency in them. There is a spice of wholesome rowdiness in the spirit of the dance that will not fail to make itself known and beloved of boys. Besides, the shaking of hands before the fight, the squaring-up for war, and the reconciliation, can only be given the right robustious ring and defiance by the fighting sex. Another most engaging feature of "How d'ye do," is that the notes fitting these words, as will be found, are sung in every instance by the dancers, before, during and after the encounter. There is plenty of room, there, for a different sounding of the phrase: for making it ring of challenge, and strife, and victory--also of honourable defeat, after lusty strokes have been dealt and taken: the next best thing to a win--sometimes even a better thing.

The following instructions for the dancing of "How d'ye do" must be noted in connection with the Notation (_see_ p. 75).

The phrase "How d'ye do" is always sung, by all the couples, as marked and played in music "B." Opposite pairs advance as shown. They should meet together in the centre on the word "do," and shake hands, or square up for the fight, according to instructions.

Having joined hands, or squared, and paused in the centre, the first two pairs (Nos. 1 and 6, and 2 and 5) break away immediately after pause, and back briskly to their places, making room for the next pair. There is no changing of corners in this dance.

The last pair (Nos. 3 and 4) remain in position, holding hands or squaring up, during pause in music, and still remain in the attitude while bars 4 and 5 of "B" are played. During these bars all the other dancers stand still.

When the music strikes into "A" section, all take part according to instructions. Nos. 8 and 4 loose or lower hands immediately the "A" music starts, and take their place and part with the others.

SHEPHERD'S HEY.

STICK-TAPPING.

In this, the sticks are held in the fist, up and slanting outward, the top as high as the head. Partners cross sticks, leading file (Nos. 1, 3, and 5) holding to the right of even numbers. The tapping (or clashing, rather, for here the sticks are loudly clashed together) is done on first three beats of bars 1 and 2, and 5 and 6 of "B" music (_see_ mark X). Partners strike each other's sticks, right, left, right, according to position, in the manner of sham fencing--the manner of brigands in pantomime.

While the tapping is being done all stand fast, not moving the feet at all. When the six taps are finished, in bars 1 and 2, 5 and 6, the sticks are held crossed and in position; and in bars 3 and 4, 7 and 8 all break into 4/3 step, and keep it up throughout those bars. The movement sounds absurdly simple: so it is, but if done with precision the effect is at once quaint and stirring.

HAND-CLAPPING.

This is done with the naked hands, handkerchiefs hanging loose from middle fingers; and dancers should clap hands as loudly as ever they can. Each dancer claps hands and knees in a number of different ways, according to explanation and diagram which follow. All stand fast while clapping, not moving the feet.

Each individual dancer-- Claps his hands together before him: Shown thus in diagram which follows b. Or slaps right knee with right hand r.k. Or slaps left knee with left hand l.k. Or raises right knee and claps hands under it un.r. Or raises left knee and claps hands under it un.l. Or claps both hands together, behind him b.beh.

Hand-clapping in last four bars of "B" music is a repetition of clapping in first four bars, as shown in diagram. Therefore in the Notation of this dance (p. 77) the term "Hand-clapping" means clapping as shown above, and the same repeated.

ON HOLDING STICKS.

Unless specially instructed otherwise, the stick is held, whether at the end or middle, as follows. It must be grasped much as a penholder should be; that is, lying in the hollow at the base of the thumb, supported by the second finger, and with the forefinger and thumb meeting together above it, to hold it in place.

NOTATION.