Morris dance

Morris dance is a form of English folk dance usually

accompanied by music. It is based on rhythmic stepping
and the execution of choreographed figures by a group of
dancers, usually wearing bell pads on their shins.
Implements such as sticks, swords and handkerchiefs may
also be wielded by the dancers. In a small number of
dances for one or two people, steps are near and across a
pair of clay tobacco pipes laid one across the other on the
floor. They clap their sticks, swords, or handkerchiefs
together to match with the dance.

The earliest known and surviving English written mention

Morris dancers with handkerchiefs
of Morris dance is dated to 1448 and records the payment
of seven shillings to Morris dancers by the Goldsmiths'
Company in London.[1] Further mentions of Morris dancing occur in
the late 15th century, and there are also early records such as
bishops' "Visitation Articles" mentioning sword dancing, guising and
other dancing activities, as well as mumming plays.

While the earliest records invariably mention "Morys" in a court

setting, and a little later in the Lord Mayors' Processions in London,
it had assumed the nature of a folk dance performed in the parishes
by the mid 17th century.

There are around 150 Morris sides (or teams) in the United States.[2]
English expatriates form a larger part of the Morris tradition in
Australia, Canada, New Zealand[3] and Hong Kong. There are
isolated groups in other countries, for example those in Utrecht and
Helmond,[4] Netherlands; the Arctic Morris Group of Helsinki,[5]
Finland and Stockholm, Sweden; as well as in Cyprus.[6]

The world of Morris is organised and supported by three

A small statue of a
organisations: Morris Ring, Morris Federation and Open Morris.
"Moriskentänzer" made by
Erasmus Grasser in 1480 for Old
Townhall in Munich, one of a set
of 16, of which only 10 remain.
Contents This dancer has an appearance
which would be described at the
Name and origins
time as "moorish", but all the
History in England other nine surviving carvings are
Revival fairer-skinned. All wear bells on
Organisations their legs.

Styles
 Cotswold
North West
Border
Sword dancing
Mumming
Other traditions
Music
Terminology
Evolution
Kit and clothing
Namesakes
See also
References
External links

Name and origins

The name is first recorded in the mid-15th century as Morisk dance, moreys daunce, morisse daunce, i.e.
"Moorish dance". The term entered English via Flemish mooriske danse. Comparable terms in other
languages are German Moriskentanz (also from the 15th century), French morisques, Croatian moreška,
and moresco, moresca or morisca in Italy and Spain. The modern spelling Morris-dance first appears in
the 17th century.[7]

It is unclear why the dance was named, "unless in reference to fantastic dancing or costumes", i.e. the
deliberately "exotic" flavour of the performance.[8] The English dance thus apparently arose as part of a
wider 15th-century European fashion for supposedly "Moorish" spectacle, which also left traces in
Spanish and Italian folk dance. The means and chronology of the transmission of this fashion is now
difficult to trace; the Great London Chronicle records "spangled Spanish dancers" performing an
energetic dance before Henry VII at Christmas of 1494, but Heron's accounts also mention "pleying of
the mourice dance" four days earlier, and the attestation of the English term from the mid-15th century
establishes that there was a "Moorish dance" performed in England decades prior to 1494.[9][10]

An alternative derivation from the Latin 'mos, moris' (custom and usage) has also been suggested.[11]

It has been suggested that the tradition of rural English dancers blackening their faces may be a form of
disguise, or a reference either to the Moors or to miners;[12] the origins of the practice remain unclear and
are a matter of ongoing debate.

History in England
While the earliest (15th-century) references place the Morris dance in a courtly setting, it appears that the
dance became part of performances for the lower classes by the later 16th century; in 1600, the
Shakespearean actor William Kempe Morris danced from London to Norwich, an event chronicled in his
Nine Daies Wonder (1600).
Almost nothing is known about the folk dances of
England prior to the mid-17th century.[13] While it is
possible to speculate on the transition of "Morris dancing"
from the courtly to a rural setting, it may have acquired
elements of pre-Elizabethan (medieval) folk dance, such
proposals will always be based on an argument from
silence as there is no direct record of what such elements
would have looked like. In the Elizabethan period, there
was significant cultural contact between Italy and
England, and it has been suggested that much of what is
now considered traditional English folk dance, and Illustration of William Kempe Morris dancing
especially English country dance, is descended from from London to Norwich in 1600
Italian dances imported in the 16th century.[14]

By the mid 17th century, the working peasantry took part

in Morris dances, especially at Whitsun.[15] The Puritan
government of Oliver Cromwell, however, suppressed
Whitsun ales and other such festivities. When the crown
was restored by Charles II, the springtime festivals were
restored. In particular, Whitsun Ales came to be
celebrated on Whitsunday (Pentecost), as the date was
close to the birthday of Charles II.

Morris dancing continued in popularity until the industrial

revolution and its accompanying social changes. Four Morris dancers and a hobby horse: detail of
Thames at Richmond, with the Old Royal
teams claim a continuous lineage of tradition within their
Palace, c. 1620
village or town: Abingdon (their Morris team was kept
going by the Hemmings family),[16] Bampton,
Headington Quarry, and Chipping Campden.[17] Other villages have revived their own traditions, and
hundreds of other teams across the globe have adopted (and adapted) these traditions, or have created
their own styles from the basic building blocks of Morris stepping and figures.

However by the late 19th century, and in the West Country at least, Morris dancing was fast becoming
more a local memory than an activity. D'Arcy Ferris (or de Ferrars), a Cheltenham based singer, music
teacher and organiser of pageants, became intrigued by the tradition and sought to revive it. He first
encountered Morris in Bidford and organised its revival. Over the following years he took the side to
several places in the West Country, from Malvern to Bicester and from Redditch to Moreton in Marsh.
By 1910, he and Cecil Sharp were in correspondence on the subject.[18]

Several English folklorists were responsible for recording and reviving the tradition in the early 20th
century, often from a bare handful of surviving members of mid-19th-century village sides. Among these,
the most notable are Cecil Sharp and Mary Neal.

Revival
Boxing Day 1899 is widely regarded as the starting point for the Morris revival.[19] Cecil Sharp was
visiting at a friend's house in Headington, near Oxford, when the Headington Quarry Morris side arrived
to perform. Sharp was intrigued by the music and collected several tunes from the side's musician,
William Kimber; not until about a decade later, however, did he begin collecting the dances, spurred and
at first assisted by Mary Neal, a founder of the Espérance Club (a dressmaking co-operative and club for
young working women in London), and Herbert MacIlwaine, musical director of the Espérance Club.
Neal was looking for dances for her girls to perform, and so the first revival performance was by young
women in London.

Organisations
In the first few decades of the 20th century, several men's sides were formed, and in 1934 the Morris
Ring was founded by six revival sides. In the 1950s and especially the 1960s, there was an explosion of
new dance teams, some of them women's or mixed sides. At the time, there was often heated debate over
the propriety and even legitimacy of women dancing the Morris, even though there is evidence as far
back as the 16th century that there were female Morris dancers. There are now male, female and mixed
sides to be found.

Partly because women's and mixed sides were not eligible for full membership of the Morris Ring (this
has now changed), two other national (and international) bodies were formed, the Morris Federation and
Open Morris. All three bodies provide communication, advice, insurance, instructionals (teaching
sessions) and social and dancing opportunities to their members. The three bodies co-operate on some
issues, while maintaining their distinct identities.

Styles
Today, there are six predominant styles of Morris dancing, and different dances or traditions within each
style named after their region of origin.

Cotswold Morris: dances from an area mostly in Gloucestershire and Oxfordshire; an

established misnomer, since the Cotswolds overlap this region only partially. Normally
danced with handkerchiefs or sticks to accompany the hand movements. Dances are
usually for 6 or 8 dancers, but solo and duo dances (known as single or double jigs) also
occur.
North West Morris: more military in style and often processional, that developed out of the
mills in the North-West of England in the 19th and early 20th centuries.
Border Morris from the English-Welsh border: a simpler, looser, more vigorous style,
traditionally danced with blackened faces.
Longsword dancing from Yorkshire, danced with long, rigid metal or wooden swords for,
usually, 6 or 8 dancers.
Rapper from Northumberland and County Durham, danced with short flexible sprung steel
swords, usually for five dancers.
Molly Dancing from Cambridgeshire. Traditionally danced on Plough Monday, they were
Feast dances that were danced to collect money during harsh winters. One of the dancers
would be dressed as a woman, hence the name. Joseph Needham identified two separate
families of Molly dances, one from three villages in the Cambridge area and one from two in
the Ely area.
Ploughstots (alternatively Vessel Cupping and Plew-ladding) from the East and North
ridings of Yorkshire, also danced on Plough Monday. The dancers often held "flags", used
similarly to handkerchiefs in Cotswold and Border dances to emphasise hand movements,
or rattling bones, rather than wearing bells but for the same purpose.
A similar Plough Monday tradition exists in the East Midlands; some of these dances
involve swords, usually danced over in a similar manner to baccapipes[20] jigs from
 Oxfordshire.

Cotswold
Lionel Bacon records Cotswold Morris traditions from these
villages: Abingdon, Adderbury, Ascot-under-Wychwood, Badby,
Bampton, Bidford, Bledington, Brackley, Bucknell, Chipping
Campden, Ducklington, Eynsham, Headington Quarry, Hinton-
in-the-Hedges, Ilmington, Kirtlington, Leafield, Longborough,
Oddington, Sherbourne, Stanton Harcourt, Upton-upon-Severn
and Wheatley.[21]

Bacon also lists the tradition from Lichfield, which is Cotswold- Cotswold-style Morris dancing in the
like despite that city's distance from the Cotswold Morris area; grounds of Wells Cathedral, Wells,
the authenticity of this tradition has been questioned. In 2006, a England – Exeter Morris Men
small number of dances from a previously unknown tradition was
discovered by Barry Care, MBE, keeper of The Morris Ring
Photographic Archive,[22] and a founding member of Moulton Morris Men (Ravensthorpe,
Northamptonshire)—two of them danceable.

Other dances listed by Bacon include Border Morris dances from Brimfield, Bromsberrow Heath,
Evesham, Leominster, Much Wenlock, Pershore, Upton-upon-Severn, Upton Snodsbury, White Ladies
Aston, and miscellaneous non-Cotswold, non-Border dances from Steeple Claydon and Winster. There
are a number of traditions which have been collected since the mid-twentieth century, though few have
been widely adopted. Examples are Broadwood, Duns Tew,[23] and Ousington-under-Wash in the
Cotswold style, and Upper and Lower Penn in the Border style. In fact, for many of the "collected"
traditions in Bacon, only sketchy information is available about the way they were danced in the
nineteenth century, and they have been reconstructed to a degree that makes them largely twentieth
century inventions as well. Some traditions have been reconstructed in several strikingly disparate ways;
an example would be Adderbury, danced very differently by the Adderbury Morris Men and the
Adderbury Village Morris.

North West
The North West tradition is named after the North West region of
England and has always featured mixed and female sides, at least
as far back as the 18th century. There is a picture of Eccles Wakes
(painted in the 1820s, judging by the style of dress of some of the
participants and spectators) that shows both male and female
dancers.

Historically, most sides danced in various styles of shoes or

Horwich Prize Medal Morris Men, a
boots, although dancing in clogs was also very common. Modern
North West Morris side based near
revivalist sides have tended more towards the wearing of Bolton
clogs.[24] The dances were often associated with rushcarts at the
local wakes or holidays, and many teams rehearsed only for these
occasions. While some teams continue to rehearse and dance for a single local festival or event (such as
the Abram Morris Dancers[25]), the majority of teams now rehearse throughout the year, with the
majority of performances occurring in the spring and summer. The dances themselves were often called
'maze' or 'garland dances' as they involved a very intricate set of movements in which the dancers wove
in and out of each other. Some dances were performed with a wicker hoop (decorated with garlands of
flowers) held above the dancer's head. Some dancers were also associated with a tradition of mumming
and hold a pace egging play in their area.

The Britannia Coconut Dancers, named after a mill not far from
Bacup, are unique in the tradition, in that they used sawn bobbins
to make a noise, and perform to the accompaniment of a brass
ensemble. They are one of the few North West Morris groups that
still black up their faces. It is said that the dance found its way to
the area through Cornishmen who migrated to work in the
Rossendale quarries.

North West Carnival Morris troupe Towards the end of the 19th century, the Lancashire tradition was
dancing in Skipton, Yorkshire in 1987
taken up by sides associated with mills and nonconformist
chapels, usually composed of young girls. These lasted until the
First World War, after which many mutated into "jazz dancers".
(A Bolton troupe can be seen in a pre-war documentary by Humphrey Jennings.) The dances have
evolved stylistically and the dancers’ dress has changed to include pompoms and elements from other
groups, such as cheerleaders and Irish dancers. However, they refer to themselves as "Morris dancers",
wear bells, and are still mainly based in the Northwest of England. This type of Morris has been around
since the 1940s and is also referred to as Carnival or "fluffy Morris" dancing. They take part in many
different competitions during the year and end it with a "Championship" where one dance troupe is
crowned the champions. This type of Morris is also found in the north of Wales, where there are many
different organizations with many different troupes. In 2008 NEMDCO (North of England Morris
Dancing Carnival Organization) held a large competition at Blackpool in the Blackpool Tower Ballroom.
The winner of this competition was Valencia, a troupe from Liverpool.[26] During the folk revival in the
1960s, many of the old steps to dances such as "Stubbins Lane Garland" were often passed on by old
people.

Border
The term "Border Morris" was first used by E. C. Cawte in a
1963 article[27] on the Morris dance traditions of Herefordshire,
Shropshire and Worcestershire: counties along the border with
Wales. Characteristics of the tradition as practised in the 19th and
early 20th centuries include: blackface (in some areas), use of
either a small strip of bells (in some areas) or no bells at all (in
others), costume often consisting of ordinary clothes decorated
with ribbons, strips of cloth, or pieces of coloured paper; or
Morris dancers with black-painted
sometimes "fancy dress", small numbers of traditional dances in faces, traditional along the border
the team repertoire, often only one and rarely more than two, with Wales
highly variable number of dancers in the set and configurations of
the set (some sides had different versions of a dance for different
numbers of dancers), and an emphasis on stick dances almost to the exclusion of hankie dances.[28]
Sword dancing
Usually regarded as a type of Morris, although many of the performers themselves consider it as a
traditional dance form in its own right, is the sword dance tradition, which includes both rapper sword
and longsword traditions. In both styles the "swords" are not actual swords, but implements specifically
made for the dance. The dancers are usually linked one to another via the swords, with one end of each
held by one dancer and the other end by another. Rapper sides consist of five dancers, who are
permanently linked-up during the dance. The rapper sword is a very flexible strip of spring-steel with a
wooden handle at each end. The longsword is about 2'6" (0.8 metres) long, with a wooden handle at one
end, a blunt tip, and no edge. Sometimes ribbons are threaded through a hole in the tip of the sword, and
the dancers grab on to them during the course of the dance. Longsword sides consist usually of five to
eight dancers. In both rapper and longsword there is often a supernumerary "character", who dances
around, outside, and inside the set.

Mumming
The English mummers play occasionally involves Morris or sword dances either incorporated as part of
the play or performed at the same event. Mummers plays are often performed in the streets near
Christmas to celebrate the New Year and the coming springtime. In these plays are central themes of
death and rebirth.

Other traditions
Other forms include Molly dance from Cambridgeshire. Molly dance,
which is associated with Plough Monday, is a parodic form danced in
work boots and with at least one Molly man dressed as a woman. The
largest Molly Dance event is the Whittlesea Straw Bear Festival,
established in 1980, held at Whittlesey in Cambridgeshire in January.

There is also Stave dancing from the south-west and the Abbots Bromley
Horn Dance.

Another expression of the Morris tradition is Vessel Cupping. This was

practised in the East Riding of Yorkshire until the 1920s. It was a form
danced by itinerant ploughboys in sets of three or four, about the time of Plough Monday dance by
Candlemas. the Royal Liberty Morris

Additionally, there is a specifically Welsh version of this terpsichorean

art[29] that is distinct from the Borders Morris style. This style is called Nantgarw tradition after a small
village in the Taff Valley.[30] One Nantgarw dance, Y Caseg Eira, is derived directly from notes made on
traditional Welsh dances from the 1890s. These notes were made by Dr. Ceinwen Thomas in the 1950s
from the childhood recollections of her mother, Catherine Margretta Thomas.[31] Others are more modern
inventions made in the style of older dances.[30] Dances in the Nantgarw style include; Caseg Eira (The
Snow Mare), Hela'r Sgwarnog (Hunting The Hare) and Ty Coch Caerdydd (The Red House of
Cardiff).[32]

Music
 Music was traditionally provided by either a pipe and tabor or a
fiddle. These are still used today, but the most common
instrument is the melodeon. Accordions and concertinas are also
common, and other instruments are sometimes used. Often drums
are employed.

Cotswold and sword dancers are most often accompanied by a

single player, but Northwest and Border sides often have a band,
Dancing to accordion music, York usually including a drum.
(June 2018)
For Cotswold and (to a degree) Border dances, the tunes are
traditional and specific: the name of the dance is often actually
the name of the tune, and dances of the same name from different traditions will have slightly different
tunes. For Northwest and sword dancing there is less often a specific tune for a dance: the players may
use several tunes, and will often change tunes during a dance.

For dances which have set tunes, there is often a short song set to the tune. This is sung by the
musician(s) or by the whole side as an introduction to the tune before the dance. The songs are usually
rural in focus (i.e. related to agricultural practices or village life) and often bawdy or vulgar. Songs for
some dances vary from side to side, and some sides omit songs altogether.

Several notable albums have been released, in particular the Morris On series, which consists of Morris
On, Son of Morris On, Grandson of Morris On, Great Grandson of Morris On, Morris on the Road, and
Mother of all Morris.

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

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

morris.

A Morris troupe is usually referred to as a side or a team. The two terms

are interchangeable. Despite the terminology, Morris dancing is hardly
ever competitive.

A set (which can also be referred to as a side) is a number of dancers in a

particular arrangement for a dance. Most Cotswold Morris dances are
danced in a rectangular set of six dancers, and most Northwest dances in Pete the Royal Liberty
a rectangular set of eight; but there are many exceptions. Morris fool

A jig is a dance performed by one (or sometimes two) dancers, rather

than by a set. Its music does not usually have the rhythm implied by the word "jig" in other contexts.

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

The role of the squire varies. In some sides the squire is the leader, who speaks for the side
in public, usually leads or calls the dances, and often decides the programme for a
 performance. In other sides the squire is more an administrator, with the foreman taking the
lead, and the dances called by any experienced dancer.
The foreman teaches and trains the dancers, and is responsible for the style and standard
of the side's dancing. The foreman is often "active" with the "passive" dancers.
The bagman is traditionally the keeper of the bag—that is to say, the side's funds and
equipment. In some sides today, the bagman acts as secretary (particularly bookings
secretary) and there is often a separate treasurer.
On some sides a ragman manages and co-ordinates the team's kit or costume. This may
include making bell-pads, ribbon bads, sashes and other accoutrements.
Many sides have one or more fools. A fool is usually extravagantly dressed, and communicates directly
with the audience in speech or mime. The fool often dances around and even through a dance without
appearing really to be a part of it, but it takes a talented dancer to pull off such fooling while actually
adding to and not distracting from the main dance set.

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

A tradition in Cotswold Morris is a collection of dances that come from a particular area, and have
something in common: usually the steps, arm movements, and dance figures. Many newer traditions are
invented by revival teams.
Most Cotswold dances alternate common figures (or just figures) with a distinctive figure (or chorus).
The common figures are common to all (or some) dances in the tradition; the distinctive figure
distinguishes that dance from others in the same tradition. Sometimes (particularly in corner dances) the
choruses are not identical, but have their own sequence specific to the tradition. Nevertheless, something
about the way the chorus is danced distinguishes that dance from others. Several traditions often have
essentially the same dance, where the name, tune, and distinctive figure are the same or similar, but each
tradition employs its common figures and style.

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

Evolution
The continuance of Morris is as much in the hands of independent groups of enthusiasts as it is in the
nationwide groupings such as The Morris Ring[33] or The Morris Federation.[34] So while for some sides
there is a feeling that the music and dance recorded in the 19th century should be maintained, there are
others who freely reinterpret the music and dance to suit their abilities and including modern influences.
In 2008 a front page article in the Independent Magazine noted the rising influence of neopaganism
within the modern Morris tradition.[35] The article featured the views of Neopagan sides Wolf's Head and
Vixen Morris and Hunter's Moon Morris and contrasted them with those of the more traditional Long
Man Morris Men. The Morris may have become popular in neopaganism thanks to the scholarship of
James Frazer, who hypothesized that rural folk traditions were survivals of ancient pagan rituals. Though
this view was fiercely criticized even by Frazer's contemporaries, it was fully embraced by Sir Edmund
Chambers, one of the first to produce serious writing on English folk plays and dances, and who became
a major influence on popular understanding of Morris dancing in the 20th century.[36]

Conversely, the Telegraph carried a report on 5 January 2009, predicting the demise of Morris dancing
within 20 years, due to the lack of young people willing to take part.[37] This widespread story originated
from a senior member of the more traditionally-minded Morris Ring, and may only reflect the situation in
relation to member groups of that one organisation.

The success of Terry Pratchett's Discworld novels has seen the entirely invented Dark Morris tradition
being brought to life in some form by genuine Morris sides such as the Witchmen Morris and Jack Frost
Morris.[38]

The advent of the Internet in the 1990s has also given Morris sides a new platform upon which to
perform. Many Morris sides now have entertaining websites which seek to reflect the public persona of
the individual sides as much as record their exploits and list forthcoming performances.

There are also a multitude of thriving Morris related blogs, forums and individual sides are to be found
maintaining an interactive presence on major social networking sites.

Kit and clothing

There is great variety shown in how Morris sides dress, from the
predominantly white clothing of Cotswold sides to the tattered
jackets worn by Border teams. Some common items of clothing
are: bellpads; baldrics; braces; rosettes; sashes; waistcoats; tatter-
coats; knee-length breeches; wooden clogs; straw hats, top hats,
or bowlers; neckerchiefs; armbands.

Namesakes
Morris dancers in Hampshire
The dance may have given name to the board games
three men's morris, six men's morris and nine men's
morris.
Erasmus Grasser, a German sculptor, created 16 realistic animated wooden figures in the
late 15th century called the Morris dancers.
Two ships named Morris Dance have served in the Royal Navy in the 20th Century.

See also
Ball de bastons Moreška
Blackface – Form of theatrical makeup Morris: A Life with Bells On
Călușari Pipe and tabor
Country dance Saint George's Day in England – 23 April
Maculelê (dance) Way of the Morris, a 2011 documentary
Matachines film by Tim Plester and Rob Curry
Moresca Weapon Dance
References
Notes

1. Heaney, M. (2004). "The Earliest Reference to the Morris Dance?". Folk Music Journal. 8
(4): 513–515. JSTOR 4522721 (https://www.jstor.org/stable/4522721).
2. Llewellyn's 2012 Witches' Companion. Llewellyn Worldwide. 2011. p. 126.
3. "New Zealand Morris Dancing" (http://www.morrisdancing.org.nz/). Morrisdancing.org.nz.
Retrieved 28 May 2013.
4. Morrisdansgroep Helmond (http://morrisdans.nl/helmond/index.html)
5. Helsinki Morrisers (http://helsinki-morrisers.tripod.com)
6. "index" (http://cyprusmorris.net). Cyprusmorris.net. 23 May 2012. Retrieved 28 May 2013.
7. OED, s.v. "morris dance" and "Morisk". D. Arnold, The New Oxford Companion to Music,
vol. 2 (Oxford University Press, 1983), p. 1203.
8. OED, etymonline.com.
9. Billington, Sandra (1984). A Social History of the Fool. Harvester Press. pp. 36, 37.
10. "morris dance" (http://oed.com/search?searchType=dictionary&q=morris+dance). Oxford
English Dictionary (3rd ed.). Oxford University Press. September 2005. (Subscription or UK
public library membership (http://www.oed.com/public/login/loggingin#withyourlibrary) required.)
11. 'The Pocket Oxford Dictionary'(1913/1994) OUP, Oxford.
12. Okolosie, Lola (14 October 2014). "Cameron and the morris dancers: a sign of our
nationalistic mood" (https://www.theguardian.com/commentisfree/2014/oct/14/david-camero
n-blacked-up-morris-dancers-nationalistic-englishness-black-people). The Guardian.
13. the first description of such dances was John Playford's The English Dancing Master,
published in 1651.
14. M. Dougal MacFinlay & M. Sion Andreas o Wynedd, To Tame a Pretty Conceit (http://www.p
bm.com/~lindahl/lod/vol4/pretty_conceit.html#n1), volume 4 of the '0'Letter of Dance (1996).
15. Llewellyn's 2012 Witches' Companion. Llewellyn Worldwide. 2011. p. 125.
16. Hemmings tradition (http://www.communigate.co.uk/oxford/mrhemmingstraditionalabingdon
morrisdancers/index.phtml) Archived (https://web.archive.org/web/20060402235702/http://c
ommunigate.co.uk/oxford/mrhemmingstraditionalabingdonmorrisdancers/index.phtml) 2
April 2006 at the Wayback Machine
17. Chipping Campden Morris Men | Homepage (http://www.chippingcampdenmorrismen.org.u
k/) Archived (https://web.archive.org/web/20070208070428/http://www.chippingcampdenmo
rrismen.org.uk/) 8 February 2007 at the Wayback Machine
18. Judge, Roy (1984). "D'Arcy Ferris and the Bidford Morris". Folk Music Journal. 4 (5): 443–
480. JSTOR 4522157 (https://www.jstor.org/stable/4522157).
19. Burgess, Paul (2002). "The Mystery of the Whistling Sewermen: How Cecil Sharp
Discovered Gloucestershire Morris Dancing". Folk Music Journal. 8 (2): 178–194.
JSTOR 4522669 (https://www.jstor.org/stable/4522669).
20. "Bacca Pipes" (http://folklore.bc.ca/bacca-pipes/). British Columbia Folklore Society. 2017.
Retrieved 9 January 2017.
21. Bacon, Lionel 1974 A Handbook of Morris Dances. Published by The Morris Ring
22. "The Morris Tradition | The Morris Ring" (https://themorrisring.org/publications/morris-traditio
n). themorrisring.org. Retrieved 8 April 2019.
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24. Use of clogs (http://www.crimple.demon.co.uk/clogshoe.htm)
25. "Abram Morris Dancers" (http://www.abram-morris-dancers.org.uk/).
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Journal of the English Folk Dance and Song Society. 9 (4): 197–212. JSTOR 4521671 (http
s://www.jstor.org/stable/4521671).
28. Jones, Dave (1988). The Roots of Welsh Border Morris. Morris Ring.
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28 May 2013.
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p://dawnsio.com/en/dances/nantgarw-fair-dances/easter-course-address-english/).
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Bibliography

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

External links
The English Folk Dance and Song Society (http://www.efdss.org/) at Cecil Sharp House,
London
The Morris & Sword: Dances of England (http://www.umilta.net/morris.html)

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