NY PUBL C LIBRARY THE BRANCH LIBRARIES
3 3333 08929 5923
C ^ CHILDREN'S ROOM
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, N.Y. 10019
SONG BOOK
A r
TIL
C
THE
MORRIS BOOK
WITH
A DESCRIPTION OF DANCES
AS PERFORMED BY
THE MORRIS-MEN
OF
ENGLAND
BY
CECIL J. SHARP
AND
HERBERT C. MACILWAINE.
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P/UTT III.
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LONDON :
NOVELLO AND COMPANY, LTD,
1910.
THE NE-
PUBLIC LI
'OR, I f
TILDEN FOU'-D -
This Book is issued in connection with li Morris Dance Tunes
by the same Authors.
(Sets V. and VI., price 2<- each.)
LONDON : NOVELLO AND COMPANY, LTD
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PREFACE
THE Editors desire to express their grateful thanks to those
Morris men, too numerous to mention by name, from whom
the information contained in this volume has been wholly
derived. Their acknowledgments are also due to Mr. A.
Marshall for permission to reproduce the photograph in
the frontispiece, and to Mr. T. L. Gilmour that facing
page 13.
CONTENTS.
PAGE
INTRODUCTION ... ... ... ... ... ... 7
THE DANCE :
Hands ... ... ... ... ... ... 15
Steps ... ... ... ... ... ... 20
Evolutions ... ... ... ... ... ... 28
SPECIAL INSTRUCTIONS FOR VARIOUS DANCES :
THE FLOWERS OF EDINBURGH ... ... ... ... 37
THE MAID OF THE MILL ... ... ... ... 38
BOBBING JOE .... ... ... ... ... ... 39
SHEPHERD'S HEY (2nd Version) ... ... ... 39
GLORISHEARS ... ... ... ... ... . . -13
THE GALLANT HUSSAR ... ... ... ... ... 44
LEAP-FROG ... ... ... ... ... ... 45
SHOOTING ... ... ... ... ... .. 49
BRIGHTON CAMP ... ... ... ... ... 51
GREEN GARTERS ... ... ... ... ... 55
NOTATION :
THE FLOWERS OF EDINBURGH (Handkerchief Dance) 56
THE MAID OF THE MILL (Handkerchief Dance) ... 57
BOBBING JOE (Handkerchief Dance) ... ... ... 58
SHEPHERD'S HEY (2nd Version) (Handkerchief
Dance) ... ... ... ... ... 59
GLORISHEARS (Handkerchief Dance) ... ... ... 60
THE GALLANT HUSSAR (Handkerchief Dance) ... 61
LEAP-FROG (Handkerchief Dance) ... ... ... 62
SHOOTING (Stick Dance) ... ... ... ... 63
BRIGHTON CAMP (Handkerchief Dance) ... ... 64
GREEN GARTERS (Handkerchief Dance) ... ... 65
CONTENTS.
PAGE
MORRIS JIGS ... ... ... ... ... ... 66
PRINCESS ROYAL (1st Version) ... .. 68
PRINCESS ROYAL (2nd Version) ... ... ... 70
LUMPS OF PLUM PUDDING ... ... ... ... 74
THE FOOL'S DANCE ... ... ... ... ... 76
SHEPHERD'S HEY ... ... ... ... ... 79
JOCKIE TO THE FAIR (2nd Version) ... ... 81
BACCA PIPES (2nd Version) ... ... ... .. 84
BACCA PIPES (3rd Version) ... ... ... ... 88
BACCA PIPES (4th Version) ... .. ... ... 91
DERBYSHIRE DANCES : -
THE DERBYSHIRE MORRIS DANCE (Handkerchief
Dance) ... ... ... ... ... ... 99
THE DERBYSHIRE MORRIS REEL (Handkerchief Dance) 100
ADDENDA : -
LAUDNUM BUNCHES (Corners) .,. ... ... ... 101
TBUNKLES (Half-Capers) .. <* ... ... 101
INTRODUCTION.
SINCE the issue of Part II., the Morris dance has steadily
increased in popular favour and, what is still more important,
its value as an educational instrument has been formally
recognized by the Board of Education in their " Syllabus of
Physical Exercises " (1909). The dances are now, therefore,
being introduced into the Elementary Schools all over the
country to the infinite enjoyment, we hope and believe, of
both teachers and children. If the educational authorities
will, in addition, discountenance spurious forms of the dance
and sanction the teaching of those dances alone for which
there is the authority of tradition, the movement they have
initiated will, in our opinion, yield results of the highest
educational and national importance.
For our part we have resolutely pursued our investigations,
with the result that we have added very largely to our
collection of Morris jigs and dances. We have also, incident-
ally, gathered a great deal of information concerning the
extra characters and traditional customs associated with
the dance, the dress and paraphernalia used in its perform-
ance, and other matters of a like nature. This information
would, however, be out of place in the present volume. At
the same time we hope one day to set forth the results of our
investigations in the final edition of the Morris Book.
We have always realized that in attempting to transmit to
others a traditional dance as complex and elaborate as that of
the Morris, we were undertaking a work of great difficulty
and responsibility. Had we felt our task to be impossible
we should have addressed ourselves to the folklorist
rather than to the performer. We believed, however and
experience has to some extent justified our confidence that
8 THE MOliEIS BOOK.
by means of carefully written instructions and notations
the dance could be explained in an intelligible manner
even, perhaps, to those who had never seen it performed.
Nevertheless, if the spirit of the dance is to be caught and its
traditional character accurately reproduced, our instructions
must be scrupulously followed and, whenever possible, supple-
mented by the explanations of a qualified teacher. On this
point we feel it necessary once more to offer a word of advice
and warning, for we have seen again and again how easily
the Morris may degenerate into a disorderly romp. Slovenly
dancing of this sort can only create a false and mischievous
impression of the aesthetic nature of the Morris dance,
and thereby retard the progress of the movement in which we
are so deeply interested.
Now, to dance the Morris ungracefully is to destroy it. It
is true that the dance is vigorous, or nothing ; but vigour
and grace are not incompatible, and the impression left on the
minds of those who, like ourselves, have constantly seen
the dance performed in country places, is one first of beauty,
solemnity and high restraint, then of vigour.
The face of the Morris man in the act of dancing is not
only unsmiling, but continuously and perfectly serious,
recalling the impassive and expressionless face of the
traditional folk-singer. This pervading seriousness of
demeanour is, moreover, in perfect accord with the action of
his limbs and body as they make their ordered movements ;
every action bespeaks strength and quietness, never unbridled
exuberance. A singularly graceful dancer once told us that
to attain the requisite poise of body and lightness of spring,
he sometimes tied his wrists to a beam overhead to keep his
arms and body steady while he practised the steps ; and he
added, "It isn't the legs, it's the hitch up of the body as
does the dancing." Another dancer, commenting upon
something we had said, remarked, " That 's it, sir, plenty of
brisk in the Morris, but no excitement." Of yet another
dancer we heard it said that a woman might, without fear of
INTRODUCTION. 9
injury, place her fingers under his feet when he was dancing.
In insisting, therefore, upon the grace as well as the vigour of
the Morris dance, we are only emphasizing the view
universally held by the traditional dancers themselves.
It will be found that the dances described in this volume
are less homogeneous and far more varied than those we have
already published. This is because the greater part of the
material printed in Parts I. and II. was gathered in one
village, whereas the present instalment of dances has been
derived from six different sources and contains examples,
therefore, of six distinct and separate traditions. In the
following list the dances are divided into groups according to
their derivation.
OXFORDSHIRE.
Jockie to the Fair
(Second Version).
/Shepherd's Hey (Jig).
Bacca-Pipes Jig
(Second Version).
Brighton Camp.
The Flowers of Edinburgh.
The Maid of the Mill.
Shepherd's Hey
(Second Version).
Glorishears.
Bobbin ar Joe.
Green Garters.
Princess Royal (First Version) .
Lumps of Plum Pudding.
The Fool's Dance.
Bacca-Pipes Jig
(Fourth Version).
GLOUCESTERSHIRE.
The Gallant Hussar. Leap-Frog.
NORTHAMPTONSHIRE.
Shooting.
Bacca-Pipes Jig
(Third Version).
DERBYSHIRE.
The Morris Dance. The Morris Reel.
10 THE MORRIS BOOK.
Our experience proves that each village where Morris dancing
survives has its own tradition, its own dances, and its own
special methods of performance, all of which reflect, no
doubt, the peculiar temperament and artistic sense of the
community. Consequently, the discovery of a new Morris
village leads to the discovery of a fresh group of dances,
closely related, but distinguished by many individual and
local peculiarities. The fact is that Morris dancers are
very proud and jealous of their local tradition, and any
attempt on the part of neighbouring villagers to copy
their dances would be fiercely resented and treated as an
act of robbery.
Folk-song variants, on the other hand, are distributed far
more widely and uniformly than folk-dances and are less
affected by local influences. A single village will often yield
two or more variants of one folk-song ; while two nearly
identical variants may be found in districts hundreds of miles
apart. Folk-songs may, therefore, be said to flow in one
broad stream of evolution ; whereas the development of
folk-dances trickles along many small rivulets, united at their
source, but subsequently diverging and pursuing each its
own course.
This tendency of the Morris dance to vary, village by
village, is at first somewhat disconcerting, even to one who
has had some experience in the collection of folk-songs.
Nevertheless, instability is, and in the nature of things must
be the invariable characteristic of all traditional folk-products.
Variation, however, does not necessarily connote corruption ;
in nine cases out of ten it is indicative of vitality, growth and
development, of evolution rather than of devolution. Still, in
Worcestershire, Herefordshire and, so far as our investigation
goes, in the northern counties, Morris dancing has undoubtedly
fallen on evil days and become decadent. But in the
Midlands, from which alone our published material has been
derived, the Morris dance, albeit moribund, is not corrupt.
Furthermore, variants, whatever their quality, are never
INTRODUCTION. 11
mutually destructive ; each one, so long as it is part and
parcel of a genuine and unbroken tradition, is equally
authoritative.
And through all the numberless changes to which the
Morris is subject, the type obstinately persists. In general
appearance, in form and structure, and in all that is really
essential, the Morris dance is unvarying. The normal
Morris step, for instance, is practically the same everywhere;
certain evolutions, such as the Hey, Half-Rounds, Back-to-
Back, &c., are known to and practised by all Morris men ;
while in character, in spirit, and in its emotional content the
dance varies very little. It is in the use of special figures, or
combinations of figures, in the preference for this or that
step or hand-movement, and in the small and almost
indefinable subtleties and nuances of technique that, in the
main, the tradition varies.
These considerations materially lighten the task of the
collector. His duty is, obviously, to note down with care and
accuracy every traditional dance that comes his way for,
scientifically, all are of equal value ; and then, later on, to
select for the purposes of publication those dances which
seem to him to be most characteristic in themselves, most
clearly representative of a type or artistically the most
beautiful.
In this way, at any rate, we have gone to work. We
have taken great care to assure ourselves of the genuine
traditional character of every dance that we publish. And
this precaution is necessary ; for there are dances performed
nowadays in many villages that have been revived quite
recently, and for which, therefore, it is impossible to claim
the authority of a continuous tradition. Some of these
resuscitated dances are not without their value, nor wholly
destitute of authority, as, for instance, in those cases where
the revival has been superintended and directed in person by
Morris dancers from other villages. Of such dances we felt
12 THE MORRIS BOOK.
ourselves justified in printing three examples in Part I.,
"Shepherd's Hey," " Morris-off," and "Bluff King Hal."
We have not, however, repeated the experiment, and we do
not intend to do so ; the risk is too great.
The two Derbyshire dances belong to a category of their
own and, for this reason, are treated in a chapter by them-
selves. They are by no means modern revivals, but authentic
examples, we believe, of an ancient and uninterrupted
tradition. At the same time we do not present them as
typical examples of the Morris dance. They are hybrid
dances that combine in nearly equal proportions the
characteristics of the Morris and the Country Dance.
Scientifically they are, of course, of the highest interest.
We print them, however, not so much on this account as for
aesthetic considerations, the dances being, in "our opinion,
singularly beautiful and picturesque.
We have, too, some authority for classifying them as
Morris dances, for they are so named by the dancers them-
selves, as well as by the inhabitants of the district in which
they survive. They possess, moreover, several points in
common with the normal Morris dance, e.y., the steps and
hand-movements ; some of the evolutions ; the use of hand-
kerchiefs; certain points in the costume; the extra characters
fool, witch, king and queen who accompany the dancers ;
the exclusion of women from performance ; and, finally, in
the formal and ceremonial way in which the dance is
performed on certain prescribed occasions.
On the other hand, the dances have many features that
have clearly been derived from the Country Dance. The
performers, for instance, number sixteen ; they wear no bells ;
such evolutions as Hands-Four, Right -and-Left, are Country
Dance not Morris figures. But perhaps the strongest proof
of alien influence is to be seen in the fact that although the
performers are all men (the witch and queen are impersonated
by men), the two sides wear different head-gear and are
THE '
PUBLIC LIBRARY
AS T OR, LENOX AND
TILDEN FOUNDATIONS.
INTBODUCTION. 13
called, respectively, the <; Men's side" and the "Ladies' side,"
terms that have obviously been borrowed from the nomen-
clature of the Country Dance (see plates opposite pp. 13
and 98).
Our readers will notice that the tune of the " Processional
Morris " (Part II., p. 43) is identical with that of the " Derby-
shire Morris Dance." This is because it is customary with
the Derbyshire men to proceed from place to place dancing
the "Processional Morris" and then, on arriving at their
destination, to form up and execute the " Morris Dance '
without pause, a very pretty and characteristic procedure
which should be adopted when occasion offers.
The Morris Book. Part III.
THE DANCE.
HANDS.
HANDKERCHIEFS.
The handkerchiefs used by Morris dancers are white
and large. They are held in various ways. Ordinarily one
corner is clasped between the thumb and first finger, but
sometimes, especially in jig dancing, the four corners are
gathered together and the handkerchief held in a bunch as
shown in the photograph of Mr. Kiinber, reproduced in
Part I., p. 23. Sometimes, for the sake of security, a knot is
made in one corner and passed between the 2nd and 3rd
fingers ; or two diagonal corners are tied together and the
handkerchief held like a sling. When performing dances in
which hand-striking occurs, the Morris men usually tie the
handkerchief to the little finger with a sailor's reeving knot.
The Derbyshire Morris dancers (see Part II., p. 42) use
handkerchiefs as large as dinner napkins and attach them to
the links of their cuffs.
THE POINT.
The performer raises his right or left hand according as
he is setting out to right or left in an outward and upward
curve, to a point level with the top of the head ; at the same
time the head is bent and the body inclined in the same
direction. The arm is held in the raised position for one
bar, and then gradually lowered to the side of the body in the
next bar. These movements of hand, head, and body must
be performed easily and gracefully ; the dancer is merely
pointing out the course upon which he is setting out.
This movement is marked in the diagrams :
p.r. (point with right hand),
or
p.l. (point with left hand).
16 THE MORRIS BOOK.
THE SWING.
In advancing, the hands are swung gently forward and
back, a distance, roughly, of eighteen inches. The backward
movement is made at the beginning, and the forward move-
ment at the middle of each bar. The hands are not swung in
parallel lines ; in the forward movement they should approach
each other in front of the body, while in the backward move-
ment they should be swung apart and slightly away from the
body. The arms swing loosely and easily, and with bent
elbows. The movement should have somewhat of a jaunty
or swaggering appearance.
The Swing is thus a modification of the action of the hands
described in Part I. (p. 49), and of the movements " up " and
" down " in the diagrams of the jigs in Part II.
The Swing is marked in the diagrams :
s.f. (swing forward),
and
s.b. (swing backward).
When the Swing is used with capers, or otherwise as
indicated, the hands are swung much more vigorously and
further about three feet, rising in front as high as the
breast.
This is marked in the diagrams :
s.h.f. (swing high forward),
and
s.h.b. (swing high backward).
HANDS -INWARD.
The hands are brought together in front of the midriff, and
close to the body, with the knuckles touching ; the elbows are
slightly bent outwards and forwards.
This is marked in the diagrams :
"o
in
or, if only one hand is used,
r. (or 1.) in,
THE DANCE. 17
HANDS-OUTWARD.
In this movement, which usually follows Hands-inward,
the hands are thrown outward, level with the waist. The
arms slant downwards ; the elbows are slightly bent and
about fifteen inches away from the body.
This is marked in the diagrams :
out
or, if one arm only is used,
r. (or 1.) out.
HANDS-ACROSS.
The hands are held across the body, as in Hands-inward ;
but they are carried further over and are crossed at the
wrists, while the elbows are given ci sharper crook forward.
The attitude is very much the same as that of the dancer in
the " Sailor's hornpipe."
This is marked in the diagrams :
X
or, if only one hand is used,
r. (or 1.) X
HANDS-WIDE.
This movement usually follows Hands-across.
The hands are thrown suddenly and widely apart ; the
arms are straightened and held nearly parallel with the
ground, declining only very slightly from the shoulders.
This is marked in the diagrams :
"o
W.
or, if only one hand is used,
r. (or 1.) w.
WAVING.
The hands, which are held outward and well apart, are
smartly waved first inwards and up as high as the chin, then
out and downwards, finally inwards and up to their original
18 THE MORRIS BOOK.
positions. The movement is performed very vigorously and
in one action. Each hand describes an ellipse in a vertical
plane. The upper arms are held close to the body and are
little used in this movement, which is performed almost
entirely by the forearms and wrists.
This is marked in the diagrams : -
wavo.
DIP IN ; DIP OUT.
Both hands are raised to the level of the shoulders. They
are held about a yard apart, and about twenty inches in front
of the body. The hands are now dipped down about
five inches, and up again, and at the same time brought
towards each other about the distance of a foot. This
movement is then repeated, bringing the hands to within
twelve inches of each other.
These two movements are then made in the reverse
direction, outwards, bringing the hands and arms back again'
to their original positions.
The dipping movements, down and up, are executed by the
forearms and wrists, chiefly by the latter. The effect
produced is that of a rhythmical, dancing motion of the
arms and hands, and is extremely graceful when performed
neatly and naturally.
In the diagrams these movements w T ill be marked thus : -
d. in in. (dip in in).
d. out out. (dip out out).
HlGH-AND-WlDE. HlGH-AND-AcROSS.
Both arms, slightly bent at the elbows, are raised above
the level of the head ; they slant outwards and forwards,
making, in each case, an angle of about thirty degrees with
the vertical. The hands are then brought rapidly together
and crossed at the wrists, the left in front of the right.
THE DANCE. 19
This waving movement is not, in effect, unlike the Circle,
described in Part II. (p. 11).
These two movements are marked in the diagrams as
follows :
h. X (high, across).
h. w. (high, wide).
SHOWING.
One hand, right or left according to instructions, is first
brought across the body, the forearm parallel with the ground ;
it is then swung outwards in a wide sweep well away from
the body, always keeping the forearm level ; simultaneously,
the body and head are inclined in the direction of the hand.
The movement suggests an elaborate and formal obeisance or
salute ; it is done gracefully and with great deliberation,
somewhat after the manner of a polite foreigner in taking off
his hat to a lady.
This is marked in the diagrams :
show r. (or 1.).
MARK- TIME.
The body is raised on the toes, then lowered back again on
to the heels. As the body rises and falls, the hands are
moved out and up, then in and down. These hand-move-
ments are very slight, and are little more than gentle flicks
of the wrists.
In the following dances, Mark-time takes the place of the
preliminary jump and raising of the arms described in
Part I. (pp. 47-8). It is performed, as the case may be, by
the whole side, the centres, or by either pair of corners,
about to begin a figure. In Once-to-yourself, some dancers
Mark-time at the beginning and middle of the last two or
more bars in order that they may feel and get used to the
rhythm before the d?nce begins.
20 THE MOBEIS BOOK.
Although the haud-rnovements above described are all used
by the Morris men, it would not be strictly accurate to say
that they are always executed as exactly as we have described
them, or as uniformly as they are marked in the diagrams.
We have set down what, in our opinion, may fairly be con-
sidered the average or normal practice of the traditional
dancers. For purposes of notation it has been necessary to
be precise ; in practice, it will probably be found that, as
with the Morris men themselves, individual differences will
be made. To do this within reasonable limits is quite in
accordance with traditional custom.
In cases where the hand-movements such as the Swing,
High-and-Wide, &c., are merely variants of those previously
described, performers may prefer to substitute in the
following dances those movements to which they have grown
accustomed. On this point we express no opinion. Our
duty, as we conceive it, is to describe the dances as we have
seen them performed by traditional Morris men.
STEPS.
THE MORRIS STEP.
The normal Morris step is, no doubt, the chief difficulty
with which the beginner has to contend. As the directions
already given in Part I. (pp. 32-3) have not always been
interpreted by our readers in the sense we intended, some
additional remarks have become necessary.
One leg, say the right, is swung smartly forwards, jerked
rather than kicked, and then brought back and down to earth,
the foot striking, or rather scraping the ground at an acute
angle, and at a point not more, ordinarily, than a few inches
in front of its original position. Directly the right foot has
reached the limit of its forward swing, a similar action is
commenced by the left leg ; except, of course, when the step
is followed by a hop, in which case the free leg is held for a
THE DANCE. 21
moment in the forward position. Both feet should be swung
forward an equal distance ; beginners are inclined to swing
the left leg less than the right.
The movement above described must be made with a straight
leg, swinging naturally and easily from the hip joint. On no
account must the knee be bent, nor the thigh raised ; the
action is forward and backward, not upward. The foot
should lie throughout at right angles to the leg, no conscious
effort being made to point the toe up or down. Although the
action is a quick and vigorous one it should be executed
easily and naturally ; the leg should not be strained to an
uncomfortable and unnatural rigidity.
The Morris step is danced throughout on the ball of the
foot, not the toes. The heel, though always close to the
ground, should never touch or rest upon it. We are aware
that in our original description we directed the dancer to
lower the heels to the ground immediately he had alighted
on his toes. This statement, however, needs correction. It
is true that we have seen the step performed in this manner,
especially when the dancers were tired after a long day's
work; and we have, moreover, known some Morris men who
do so habitually. Nevertheless, experience has convinced us
that the practice is abnormal and should, therefore, be
avoided.
The beginner is advised to practise and perfect the Morris
step in a stationary position before he essays to dance it
moving forwards or backwards. When, ultimately, he
advances at the Morris step he must be careful to take very
small steps and to cover as little ground as possible. It is
very difficult, when moving rapidly, to maintain the character
of the step.
THE CAPER.
The Caper was described in Part I. (p. 34) as an exaggerated
Morris step. It should, however, in addition, be emphasised
by a vigorous jump made by the supporting foot, the leg
22 THE MOEEIS BOOK.
being kept perfectly straight. The flexibility and strength
of ankle required to effect this easily and without apparent
effort can only be acquired by long and assiduous practice.
The Caper when properly performed, i.e., with erect body
and straight legs, is one of the most characteristic steps
of the Morris dance.
In the diagrams the Caper will be marked by a capital
letter, thus :
BorL.
THE SIDE- STEP.
The Side-step may be used in a stationary position, or in
moving backwards or forwards.
When executed in a stationary position the feet should be
crossed well over one another, and should lie in parallel lines
from four to six inches apart. The weight of the body should
be carried alternately by each foot, so that the centre of
gravity is directly above the supporting foot. This may
produce a rhythmical, rocking movement, backwards and
forwards. The amplitude of these oscillations varies very
much with different dancers and, to some extent, with the
character of the movement in which the step occurs. Some
dancers habitually emphasise the rocking motion as much as
possible, while with others it is scarcely perceptible ; and we
have known dancers who practically ignore it altogether.
In advancing or retiring at the Side-step, the two feet
should lie in one and the same straight line and must, there-
fore, be crossed much less than when the step is executed in a
stationary position. The course of the dancer should be
slightly to the right or left, according as the front foot is
right or left. Consequently, when, as is often the case, the
position of the feet is changed at the beginning or every bar,
the dancer will pursue a zig-zag course.
Whenever the Side-step is used, the head and body of the
dancer should be twisted a quarter turn to the right or left,
according as the rear foot is right or left ; or, to put it another
THE DANCE. 23
way, the right shoulder should always be swung over the
right foot, and the left shoulder over the left foot. Except in
Showing (p. 19), the head and body are held erest ; we have
seen dancers, on occasion, bend both head and body slightly
backwards.
The Side-step is, perhaps, the most graceful, as it is
certainly the most difficult of all the Morris steps. The
difficulty lies in varying the step, as good Morris dancers do,
and modifying it in conformity with the character of the
dance, and particularly with that of the music. In Foot-up,
No. 4, for instance, the Side-step is danced with the greatest
spirit and vivacity ; whereas in " Trunkles," or in the Corner
movement of " Brighton Camp," it is performed in almost a
languishing, lac \~adaisical manner. After all, the best way
to realise its many possibilities, perhaps the only way, is to
see it performed by a good traditional dancer.
The Side-step will be marked in the diagrams in two rows
of symbols. In the upper line the symbols will show the
steps in the usual way ; in the lower line the letters s.s.
(Side-step) will be placed, followed by r.b., or l.b., and a line,
which will continue while the step lasts, thus :
r. 1. r. 1. r. 1. r. h.r. 1. r. 1. r. | 1. r. 1. h.l.
s.s. l.b. r.b.
THE 9-2 STEP.
The only difference between this and the 6-2 step is that
the step-and-hop occurs three times in each bar instead of
twice, thus :
3:s=? -N-
~^=i^
r. h.r. 1. h.l. r. h.r. 1. h.l. r. h.r. 1. h.l.
THE CROSS-HOP.
As its name implies this is a hop made with crossed feet,
with or without change of position. The weight of the body
must be supported equally by both feet.
24 THE MOEEIS BOOK.
In the diagrams the step will be indicated by two rows of
symbols, as follows :
r.b. l.b. r.b.
X.h.
As in the notation of the Side-step, the line marks the
continuance of the Cross-hop.
THE STEADDLE.
This is executed by jumping, throwing the feet wide apart
and alighting firmly upon them. As the feet touch the ground
the knees are bent and the body lowered. The body must be
held erect throughout the movement.
This is marked in the diagrams :
st.
The hand-movements, " across " and " wide,'' are generally
used with the straddle.
The straddle, when performed neatly and smartly, and by
men, is a very effective and characteristic movement. For
women, however, it can scarcely be called a graceful action.
Women will on this account probably find " feet apart " (f.a.)
a more suitable movement. In making this substitution,
moreover, they will be acting strictly in accord with tradition,
for we have seen the same change made by the country
dancers themselves.
THE BACK- STEP.
This is often used instead of the Cross-step, of which it is a
variant much simplified.
One foot, right or left, is swung, loosely and in a slight
curve, behind the supporting foot, so as to cross the legs just
above the ankles. As the forward toe is raised to be swung
behind the other foot, it should be given a slight but lively
turn or twist outward, giving the heel a slight inward move-
ment. This gives the impression that the dancer is giving
himself a gentle thrust backward with each step.
THE DANCE. 25
The Back-step is made entirely on the ball of the foot ; and
at each crossing of the feet a slight and natural inclination of
the head and body is made in the direction of the moving
foot. The Back-step is always accompanied by the hand-
movements, "r. in " or " 1. in."
There should be no hop in the execution of the Back-step ;
when a turn or a jump follows the Back-step, it is made
without a preliminary hop.
This is marked in the diagrams :-
r.b. l.b. r.b.
b.s.
This step is often used, arbitrarily, by the dancer at the
end of an evolution when he has accidentally got out, and in
front of his proper place.
THE SPRING.
A high jump, or spring, is made from one foot to
the other. The body is held upright, head erect or even
inclined backwards, and the Spring, whether made in position
or advancing, or on the turn, must be made as high as
possible.
The Spring is distinguished from the Caper in that the free
leg is not kicked forward and upward, but allowed to hang
loosely, and in a straight and natural position.
In the diagrams the Spring is marked with a convex curve,
thus :
r. 1.
FEET-TOGETHER.
Feet-together is the posture known to professional dancers
as " first position," i.e., both feet flat on the ground, heels
touching, toes well turned out.
In Morris dancing Feet-together (f.t.) usually follows Feet-
apart (f.a.). But whatever position precedes it, Feet-together
26 THE MORRIS BOOK.
should bo executed without a jump, and with no more spring
than is absolutely necessary to reach the required position.
Feet-together must, therefore, be sharply distinguished from
the Jump (Ju. or j.), in which the dancer springs as high as
he can, and alights on both feet simultaneously.
THE BACK-TOE.
A slight jump is made, the dancer alighting upon one foot.
As he does so, the other foot is thrown backwards in a
straight line, and set upright, heel up and toe resting on the
ground two feet or more behind the supporting foot. At the
same moment the supporting leg is bent at the knee.
The Back-toe is always followed either by the Jump or the
Spring, made by the supporting foot, the rear leg being swung
quickly forwards.
This is marked in the diagrams :-
r.t.b. (right toe behind)
or
l.t.b. (left toe behind).
THE CROSS-LEG.
This is a variation of the normal method of performing the
hop in the ordinary Morris step.
The free leg, instead of being kicked forwards (see Parr I.,
p. 33), is swung, heel foremost, across and in front of the
other leg, overlapping it by two or three inches. The leg as
it swings across is bent at the knee ; the heel is raised and
thrust forwards ; and the toe turned out and down. To
preserve a balance, the body is inclined, very slightly, away
from the direction in which the leg is swinging.
The hop made by the supporting leg must be a very mild
one. Some dancers, indeed, especially in quick time,
dispense with it altogether, and are content with raising the
body an inch or two by bending the ankle.
THE DANCE. 27
This step is marked in the diagrams in two lines, thus :-
h.l.
r.a. Bright across)
or
h.r.
La. (left across).
The Cross-leg is generally used in the 4-2, 6-2, 4-3, or 6-3
steps, and sometimes, though very rarely, in the Side-step.
THE HOOK-LEG.
This is an exaggerated form of the Cross-leg.
A high spring is made by the supporting leg ; the swinging
leg is sharply crooked at the knee, which is raised as high as
possible.
This is marked in the diagrams in two lines, thus :-
h.l.
hk. r. (hook right leg)
or
h.r.
hk. 1. (hook left leg).
When the Hook-leg is followed by a step and a jump, it is
called " hook-leg and jump."
THE SWING- STEP.
This step has already been described, though unnamed, in
the third figure of the " Bacca-Pipes Jig" (Part II., p. 40).
It is a simple but very pretty variant of the 4-2 or 6-2 step.
While one foot is hopping, the other is swung across and
in front of it, alighting eighteen inches or two feet outside
the hopping foot. This swinging motion takes the place of
the kick forward made by the free leg in the ordinary Morris
step.
This step is marked in the diagrams thus :
r. h.r, 1. h.l.
SW.S
28 THE MO RE IS BOOK.
THE PAUSE.
At the conclusion of a dance, especially of a jig, the
performer will sometimes remain for a moment or two posed
in the attitude in which he executed the last step or Caper.
This will be marked in the diagrams with a fermata or
pause, thus :
<TS
L
EVOLUTIONS.
THE FOOT-UP.
The Foot-up is a variant of the " Down-and-back, turn;
up-and-back, face," already described in Part I. (p. 40).
It is danced in four different ways.
FOOT-UP. No. 1.
During Once-to-yourself, the dancers stand in column,
facing the music, and Mark time in the last two bars (p. 19).
They then make the following movements :
Bars 1 and 2 : advance about six feet.
Bar 3 and first half of bar 4 : retire about two feet.
At half-bar, bar 4 : turn about, outwards, at the Spring,
and face down.
Bars 5 and 6 : advance about six feet.
Bar 7 and beginning of bar 8 : retire backwards, about two
feet, to position.
At half-bar, bar 8 : jump, and form Front.
The steps and hand-movements are shown in the following
diagram :-
TRACK Up, six Feet
HANDS.. ..s.b. s.f. s.b. s.f.
u
* * *
j 4l*
V I
N
jj
t)
^f
/
~
fi
6fN
9 9
V. I/
2
_/
STEPS
...r. 1.
r.
h.r.
1. V. L h.l.
THE DANCE.
29
DOWN, two feet Turn outwards. Down, six feet.
Lin. r.in. Lin. s.h.f. s.b. s.f.
| fs
H - 1
r.b.
b.s..
l.b.
r.b.
n i.
r.
I *~
1. r. h.r.
s.b.
s.f.
.-Up, two feet Position. Front.
l.in. r.in. l.in. s.h.f.
In bars 3 4, and 78 the 6/2 step is sometimes used
instead of the Back-step.
FOOT-UP. No. 2.
During Once-to-yourself, the side stands in Column, facing
up ; they Mark time (p. 19) in the last two bars.
In this Foot-up the performers dance in a stationary
position throughout, moving neither forwards uor backwards.
The steps, hand-movements, &c., are shown in the following
diagram :
TRACK Position, up
HANDS d. in in.
d. out.
_out.
d. in.
..Turn outwards. Position, down...
s.h.b. s.h.f. d. in in.
r. 1, r. h.r. 1. fl r. h.r. 1. r. 1. L.I.
l.a. r.a.
d. out.
.out.
d. in_ _in.
Front.
s.h.b. s.h.f
1
r. 1, r.
The Morris Book. -Part III. C
h.r. 1.
l.a.
r. 1.
h.l. r.
r.a.
30
THE MORRIS BOOK.
FOOT-UP. No. 3.
The side stands in Column, facing up, The last two bars
of Once-to-yourself are danced as follows :
HANDS, h.x.
h.w.
h.x.
- 3 - T-T 1
STEPS
l.b.
x.h.
-&-
f.a.
5
h.w
~^\
r.b.
xh.
L.
In the Foot-up, the side dances in a stationary position,
moving neither forwards nor backwards.
The first eight bars are danced as follows :
TEACK Position, up
HANDS .... . d. in _in.
d. out_
.out.
*_.
*>
;-==-
v ^ i^*
STEPS r. 1.
s.s. l.b.
&
t
r^=2
r. h.r. 1. r.
r.b.
1. h.l.
d. iu.
.in.
d. out out.
i i
d. iu in.
_ Q .
=#"$ , ^=f rP =*=t f=PP=i=i
IE=?=E ^=^EE ^
r. 1. r. h.r. 1. r. 1. h.l. r. 1. r. h.r.
l.b._ r.b. l.b
d. out out.
Turn outwards
and face down,
h.x. h.w. h.x, h.w.
I--: : I ^ * m I -\ r-J ^
^ 1 f 9f ^ _j ^ K I
:q_
1. r. 1.
r.b
Ib.
x.h.
f.a.
r.b. L.
x.h.
This is repeated, the side facing down. All turn Front as
they Caper in the last bar.
THE DANCE. 31
FOOT-UP. No. 4.
In this, as in the two preceding evolutions, the side dances
throughout in a stationary position.
During Once-to-yourself, the side stands in Column, facing
up, with sticks held high and crossed. All Mark-time (p. 19)
in bars 3 and 4 ; partners strike sticks on last beat of bar 4.
In the first four bars of the Foot-up, all dance to 9-2 step
(see p. 23), partners tapping sticks on last beat of bar 4.
On the first beat of bar 5, all turn round, outwards, and,
facing down, dance as before in the next four bars. On the
last beat of bar 8, partners tap sticks and form Front.
Throughout this evolution, the arms, except when the
sticks are being used, should hang loosely and naturally by
the sides.
GIPSIES, OR WHOLE-GIP.
In the first four bars, pairs advance about three feet, move
to leftward and round in a small circle, facing the centre ;
then retire backwards to position.
In bars 5-8, pairs again advance about three feet, move to
rightward, and round as before, but in the opposite direction;
then retire backwards to position.
So far as possible, each dancer throughout the figure should
keep his face turned to the centre of the circle, towards,
round, and from which he is moving in turn. This involves,
while on the curve, a crossing of the feet, and a slight bending
of the body towards the centre of the circle. It must especially
be noted that the evolution, though rapidly executed, is made
smoothly and without fluster.
t/
In the following illustration, the lines show the track of
the dancer, the arrows his direction ; the letters indicate the
steps ; the numbers show the bcirs of the music ; while the
angles, A, point in the direction of the dancer's face and,
in addition, indicate his position at the beginning and end of
each bar of the music. Each figure applies to all the dancers,
whether odd or even numbers.
32
THE MORRIS BOOK.
1
1.
\
rk.r.
r.
.1.
1.
>r.
1
hi
r.
1-
A A
START. FINISH.
A A
FINISH. START.
The following music diagram shows the hand-movements
and steps used in this evolution :
HANDS s.b. s.f. s.b. s.f.
-_L
4-
jg~
STEPS r. 1.
1. in. r. in.
Jt
I
h-l f 1
r. h.r. 1.
1. in. r. in.
r. 1.
s.b.
h.l.
s.f.
-# I \ r"*^^i 1-| -1 1 1 ~^^-\ , ' i i H
r.b.
b.s..
l.b.
r.b.
s.b.
s.f.
1. in.
l.b. h.l. r. 1. r. h.r.
r. in. 1. in. s.h.f.
r.
1. h.l. i.b. l.b.
l.s. __
r.b.
Ju.
The Back-steps in bars 0, 4, 7, and 8 are optional. The
4-2 step may be substituted, as shown in the above illustration.
THE DANCE.
33
HALF-HANDS OR HALF-GIF.
As regards the direction and movements of the dancers,
this is the same as Go-and-come, described in Part I.
In bars 1 and 2, partners advance a little to the leftward
and pass, right shoulder to right shoulder ; then, in bars 3
and 4, and without turning, they retire to position, with two
Back-steps in bar 4. In bars 5 and 6, they advance a little to
the right, pass left to left, and then retire backwards to position
with three Back-steps and a jump in bars 7 and 8.
The hand-movements and steps are shown in the following
diagram :
TRACK Forward to left
HANDS s.b. s.f. s.b. s.f.
J^^^^^^^^^e5=^^^3
zzz ^ m *-3- u-
STEPS r. 1. r. h.r. 1. r. 1. h.l.
Back to Position.
s.b. s.f. 1. in. r. in.
/(K Tr j * ^ ^ r e ' ^?d
r. h!r"" 1. h.l. r.b. l.b. h.l
b.s
Forward to right
s.b. s.f. s.b. s.f.
_|_|______ BB _ =t __^ _
1. r. h.r. 1. r. 1. h.l.
BACK to Position.
1. in. r. in. 1. in. s.h.f.
-^=^^==^^^^^^^^^^^^^^E
=^~ ^~1^ji b P=^r =B
r.b. 1 b. r.b. Jn.
b.s.
THE MORRIS BOOK.
HALF-ROUNDS.
This evolution is very similar to the Ring, described in
Part I. (p. 51).
Half-rounds is distinguished from the Ring in that
(1) The steps are different ;
(2) It is danced with greater energy and in a wider circle ;
(3) The performers travel further round the ring before
turning back.
The steps and hand-movements are shown in the following
diaram :-
TRACK ............ Round, right to left
HANDS ............. s.b. s.f.
s.b.
s.f.
STEPS
s.b.
tfe
-If i
s.f.
..Turn outwards Round, left to right.
s.h.b. s.h.f. s.b. s.f.
r.
1. r. h.r. L.
s.b. s.f. s.b.
R.
s.f.
1. r. 1. h.l.
Position,
s.h.b. s.h.f.
i i
^==3=
r.
1. r. h.r. 1.
r. 1. h.l. R.
L.
THE HEY.
This is the same evolution as the Chain, described in Part I.,
(p. 41). The Hey is, perhaps, the more usual term and will
be used exclusively in the following pages.
The steps and hand-movements in the Hey are performed
in two different ways in the following dances. These we shall
call respectively No. 2 and No. 3, reserving the designation
No. 1 for the Hey as described in Part I. (p. 47).
To save space we give in the following diagrams the first
half only of the evolution.
THE DANCE.
35
HEY No. 2.
As danced by Nos. 2, 4 and 5.
HANDS p.r.
STEPS r.
1.
r. h.r. 1. r. 1.
h.l.
s.h.b.
s.h.f.
As danced by Nos. 1, 3 aud 6.
HANDS p.l.
STEPS ....... 1.
r.
1. h.l. r. 1. r. h.r.
s.h.b.
s.h.f.
HEY No. 3.
As danced by Nos. 2, 4 and 5.
HANDS d. in _in. d. out out.
=1=
d. out.
STEPS r.
s.b.
r. h.r. 1. r.
!. h.l.
s.f.
s.h.b. s.h.f.
=j=
r.
h.r.
hk.l.
1.
36
THE MORRIS BOOK.
As danced by Nos. 1, 3 and 6.
HANDS d. in in. d. out out.
iJL ^^^H_
STEPS 1.
r. 1. hi. r. 1.
r. h.r.
I
O 1
i s.b.
' i
s.f.
s.h.b. s.h.f.
\J J
|^
1
!
^
f 1 ^ ^ ^^ ^
, *
^~~^t -^
v !/
* ^"
1. h.l.
h.k.r.
r. j.
ALL-!N.
In nearly all of the dances described in Parts I. and II.,
All-in, or All-up as it is sometimes called, is indicated by
the performance of some special figure. This, however,
with the exception of " Shooting " and " Brighton Camp," is
not the case with the dances given in the following pages.
Nevertheless, even in the absence of a prescribed figure, it is
the invariable custom of Morris dancers to emphasize, in some
way or other, the conclusion of the dance. They will, for
instance, give the Call (see Part I., p. 50) ; quicken the time,
as in " Shepherd's Hey " (first version) ; or slacken the pace,
as in " Jockie to the Fair," and " Caper out," as it is called,
in the last few bars, pausing on the last step.
In dances which end with Half-rounds we have often
noticed that the performers at the conclusion of the dance
will continue to walk round in a ring in a leisurely manner
until they have recovered their breath and are ready to form
up for the next dance. This plan has the advantage of
preventing the crowd from encroaching upon the space
required for the dancing.
As it is obviously desirable to avoid an abrupt and unexpected
ending, dancers are advised to adopt one or other of the
traditional methods above described ; or, if they please, they
may make use of one of the figures belonging to another
dance. In handkerchief dances the most effective form of
All-in is, perhaps, the one given in " Laudnum Bunches "
(Part L, p. 64).
SPECIAL INSTRUCTIONS FOR
VARIOUS DANCES.
THE FLOWERS OF EDINBURGH
(HANDKERCHIEF DANCE).
KNEEL-AND-CAPER.
At the beginning of the first bar each dancer bends his left
leg and goes down suddenly upon his right knee and leg. At
the end of the bar, he rises up very quickly and, bending his
right leg, goes down upon his left knee and leg at the first
beat of the second bar. At the end of the second bar each
dancer rises up and capers twice in each of the following
two bars.
Before kneeling in bars 1 and 2, a slight jump should be
made ; the supporting foot is thrown a little forward ; while,
at the same time, the rear leg is thrown backwards and
outwards, away from the body at an angle of 45 degrees, with
the foot, calf, and the knee resting upon the ground. The
body is held erect during the kneeling movement and should
be supported equally by the foot and the reclining leg. The
transition from the first to the second kneeling positions must
be made as quickly and as smartly as possible.
Caution as well as activity must be exercised in the
performance of this evolution ; for the kneeling movement
may be a dangerous one unless it is executed upon a grassy
or some other yielding surface. Realizing this, the Morris
dancer, when the conditions are unfavourable, is content with
bendiog the rear leg, so that the knee approaches the
ground but does not touch it.
In the kneeling movement there are no prescribed move-
ments for the hands. It will be found, however, that as the
body is lowered, the hands will naturally swing outward from
the sides, to help in balancing ; while, in rising, the hands will,
as naturally, swing forwards and upwards.
38
THE MORRIS BOOK.
The Capers, in bars 3 and 4, must be executed with as high
a spring as possible, and, of course, in Front formation.
HANDS.
wave. wave.
:fc
STEPS... Kneel r. up kneel 1. up
wave. wave.
R.
R.
L.
L.
THE MAID OF THE MILL (HANDKERCHIEF DANCE).
SPRING-AND-CLAP.
In bars 1 and 2, partners Show to each other. In bars 3
and 4, all Spring-and-Clap as shown in the following diagram.
The last two steps in each of these bars must be danced in
even time.
On the first beat of bar 3, the hands are thrown wide apart
and downwards, and then, at half-bar, brought up and
smartly struck together at about the level of the chin. The
same hand-movements are repeated in bar 4.
The steps and hand-strokes are shown in the following
diagram :
show r.
show 1.
SPECIAL INSTRUCTIONS.
39
BOBBING JOE (HANDKERCHIEF DANCE).
SnOW-AND-SPRING.
In bar 1, Nos. 1 and 6 advance a step or two and Show to
each other. In bar 2, Nos. 2 and 5 do the same. In bars 3
and 4, all spring and step as shown in the diagram. The
last two steps in each of thase bars are danced in even time.
HANDS.
(Nos. 1 & 6 only.)
..show r.
(Nos. 2 & 5 only.)
sir w 1.
STEPS
h.r. 1.
r.b.
r. 1.
h.l.
(All.)
s.h.b. s
f\ 4r ^
h.i. s.h b.
i
s.h.f.
V' 4r ^
V
i
r
3t5 |*
1% m
B
i i \--\-
r.
1. h.l.
2
r.
1. h.l.
2
SHEPHERD'S HEY (HANDKERCHIEF DANCE).
FOOT-UP AND CAST-OFF.
During Once-to-yourself, the dancers stand in Column,
facing up, and Mark-time (p. 19) in last two bars. They then
perform the following movements :-
Al.
Nos. 1 and 2 advance about six feet at 4-3 step,
Bars 1 4. capering twice in 4th bar, on first and middle
beats.
Al. Nos. 3 and 4 perform the same movement.
Bars 5 8. While they are doing so, Nos. 1 and 2
" cast off," that is, No. 1 turns to the left and
No. 2 to the right, and each walks down
outside and parallel to the lines of dancers,
taking two steps to each bar. They take up
positions about six feet below and behind
40
THE MORRIS BOOK.
Nos. 5 and 6, and stand side by side, facing
downwards. This movement is shown in the
accompanying illustration.
Al.
(2nd time)
Bars 1 4.
V
A
Y
V
V
Nos. 3 and 4 " cast off" and take up positions
behind Nos. 1 and 2, facing down. While
they are doing this, Nos. 5 and 6 advance in
bars 1 and 2 at 4-3 step. In bars 3 and 4,
they take three back- steps, turn about on the
Caper, and face downwards, immediately
behind Nos. 3 and 4.
The whole
down and in
described, are
Al.
(2nd time)
Bars 5 8.
Al.
(Prd time)
B >rs 14.
side is now in Column, the dancers facing
their proper order. The movements, above
now repeated, as follows :
Nos. 1 and 2 advance down at 4-3 step,
making two capers in bar 8.
Nos. 3 and 4 perform the same movement.
While they are doing so, Nos. 1 and 2
" cast off," walk up to their original positions
and face Front.
SPECIAL INSTRUCTIONS.
41
Al. Nos. 3 and 4 " cast off," walk up and
(3rd time) take their original positions, facing Front.
Bars 5 8. Simultaneously, Nos. 5 and 6 advance in bars
5 and 6, at 4-3 step. In bar 7 and first half
of bar 8, they take three back-steps, and on
the second half of the latter bar, Caper and
face Front.
The following diagrams show the steps and hand-movements
used in these evolutions :
HANDS... s.b.
Nos. 1 & 2, and 3 & 4.
s.f. s.b.
HANDS... s.b.
Nos. 5 & 6.
s.f. s.b.
s.f.
STEPS r. 1.
1. in. r. in.
r. h.r. 1.
1. in.
1. h.l.
s.h.f.
r.b.
b.s.
l.b.
r.b.
L.
CORNERS.
In the first corner movement, Nos. 1 and 6 advance towards
each other, meet in che middle and retire backwards, to their
respective positions. Nos. 2 and 5 then do the same, and,
42
THE MORRIS BOOK.
finally, Xos. 3 and 4. Each of these three movements is
danced as shown in the following diagram :
TRACK Advance.
HANDS bhow r.
show 1.
-- tZ
^ . IP
_
W 2
B; ;
^
y *
i
*^ i~ t-
r. 1.
STEPS s.s.l.b..
r. h.r.
1. r.
r.b..
1. h.l.
show r.
meet.
s.b. s.h.f.
r. h.r.
r.
Retire backwards,
show r.
show 1.
r~^ 1 m m - \ *~
i
i n i L
^^
' -
r^
VV [ 1 5*i
_. i 1
1
-^
i
1.
r.
1. h.l. r.
1.
T. h.r.
s.s.l.b.
r.b.
..to Position.
r. in 1. in s.h.b. s-h.f.
r^ i m
* j "~
9 ___
E5 J *
1 ' '
537 *
i ^"^
v'
l.b.
b.S.
r.b.
*-
L.
R.
In the second corner movement, corners and centres, in
turn, advance, pass right to right, and exchange positions.
In the third and last corner movement, corners and centres,
in turn, advance, pass right to right, and exchange places,
thus regaining their original positions. The steps of these
two corner movements are shown in the following diagram :
TEACK Advance.
HANDS.. ..show r.
show 1.
^^
~P
_
* >
|
fe-^ 1
: - .
<^.< m .
t^ "-
STEPS..
r.
.s.s.l.b.
1.
^^
r. h.r. 1.
r.b.
r.
}.
r~
h.r.
SPECIAL INSTRUCTIONS.
show r.
I"
show 1.
Er
.Pass.
r. 1. r. h.r. 1. r. 1. hi.
s.l.b._ r.b
Advance,
show r.
show r.
show 1.
' 1 ^ ^ ' ^
^
*\
1 ^^ '
> * f^^J O
\ 2
1 ' ^5*
| [
tV
r. 1. r. h.r. 1. r.
s.R.l.b. r.b.
r^ r
1. hi.
r. 1.
s.s.l.b.
s.h.b.
r. h.r.
L.
.Position,
s.h.f.
-3*
ii
/
m
_
2 ^ 2
,
4
V- m
m
i i
e> M
R,
GLOKISHEARS (HANDKERCHIEF DANCE).
STAMP-AND-CLAP.
In bars 1 and 3 the feet are lifted and alternately stamped
upon the ground, as shown in the diagram below. The side
stands in Front formation. There are no hand-niOYements.
In bars 2 and 4 the dancers, still in Front formation, clap
their hands as directed in the accompanying diagram :-
fcr
X
OOP
^* 4
fet
ET
J-i.
(stamp) (stamp)
O O O
L.
^EiEtE
(stamp) (stamp)
44
THE MORRIS BOOK.
THE GALLANT HUSSAR (HANDKERCHIEF DANCE).
CROSS-OVER WITH HALF-CAPERS.
In bars 1 3 partners cross over, right shoulder to right
shoulder, and take each other's places. In bar 4 they turn
inwards and face Front. The steps are shown in the following
diagram :-
HANDS wide.
s.h.f.
s.h.b.
s.h.f.
/r " t> *
* - *
i <* m
gp
frh jt i
\ - ! r
&
IP
33Z o i-
- i
1 i ,
| M
y i?
STEPS
- ' . *~"
r t b. n
r. L J
r u
wide.
/"} "fr
s.h f.
s.h.b. s.h.f.
y if
, i
i* *
V
(M H
m ' J 5
V. K i
.. 1 I ^^^^^^
J
i.EbT
n i.
tf
R. L.
Turn Front.
CROSS-OVER WITH WHOLE-CAPERS.
Partners cross over and turn Front as before. The steps
and hand-movements are shown in the following diagram :
HANDS wide. s.h.f. s.h.b. s.h.f. wide, s.f.h.
^LV
STEPS r.t.b. fl r.
s.h.b. s.h.f. s.b.
. 1-
L.
s.f.
ju. i.tb. n i.
s.h.b. s.h.f.
=* :z ^=* *
h.r. 1.
h.l. R. L.
Turn Front.
CROSS-OVER WITH UPRIGHTS.
Partners cross over and turn Front as above described, but
with the following steps and hand-movements :
HANDS.... ..s.b. s.f. s.h.b. s.h.f. s.b. B.f.
STEPS.
.l.b. r.b.
Xh._
f.t. Ju,
r.b.
xh..
l.b.
SPECIAL INSTRUCTIONS.
f.t. Ju.
r. h.r. 1. h.l. R. L.
Turn Front.
45
,, s.h.b. s.h.f. s.b. s.f. s.h.b. s.h.f.
f Tl
^
^
9 * 19 ^
^P ^
") , t
* I I i I *
LEAP-FROG (HANDKERCHIEF DANCE).
RING-AND-CAPER.
During Once-to-yourself, the dancers stand in Column,
facing up, and Mark-time in last two bars. At its conclusion
the side forms Ring (see Part I., p. 51).
Then, all dance in Ring formation from right to left,
moving round one place every two bars and completing the
circle, therefore, in the first twelve bars of A music. Each
dancer takes two walking steps to the bar, except when he
passes between the places ordinarily occupied by Nos. 1 and 2,
when he capers as shown in the following diagram :-
HANDS
\vidp aV>f c Vi )i oVif
n Lento.
I 1
^t ^^
J Q . * - m rj
g n"\ i^
rd ! i i " ly i ^3
V y /-i
CV | |/- h- O
STEPS
r.t b fl r L Ju
No.
wic
3 ... ...
le. s.h.f. s.h.b. s.h.f.
\J
1 i i i
XL ' - ' ' ! "^
CD
J m * \ r-i
^^ c --^ ~ r ^
r.t
No.
wi
.b. Cl r. L. Ju.
5
le. s.h.f. s.h.b. s.h.f.
f '
m ^
^ ^F * f J \
r ^ '
i fy
Vj / i
| / c?
r.t
No.
wi
r>
b. n r. L. Ju.
6
:le. s.h.f. s.h.b. s.h.f.
y
ill 1 1
_>_
_l 1 !
4f5
. -J - .. ^ * - -. X^ XT3 - - -
r.t.b. P, r.
The Morris Book. Part III D
L.
Ju.
46
THE MO RE IS BOOK.
No
4
V
nde. s.h.f.
s.h.b. s.h.f.
2
^
F
^*j^ ^F * i
r^ f-*
m f^~\
I i L^
\^ )
K
r
No
t.b. r.
. 2
L. Ju.
\
ride. s.h.f.
s.h.b. s.h.f.
[^
m m
^~* j*""'
jf
1 r i
i* i 1 1
-
\J L/
! 1
1 _
r
Al
1 1
.t.b. r.
1
L. Ju.
Position
s
rt 2
.b. s.f.
empo. ^
s.h.b. s.h.f.
r*
^ & -^
Vr ^
* 1
fl"^ '
i ^~ 1
V lx !
i ! L |
1 i
r
h.r. 1. h.l.
E. j.
In bars 13 and 14, all dance and form Front as shown in
the diagram.
RlNG-AND-UPRIGHTS.
This is danced in the same way as Ring-and-Capers, except
that Uprights are substituted for the Caper steps, as
follows :
DANCERS No. 1
HANDS s.b. s.f. s.h.b. s.h.f.
^ :i= 3=
^A
\
^~ A ^M *
\
r-\
t-
.. .1.
STEPS I.b.
x.h.
i-.b.
f.t.
Ju.
No. 3.
s.b.
s.f.
s.h.b. s.h.f.
:=):
:^=:^z=rz=]
- etc.
i.b.
x.h.
r.b.
f.t. Ju.
SPE 01 AL INS TR UC TIONS.
47
RING AND LEAP-FROG.
This is very similar to the two preceding evolutions,
except that each dancer, after capering three steps, jumps
in leap-frog fashion over the back of the man in front of him.
.The one who stoops remains stationary during the whole of
the two bars, while the other, after the leap, moves on to the
place in front.
The steps, the order in which, and the place at which the
dancers successively caper and leap, are shown in the
following diagram :
DANGERS 1 over 2, at 2's place
HANDS.. wide. s.h.b.
s.h.f.
-o-
-C2I
P
1=
STEPS.
.r.t.b.
r.
L.
leap.
/J
wide.
s.h.b.
s h.f.
_
i
I
I
"1
fc\
1
^m
V
**^J f^J
r.t.b.
n
r.
L.
leap.
wide.
Q
s.h.b.
s.h.f.
^M
i
r
'-/L ^
^ . ^--_
L
fr\ ;
r
saz
r
'-'
t
r.t.b. n
v.
L.
leap.
wide.
Q
s.h.b.
s.hf.
v .
'J |
1
i
X
1 i
pS 1 J
^p j
^^-^
\v J, *
5
5_
r.t.b.
n
r.
leap.
3 over 5, at 6's place,
wide. s.h.b.
^2-
r.t.b.
n
;t:
r.
s.hf.
L.
leap.
THE MOfiRIS BOOK.
6 over 4, at 4's place
wide.
s.h.b.
^m ff_ i
=f= ^==f-
r.t.b. ft r.
s.h.f.
L.
leap.
s.b. s.f.
s.h.b.
s.h.f.
- * ^ I
9
>L * * L
r >-* -J
r.
h.r. 1.
h.l.
R.
J-
Turn Front,
It will be seen that each dancer leaps once and stoops
down once ; and that the point at which the leap is made
recedes one place each time. This is shown in the following
illustration :
Bars 34 ;
5 over 3.
Bars 5 6 ;
4 over 6.
Bars 78 ;
2 over 1. \ 5
Bars 12 ;
1 over 2.
4 I Bars 1112;
6 over 4.
Bars 910 ;
3 over 5.
Each man must remember that he has the twelve bars in
which to complete the circuit. Ordinarily, he moves forward
one place every two bars, but (1) when he is leaping he
advances two places, and (2) when he is stooping he remains
in the same place. The dancers leap in the following order :
Nos. 1, 5, 4, 2, 3, and 6.
SPECIAL INSTRUCTIONS. 49
PARTNERS SIDE-STEP AND SHOW.
Partners, standing in position, perform the steps and hand-
movements as shown in the following diagram :
HANDS. show r. show 1.
J/tf *>
-
-
XT ' 2
^ ^ * ^
p J J J
f ITS o r
V ]/ /-/
1
! ! 1 1 !- -
1
7
STEPS.
r
r.
s.s.l b.
1. r. h.r. 1. r. 1. h.l.
r.b.
show r. show 1.
SHOOTING (STICK DANCE).
DIB, SHOOT, AND STRIKE.
Corners (Nos. 1 and G, 2 and 5, or 3 and 4) advance towards
each other, within striking distance. They stoop down, and
remain in that position throughout the first two bars.
On the first and second beats of bar 1, both dib, first with
the tip of the stick, and then with the butt.
On the third beat of the same bar, both " shoot," i.e., each
holds his stick as though it were a gun, raises it to his
shoulder, and points it at the other.
On the first and second beats of bar 2, both dib as before ;
and on the third beat of the same bar, both reach forward,
still stooping, and strike their sticks together, from right to
left, vigorously.
Both dancers then rise quickly to their feet and, in bars 3
and 4, dance towards each other, swaying a little to the
left, brandishing and twirling their sticks in a menacing
manner, in the way that the Irishman flourishes his
shillalah.
50
THE MORRIS BOOK.
On the third beat of bar 4 they meet, strike their sticks
together with great spirit, and then retire backwards each to
his own place. The steps, &c., are shown in the following
diagram :
TRACK. Stoop down.
STICKS.
Rise, arid advance .Meet.
h.r. h.l r. h.r. 1.
= = dib with tip ; ^ = dib with butt ; (j) = shoot ;
X == strike sticks.
SIDE-BY- SIDE.
In bar I both sides advance, Nos. 1, 3, and 5 moving a
little to the left. Instead of passing, the dancers form line,
standing side by side, thus :
A
V A
2 3
V
4
A
5
V
6
All stand in this position and dance until the end of bar 4.
In bar 5, partners change places, each dancer moving
forward one step, then a step to the right, and, finally, a step
backwards. They now stand in line, side by side, as before,
but in different order, thus :
V
2
A
V
4
A
3
V
6
A
5
They remain, and dance in this position during bars 6 and 7.
SPECIAL INSTRUCTIONS. 51
In bar 8, each dancer moves back to position, the side forms
Front, and partners strike their sticks together on the last
beat of the bar.
The step throughout this evolution is 9-2, beginning with
the left foot.
Snow-OuT.
This is a variant of the Cross-over.
In the first four bars each dancer crosses over and proceeds
as far as time and space will allow. All turn round, and face
Front on the last beat of bar 4. Partners strike sticks on the
third beat of bar 1, as they pass, right shoulder to right
shoulder.
In bars 5 7, the two sides cross back to places, and face
Front.
On the first and second beats of bar 8 all stoop down and
dib twice, first with the tip and then with the butt end of the
stick. Then, all rise up quickly to their feet, and form
Column, facing up, partners striking their sticks on the last
beat of the bar. The sticks should be struck well above the
level of the head, and the side should remain in position with
sticks crossed for a few moments after the music has finished.
The step is 9-2 throughout this evolution.
BRIGHTON CAMP
(HANDKERCHIEF; DANCE).
CORNEES.
In the first four bars, corners (Nos. 1 and 6, 2 and 5, or 3
and 4, as the case may be) cross to each other's place, passing
right shoulder to right shoulder. In the next four bars,
without turning round, they retire backwards to their
respective places, passing left shoulder to left shoulder.
THE MO Bias BOOK.
The last two bars of this evolution are danced by the other
four members of the side, standing in position. The steps,
&c., are shown in the following diagram :
TRACK Advance Pass.
HANDS.. . d.in _ _ in. d. out _ _ out.
S-rz-3 r. 1. r.
s.s. l.b.
h.r.
1. r. 1. h.l.
r.b.
d. in
in.
d. out
Retire backwards.
out. h. x . h.w.
^ r ^"*q_ m._+
H v P ^-J * F * a 1
te=3^= S=^^=B=EE=f=r^^t
r. 1. r. h.r.
1 b.
1. r. 1. h.l. r. 1. r. h.r.
r.b. __ r.b ___
Pass... Retire to Position.
h. x . h.w. h. x . h.w. h. x . h.w.
5P 3
ADVANCE, MEET, AND RETIRE.
This evolution is executed in Front formation as follows :
Bars 1 2. All remain in position, neither moving forwards
nor backwards.
Bars 3 4. Partners advance towards each other and meet,
face to face.
Bars 5 6. They retire, backwards, to position.
Bars 7 8. All remain in position.
The steps and hand-movements are shown in the following
diagram :-
TRACK Position
HANDS.. ..d. in
in.
d. out
out.
Steps
~-V-
i=:
r. 1.
r. h.r.
1. r.
1. h.l.
SPECIAL INSTRUCTIONS.
53
Advance Meet. Eetire backwards
d. in in. s.h.b. s.h.f. d. in in.
~ ~ - " ~ m 3
:t
r.
1. r. h.r. 1.
d. out out.
r.
Position,
h. x.
1. r. 1. h.l.
h.w. h. x . h.w.
i
-a g w-
4-
l.b.
x.h.
f.a.
+
4=
r.b.
x.h.
L.
This is the only figure of the dance in which the Side-step
is not used.
CROSS-OVER, AND RETIRE BACK-TO-BACK.
Bars 1 4. Partners advance and cross over, passing right
shoulder to right shoulder.
Bars 5 8. They retire backwards to position, passing left
shoulder to left shoulder.
The steps, &c., are shown in the following diagram :-
TRACK Advance Pass...
HANDS d. in in. d. out out.
-1=
I P= m 4
F- i r r
STEPS.
r. 1. r.
s.s. l.b.
"h.r. 1. r. I. h.l.
r.b.
Advance Retire backwards
d. in in. d. out . out. h. x . h.w.
* 1_ LJB^B^^I 1 l ^^! 1 I | 1
r. 1. r. h.r.
l.b. .
h. X.
h.w.
1. r. 1. h.l. r. 1. r. h.r.
r.b. . r.b.
Pass Position.
h. x. h.w. h. x. h.w.
-A-
54
THE MORRIS BOOK.
WHOLE-ROUNDS.
All form Ring and walk completely round, right to left, to
places. In each of the first six bars two springy, walking
steps are taken, the hands alternately swinging backwards
and forwards, as in walking. The seventh and eighth bars
are danced to the following steps :
HANDS.
Turn
outwards.
h. x . h.w.
STEPS.
.f.a.
r.b.
x.h.
L.
At the middle beat of the eighth bar all turn outwards,
and face in the opposite direction.
In the following eight bars of B3 music, the above
movements are repeated in the reverse direction, left to right.
RING, FACING CENTKE.
The side forms Ring. All face towards the centre and,
standing in position, dance as follows :-
HANDS d. in in. d. out out.
" Z/ ,
1 M p ^ 1
1 tfT
"V
\ o
~^m 1 i I ^^f
1 ^^ ^r m
J
\ ^^^^
L i
^
Si
'EPS
r. 1. r. h.r. 1. r. 1. h.l.
l.b. r.b.
S.S.
d. in
n.
d. out _ _ out.
d. in in.
=EztzE=E
iii
"E"
E=Cq=3C=
3 h
=t==B5
r. 1. r. h.r. 1. r. 1. h.l. r. 1. r. h.r.
l.b. r.b l.b.
d. out
out.
h.x.
h.w.
h.x. h.w.
1. r. 1.
r.b
l.b.
X.h.
f.a.
r.b. L.
X.h.
SPECIAL INSTRUCTIONS. 55
RING AND ALL- IN.
As regards steps, hand-movements and formation tins
evolution is danced in the same way as the preceding one.
One dancer, however, usually the smallest, moves into
the centre of the ring and stands there motionless. The
other dancers, during the last two bars, gradually close in
upon him and, instead of capering in the last bar, raise him
up above their shoulders and then let him fall to his feet, at
the same moment throwing up their hands and giving the
Call.
GREEN GARTERS.
Green Garters is always used either as a Morris-on or
Morris -off.
When used as a Morris-on the dancers assemble some
little distance away from the audience, where they proceed
to dance the figures in the order given in the Notation. At
the conclusion of Half-rounds the leader breaks the circle
and dances off towards the ground on which the performance
is to take place, greeting and " making his obedience ' to
the spectators by bowing and waving his hand over his head.
The rest of the dancers follow round the ring, break off, in
turn, at No. 1's place and follow in the track set by the
leader, waving and bowing to the audience. The side is now
in single file in the order 1, 2, 4, 6, 5, 3. When the leader
has reached the ground he halts, still keeping up the step,
while Nos. 2, 4 and 6 move up and a little to the right, and
Nos. 5 and 3 close up, 3 passing in front of 5.
The dancers, now in Column formation, mark time till the
end of the tune when they call "All in' or "All up,"
jump, and get into position for the first dance, which follows
without pause.
When Green Garters is used as a Morris-off, No. 1 at the
conclusion of Half-rounds, breaks off, as above described, and
leads the dancers off the ground, all bidding farewell to the
spectators by bowing and waving their hands.
NOTATION,
MUSIC.
MOVEMENTS.
FORMATION.
Once -to -your-
self.
Al.
Bl.
Bars 1 to 4.
Bars 5 to 8.
B2.
Bars 1 to 4.
Bars 5 to 8.
Al.
(2nd time).
Bl. and B2.
(2nd time).
Al.
(3rd time).
Bl. and B2.
(3rd time).
A2.
THE
FLOWERS OF EDINBURGH
(HANDKERCHIEF DANCE).
Mark-time (see p. 19).
Foot-up, No. 1 (see p. 28).
Kneel-and-Caper (see p. 37).
Half-Hey, No. 2 (see p. 35).
Kneel-and-Caper.
Half-Hey, No. 2.
Half-Hands (see p. 33).
As before.
Gipsies (see p. 31).
As before.
Half-Rounds (see p. 34).
ALL-IN.
Column.
Col. to
Front.
Front.
Column.
Front.
Column.
Front,
Ring.
NOTATION,
57
MUSIC.
Once-to-yonr-
self.
Al.
Bl.
Bars 1 to 4.
Bars 5 to 8.
B2.
Bars 1 to 4.
Bars 5 to 8.
Al.
(2nd time),
Bl. and B2.
(2nd time).
Al,
(3rd time) .
Bl. and B2.
(3rd time).
A2,
MOVEMENTS.
THE MAID OF THE MILL
(HANDKERCHIEF DANCE).
Mark-time (see p. 19).
Foot-up, No. 1 (see p. 28).
Spring -and -Clap (see p. 38).
Half- Hey, No. 2 (see p. 35).
Spring- and- Clap.
Half-Key, No. 2.
Half -Hands (see p. 33).
As before.
Gipsies (see p. 31).
As before..
Half-Rounds (see p. 34).
ALL-IN.
FORMATION.
Column.
Col. to
Front.
Front.
Column.
Front.
Column.
Front.
Ring.
58
THE MORRIS BOOK.
MUSIC.
MOVEMENTS.
Once -to -your-
self.
Al.
Bl.
Bars 1 to 4.
Bars 5 to 8.
B2.
Bars 1 to 4.
Bars 5 to 8.
Al.
(2nd time).
Bl. and B2.
(2nd time).
Al.
(3rd time).
Bl. and B2.
(3rd time).
A2.
BOBBING JOE
(HANDKERCHIEF DANCE).
Mark-time (see p. 19).
Foot-up, No. 1 (see p. 28).
Show-and-Spring (see p. 39).
Half-Hey, No. 2 (see p. 35).
Show-and-Spring.
Half-Hey, No. 2.
Half-Hands (s,ee p. 33).
As before.
Gipsies (see p. 31).
As before.
Half-Rounds (see p. 34).
ALL-IN.
FORMATION.
Column.
Col. to
Front.
Front.
Column.
Front.
Column.
Front.
Ring.
NOTATION.
59
MUSIC.
MOVEMENTS.
FORMATION.
Once-to-your-
self.
Al.
(With repeats).
Bl. (Corners).
(Repeat).
(Repeat).
A2.
Bl. (Corners)
(2nd time).
A2.
(2nd time).
B2. (Corners\
A3.
SHEPHERD S HEY
< Second version)
(HANDKERCHIEF DANCE).
Mark-time (see p. 19).
Foot-up and Cast-off (see p. 89).
Xos. 1 and 6 meet and retire (see
p. 41).
Xos. 2 and 5 meet and retire (sec
p. 41).
Nos. 3 and 4 meet and retire (see
p. 41).
Half -Hands (see p. 38).
Opposites successively cross over
and change places (see p. 42).
Gipsies (nee p. 81).
Same as Bl, 2nd time.
Half-Rounds (see p. 34).
ALL-IN.
Column.
Col. to
Front.
Front,
Ring.
60
THE HOE BIS BOOK.
MUSIC.
MOVEMENTS.
FORMATION.
Ouce-to-your-
self.
Al.
Bl.
Bars 1 to 4.
Bars 5 to 8
B2.
Bars 1 to 4.
Bars 5 to 8.
Al.
(2nd time).
Bl. and B2.
(2nd time).
Al.
(3rd time .
Bl. and B2.
(3rd time).
A2.
GLORISHEARS
(HANDKERCHIEF DANCE).
Mark-time (see p. 19).
Foot-up, No. 1 (see p. 28).
Stamp-and-Clap (see p. 48).
Half-Key, No. 2 (nee p. 35).
Sfcamp-and-C^ap.
Half-Key, No. 2.
Half-Hands (see p. 33).
As before.
Gipsies (see p. 31).
As before.
Half -Rounds (see p. 34).
ALL-IN.
Column.
Col. to
Front.
Front.
Column.
Front.
Column.
Front.
Ring.
NOTATION.
61
MUSIC.
Once-to-your-
self.
Al.
Bl.
Bars 1 to -1.
Bars 5 to 8.
Bl
(2nd time).
A2.
B2.
Bars 1 to 6.
Bars 7 to 10.
82. (repeat)
A2.
(2nd time).
B2.
(2nd time).
Bars 1 to 6.
Bars 7 to 10.
B2. (repeat).
A3.
MOVEMENTS.
THE GALLANT HUSSAR.
(HANDKERCHIEF DANCE).
Mark-time (see p. 19).
Foot-up, No. 2 (see p. 29).
Cross-over with Half-Capers (see
p. 44).
Half-Hey, No. 3 (see p. 35).
Same as Bl, 1st time.
Half- Hands (see p. 33).
Cross-over with Whole-Capers
(see p. 44).
Half-Hey, No. 3.
Same as B2, 1st time.
Gipsies (see p. 31).
Cross-over with Uprights (seep. 44).
Half-Hey, No. 3.
Same as B2, 2nd time.
Half -Rounds (see p. 34).
ALL-IN.
FORMATION.
Column.
Col. to
Front.
Front.
Column.
Front.
Column.
Front,
Column.
Ring.
The Morris Book. Pait III. E
02
THE MORRIS BOOK.
MUSIC.
MOVEMENTS.
FORMATION.
Once-to-your-
self.
A.
Bl.
Bars 1 to 4.
Bars 5 to 8.
B2.
Bars 1 to 4.
Bars 5 to 8.
A.
(2nd time).
LEAP-FROG.
(HANDKERCHIEF DANCE).
See p. 45.
Ring and Caper (see p. 45).
Partners Side-step and Show (see
p. 49).
Half-Hey, No. 3 (see p. 35).
Partners Side-step and Show.
Half-Hey, No. 3.
Ring and Uprights (see p. 46).
Bl. and B2.
(2nd time). As before.
(3rd time). Ring and Leap-Frog (see p. 47).
Bl. and B2.
(3rd time). As before.
ALL-IN.
Column.
Ring to
Front.
Front.
Column.
Front.
Column.
Ring to
Front.
Ring to
Front.
NOTATION.
63
MUSIC.
3nce- to -your-
self.
Al.
31. (Corners.)
Bl.
(2nd time).
Bl.
(3rd time).
A2.
B2. (Corners).
A2.
(2nd time).
B2.
(2nd time).
A3.
MOVEMENTS.
SHOOTING (SxiCK DANCE).
Mark-time (see p. 19). Partners
strike across on last beat of last
bar.
Foot-up, No. 4 (see p. 31).
Nos. 1 and 6 Dib, Shoot and Strike
(see p. 49).
Nos. 2 and 5
n n
Nos. 3 and 4 <>
Back- to-Back (see Part I., p. 47),
at 9/2 step.
As at Bl.
Side-by- Side (see p. 50).
As at Bl.
Show-out and All-in (see p. 51).
FORMATION.
Column.
Col. to
Front.
Front.
Front to
Column.
THE MORRIS BOOK.
MUSIC.
Onee-to-your-
self.
Al.
(With repeat).
Bl. (Corners).
(1st time).
(2nd time).
(3rd time).
A2.
B2.
A2. and B2.
(2nd time).
Al., Bl.,
A2., B2.
A3.
B3.
MOVEMENTS.
FORMATION.
BRIGHTON CAMP
(HANDKERCHIEF DANCE).
(Svp. 30).
Foot-up, No. 3 (see p. 30).
Nos. 1 and G cross and back
(see p. 51).
Nos. 2 and 5
Nos. 3 and 4 <>
Sides advance, meet, and retire
(see p. 52).
Sides cross over, and retire Back-
to-back (see p. 53).
Whole-Rounds (sec p. 54).
All repeated as before.
Ring, facing centre (see p. 54).
Ring and All-in (see p. 55).
Column.
Col. to
Front.
Front.
Ring.
Ring.
NOTATION.
65
MUSIC.
MOVEMENTS.
FORMATION.
Once-to-your-
self.
A.
B.
A.
(2nd time.)
B.
(2nd time.)
A2. and B2.
(Repeated
libitum,).
GREEN GARTERS
(HANDKERCHIEF DANCE).
Mark-time (w p. 19).
Foot-up, No. 1 (.s-tr p. 28).
Gipsies (we p. 31).
Whole-Key, No. 2 (we p. 35).
Half-Hounds (we p. 34).
Advance or retire in single file,
waving handercliiefs and bowing
(see p. 55).
ALL-IN.
Column.
Col. to
Front.
Front.
Column.
Ring.
MORRIS JIGS.
Iii the music diagrams which, as in Part II., are given with
each jig, we have indicated, in addition to the steps and hand
movements, the course, or track, of the dancer.
This is not to be taken as rigidly imposed upon every
performer. It represents what we believe to be the average
or normal course followed by the practised Morris dancer.
But Morris dancers themselves make considerable variation
in this particular, according to the character and temperament
of the individual, and the extent and configuration of the
ground upon which the dance is performed. Thus, one will
advance and retire much further than another ; one, in the
Capers, will make a wide circle, another a narrow one ; while
a third will, perhaps, advance in a half-circle and return upon
the same track. Nevertheless, the beginner is advised to
master the dances as here described before he allows himself
the luxury of varying his course in accordance with his fancy.
The steps and hand-movements are also, no doubt, subject
to slight variation for instance, the practice of the older
dancers usually differs in some respects from that of the
younger men but we have repeatedly noticed that it is in
the varying of the course that the freest licence is taken.
The following expressions, used in the directions given in
the " track," need explanation.
MORRIS JIGS.
67
" Advance to right " or " Advance to left " means that the
dancer is to deflect his course and hear to the right or left at
an angle of from thirty to forty-five degrees, thus :
Audience.
" Narrow circle, left to light " means that the course of the
dancer is round a small circle in a direction opposite to that
of the apparent motion of the sun ; that is, " left to right " to
one who is facing tJie centre of the circle, thus :
Audience.
A
Position.
Although the Morris jig is, theoretically, a solo dance, it
is usually, or at any rate very frequently danced by t\v
performers, the second of whom repeats each movement aftt
his leader. When the jig is danced in this way the musicif TI
must, of course, be instructed to repeat each section of fl
music.
68
THE MO KRIS BOOK.
This method possesses the dual advantage of prolonging
the duration of the jig, and of giving, to each performer in turn
a short interval of much needed rest between the figures. It
should be added that it is customary for the leader to dance
the concluding bars of the last figure together, and face to
face with, the second dancer, and for the two at the conclusion
of the jig to remain for a few moments in the pose in which
the last step was executed.
PRINCESS ROYAL (FIRST VERSION).
FOOT-UP
TRACK. Advance six feet...
HANDS s.b, s.f. s.b. s f .
STEPS.
.r. 1. r. h.r. 1. r. 1. h.l.
r. 1. r. h.r.
h.l.
r. h.r. 1. h.l.
s.b.
s.h.f.
. Retire backwards to Position .
1. in. r in. s.h.b. s.h.f.
xF
?
* ^
^ _ 1
f-
-H-
1
mi\
^_
V|' *
^
i
53
* '
1
r.
n
i.
r.b.
b.B.
l.b.
R
L
Advance to left,
shew 1.
MORRIS JIGS.
69
.Face front
s.b, s.f.
in.
out.
1. r. 1. h.l. r. 1. r. h.r. 1. r. l.a.
in.
out.
in.
out. s.b.
s.f.
Ib. l.b. fa.
xh.__
r.b. r.b. f.a. r. h.r. I. h.l.
Xh.
s b. s.h.f.
.Retire backwards to Position.
1. in. r. in. s.h.b. s.h.f.
r. H 1.
r.b.
b.s._
Last time. R.
l.b.
L.
WHOLE-CAPERS.
TRACK... .Advance slowly, about six feet
HANDS. w. s.b. s.f.
P=
I &>-
STEPS st.
r. h.r. 1.
Ju.
R. L.
R. L.
st.
s.b. s.f.
tdt
*y
j p
r. h.r. 1.
w. s.b. s.f. x
4-zJ-
w.
i-
1
b|=t
Ju. st. r. h.r. 1. Ju.
st.
s.b.
s.f.
X
a tempo.
s.b.
s.f.
t
:*==*.
r. h.r. 1.
s.b. s.h.f.
r.
1.
r. h.r. 1. h.l.
.Retire backwards to Po.sition.
1. in. r. in. s.h.b. s.h.f.
i
:tz
3
r.
n i.
r.b.
b.s..
l,b.
R. L.
70
THE MOBSIS BOOK.
HALF-CAPERS.
TRACK. ...Narrow circle, left to right
HANDS.... s.h.f. s.h.b. s.h.f.
s.h.b. s.h.f.
STEPS 1. h.l.
i ^ i _ m
1. h.l.
r.
1. h.l.
Position. Narrow circle, left to right
s.h.b. s.h.f. s.h.b. s h.f. s.h.b. s.h.f. s.h.b. s.h.f.
n=iMZjE=3=ir:
=^=
-
r. 1. h.l. r. 1. h.l. r. fl 1. h.l. r. 1. h.l.
s.h.b.
Position.
s h.f. x
a tempo.
unm
Advance four foet.
s.b. s.f.
4= -m-
-= E i i i
r. U 1. h.l.
r.
s.b.
s.h.f.
r. h.r. 1. h.l.
.Retire backwards to Position
1. in. r. in. s.h.b. s.h.f.
r.
n
r.b.
b.s..
l.b.
R. L.
PRINCESS ROYAL (SECOND VERSION).
FOOT-UP.
TRACK Position
HANDS s.b. s.f. s.b. s.f.
1-
=t
V
STEPS r. 1. r. h.r. 1. r. 1. h.l.
l.a. r.a.
s.b. s.f
J=
S.b.
S.f.
s.b.
s.f.
MOKRIS JIGS.
71
Advance four feet
s.b. s.f. s.b. s.f. s.h.b. s.h.f.
1. r. L
R. h.r.
hk.l
L. Ju.
JIG.
TRACK Advance to right ...... Front.
HANDS Show r.
Advance to left.
in. show 1.
STEPS.. ..r. 1. r. 1. r. 1. r. h.r. 1. r. 1. r
Front,
s.b.
n.
s.b.
s.f.
1. r. 1. h.l. r. 1. r. h.r. 1. r. l.b.
r.a. l.a. xh.
Retire backwards, four feet.
x w. x
Position
w. s.b. s.f.
s.b. s.f.
..Advance four feet,
s.b. s.f.
-.h.b. s.h.f.
m
R.
h.r.
hk ' ! -
L. Ju.
Last time. R.
72
THE MOEEIS BOOK.
AVHOLE-CAPERS.
TRACK ..... Position....
HANDS ...... x
vr. s.h.f. s.h.b. x.
STEPS R.
r.t.b. Ju.
r. L.
w. s.h.f. s.h.b. x. w. s.h.f. s.h.b. x.
^=ti
>==*:
*E=
l.t.b. Ju. 1. R. r.t.b. Ju. r. L.
Retire backwards four feet
w. s.h.f. s.b. s.f. s.b. s.f.
rv
'IP
-&
-(-
:t:
tempo..
l.t.b. Ju.
=&
_ _
h.l.
2=p:
i-V r^
2d
r. 1. r. h.r.
La.
s.b.
s.f.
Advance to Position
s.b. s.f. s.h.b. s.h.f.
=P i \*~\-
^EEL"^^
1
1. r.
1.
h r. L. Ju.
R, hk.l.
UPRIGHTS.
TRACK Position
HANDS s.h.f.
w.
X .
w.
s.h.f.
t_p *
STEPS Ju. l.b. r.b.
x .h. .
f.t. Ju.
w. x . w. s.h.f. w. x . w. s.h.f.
r.b. l.b. f.t. Ju. l.b. r.b. f.t. Ju.
X.h.. X.h.
MORRIS JIGS.
73
s.b.
X .
.Retire backwards four feet....
s.b. s.f. s.b.
s.f.
=t
r. 1. r. li.r.
s.f.
...
Advance to Position.
s.b. s.f. s.h.b. s.h.f.
=-jL
~+
E.
h.r.
hk.l.
i
L. Ju.
NOTATION OF PRINCESS ROYAL.
MUSIC.
MOVEMENTS.
Once to your-
self.
A.
Bl.
C.
Bl. (repeat).
0. (repeat).
B2,
Jump on middle beat of bar 8.
Foot-up.
Jig.
Whole Capers.
Jig-
Half-Capers. (In second version, Uprights.)
Jig with Pause.
THE MOh'PIS BOOK.
LUMPS OF PLUM PUDDING.
FOOT-UP.
TRACK Advance six feet
HANDS. ...s.b. s.f. s.b. s.f. 8 b. s.f.
STEPS r. 1. r. h.r. r. 1. h.l. r. h.r. 1. h.l
. Retire backwards to
S.b. S.f. S.b. S.f.
r. h.r. ', ,, r.
Position
s.h b. s.h.f.
1. r. h.r. 1. r. 1. h.l.
s.h.b. s.h.f.
r.
1. h-1. R.
- 9 -
L.
JIG.
TRACK.. Advance to right Front.
HANDS.. ..show. r. out.
in.
ES..
STF.PS r.
s.s.l.b.
.Advance to left Front.
show 1. out.
show r.
1. r. 1. r. ]. r. 1. h.l. r. 1. r. h.r.
s.s.r.b. . s.s.l.b.
Advance to left Retire to Position.
show 1. s.hJx s.h.f. s.h.b. s.h.f.
R. L
Last time. L
MOEEIS JIGS.
'to
HALF-CAPERS.
TRACK Circle, left to right
HANDS s.h.b. s.h.f.
s.h.b.
s.h.f.
STEPS r. 1. h.l.
r. n i. 11.1.
Position. Circle, left to right,
s.h.b. s.h.f. s.h.b. s.h.f. s.h.b. s.h.f.
r.
1. U. r.
1. h.l, r.
1. h.l.
.Position.
s.h.b. s.h.f.
M= J-=: ^5F^ J i-
L.
NOTATION OF LUMPS OF PLUM PUDDING.
MUSIC.
MOVEMENTS.
Once to your-
self.
Al.
B.
Al.
(2nd time).
B.
(2nd time).
A2.
A 2. (repeat).
Mark-time, and jump on middle beat of last
bar.
Foot-up.
Jig-
Half- Capers.
Jig-
Half-Capers.
Foot-up (Presto}, with Pause.
76 THE MORRIS BOOK.
THE FOOL'S DANCE.
The purpose of this dance is to enable the fool, who is
usually a very clever dancer, to show his prowess. To this
end, the Foot-up and the Jig should be danced at the highest
possible speed, compatible with a proper and neat execution of
all the steps and movements.
No handkerchiefs are used, but the fool holds in one or
other of his hands a stick about five inches in length and one
and a-half inches in diameter. In the Foot- up and Capers
the stick is held in the right hand.
THE JIG.
Throughout this movement the stick is passed rapidly from
one hand to the other, alternately under the right and left
knee, as each is raised in turn. Thus, at the beginning of
every bar except the last one, the left thigh is raised, the two
hands are brought together beneath it, and the stick passed
from the right hand to the left ; whilst at the middle beat the
right thigh is raised and the stick passed under it from left
hand to right.
The dancer, to exhibit his cleverness and agility, will
gradually increase the speed, raise the free leg as high as
possible, and swing the arms wide apart in the intervals
between passing the stick from hand to hand. These
embellishments should not, of course, be attempted until
after the movement has been thoroughly mastered.
In the following diagram u.l. means that the stick is passed
under the left leg from right to left hand ; and u.r. that it is
passed under the right leg from left hand to right.
MORHIS JIGS.
77
THE FOOL'S DANCE.
DIAGRAM.
FOOT-UP.
TRACK Position
HANDS in.
out.
in.
out.
STEPS
r. h.r. h.l. r. li.r. 1. hi.
sw.s..
in. out. in.
out.
in.
out.
. i ^ m ;j
-19-
r. h.r. 1. h.l. r. h.r. 1. h.l. r. h.r. 1. h.l.
in.
in.
out.
s.h.b. s.li.f.
i
r. hr. 1. h.l. r. h.r. 1. hi. E. L.
. Last time. L.
JIG.
TRACK Position . . .
STICK PASSING u.l.
U.I 1 .
U.I.
U.I 1 . .
35?
-f-
-\
*
STEPS.
.r. h.r. 1. h.l. r. h.r. 1. h.l.
u.l. u.r.
u.l. u.r.
u.l. u.r.
r. h.r. 1. h.l. r. h.r. 1. h.l. r. h.r. 1. h.l.
u.l. u.r.
u.l. u.r. s.h.b. s.h.f.
r. h.r. 1. h.l. r. h.r. 1. 1 .1. R.
The Morris Book. Pari III. P
L.
78
THE MOEEIS BOOK.
CAPERS.
Circle, left to right
s.h.b. s.h.f.
s.h.b
-a- -^- -a
-- f [ j-
s.h.f.
r.
1. h.l. r.
s.h.b. s.h.f.
s.h.b.
..Position. Circle, left to right...
s.h.f. s.h.b. s.h.f.
!-= ^
bt: zrujct
r. 1. h.l. r. 1. h.l. r. fl 1. h.l.
s.h.b. s h.f. s.h.b. s.h.f.
Position.
s.h.b. s.h.f.
r. 1. h.l. r.
NOTATION OF THE FOOL'S DANCE,
MUSIC.
MOVEMENTS.
Once to your-
self.
Al.
B.
Jump on middle beat of last bar.
Foot-up.
Al.
(2nd time). Foot-up.
B.
(2nd time).
Al. and B.
(3rd and. 4th
times).
A2.
Capers.
Repeat as before.
Foot-up, with Pause.
MORPIS JIGS. 79
SHEPHERD'S HEY.
This version is to be danced to tlie music printed in
Morris Tunes, Set II., p. 5, omitting the repetition of A3.
This jig is usually danced by one performer only, and
without handkerchiefs. If, however, two or more dancers
take part in it, the figures should be performed not, as in
other jigs, alternately, but simultaneously.
Tiie dancer stands in position throughout the jig, facing
the audience ; there are no movements, forward or backward.
The symbol, r.c., in the diagram, means that the dancer is to
stoop down and place the points of the thumb and fingers,
not the palm, of his right hand upon the right side of the
calf of his right leg ; I.e., that he touches, in tlie same
manner, the left calf with his left hand. The remaining
symbols, b., un.r., &c., have already been used and defined
in Shepherd's Hey, Part I., p. GO, to which the reader is
referred.
The hand-clapping is performed four times. In the first
repetition, the performer, instead of touching the calves of his
legs as already described, places first his right and then
his left hand upon his right and left breasts respectively.
Immediately after contact, the arm should be extended and
swept outwards, away from the body ; the hand, with
straightened fingers, should be bent backwards at the wrist,
exposing the palm to the audience. The movement, which
is made chiefly by the forearm, must be executed quickly and
in a formal but graceful manner. It is not unlike the action
of blowing a kiss. In the second and third repetitions the
dancer touches in the same manner, his cheeks and the sides
of his head respectively.
This jig must be performed, throughout, in a very quiet and
restrained manner ; repose and dignity are its dominant
characteristics. In the hand-clapping figure the body should
be held erect, head up, feet touching at the heels and toes
turned out except, of course, when the hands are clapped
under the thighs.
80
THE MORBIS BOOK.
A.
SHAKE-UP.
HANDS down.
SHEPHERD'S HEY.
DIAGRAM.
down.
up.
STEPS .1. r. 1. h.l.
circle. circle. circle. up.
:*=
r. 1 r. h.r.
down. up.
Z=
l.b. f.a. r.b. f.a. l.b. f.a. f.t.
1. r. 1. h.l.
down.
up.
circle. circle.
circle.
up.
f I ~*~-\ T-r-i-t 11 ^
1 1 L_ L_J 1 I __,
r. 1. r . h.r. l.b. f.a. r.b. f.a. l.b. f.a. f.t.
Last time. L. K. L. B.
B.
HAND-CLAPPING.
HAND -CLAPPING., b. b. r.c.
b. b. he.
"ff "m ~J^+^ i~ ^$^ -^ ~~l
b. un.r. b. un.l. b. b.beh. b.
b. b. r.c.
^=t=t=f=zt:
I). b. I.e.
b. un.r. b. uu.l. b. b.beb. b.
MORRIS JIGS.
81
NOTATION OF SHEPHERD'S HEY.
MUSIC.
MOVEMENTS.
Once-to-your-
self.
Al.
Bl.
A2.
B2.
Al. (repeat).
Bl. (repeat).
A2. (repeat).
B2. (repeat).
A3.
Jump on second beat of last bar.
Shake-up.
Hand-clapping as in diagram.
Shake-up.
Hand-clapping, touching breasts.
Shake-up.
Hand-clapping, touching cheeks.
Shake-up.
Hand-clapping, touching sides of the head.
Shake-up, capering in last two bars, as shown
in diagram.
JOCKIE TO THE FAIR
(SECOND VERSION).
This is to be danced to the music printed in Morris Tunes,
Set IV., p. 4.
82
THE MOEEI8 BOOK.
A.
SHAKE-UP.
TRACK... Advance about 6 ft
HANDS down. up.
-whk 1=
JOCKIE TO THE FAIR.
DIAGRAM.
STEPS.
.h.r. 1. r. 1. h.l.
r.
1. r. h.r.
down. up.
down. up.
=t=B=
down.
=P=
up.
1. r. 1. h.l. r. 1. r. h.r. 1. r. 1. h.l.
.."Retire to... Position.
circle. circle. circle. up.
r. 1. r. h.r. l.b. f.a. r.b. f.a. l.b. f.t.
B.
SIDE-STEP.
TRACK Advance to left about 5 ft .
HANDS circle. circle.
circle.
circle.
STEPS.. r. r.
s.s. r.b.
. to right, about 5 ft s'ntionary, facing front.
circle. circle. circle. circle. down.
r. r. r. 1. r. h.r. r. h.l.
down.
up.
down. up. down. up.
gg| E*E^EfEHE
r.
1. r. h.r. 1. r. 1. h.l. r. 1. r. h.r.
MORRIS JIGS.
83
down. up. down. up.
retire
Click'.
circle.
1. r. 1. h.l. r. 1. r. h.v. l.b. f.a. r.b. f.a.
Last time. L. R.
circle. circle.
to
circle.
circle.
Position .
circle. up.
*-
l.b. f.a. r.b. f.a. l.b. f.a. r.b. f.a.
L. R. L. R.
l.b.
L.
f.t.
c.
CAPERS.
TRACK Advance about 3 ft
HANDS down. up. down. up. down. up.
-+-
rv
I I . _
STEPS
L. R.
Ju. r.
L. R.
down. up. down. up. down. up. down. up.
itt
Ju. r. L. R. Ju. r. L. R.
down.
'=*:
stationary
down. up.
-0-. -*- - -9-
n ^ PF t I f _ 1
down. ' up.
_. -a-
it:
Ju.
1.
r. 1. h.l. r. 1. r. h.r.
... retire to Position.
circle. circle. circle. up.
l.b. f.a. r.b. f.a. l.b. f.t.
84
THE MORRIS BOOK.
NOTATION OF JOCKIE TO THE FAIR.
MUSIC.
Once-to-your-
self.
A.
Bl.
C.
Bl. (repeat).
C. (repeat).
B2.
MOVEMENTS.
Jump on middle beat of last bar.
Shake-up.
Side-step.
Capers.
Side-step.
Capers.
Side-step, with Capers in last four bars as
shown in diagram.
BACCA PIPES (GREEN SLEEVES).
Although this jig is known to all Morris men it is danced in
a different way in almost every village. As the form given
in Part II. has won great popularity, we feel that no apology
is needed for offering three more versions of the same dance.
The symbols, &G., in the following diagrams are, for the
most part, the same as those already used and described in
Part II. Symbols not hitherto used will be explained as they
occur. For the sake of convenience the illustration showing
MORRIS JIGS.
85
the pipes, positions, &c., already given in Part II., is here
reprinted.
AUDIENCE.
SECOND VERSION.
This version is to be danced to the music given in Morris
Tunes, Set IV., p. 13, Al and A2 being repeated throughout
the dance.
The Shake-up which, as in the first version, precedes each
figure, is danced to A music, repeated, and to 6/2 step
throughout. The performer, however, does not move but
stands still at Position 2, facing the audience. At the begin-
ning of the last bar he turns towards the pipes and takes up
Position 7 in the first three figures, and Position 6 in the
last one.
The Dance-round which, as before, is performed between
the Heel-and-toe movements of each figure, is also danced to
A music, repeated, and to 6/2 step, the performer moving
round the pipes twice, from, left to right.
86
THE MORRIS BOOK.
For the rest, the four figures are danced as in the first
version, the Heel-and-toe movements of each figure being
performed successively from the four positions in turn. The
order of the positions in the first three figures is 7, 8, 5
and 6 ; in the fourth figure, 6, 7, 8 and 5.
The steps are shown in the following diagram :
HEEL -AND TOE (FmsT FIGURE).
tzttdz
FEET. -! ~"~
1 Left.
,
m
-
r
2
1 . .
J
T.B.
T.6
T.7
T.B.
T.7
T.C.
T.6
T.C.
DC
T B.
T.6
T.7 T.B.
T.C. T.6
HEEL-AND-TOE (SECOXD FIGURE).
SL " ' \*
i r
fry o ' f.
Lx ^
J .
SE
' L^
^
? .Right. T.7
FEET. \
(Left. T.C.
-A* m
r
T.6
<9 *
TB.
"^" P
LX if r * *
* i !
\f *
/L y i
[~ Lr
Ir i
/T) ' _ r I/ 1
/^
a
|
r \
^ T.7
T.D. T.6
o #
T.A. TV7
V <
TC.
Z>.C
V tr m m
r* ' is I
1 >
/L i ^ m P
J
, j
f/T\ r
" 9> * m i
tZ 9,'
T.B.
T.7
T A.
T.6
T.D.
T.6
MORRIS JIGS.
87
HEEL-AND-TOE (THIRD FIGURE).
ii : i
- , Right. T.7
IEET. J
( Left.
H.C.
~
__ I ^m _ * I
H.B7~
T.6
_* f- - m r-*- m 0r-* '-T-- *-
^/^E^^[5E^EgE^Ep=^=^
T.7 H.A.
H.D. T.6
T.7
H.C.
D.C.
P
I-
H.B.
T.7
H.A.
T.6
H.D.
T.6
HEEL-AND-TOE (FOURTH FIGURE).
"" rr
1
1
-
O. -
^ tff *
H.D.
Left. H.D. T.6
-^
T.6 H.D. T.6
H.D. T.6 H.D.
iz:
:=1:
Z>.(7.
H.D. T.6 H.D.
T.6 H.D. T.6
T.6, T.7, &c., mean that the foot, after being raised, is
firmly planted down in the position named, and the weight
of the body supported upon it.
T.B., T.C., &c., mean that the foot is raised and then the
toe dabbed down in the space indicated, as near as possible
to the intersection of the pipes. The foot is lifted immediately
88
THE MO R PIS BOOK.
it has struck the ground. A sudden spring must be made in
changing from one supporting foot to the other, i.e., at the
beginning of each bar.
Each figure ends with the Dance-round, after which, as in
the first version, a pause is made.
THIRD VERSION.
This version is to be danced to the music given in Morris
Tunes, Set IV., p. 10, both sections, A and B, being repeated
throughout the dance.
In the Foot-up, which in this variant takes the place of
both Shake-up and Dance-round, the performer starting from
Position 1, moves from left to right twice round the pipes
to A music, repeated, dancing to the following step :-
DIAGRAM OF FOOT UP (THIRD VERSION).
FEET.
r. h.r.
(Left. T.
H. T.
H.
D.C.
1
h.l.
r. l.H.
It will be seen that in bars 3 and 4, 7 and 8, &c., the
ordinary 4/2 Morris step is used. The symbol l.H., in
the 8th and 16th bars means that the left leg is bent slightly
at the knee and then sharply straightened forward and down-
ward, so that the heel strikes the ground some twelve or
fourteen inches in front of the right foot, the toe pointing up
at an angle of sixty degrees or more.
The step in bars 1 and 2, 5 and 6, &c., is a little difficult
to describe. The underlined symbols show that the weight
of the body is carried on the toe, or rather the ball, of each
foot, alternately.
MOfiRIS JIGS.
89
At H the heel should strike the ground with a forward
glance, as the leg swings forwards. A quick and light spring
is made from the right to the left foot at the beginning of
each bar, to emphasize the rhythm. This is shown in the
diagram by a curved line.
The tune is not printed in the diagram because the rhythm
of the tune is different from that of the feet. The steps are
in simple time, two quavers to the beat, while the music is in
compound time, three quavers to the beat. Tins cross rhythm
is to be found in many of the versions of this jig.
FIRST FIGURE.
At the end of the Foot -up the performer takes up Position 6,
and then dances over the pipes as follows :
DIAGRAM OF HEEL-AND-TOE (FiRST FIGURE). (THIRD VERSION )
, - a m
Lr 1 i
-rD ft
^ / 1 h * "*
VJ' o
(I
FEET.
light. T.B. / T.6
,eft. T.A. T.6
Lr 4**
i* ^ f ^ ' ' * " ' "L a
^^
Lr - i Lr i t "
(\\
CZHJ Bid ClZJ - Ir '>
v lx
^1 1 ^
T
T.C. T.6
D. T.6 H.C, T.6
L/ TT
m ' F ' m -Tl
^T~
F*Pii !]
R
r r r t x * ^ . -i
II. D.
T.6
H.A. T.6
H.B.
T.6
At T.A., T.B., &c., the toe is pointed and placed quietly in
the space indicated, as near as possible to the intersection
of the pipes.
Similarly, at H.C., H.D., &c., the heel is placed in the
space named. T.6 means that the ball of the foot is placed
at Position 6, and supports the weight of the body.
90
THE MOBEIS BOOK.
A quick spring is made between the first and second beats
of each bar.
This Heel-and-toe movement is successively danced from
Positions 6, 7, 8 and 5 in the usual way.
SECOND FIGURE.
In this figure the Heel-and-toe movement is performed
once only. After the Foot-up the performer dances com-
pletely round the pipes, beginning and ending at Position 6.
The steps are shown in the following diagram :
DIAGRAM OF HEEL-AND-TOE (SECOND FIGURE).
(THIRD VERSION.)
POSITIONS. . .6.
-*-
*
FEET.
I Right.
(Left. T.B.
=fr
T.A.
T.6
T.6
T.D. T.7
T.C.
T.6
T.C.
T.7
.8
~W-
:
T.B.
T.7
T.A. T.8
T.D.
T.7
T.D. T,8
T.C. T.8
T.A.
T.8.
MORE IS JIGS.
91
:f= =fcM=r=!
=t=
:t=:
:t=z
T.B.
T.5
T.D.
T.5
T.A.
T.5
i=F=i:
.6
=|:
T.C.
T.B.
T.5
T.6
THIRD FIGURE.
This is danced in the same way as the Second Figure,
except that the heel is placed in the spaces instead of the toe.
The dance concludes with the Foot-up.
FOURTH VERSION.
This version is to be danced to the music printed in Morris
Tunes, Set IV., p. 11, both sections, A and B, being repeated
throughout the dance.
In this variant, as in the preceding one, the Foot-up takes
the place of both Shake-up and Dance-round. There are,
however, two forms of the Foot-up, usually performed
alternately.
Starting from Position 1, facing the audience, the performer
moves to the right and dances twice round the pipes to A
music, repeated, finishing at Position 5. The step is shown
in the following diagram : -
DIAGRAM OF FOOT-UP, No. 1. (FOURTH VERSION.)
FEET. J
H.
(Left. T.
h.
T. h.
H.
H.
T. h.
h.
H.
=S
=]=
:*=:*:=*:
:i=i:
=i
TT
1.
T. h.
T. li.
H.
H.
T. h.
T.
H.
92
THE MORRIS BOOK.
In each bar the weight of the body is supported by the
hopping foot. The free leg is bent slightly at the knee and
then sharply straightened forward and downward, so that the
heel strikes the ground firmly some twelve or fourteen inches
in front of the supporting foot. The heel is lifted immediately
after it has struck the ground.
It will be noticed that although, as in the preceding variant,
the tune is in compound time, three quavers to the beat, the
step is in simple time, two quavers to the beat. Except in the
Foot-up No. 2, this cross rhythm is maintained throughout
the dance, of which, perhaps, it is the most characteristic
feature.
FIEST FIGURE.
In this figure the performer, starting from Position 5,
moves once only round the pipes, dancing four bars at each
position in turn. This is shown in the following diagram :
POSITIONS 5 6
FEET. -;
; Eight. T.D.
(Left. T.5 h.
3 :~
T.B.
T.7 h.
T.7
T.C.
T.D.
T.7 h.'
-T_.8 h.
T.D.
MORRIS JIGS. 93
The change of position must be made very swiftly, springing
neatly and lightly from one foot to the other. The spring is
marked in the diagram with a curved line.
As in the Foot- up the weight of the body is always supported
by the hopping foot. The right foot is swung across the left
in bars 1, 5, 9 and 13.
SECOND FIGURE.
This is danced in the same way as the first figure, except
that the heel is placed in the spaces instead of the toe.
Foot-up, No. 2, which is danced in between the two figures,
is a variant of Foot-up, No. 1, in compound instead of simple
time. The step is shown in the following diagram :
DIAGRAM OF FOOT-UP, No. 2. (FOURTH VERSION.)
izzfi
Right. H. T.
(Left. T. h.
IE
H. T. T. h. H. T.
T. h. II. T. T. h.
^=i =*Fr ^
:=--=gzzJ=zz^=: ==
T. h. H. T. T.
II. T. T. h. H.
As before, the weight of the body is carried on the hopping
foot. Immediately, however, after the heel is set down, the
ankle is bent and the toe, or rather the ball of the foot, is
tapped on the ground, the heel acting as pivot.
The dance concludes with Foot-up, No. 1.
The Morris Book.-Part III. G
TWO DERBYSHIRE DANCES.
DERBYSHIRE MORRIS DANCE
AND
DERBYSHIRE MORRIS REEL.
These two dances are performed by sixteen men, who
stand in two parallel lines, eight a side, as shown in the
following illustration :
ILLUSTRATION.
2
4
6
8
10
12
14
16
V
V
V
V
V
V
V
V
A
A
A
A
A
A
A
A
3
5
7
9
11
13
15
O H
EHftAAAAAAA
THE DANCE.
HANDS.
The hand-movements are, in form, similar to those described
in Part I., p. 49. They must, however, be executed more
quietly and with less vigour than in the regular Morris dance.
STEPS.
The 4/3 and 6/2 steps, which are the only Morris steps
used in these dances, are to be executed in exactly the same
way as described in Part I., p. 35.
The Jump, in both forms, with its attendant hand-move-
ments, is also to be performed as already described (see Part I.,
p. 47), but with this qualification ; that, instead of leaping off
the ground, the performer merely raises and lowers himself on
his toes (sec plate opposite p. 95).
THE DERBYSHIRE MORRIS DANCE.
EVOLUTIONS.
THE HEY.
The dancers move in the same way as in the Chain, described
in Part I., p. -11. When jumping, however, on the middle beat
of bar 4, only one arm, the right, is raised and the handker-
chief waved over the head with one quick circular movement
of the wrist.
In the final jump in bar 8, both arms are thrown up in the
usual wav.
V
CORNERS CAST OFF AND OUT, MEET, AND RETURN TO PLACES.
ILLUSTRATION.
90 THE MORRIS BOOK.
In bars 1 4, Nos. 1 and 15 turn outwards, dance down
and up, respectively, outside the line of dancers and meet
each other, face to face, at P, a point half-way down the line
and about seven feet away from it, as shown in the Illustration.
On the middle beat of bar 4 they jump.
In bars 5 8 they turn inwards, dance back to places,
jump on the middle beat of bar 8, and face front.
Simultaneously, Nos. 2 and 16 perform the same evolution
on their own side, as shown in the Illustration.
CORNERS CAST-OFF, MEET, AND RETURN TO PLACES.
This is the same as the preceding evolution except that
the Corners, in casting off, do not move outwards but dance
close to and parallel to the lines.
WALK OUT, JUMP, AND RETURN TO POSITION.
In bars 1 4 the performer turns about, to the right, faces
outwards, takes seven very short walking steps, two to the
bar, and jumps on the middle beat of bar 4.
Turning about to the left, he returns in the same manner
to his original place, jumping on the middle beat of bar 8.
TWO ADJACENT DANCERS ON THE SAME SIDE STAND P>ACK
TO BACK, TURN ROUND, FACE OUTWARDS, AND
TURN BACK AGAIN TO POSITION.
Two adjacent dancers, say Nos. 4 and 6, close up and stand
back to back, No. 4 facing up, No. 6 facing down. They then
take seven short steps, two to the bar, and turn round, right
to left, through half a circle. They have no\v changed
places, No. 4 facing down and No. 6 up.
At the beginning of bar 4 both turn and face outwards and,
standing side by side, No. 6 above No. 4, jump at the middle
beat of bar 4.
The same movement is then repeated in the reverse ; the
dancers, standing back to back, turn round left to right, face
EVOLUTIONS.
07
inwards, each in his original place, and jump on the middle
beat of bar 8.
ILLUSTRATION.
This evolution is performed by two adjacent couples, say,
Nos. 1 and 2, 3 and 4.
Nos. 1 and 4 cross over passing right to right, change
places, turn round, face inwards and jump at the middle
beat of bar 4.
Simultaneously, Nos. 2 and 3 do the same, passing left to
left, as shown in the Illustration, Fig. 1. Nos. 1 and 4 must
allow Nos. 2 and 3 to pass each other before starting to
cross over.
The four dancers, who are now in the positions shown in
Fig. 2, proceed in the next four bars to repeat the same
evolution in the reverse, Nos. 2 and 3 passing left to left,
and Nos. 4 and 1 right to right.
As before, Nos. 1 and 4 wait until Nos. 2 and 3 have passed
each other before crossing over.
All four dancers, who are now in their proper, places, jump
\ 4-V>/-> wii /-I A 1 f\ \TLf\n4- r\f I-QI Q ct\ii\ fhns\ + */-r 1 '.' . ' '. I *.
on the middle
of
8#
troivi.
> , * j > -> j
In the Illustration the nl6yem'en,t pf Np,s. 2 and 4 are
shown by dotted lines; those \6i No's'' 1 tfri.d.S by ordinary
i j j ) > ' 3 ' j j j
ines. , ,,,3,, ;, >,*, ;
j j > j ' i
> i j
, i > i ,~
> > > j >
OS THE MORRIS BOOK,
HANDS FOUR.
Two adjacent couples join hands and move slowly round
in a ring, from right to left (4 bars).
They then repeat the movement in the reverse direction,
left to right, separate, and return to places (4 bars).
PARTNERS CROSS OVER FACE TO FACE AND EETURN.
Odd numbers move down a step, turn inwards and face up.
Even numbers move up a step, turn inwards and face down.
In bars 1 2, partners cross over, pass face to face and
change sides, each dancer raising his right arm and resting
his left hand on his hip with the elbow projecting outwards.
The right arm must not be held erect, but at an angle of
about thirty degrees from the vertical (see frontispiece).
In bars 3 4, the dancers cross back again, with left arms
raised and right arms akimbo.
The step is shown in the following diagram :-
TKACK Sideways to right
HANDS r.up.
#
sidewavs to left.. Position.
f.t. 1. f.t.
The steps taken at the beginning and middle of each bar
should be about thirty inches in length, the feet being raised
just high enough to clear the ground.
On the third and sixth quavers of bars 1 and 2 the left foot
is quickly,. y"bagg^l. along, the. ground up to the right and
supporting "ff/qU. .'Si;hiilarb% on, ' ithe third and sixth quavers
of bars 3 and 4,/the rigkt ( foj>1i is brought up to the left.
The step is. t d \ ctti^oufc :6uo and may, perhaps, best be
described as fc .s
L > ' . ' ' .
, < I 'I
\ > < , ,
I.I
A WIXSTER MORRIS DANCER. LADIES' SIDE.
EVOLUTIONS.
99
DERBYSHIRE MORRIS DAXCE
(HANDKERCHIEF DANCE).
MUSIC.
MOVEMENTS.
FORMATION.
Once to your
self.
Al.
Bl.
A2.
B2.
A1,B1,A2,
B2 (repeat).
A3.
Jump on middle beat of bar 4.
Corners cast off and out, meet,^
and return to places (*ce p. 95).
4/2 step.
Nos. 4 and 6, 8 and 10, 12 and
14, stand back to back, turn
round, face outwards, and turn
back again to position (.svr p. 9G).
Nos. 3, 5, 7, 9, 11 and 13 walk out,
jump and return to position
(see p. 96).
Same as in Al.
Right-and-Left (see p. 97) by
adjacent couples. 4/2 step.
Hands-Four (see p. 98) by adjacent
couples.
Repeat as above.
Same as in Al.
ALL IN.
Front.
Column.
Front.
100
THE MOEEIS BOOK.
DERBYSHIRE MORRIS REEL
(HANDKERCHIEF DANCE).
MUSIC.
MOVEMENTS.
FORMATION.
Once to your-
self.
Al.
B.
Bars 1 4.
Bars 5- s.
Al. and B.
(repeat).
A2.
Jump on middle beat of bar 4.
Corners cast off, meet and return
to places (see p. 96). 6/2 step.
The Hey (see p. 95) by Nos. 3, 5
and 7 ; 9, 11 and 13 ; 4,6 and
8 ; and 10, 12 and 14. 6/2 step.
Partners cross over face to face,
and return (see p. 98).
Same as in bars 1 4.
Repeat as above.
Same as in Al.
ALL IN.
Front.
Column.
ADDENDA.
LAUDNUM BUNCHES (PART L, p. 62).
In the Corner movements, the last two bars of B and C
music (repeated) may be danced as follows :
DIAGRAM.
HANDS circle. circle. circle. circle.
=i=r*=z:
STEPS E.
TEUNKLES (PART I., p. 67).
The metronome mark at the beginning of the music should
be 104.
The second Caper movement, danced to C music (repeated),
should be called Half-Capers, and performed in the following
manner :
HANDS circle.
DIAGRAM.
circle. circle.
circle.
h.r. r.
STEPS
circle.
circle.
circle.
circle.
r. 1.
s.s.l.b.
3_
^ =g=*=^= =3=i ='
r.
h.r.
1. r.
r.b._
1.
h.l.
down.
up.
down.
up.
r.
h.r. 1.
h.l.
r.
LONDON :
NOVELLO AND COMPANY,
FRIKTERS.
\
