Origens????
2007
Costume
Steves Photos
Officers
Links
History
Dance Summary
Bromsberrow Heath
Brimfield
Clee Hill
Evesham
Leominster Dilwyn
Much Wenlock
Pershore Dances
Upton Dances
Upton Snodsbury
White Ladies Aston
* Many theories have been proposed as to the origins of the Morris. The commonest theory is that it is a remnant of pre-Christian druidical fertility rites, and used to be danced in midwinter to ensure the return of the sun after the winter solstice and in spring to ensure that the corn fields would grow and flourish. There are many factors which appear to prove this theory:
1. To this day the Morris is still traditionally performed at Christmas time, and at dawn on May 1st.
2. The connection between fertility and the long, thick and hard sticks used by Morris dancers is obvious.
3. There continues to be an unshakeable association between the Morris and the mighty Barleycorn (in the form of partaking of the fermented extract thereof).
4. Because the Morris has continued to be danced throughout the centuries, the sun has continued to return every spring, and the corn harvest to thrive every summer. That the sun has returned and the corn grown every year is beyond doubt, so this is regarded as the most incontrovertible proof of the power of the Morris.
* Another theory has it that Morris dancing was in fact only invented recently by a certain Cecil Sharp, Esq., on Boxing Day 1899, when he came across a group of itinerant quarrymen, and taught them a some simple exercises to help them keep warm.
* However, recent research has revealed the true origins of the Morris dance. It is now accepted that Border Morris, which comes from the English counties along the border between England and Wales, is in fact the oldest form. It is also the simplest and most violent, involving loud yells and beating the hell out of each other with stout sticks. It derives from a ritual display as performed by the English when any Welshmen dared to venture across the border. The English, being in those days by nature xenophobic, devised the dance to illustrate to the Welshmen what they should expect if they were to venture any further. This can be compared with the posturing of other species of wild animals, in which the animals rarely actually fight with each other, but simply try to frighten each other off by putting on the fiercest display. This also explains the outlandish appearance of Border Morris dancers, and the blacked faces used as a disguise to make themselves harder to recognise at any subsequent police identity parade.
* The reason that the Morris developed along the Welsh border first, rather than the Scottish border, was simply that it was not necessary because of Hadrian's Wall. However as the wall fell into disrepair, the Morris also developed in the north of England to compensate, but being developed later, was somewhat more subtle. The warning to potential invaders from Scotland wearing kilts is obvious when you consider that Morris dancing in the north is either performed in heavy wooden clogs involving a lot of high kicking, or involves the use of swords. These days, Morris dancing is still uniquely English, but is now performed to entertain rather than to frighten.
* Having started from humble beginnings in 1991, the Hook Eagle Morris Men perform dances in the Border Morris style, and have had such meteoric success that we are now universally regarded as being simply the best men's Border Morris side in all Hampshire. By a strange twist of coincidences, we are also the only men's Border Morris side in all Hampshire.
Christmas 2007 Tour – the 34th!
December 07
Practice at the Bell with a New Landlord... who was as accommodating as Jo,. Over 40 men attending and all our dances practiced. One of men having overpracticed his lifting arm was later banned from the Dragon.
Tour was perhaps our largest with over 50 men attending and some times over 30 dancing, with I think four sets dancing Upton at Upton . Wilf again elected Squire in perhaps our shortest AGM at the Angel in Pershore. My grandson Josh was amongst nine new men to kiss the fish. We reverted back to Worcester tour and were duly rewarded with a down pour of rain soon after starting to dance in Worcester. We found it dry enough in the Plough in Deansway... though some lightweights made their way to drink German Lager in the Cardinals Hat.
Performance Day Saturday 22nd December
All you need to know about the 2007 Tour of the Original
Welsh Border Morris!
1. Tour details:
Fox Inn, Wichenford arrive 0800 depart 0900
White Ladies Aston arrive 0945 depart 1015
Pershore arrive 1030 depart 1230
Upton-upon-Severn arrive 1300 depart 1400
Worcester arrive 1500 depart 1645
Fox Inn arrive 1700
• Black face,
• White shirt with rags or ribbons,
• Black breeches,
• Brown wool stockings,
• Black shoes
• Dark (undecorated) trilby hat.
• The final arrangement was that the ribbons
would be 18 in number, each 1.5 inches by 12 inches.
• A turquoise sash and bellpads were added, and there is no stipulation on which shoulder the sash will be worn."
(From Scrap Book)
John Barker, Dave Jones, Bernie Smart, John Aston, Ian Garbutt,
Andrew Watson, Steve Vigurs, Stan Kilby, Nick Oliver, Gael Turnbull
Officers
YEAR, SQUIRES, BAGMEN, FOREMEN
1973, John Aston Steve Vigurs, John Barker & Dave Jones
1974, Richard Lewis, Steve Vigurs, John Barker & Dave Jones
1975, Richard Lewis, Steve Vigurs, John Barker & Dave Jones
1976, Nick Oliver, Keith Francis, John Barker & Dave Jones
1977, Nick Oliver, Keith Francis, John Barker & Dave Jones
1978, Gael Turnbull, Keith Francis, The Officers & Dave Jones
1979, Gael Turnbull, John Williams, As above
1980, Richard Sinclair, John Williams, As above
1981, Richard Sinclair, John Williams, As above
1982, Richard Sinclair, John Williams, As above
1983, Richard Sinclair, John Williams, As above
1984, Dean Clarke, Richard Sinclair, As above
1985, Dean Clarke, Richard Sinclair, Gael Turnbull
1987, Les Freeman, Dean Clarke, Richard Sinclair
1988, Les Freeman, Dean Clarke , Richard Sinclair
1989, John Whitaker, Chris Stringer, Richard Sinclair
1990, John Whitaker, Chris Stringer , Richard Sinclair
1991, Chris Stringer, Richard Hannah, Richard Sinclair
1992, Chris Stringer, Richard Hannah, Richard Sinclair
1993, Richard Hannah, John Barker, Richard Sinclair
1994, John Barker, Mike Finn , Richard Sinclair
1995, Richard Hanna, Mike Finn , Richard Sinclair
1996, Tony Lewis, Mike Finn, Richard Sinclair
1997, Tony Lewis, Mike Finn, Richard Sinclair
1998, Gael Turnbull, Mike Finn, Richard Sinclair
1999, Roy Yarnold, Mike Finn , Richard Sinclair
2000, Roy Yarnold, Mike Finn , Richard Sinclair
2001, Mike Walton, Mike Finn , Richards Sinclair/Hannah
2002, Mike Walton, Mike Finn , Richards Sinclair/Hannah
2003, Derick Phillips, Mike Finn , Richards Sinclair/Hannah
2004, Derick Phillips, Mike Finn , Richards Sinclair/Hannah
2005, John Nicholas Mike Finn , Richards
Sinclair/Hannah
2006, John Nicholas Mike Finn , Richards
Sinclair/Hannah
2007, Keith Francis Mike Finn , Richards Sinclair/Hannah
http://www.mainlymorrisdancing.org.uk/ Lots of Morris Links
http://www.themorrisring.org/ The main association for Morris sides
http://website.lineone.net/~steve_fiddler/ Lots of Pics of The Welsh Border Morris
Early History
"The Welsh Border Morris Men were formed in 1973 at the suggestion of John Barker by John, Dave Jones and John Aston, with the objective of running an occasional side, doing just one tour at the traditional time of Christmas, dancing the Welsh Border dances in Worcestershire and Herefordshire.
The practices were held weekly during August, normally on Wednesdays, and two more before the tour, originally in a hall in West Malvern for the first two years, then at the Nags Head on Malvern Link Common until December 1979, then at the Star in Buckleigh Road. The tour has always taken place on the last Saturday before Christmas, rather than Boxing Day which was the traditional day in the area, as Silurian have always gone out on Boxing Day in and around Ledbury. The tour has always followed the same pattern with detail differences. The first stop is always Pershore where we liaise with the Round Table who collect in the town on that day. We have always been able to black up and set ourselves up in the Three Tuns in Pershore prior to dancing here. Then to Upton-on-Severn by the old bridge abutments (after dancing in Eckington in 1979 only), then again by the Swan in Upton in 1977-9 or in the town by the Midland Bank in 1973-4. Lunch in Upton in 1973-4, after that dancing and lunch at the Swan at Hanley Swan, with a session in the bar until closing time. Then to Barnards Green except in 1975 when we went to Worcester by Sainsbury's and 1979 when we danced at the Priory Gateway in Malvern. Then except in 1979 to Graham Road, Great Malvern. After this Tea in
the Abbey Tea Rooms (in full regalia) in 1973-6, or sandwiches at the Nags Head in 1977-8, or all descend on Brian Holeman in 1979 (a few went chez John Williams or home). In the evening in the dark we danced by the Hop Pole at Bromyard in 1973-5 only. In 1976 the Kidderminster Mummers ran an informal ceilidh at Broadheath village hall for the side and friends, in 1977 nothing was arranged as it was Christmas Eve, in 1978 Dean Clark arranged an informal evening at the Talbot, Knightwick and in 1979 some of us went to Richard Lewis's party at Colwall Church Hall.
For 1973 membership was restricted to members of Faithful City and Silurian Morris sides, after then it was open to anyone, later any Morris man, by invitation (by who's invitation was never defined). Lists of members and officials from year to year are maintained by the bagman. Subscriptions were originally ten pence per man per practice, but it was changed in 1977 to one pound per man per year, so that men were not penalised for coming to practices.
Originally the Worcestershire dances were taught by John Barker, and the Herefordshire by Dave Jones. Later, when Nick Oliver became Squire in 1977, John Barker relinquished his position as Worcs Foreman to the Squire. However in 1978 all dances were taught by Dave Jones, using the results of his researches into all the traditions in both counties and in 1979 the Squire, Gael Turnbull taught all the dances in the absence of Dave for most of the practices and the tour. Part of the reason for this document is to record the dances as they were done before Dave rewrote them all in 1978, and also the minor changes that some of them underwent during the seventies."
The tour and practice 1984 - 2006
From 1984 to 1994 this started at the New Inn Sinton Green with breakfast, both solid and liquid. The first dance stop is at White Ladies Aston at about 9.45, the spectators consisting by tradition of one man and a dog, though the dog was absent this year.(1992) From there we go to Pershore . The Angel is our first stop, and it is here that the A. G. M. is held, this generally being taken somewhat lightly. This year a more somber moment occurred when Les proposed a moments silence in memory of Dave Jones, one of our founders who died this year. We now dance opposite the Angel, though in 1984 we had some difficulty with the Salvation Army occupying our position. Our final stop in Pershore is at the Millers Arms where John Barker last year (1991) started an initiation rite of blacking the left breast, in order to discourage female participation. this year he modified it by buying a pint for those so effected. I await our first female participant with curious anticipation! Upton is our next stop where we dance first upon the quay. Pub stops here vary according to our last years reception though most years we seem to end up in the Anchor, a couple of dances being performed outside before we go elsewhere for lunch. Lunch this year(1992) was at the Three Kings at Handley castle where a Game pie was provided at four pounds per head. Worcester is now our last stop where we dance outside the Guild Hall. Though for the last few years we have then retired to the Farriers Arms this year we made our way to the Cardinals Hat. Practice Attendance at the summer and winter practices having become sparse it was decided in 1983 to hold just one practice, this to be an all day one held on the first Saturday of December. John Whitaker then being the Landlord of the New Inn Sinton Green he offered his premises as a venue and it has been held there since. These practices have become increasingly more successful, partly perhaps due to the meal of sausages and chips provided out of the bag. Transport The Cledbury men decided some seven years ago to travel by minibus and others joined them at Sinton Green, this proving popular the following year a minibus was arranged from Sinton Green On the next year the minibus was oversubscribed and since then a coach has been booked from Rodgers of Martley, together by popular request with their driver Ken.
Costume. This has changed little though the hats tend now to a brown trilby, often decorated in individual modes. Sashes and bells are provided to the men at cost. The original army surplus socks are no longer obtainable and so men have to find their own. Many men have taken to wearing black tail coats between the dances though again these seem less easily obtained at a low price. All of the original dances are danced in much the same manner, these being adequately described in Dave Jones's book. The only addition to the repertoire in recent years is Much Wenlock , this at the insistence of Richard Sinclair who is now Forman. Though the dancing at practice seems to be of reasonable standard that on tour tends to vary from bad to awful, this year not being one of the best, partly perhaps because of the large number (36) of men out this year.(1992)
Men Of the original side only John Barker and Richard Lewis now dance. Toni Lewis ,Richard Sinclair, Les Freeman and Dean Clarke being others of long standing. Gael Turnbull has missed the last two years since moving to Scotland but promises to dance next year. John Whitaker brought in a contingent from The Kings Men of Cleobury Mortimer though these tend to take more part in the pub activities than the dance. Richard Hannah similarly introduced the Kempsey men who have attended regularly for the last few years. This year (1992) men from Jockey attended and contributed well to the dancing and music. John Barker has encouraged a continuing attendance by Faithful City men , Mark Wescott being one of those noted for his own particular reason of voiding his lunch on the coach two years ago. Silurian have as a 'hole dropped out, digging their own pit of balletical Morris, though we welcomed, this year, an attendance by fiddler John Smith. In between times Caledonian Morris are represented fairly regularly by Mike. The younger generation have over the years been represented by Russell Barker, Matthew Smallman , Matthew Whitaker , Leo Stringer, Jacob and Thomas Hannah , and by my son Huw Clarke
1992 ( I think)
A good twenty men turned up for practice this year. The room being small and the weather being clement we practised outside. This had an unfortunate sobering effect. Many turned up for breakfast at the New Inn , the sticks being as usual for some mysterious reason misplaced , the start was as usual displaced. The coach arrived at White Ladies to find Mr.Hannah and others, in a show of unacceptable enthusiasm, had already started the dance. Gael had kept his promise and joined us here. A most unusual event here took place. A spectator, being somewhat concerned for the welfare. Being so slighted we departed after only two dances, mounting our coach and taking off for Pershore. The Landlord at the Angel not only provided beer at an advantageous price of £1 per pint but had a fish ready for John Barkers fools hat. The A. G. M., took its accustomed two minutes . The landlord at the Millers proved generous too when we retired there after dancing, putting £15 in the hat. Less than happy was the host at the Monkey House, where, for a change ,we stopped for cider. Our welcome was so warm and the quality of cyder such that we moved on after one dance. The quay at Upton outside the Kings Head was under water some two weeks ago but the water having subsided we did not have to prove our miraculous powers. As usual the Lewises made their appearance here, being laggards. The Boars Head at Severn Stoke provided a good lunch and comfortable stop. Too comfortable Less complained for a good sing song. The final stop at Worcester took its normal inebriated form. Unfortunately one member not being able to take his booze became offensive when bottling. We made our way down to the Cardinals Hat again for a farewell drink. John Smith here complained at the lack of vigour in the dances, though what his view of this was unclear from the various bars he slumped upon. Ken not being immediately there, when we went to catch the coach. we danced opposite the Cathedral. Our final stop was at the New inn where all the various lost property was found, unfortunately though not by those who lost it.
1993
Much is lost in the distance of time. I recollect a goodly number turning up at practice, much of which again took place outside due to the clemency of the weather. The landlord being of a somber mood we retired to the Fox at Monkwood to enjoy our post practice relaxation. The tour took its normal form , Mr. John Barker being elected as Squire for the next year, he swapping office with Richard Hannah. There is rumour that we were not welcomed this year at the Monkey House. The waters were high at Upton, allowing us to dance on the quay but forcing us to paddle in the gents of the Swan at which inn we had a goodly lunch. The tour as usual was a success, the dancing being judged almost passable.
1994
A change of venue for practice , The Admiral Rodney at Martley. This being our 21st year we started later and finished with a feast. This was attended by some we had not seen for a while, Wilf, Super Steve, and one of our founders Nick. Not being wived Les was absent, his notice of change of practice venue and time had been mislaid. There were about 30 in attendance throughout the day. Beer had been negotiated at a pound a pint, whilst dinner cost the side £6.50 for each member. Tankards, to be supplied through Mr. John Whitaker, were commissioned. The room was fine for practise, whilst the food was adequate for our needs. Some speeches were made which were much appreciated by those who made them. Absent friends,Dave Jones, Steve Vigurs and Frank Byrne -Quinn were remembered.
TOUR 1994
Christmas Eve with a frosty start. The Numbers were lower than normal , petticoat government totally inhibiting the attendance of the Cleobury Villagers and reducing the Jockey contingent to three, Roy, ........... Stan reappeared after an absence of many years, spending the day dancing and carrying the sticks as a penance. The coach was well lubricated, the men being well warmed for the start at White Ladies Aston. A large audience of eight watched us, and two dogs were spotted. The A.G.M. saw Mr. Hannah resume the Squireship and Mr. Finn, under protest, accept the office of bagman. The most important post of foreman was again accepted by Richard Sinclair , to whom a later meeting of past Squires sent their appreciation. The tour foreman was absent due to the illness of his wife. Mr. John Barker, retiring Squire and founder, Was deemed to be due a life post. Due to my stutter he was elected F.ing Fool for Life. The Landlord of the Angel created a new tradition in providing a filleted haddock for the fool. This was later cooked and ceremoniously eaten at the aforementioned meeting of past Squires. Les was again pursued by his femme fatal at Upton. He, perhaps, to avoid her stayed in the Angel whilst the rest danced, and then went into the Millars whilst the rest went into the Brandy Cask. In this hostelry Six new men were initiated. We were met at the Quay at Upton by Nick , who had threatened to dance with us again, but unfortunately had took frit of the weather. Richard Lewis failed to turn up, it being rumoured that he was working. His brother, Tony, turned up white faced and danced with us outside the Anchor. The Swan provided excellent food, but less good , if friendly, service. Mr Whitaker slept throughout lunch. Worcester was quiet ,Tim our new member from Exeter rumoured to be a novice in the art, was very enthusiastic in his bottling, and was nearly arrested for attempting to black up P.W. 2020. The tour finished officially at the Cardinals Hat ,where Ale was taken.
1998
A quick note about the last three years. Practice is now established at the Admiral Rodney. The Tour has started with Breakfast at the Camp at Grimley since 94 ,or the more traditional liquid breakfast at Parkfield Cottages. Lunch is now avoided, cheese rolls being provided en route instead. Beer at The Angel rose in price this year to £1.50 and for a unscheduled stop was made at the Monkey House at Defford. The tour finishes at the Camp , Jim providing a beef stew or similar. The evening tends to finish with song. The new format has seemed popular some 35 turning up for practice and over 50 men being on tour.
2002...
And not much has changed. For the last three years practice has been at the Bell in St Johns. The traditional sausages have been provided by Daisy John Barkers partner, while the chips have come from the Bull Ring Chippy. The tour had to be started at the Oak in Hallow in 2000 due to floods and has started from the Fox at Monkwood since. The years have proved profitable and despite the tour cost remaining at £4.. some money has had to be given to charity. The main business of the past squires meeting has generally been to discuss the colour of the sweatshirt.
2004
A sad start to the year , Gael is no longer with us. Several of us went to Edinburgh to dance at a concert to celebrate his life. Though we were made more aware of his celebrity as a Poet, it is of the man, kind , generous, modest and sincere I will always think of.
Dec 2004
- from Sinkers
I am pleased to report that following some hard work by Richard Hannah and myself (well, someone has to do it) the beer quality at the Millers, Pershore and The Kings Arms, Upton was duly tested Thursday night and found to be of a suitable quality for Ken's charabanc tour. Brief visits were also made to the Angel (fish ordered) and the Anchor for information purposes. Spitfire appeared to be the only decent beer at the Angel, three Wadworth offerings plus a guest will be on at the Millers (landlord remembers the visit from the mayor of Ledbury...). Landlady reminded of the order for drink on Gael at the Kings Arms. At great personal expense (alone so I had to buy my own beer) I today visited the Three Kings, Hanley Castle, where we shall be most welcome. Did you know it was National CAMRA pub of the year in 1998? Butcombe, Sharp's and White Horse ales were amongst the six or more available, (and the lager tap has been tastefully covered over with a Hobgoblin sign)!
Tour: went to Three Kings after Upton, great success! much music singing, good beer but no dancing at this spot
March 2005
We heard, just after Christmas that Roy Yarnell was critically ill. Today, March 17th, Roy lost his fight. He will leave a gap in our hearts. Our deepest sympathies go to Janet and his family. Roy was Border Squire 1999-2000.
Dec 2005
Ready for 2005? Tour this year will be on Christmus Eve ( and will be going to Eversham) The good news ...we have found the scrap book.
Richard Sinclair wrote:
On Saturday at great person sacrifice I went with John Barker and Dean (and Mor, but Dean drove) to the Angel at Pershore (for a fish check), followed by Evesham's Weatherspoons (well it's the one pub in the good beer guide) , then The Royal Oak, followed by The Red Horse, then to a Hook Norton house, but it was closed at 2.30......(crossed off list)...then to a nearby backstreet local (don't even know it's name, one real ale on though). We walked to two sets of public toilets to check availability (one closed so that sorted that), so we ended up with a plan for the Evesham stop:
It takes 20 min from The Millers, so pee stop and coach disembark at toilets, walk round to pedestrianised main street, dance a bit, up to top of town to either Royal Oak and/or Red Horse (close enough to take half a bus full each, both with acceptable beer range).
Then we drove to the Th! ree Kings, about 4 by then so was shut, stopped at another one a few miles later that I also didn't catch the name of, but a possible alternative and will be open Xmas eve, arrived back at Dean's 4.59.
Hard days work by all just to support you lot, but someone has to do it! (And we hope that that nice man in the green dayglow jacket with his roadside tripod camera didn't snap Dean, most unfortunate, who would expect that on a quiet country road.
From memory the tour was great with plenty of dancers… and quite a good bag considering it was Christmas Eve.
Oct 2006
The Hallow mafia plus Derick met and made the radical decision to do the tour as last year.( please note that Richard didnt turn up so all decisions could be reversed) A Polo shirt will be this years must have. Practice as usual will be in the Bell, but Joes leaving so watch this space. Members will be consulted ( yes we are trying this new fangled idea of democracy) regarding having a Summer solstice meet-up for Men, families and friends at Barkers farm, camping and beer will be available and barbque facilities are planned,this will of course not be border, though if we dance there may be something of a similarity. A cost of £5 will be levied to pay for the Loos.
Dec 2006
Good attendance at practice…this is going to be last year with Joe as Landlord… Sausages from Narroways (cooked £25 for a hundred) Practice payed for itself as we raffled one of Les Freeman picture, and sold enough Xmas cards.
Jan 2007
Good turnout on tour though Richard S just dropped blacking off at Fox then went home for More to nurse his flue. Did Eversham which was good but took too long…so we were very late at Upton and even later at Hanley Castle. Keith Francis (wilf) elected Squire, all other officers the same.
Copyright Dean Clarke 2004 Published by Dean Clarke 1 Parkfield Cottages Hallow, Worcester
ORIGINAL WELSH BORDER MM- 34th YEAR 2006 -
AUTOCUE
BROMSBERROW HEATH (Cock of the North)
8 men-single line/reel & nod/caper &
stick/FASTER
BR1MFIELD (JennyLind)
4 men-single line/short sticks/Napping/HO! (ALL
DANCE)
Arm swing/stars/swing & change.
MUCH WENLOCK (Jenny Lind)
6 man set short sticks -
Rounds (stick on shoulder)/cross & turn
(elbow swing)/circular hey (bottom 4 face up,
topscross, grand chain)
UPTON STICK6 man set/long sticks/
Upton step/Chorus: tips/butts 4 times always
forehand/turn on spot-Morris/Allemande
left/Allemande Right/3 Tops/Upton Hey/Morris
UPTON HANDKERCHIEF
Two handed handkerchief throw from chest when
moving/single hand when stillMorris/Allemande
Right/Allemande Left/3 tops (twice)/Upton Hey
(twice) (window cleaninghands)/Morris.CHANGE SET
45% around No.2 (who becomes 1)-/all again.
WHITE LADIES ASTON
8 man set reel on side ALWAYS FROM THE ORGINAL
TOPS and nap.
Cross over & nap/tops down (pairs
only)/Bottoms up ditto/Rounds at top-stick at
bottom/dittoRounds at bottom etc/ Gay Hey from
top -ALWAYS TURN LEFT AS A COUPLE AT
TOP-notebottom 4 will not get back to place!)
LISTEN TO THE CALL-FREE FORM!!!
PERSHORE STICK
(Keel Row?)8 man set
Stick:
Tip/Butt/Tip/Butt/Pause/Pause/Pause/PauseCross
Over/Bottoms up/Into line! Reels out from the
middle
DILWYN (or LEOMINSTER, or even WEOBLEY?)(Not for
Joe)
Long set/short! QUIET napping/LOUD napping
Cross over (side step across 7 steps and back
TWICE! -odds in front)/Stars
EVESHAM STICK (FANNY FRAIL)
Everyone/double column/one stick one hanky!
Cross over/Cast/change hands/FANNY-circle
anVclockwe (Rump a dump. a doodle dum aday)
Bromsberrow Heath"
This dance is called the Three handed reel, but
is for six men in a single line, facing in
pairs, 1 and 2, 3 and 4, 5 and
6.
The step is a walk for the reel and single capers
for the stick clashing.
The sticks are long, held in the right hand over
the right shoulder, military style,
in the reel, and held in both hands for the
striking.
The tune is normally the 'White Cockade', played
somewhat faster for each evolution of the dance,
but from 1975 to 1978, a tune from
Bromsberrow Heath which is published in Bacon was
used for the first two or three times through,
changing to the 'White Cockade' for the last
couple of cycles. This tune is now thought to
belong to a stepped version of the dance, without
sticks, which we have not attempted.
The dance starts with a reel of six to places,
and then alternates the stick clashing with the
reel until it finishes on the sticks.
The reel starts with all passing right shoulders,
and continues for eight bars when each man should
he in his opposite position facing his partner,
whom he acknowledges on the third beat of the
eighth bar. The reel then continues for another
eight bars to places.
The stick clashing is done with single capers,
striking once per caper tie. twice per bar)
alternately to the right and left with the tips,
the stick held in both hands near the end.
After the dance has finished each man takes a
step to his own left, and the
set then walks round and off.
Brimfield
Although this dance is normally danced by four
men in a single line, the WBMM have always done
it as an eight man dance, except in 1979, when it
was done as a four man dance.
The step is the normal border single step.
The sticks are short and held up when not in use.
The tune depends on the musician. Practically any
polka will do (the version of the Jenny Lind
Polka printed in the EFDSS magazine (or Journal?)
is from Bampton-in-the-Bush).
The figures are Once-to-yourself, Hoe, Napping,
Set, Napping, Hoe, Napping, Hands around,
Napping, Hoe, Napping, Rounds and off,
although the Set figure was not used in 1979, and
in that year the dance finished in the set,
without the rounds and off.
(This was dancing it as a four man dance).The
Once-to-yourself is stationary.
The
Napping
consists of nos 3, 4, 5 and 6 facing nos 1, 2, 7
and 8 respectively, and dancing on the spot while
holding their sticks pointing upward at
forty-five degrees at waist level (ie
phallically) while the ends strike their
neighbours sticks to right and left
[r l r . ] [r l r . ] [r l r .
] [r l r . ] [r l r .
] [r l r . ] [r l r . ]
[r l r . ]
The Hoe
consists of nos 3,'4, 5 and 6 dancing in position
facing the end positions (as in the Napping) with
their sticks held up in the right hand, while the
ends dance round them in a figure of eight on
their own sides , nos 1 and 2 passing through
before nos 7 and 8. Eight bars.
The
Set.
All face across the set (up and down for a four
man set), and sidestep to the right and left
alternately as in a country dance balance, for
eight bars
Hands around. Right hand star in fours tie nos 1,
2, 3 and 4, etc) for eight bars and back with the
left for eight bars. When done in a four man set,
the centre pair must take two steps backwards and
out as the other two come in to make the star.
Rounds and off. Anti clockwise, led by no 1. 2
Sep 1982
CleeHill
"A dance from a Niggering gang from this area is
known by the Clee Hill Mummers. It consists of
four men dancing alternately rounds
and stick clashing, to Step dance tunes, and
almost certainly with Step Dancing steps. Its
origins are probably fairly close to the Westwood
dance. There is also a dance similar to the
Bromsberrow Heath dance but with
stepping instead of stick clashing from another
village on the hill.
Evesham
These two dances are taken entirely from Dommett,
with some modifications whose source is not
entirely clear (JB?). The origin of the hand
movements in particular is obscure. These dances
can be performed by any even no of men from six
to about fourteen
Fanny Frail Stick Dance
The
Tune is as published by Dommett (a relative of
the 'Jenny Lind Polka', played a (oty)
ababab...bccc... The step is the Border single
step (see Pershore), starting on the right foot.
The stick is short and held in the right hand
except for the rounds, and a handkerchief is held
in the left except for the rounds. The hand
movements are a Chipping Campden-like arm swing
starting with the right arm up as the right foot
goes down, and continuing in time with the feet.
The figures are chorus, spots, chorus, cross
over, chorus, then any sequence of these two and
single cast any number of times separated by
chorus, finishing with .. chorus, rounds and off.
Once-to-yourself
is stationary.
The chorus
figure is Eight bars of stick tapping by the side
on what started as the no 1 side who step against
the sticks of the right hand side which are held
'erect' at waist level who stand still. This is
'Napping' from Brimfield, and is always done in
the same geographical direction, such that after
the cross over, the roles are switched. The
sticks are struck alternately forehand and
backhand with the tips in the rhythm [ f . b .] [
f b f .][ b . f .] [ b f b .] etc rh lh rh lh rh
lh rh lh FCMM have always danced this as normal
stick tapping to the same rhythm with all men
stepping.
Spots:
Dance on the spot facing in.
Cross over:
Cross right shoulders, a long way, turn after
four bars and return to the wrong side - ie no
cross back.
Single cast:
nos 1 and 2 cast out on their own sides down the
set and back up the middle followed by the rest
of the set. This figure restricts the size of the
set to about fourteen men. This figure was
introduced by the FCMM in about 1976.
Rounds and off:
Usually called as 'Fanny Frail' to the
'Polly-Wolly-Doodle' part of the tune Rounds
danced anti-clockwise, change stick and
handkerchief between hands so that the stick is
in the left hand held out in the centre of the
ring, while the handkerchief is waved on the
outside of the circle. The left hand is not now
doing the hand movements, although the right is.
The leader of the set leads round and off, the
appropriate part of the tune being played as
often as required. All sing 'Farewell, farewell,/
farewell my Fanny Frail,/ For I met my little
Sally at the corner of the Alley,/ singing
rump-a-dump-a-dumF-a-doodle-day'
Evesham Handkerchief Dance
This dance has never been found to be very
satisfactory, and thus was not often performed.
The tune is as published by Dommett, with the
three parts being played for the three figures.
The hand movements until 1978 were as for the
stick dance, as was the step, except that in the
last two bars in each eight the dancers stand
still and starting with the hands held together
in front at waist level, push down twice on the
first and third beats of the seventh bar, and
continuing the movement from the second push down
describe two circles with each hand at waist
level, the right hand going anti-clockwise, the
left going clockwise, finishing each with a
downward push on the first and third beats of the
eighth bar. Two handkerchiefs are used, one in
each hand (as in every other handkerchief dance).
The figures are - spots, cross over, half rounds,
repeated ad nauseam, and are the same as in the
stick dance except for the stop and down, down,
round and round at the end of each. How the dance
is to be finished is a problem that we have not
yet solved to our satisfaction. To bring the
hands up after the round, round while standing
still is the obvious way; but is very flat. In
1978 Dave Jones taught a version where the music
was played at double speed relative to the
stepping, and the hand movements did not include
the Chipping Campden swing, but this was never
shown in public by the WBMM although Silurian may
have danced it. In 1979 the dance was not
performed at all.
Leominster Dilwyn
This one dance has connections with Leominster,
Dilwyn and Weobley, and seems to be known by any
one, two or all three places names.This dance is
for eight or any higher multiple of four dancers
in a longways set. The tune used is the 'Not For
Joe' tune collected by Sharp from John Locke of
Leominster, and published with the dance.
The step is the normal border single step.
The figures are once-to-yourself, chorus, cross
over, chorus, hands-around, chorus, cross over,
chorus.
The dance has been finished by dancing rounds and
off, but it is now normally finished in the set.
The chorus figure is stick tapping, standing
still, tips forehand, for eight (1973-7) or
sixteen (1978-9) bars. (t . t .it . t .It . t .It
. t .It . t .It t .It . t .) t t t . I repeated
If necessary.
Once-to yourself is stationary.
Cross over follows the track of a back to back,
but all dancers face up the set and thus dance
sideways. Across in fourbars, back in four bars,
and then repeated, passing with the odd side
above the even side going and evens above odds
returning both times. Note that this is still
done to the single step.
Hands around is a right hand star in fours for
eight bars and back with the left. Sticks held
out and up in free hand.
Rounds and off was danced anti clockwise, and led
off by no 1.
Much Wenlock
The 1948 dance as performed by South Shropshire
Morris Men, and after much badgering from
Richard, now by us.
Short stick, simple napping (no fancy bits)
Morris (rounds)-stick on shoulder
Cross and turn (cross over, arm swing with left
(free) arm with partner on way back)
Circular Hey (=grand chain, tops face, bottom 4
face up the set, tops cross and all do grand
chain)
perhaps a star
Pershore Stick Dance 1973 -77
The handkerchief dance, although referred to by
Dommett, has never been performed. The stick
dance as performed in 1978 is so completely
different from the dance as performed in all
other years that it will be described separately.
"Pershore Stick Dance1973-7
Tune is the 'Keel Row' played to roughly a polka
rhythm.
The step is the standard Border Single step, with
the feet picked up rather than kicked out as in
Cotswold Morris, but not the Chipping Campden
'back-cycling' step.
The dance is for eight men in a longways set.
The sticks are short and usually held vertically
when not in use. They are struck with the
opposite on the third beat of the last bar in
each figure.
The figures are - once-to-yourself, chorus,
side-by-side, chorus, cross-over, chorus, hey,
chorus, normally repeated from side-by-side to
put the set the right way up. Each figure
occupies 4 bars only.
The chorus figure is 4 bars in length, stepped
throughout with sticks struck with partners -
tips forehand on the first beat
of bars 1 and 2, and the third beat of bar 4, and
butts forehand on the third beat of bars 1 and 2.
[ t . b .] [t . b . ] [ . . . . ] [. . t . ] This
was derived from Dommett saying that sticks were
clashed for four bars and barring the 'Keel Row'
tune as a fast jig, giving eight bars to the
phrase rather than four. It is however a very
distinctive movement.
Once-to-yourself is stationary, and sticks
clashed tips with partner on third beat of last
bar.
Side-by-side, described by Dommett as
'Half-hands' was danced in 1973-4 as left hand
turn by the top three pairs once round while nos
7 and 8 danced up the outside of the set to the
top position (not normally casting out). This was
then recognised as a misreading and became move
forward into a single line right shoulder to
right shoulder as nos 7 and 8 dance
up the outside to top positions, and as 7 and 8
arrive 1-6 fall back to places. The second time
through the same men will be in the positions 7
and 8 and will come up again, although 1-6 will
be in inverse positions. Cross over, passing
right shoulder, turn after 2 bars and come back
not crossing again to finish on wrong side.
Hey: A half reel of four on each side on each
side of the set, the men at the ends facing in
and those in the two centre positions facing
their nearest end to start, then passing right
shoulder.
Back To The Camp
Pershore Stick Dance 1978
The tune, steps and sticks the same as above.
The figures are - Once-to-yourself, chorus,
side-by-side, chorus, sticks, chorus, cross over,
chorus. Men will change position in the set as
the dance progresses and will not normally finish
where they started.
The chorus figure occupies sixteen bars. The
first four bars are stationary striking sticks
with partner forehand all the time tips on the
first beat of each bar and butts on the third
beat of each bar, The next four are a hey from
the bottom danced in progressive form as at
Flamborough. Nos 1,3 and 5 face down, and no 7
faces up and starts the hey by passing right
shoulder with no 5, and continues to the top. nos
3 and 1 dance on the spot until no7 reaches each
man and then he starts, each moving only two
changes, so that the end of the half hey has them
in the order 7,5,1,3. The other side of the set
does exactly the same led by no. 8. The next four
bars are the same as the first four, with stick
striking, and the last four are a half hey back
to place led by nos 7 and 8 from the top in the
same manner as before, leaving everybody in their
own place. Side-by-side is the same as in other
years, except that the two men in the bottom
positions move to the top on all occasions. Four
bars.
Sticks: The men in positions 1-6 strike with the
opposite as in the chorus, while the two in
positions 7 and 8 dance up the outside to the top
positions.
Four bars.
Cross over- Bar 1 - cross passing right shoulder,
bar 2 - turn to right to face, bar 3 cross back
passing right shoulders, bar 4 turn to face.
Four bars. (This is basically half a Cotswold
whole gyp.)
Back To The Camp
Pershore Handkerchief Dance
This has never been danced in public, although it
was attempted in practice once or twice. It is
described by Dommett as the stick dance with
stepping on the spot with handkerchiefs waved in
circles over the head (Longborough style) instead
of stick tapping.
Upton
The original source for this and all the other
traditions is Roy Dommett's 'Other Morris' notes.
In the case of Upton however, the FCMM were
inspired to start the tradition by seeing the
Albion Morris doing the stick dance clearly
incorrectly. John Aston saw and spoke with Mrs.
Hill in Upton in 1972-3 and she saw the WBMM
dance at Upton in
1973, She could remember very little detail, but
did imply that the rounds or 'morris' figure was
done anti clockwise. Miss Karpeles, who collected
the dance originally replied to John that if she
had seen this she would certainly have noted it,
so apparently they were clockwise on that
occasion. The various versions of these dances
are therefore simply various points between the
Albion (Peter Boyce) version and Dommett's notes.
Both dances are for six men in a longways set.
Upton Stick Dance
Originally exactly as FCMM danced it at the time,
but several changes have been made. The tune was
Karpeles' from Labrador or wherever, but 'The
Girl I Left Behind Me' was used from about 1974.
Various versions of this come from different
musicians, but only Richard Lewis has a specially
worked up version for this dance. It is normally
played a (oty) abbabb.. or abaaba...aba.
The step is the well known double step with the
free leg swinging across except where stated.
The start is always on the right foot except in
Sides (qv).
The sticks are normally held at the trail, and
are clashed with the opposite on the first beat
of each figure and except in 1973-5 the first
beat of the turn after the stick clashing in the
chorus.
The chorus figure is 8 bars stick tapping with
stepping, followed by 8 bars stepping. Originally
sticks were tapped twice per bar on beats 1 and 3
and the stepping was single step, but from 1977
this was changed with reference to Bacon's Book
to tapping once per bar on the first beat only
and the full Upton double step with swing across.
The 8 bars of stepping was originally 4 steps in
a circle to the right and 4 on the spot facing
partner, but in 1974 was changed to a left turn.
In 1976 it became 2 steps turn to the left on the
spot and 6 steps facing.
Once to yourself is stationary facing in (not up)
in this and all Welsh Border dances except the
Pershore stick dance.
Figures are morris, chorus, allemand rt, chorus,
allemand lt, chorus, three tops, chorus, sides,
chorus, morris and all in.
The names of the figures are apparently
traditional.
Morris is rounds walked clockwise in 8 bars until
1978 then danced.
Allemand is a back to back danced in 4 bars,
forward in 1 bar, then round and back, and 4 bars
step in place, passing right shoulder first time,
and left the second.
Three tops is a whole hey for three at the ends
of the set, started by nos 3 and 4 going out to
their respective rights between the ends, who
must dance the first step in place, sideways or
even backwards.
Sides is a whole hey on the sides. 1 and 2 face
down, rest up. Nos 5 and 6 dance one step out ie.
sideways) then one step in then go up between nos
1 and 2, nos 3 and 4 dance one step out then go
up outside 1 and 2 who come straight in and start
down the centre. For this figure the swing across
in the double step is normally omitted.
‘Morris and all in’ is rounds danced clockwise
with 4 plain capers in a small circle to the
dancers left and into the centre in the last 2
bars with a shout of (normally) 'Upton', except
in 1978 only when the 4 capers were omitted and
the dance finished with a single caper into the
centre and a shout.
Upton Handkerchief Dance
This consists basically of the figures of the
stick dance with the addition of the change set
figure.
The tune used is the 'Bonnets so Blue' collected
with the Evesham handkerchief dance and published
by Dommett, played either cababababa..abc or
cabcabcabc...abc.
The figures are Morris, allemand rt, allemand lt,
three tops danced twice, sides danced
twice,change set, allemand rt, allemand lt, three
tops danced twice, sides danced twice, morris and
all in.
The hand movements from 1973 to 1977 were a swing
down on the beat from a position with the hands
together (sometimes actually crossed but this was
not taught) below the chin to the sides at hip
level. In 1978 the hand movements were Bampton
flicks very much in the style of modern Bampton
sides from above the head to a position with the
hands together at waist level, with the pull down
on the beat, done with both hands while
travelling, but alternately with right and left
hands when dancing on the spot tie the last 6
steps in the change set and the last 4 in the
allemand). In 1979 it became a more open swing
from above the head down to the sides, and the
single hand movements in the change set and the
allemand were abandoned in favour of the two
handed movement. This series of movements was not
used in the sides figure at all (qv) or in the
change set until 1978. When the Morris figure was
walked the arms were swung naturally as
when walking normally. The figures were the same
as and evolved in parallel with the Stick dance,
with the addition of thechange set, and, of
course, hand movements.
Morris: as stick dance.
Allemand: as stick dance. The hand movements were
single (r, l, r, l ) in 1978 only.
Three tops: as stick dance. Normal stepping and
hand movements.
Sides: as stick dance. The swing in the step is
normally omitted. The hand movements are
alternate waves at shoulder level to left first
(1,3 and 5) or right first (2,4 and 6) until
about 1976 then large circles similar similarly
forward and down (Bledington direction). These
circles should be towards ones partner as one
moves towards him in the hey and away as one
moves away from him.
Change set: This figure has suffered a lot of
reinterpretation over the years. Until 1978 it
was danced by the men moving forward into a
fairly tight circle on the first couple of steps,
dancing in position until nearly the end of the
phrase and then falling back into new positions.
These new positions are the result of each man
taking the position to the right of his original
position in the set, and rotating the set through
ninety degrees clockwise. the number changes are
1-3, 3-5, 5-6, 6-4, 4-2, 2-1: thus the original
number 2 is now in the number one position, and
the music (if it hasn't moved) is behind the line
of nos 2, 1 and 3. The hand movements were a
figure of eight described horizontally at waist
level by both hands held together in front of the
body, moving to the right first, and the step was
a single step, with no swing across. This
originated from FCMM and the Silurian men
normally danced the figure similarly except that
the set only rotated through
forty-five degrees, which makes it very difficult
to hold the set in the new position. In 1978 it
was danced largely as the second half of the
chorus of the stick dance, with two double and
six single hand movements as described above, and
the normal swing double step. The men all turned
to their left and by turning between
three-quarters of a turn and one and a quarter
gained their new positions in the set rotated
through forty-five degrees in two double steps,
and then danced in their new positions for six
steps. In 1979 it reverted to the contemporary
method of FCMM, with the normal hand movement tie
as in the rest of the dance), and the normal
swing double step, the men moving into a circle
at the beginning of the phrase and falling back
into the new positions at the end, with the set
rotated through ninety degrees.
Allemand,
Three Tops and Sides are then repeated from the
new positions (with the original no 2 in the top
position for the sides figure).
Morris and all in as in the Stick dance. This
rounds should be moved round with as much vigour
and speed as possible.
A dance exists from here, but we have never tried it. It is a reel for three men with sticks
The dance is for a longways set of eight men.
The tune depends largely on the musicians. The 'Good Ship Sails on the Aly-Ally-O' tune which is published with the dance in Bacon is normally used by everybody, but the sources suggest that a different tune is played for each figure. A second tune from the tradition is known and used by some people. The regular Silurian musicians, have a set of tunes for the dance in which the 'Good Ship Sails' is used for the chorus, the other White Ladies Aston tune for the first figure, and various polkas, including a tune from the record 'Rattlebone and Ploughjack' which is there described as being the 'Three-handed Reel' from Bromsberrow Heath (qv), 'Here comes the Muffin Man', 'D'ye Ken John Peel', for all remaining figures.
The step is the normal Border single step
The sticks are short and held vertically at chest level when not in use.
The sequence of figures is not fixed, and depends on the leader, except that the dance starts with Once-to-youself and a chorus, a chorus follows each figure and the dance finishes with a chorus. However normally in 1978, and when led by a Silurian man the first figure was the linked hey, while in 1979, and when led by a FCMM man, the first figure was rounds at the ends, and the last figure was the linked hey
Figures regularly used are - Rounds at the ends, cross over, linked hey, processional down, and others not normally performed but available are Processional up, Half rounds, Partners swing.
The chorus figure is a progressive hey on the sides led from the top (as in Pershore but led started by nos 1 and 2) (four bars), stick tapping with partner (tips forehand) on the first and third beats of each bar with stepping (four bars), repeated to place giving sixteen bars in all. The second hey is led by the same person as the first. Once-to-yourself is stationary.
Rounds at the ends. Nos 1, 2, 3 and 4 dance round in their own half of the set anticlockwise in 1978, clockwise in 1979, while nos 5-8 continue stick tapping as in the chorus, for eight bars. Then nos 5-8 dance rounds while nos 1-4 tap sticks.
Each rounds usually goes round about three times.
Cross over. Cross passing right shoulders turn after two bars, back to wrong side of set (two bars), tap sticks as in chorus
(four bars), repeat back to place.
Processional down. All step on the spot throughout the figure.
Nos 1 and 2 dance down the middle of the set (two bars)and back to place (backwards) (two bars).
Nos 3 and 4 process down and back. Nos 5 and 6 process down and back.
Nos7 and 8 process down (away from the set) and back.
Linked Hey, Variously called as hey in couples or gay hey (gey hey?). All face up and put nearest arm over partners shoulder (sticks changing hands where necessary). Top couple start by turning left to face down then pass right shoulders with next pair to perform a whole progressive hey of the same pattern as in the chorus. As each pair reaches the end of the set it turns round to the left before passing right shoulder to continue. It finishes slightly before nos 5-8 reach their home positions, such that they stop in positions 7, 8, 6, 5 respectively. These men dance the rest of the dance from these
positions. nos 7 and 8 and dancing up the set.
Processional up is the same as the processional down but started by Half rounds. The whole set dances half rounds (in the same direction as in rounds at the ends) in four bars, taps sticks for four bars (as in cross over), then dances the rest of the rounds (four bars) and taps sticks in the last four bars. Partners swing with linked elbows, right for eight bars and then left for eight bars.
Yet further figures are described in Bacon and Dommett, many of which come from different collectors versions.