In bars 5 and 6 all cross over again, right shoulder to right shoulder, bringing the side back to back and in original stations.
In bars 7 and 8 all make a full turn to the right (as in Fig. 3) bringing the side again to Front.
As there are two bars to turn in after crossing over, and again after re-crossing, the dancer must, of course, turn slowly and evenly, so that the turn is completed just in time for the jump in bars 4 and 8.
This is called in the Notation—Cross-over.
BACK-TO-BACK.
As with the Cross-over, this movement is completed in eight bars.
In the first four bars partners advance, right shoulder to right shoulder, but not touching, pass one another, move to the right, re-pass partners (left shoulder to left shoulder), and retire to position, moving backwards. Thus:
Fig. 1.
In bars 4 to 8 partners advance, left shoulder to left shoulder, pass, move to the left, retire backwards, re-passing right shoulder to right shoulder, and so to original station. Thus:
Fig. 2.
This is called in the Notation—Back-to-back.
GO-AND-COME.
This is a form of the Cross-over, but made without turning. It is executed in Front formation, to eight bars of music. In the first two bars partners cross exactly as in the Cross-over—right shoulder to right shoulder. In bars 3 and 4, instead of turning, retire backwards in the line they crossed—right shoulder to right shoulder. In bars 5 and 6 they cross again, but left shoulder to left shoulder, and in bars 7 and 8 retire on the same line—left to left again.
This is called in the Notation—Go-and-Come.
THE RING.
In this, wherever it occurs, partners simply alter positions so that the whole side forms a ring, or circle. It is sometimes used at the finish of a dance; and in "Bean-setting" it occurs at the beginning. (See diagrams, p. 51.)
This is called in the Notation—Ring.
STEPS IN FOREGOING EVOLUTIONS.
Unless special instructions are given to the contrary, the step used in bars 1 and 2 of "Chain," "Cross-over," "Back-to-back" and "Go-and-come," is always 4/3 or 6/3, according to time, and 4/2 or 6/2 in bars 3 and 4; likewise, 4/3 or 6/3 in bars 5 and 6, and 4/2 or 6/2 in bars 7 and 8.
THE JUMP.
The manner of the Jump has been described already (see p. 33). It remains to tell of the different ways in which the movement is employed, and to assign to each a Notation number.
The Jump is used in two ways only, as follows:—
1. In position. That is, the dancer jumps where he stands, without changing front.
This is called in the Notation—Ju.
2. To make a half-turn. That is, in military phrase, to make a "half-right—or left—turn."
This is called in the Notation—j.
For direction—to left or right—of turning, see instructions under "Positions, and change of position."
The following rules as to the Jump apply to Handkerchief and Corner dances, and are invariable. In Stick dances tapping to a great extent takes the place of jumping, but in these, where the Jump is to be used, it will be found marked in the Notation. Movements of the hands, which invariably go with the Jump, will be found under heading "The Hands."
The first general rule is this: Every dancer whose turn it is to execute any movement whatsoever, must jump on last half-bar before that movement begins. This applies, as the case may be, to the whole side, or to any pair of opposites about to execute any figure or movement.
For instance, the whole side is to dance Down-and-back and Up-and-back, so on last half-bar of "Once to Yourself," the whole side jumps together—then starts the figure. Also in all figures executed by the whole side in common—in "Chain," "Cross-over," "Back-to-back," "Go-and-come"—all jump together on last half-bar before the figure begins.
It is the same with pairs or opposites. In Corners and Capers each pair whose turn it is to dance together jump on last half-bar before they begin. As each pair finishes the next must be ready to jump on last half-bar before their turn. So with the third pair; and as they finish, and the whole side takes up the next figure in common, then the whole side jumps together on last half-bar.
So much for the Jump as an invariable preliminary to all figures in the Stick and Handkerchief dances. We come now to the Jump as made at the middle and end of figures.
In the first place there are the figures executed by the whole side in common.
All, then, having jumped on last half-bar before the figure is begun, jump also at middle and end of the figure as follows:—
In "Down-and-back," Ju., "Up-and-back," j. (forming Fr.), see Notation, the side goes forward and back as described (see p. 40) for four bars; jumps together on half-bar of bar 4, still facing in the same direction. That completes "Down-and-back," Ju. Then, instantly, they all make a complete turn to the right—right-about—dance as before in bars 5 to 8, and on last half-bar of bar 8 all jump, and as they jump make a half-turn inward. That completes "Up-and-back," j. (forming Fr.).
The Chain, though it is executed in Column formation, follows upon a figure executed in Front. So the preliminary jump, before beginning Chain, is made Front; files make half-Chain, end numbers change places, and at half-bar of bar 4, all jump, j., in a half-turn to Front; then complete Chain and jump to Front again, j., on last half-bar of bar 8.
In "Cross-over," "Back-to-back," "Go-and-come," all executed in Front formation, the whole side jumps in position, Ju., at half-bar in bars 4 and 8.
In Corners and Capers, wherever opposites change places, the rule is that they jump on last half-bar, as they finish their part in the figure—that is, as they complete the movement of changing or re-changing places.
In "Blue-eyed Stranger," where the whole side dances in position for eight bars, all jump at half-bar in bar 8. Should the side elect to keep up the step for sixteen bars (see p. 50), then all jump at half-bar in bar 16.
In "Bluff King Hal" and "Morris Off," there is no Jump at all.
THE HANDS.
The movements of the hands are made invariably according to rule, as follows:—
These rules apply, as with the Jump, to all Handkerchief and Corner dances.
In making the Jump, the hands are always, with rigid arms, thrown above the head.
In "Down-and-back" and "Up-and-back," "Chain," "Cross-over," "Back-to-back," "Go-and-come," movements of the hands are always the same. That is: Commencing with the preliminary Jump, when the hands are above the head, on beginning of first bar, with first step (of 4/3 or 6/3 step), hands are swung backward; forward on half-bar; back again, beginning of bar 2, and forward on half-bar of bar 2. In bar 3 (4/2 or 6/2 step) the hands, being already upward and forward, are swung twice in a circle, commencing inward, so that the handkerchiefs are waved in a double circle over the head. At beginning of bar 4 the hands are lowered straight in line with the body, and at half-bar of bar 4, with the Jump, they are thrown straight above the head on rigid arms.
These movements of the hands are always the same in every Handkerchief and Corner dance. Whenever the 4/3 or 6/3 step is used the hands are swung as already described. Also, wherever there are the two bars of 4/2 or 6/2 step, the hands are also used as already described—double circle overhead; down, and up on the Jump.
In Capers, wherever the 4/1 or 6/1 High Step is used, the hands are swung backward on beginning of bar, forward and upward on half-bar; and this movement is continued all the time the High Step (4/1 or 6/1) is used.
The arms in all these movements described, should really be swung as far, both backward and forward, as possible. The Morris-men themselves swing the arms behind to an angle of 45 degrees or so; but in the forward swing their hands are raised forward and a little higher than the head, on arms slightly bent at the elbows.
THE CALL.
In the Notation it will be seen that at the end of some dances the side is instructed to "Call." This means that on last half-bar all raise their voices on a high-note "Ah!" something after the manner of Scottish dancers, though the Morris "Call" is less of a war-whoop and more of a lusty shout.
LENGTH OF DANCES.
It must always be remembered that the Morris-men themselves vary the length of their dances, according to the humour of the moment, and their freshness or fatigue. A dance can always be shortened by leaving out one or more figures: the musician will know what to do by the call of the leader.
In "Blue-eyed Stranger," for instance, if the side is feeling particularly high-spirited, the whole sixteen bars of "B" music may be danced; but as a rule this will be found too long. Again, to extend "Rigs o' Marlow" (another trying dance) the music may be played four times instead of three, when Back-to-back will be danced to "A" music. "Bluff King Hal," danced to its full length as shown in the Notation, will as a general rule also be found too long. It can easily be shortened by leaving out repetitions or certain figures. In brief, once the dances are learned it is a very simple matter, and quite according to tradition, to lengthen or abbreviate them in any way desired.
SPECIAL INSTRUCTIONS FOR VARIOUS DANCES.
BEAN-SETTING (STICK DANCE).
TO FORM RING.
This is the only one of those dances we have described that begins with the Ring. The side starts in Column. To form Ring, Nos. 3 and 4 move a little outward from the line as "A" music begins. Then all dance in Ring formation to the right (see Fig. 1) until, at the beginning of bar 4, all opposites have changed places: that is, Nos. 1 and 6 are each in the other's position, Nos. 3 and 4, 2 and 5 have also changed. In bar 4, files close in slightly, j. (i.e., form Column), and tap sticks across on half-bar of bar 4. In remaining four bars of "A" music form Ring again, and all return to position as they came (see Fig. 2). At half-bar in bar 8, all j. (forming Column), and partners tap sticks across.
Fig. 1.
Fig. 2.
DIBBING.
This is the term used in the dance, as it is used in field and garden work, for making a hole with a dib, or dibber, in the soil, into which the seed is dropped. The dance, of course, represents the setting of beans—more truly and largely, the sowing of the seed in springtime.
In dibbing (see □ in music) all stoop well forward, holding the right hands outward, with sticks pointing to the ground. The act of dibbing consists in thumping the stick firmly on the floor and at once lifting it again.
B.
Bar 1.—Dib all together at beginning and half-bar, as shown in music (□).
Bar 2.—Remain stooped; at beginning of bar, pairs tap sticks across—odd numbers tapping even numbers. Hold sticks crossed as they were tapped for remainder of bar.
Bar 3.—Dibbing, as in bar 1.
Bar 4.—Beginning, partners tap across; half-bar, No. 1 taps No. 3.
Bar 5.—Beginning, No. 3 taps No. 5; half-bar, No. 5 taps No. 6.
Bar 6 (9/8 time).—Beginning, No. 6 taps No. 4; second beat, No. 4 taps No. 2; third beat, partners tap across, as in bar 2.
In remaining six bars of "B," repeat dibbing and tapping as in the first six bars.
In the notation of "Bean-setting" (p. 61), the term "Dibbing" will be used to denote all the actions, here explained in detail, that go to the music of "B."
COUNTRY GARDENS (HANDKERCHIEF DANCE).
In the hand-striking figure of this dance (for hand-strokes, see mark O in "B" music) there are four movements, as follows:—
Each dancer strikes both hands together. This is called in the Notation that follows—b.
Each, with the right hand, strikes the right hand of partner. This is marked in the Notation—r.
Each, with the left hand, strikes the left hand of partner. This is marked in Notation—l.
Each throws up hands. This is marked in Notation—u.
In striking, handkerchiefs are held bunched together in the hands.
NOTATION OF HAND-STRIKING.
CONSTANT BILLY (STICK DANCE).
In this, sticks are held and used, both in the "A" and "B" music, as explained in "Rigs o' Marlow" (see p. 55).
Stick-tapping in "B" music is done according to the following diagram: signs, &c., to be read as in diagrams for "Rigs o' Marlow" (see X in music). The beats whereon stick-tappings occur are written in diagram as b. (bar); and h.-b. (half-bar).
In the first bar of "B" music, at half-bar, No. 1, with top end, taps butt of No. 2. In the second bar, at half-bar, No. 2, with top end, taps butt of No. 1. In the third bar, at half-bar, No. 1 taps No. 2 as in first bar. In the fourth bar, No. 1, at the beginning, with the butt, taps No. 2's top end; and at half-bar, No. 1, with top, taps top end of No. 2, thus:—
DIAGRAM OF STICK-TAPPING.
The steps are the same for all. When tapping is continued (see Notation) for eight bars, then, in the last four, all start on the left foot, and step thus: L.L.R.R.L.L.R.L. Tapping is the same in first and second four bars.
In tapping, of course, odd numbers do as No. 1 in diagram, even numbers as No. 2.
RIGS O' MARLOW (STICK DANCE).
In this the sticks are held throughout by the middle, in the manner explained (see p. 60). In all single-tapping passages, to "A" music, sticks are held slanting upward, like a single-stick, but with the upper arm close to the body. In Column formation, odd numbers—that is, leading file—hold the forearm to rightward; even numbers—right file—hold the forearm across the body, so that the sticks cross between files, ready for tapping. Leading file always taps the other file, which holds the sticks firm.
In the double-tapping, to "B" music, sticks are held in the middle, hand below stick, which is now held straight, parallel with the ground, advanced towards partner, and raised about as high as the neck.
The following diagram will show how sticks are tapped in this movement. Angles and numbers, as in p. 54, &c., represent the leader and partner, Nos. 1 and 2: the other pairs, of course, tap precisely as these two, odd and even numbers respectively.
The arrows between angles represent sticks. As tapping has now to be done with both ends of the sticks, these are shown in this way. The barbed end is the top, the feather the butt-end. The top is held always to the right—butt, or barb, to leftward of each dancer. The tapping will be shown bar by bar. The steps shown apply to all the dancers.
In the first bar of "B" music, No. 1, with top end, taps the butt of No. 2, on beats 3 and 4, thus:—
DIAGRAM OF STICK-TAPPING.
In the second bar of "B" music, No. 2, with top end, taps the butt of No. 1, on beats 3 and 4, thus:—
DIAGRAM OF STICK-TAPPING.
In the third bar of "B" music, No. 1 taps No. 2 precisely as in bar 1. Same step.
In the fourth bar of "B" music, No. 1 taps No. 2 on every beat, as follows:
DIAGRAM OF STICK-TAPPING.
This double-tapping looks complicated, both in dance and diagram, but is really very simple. A few hints upon the most difficult bar, the fourth, will explain the whole. In this, on beat 1, No. 1, to tap with his butt the top of No. 2's stick, raises the wrist and hand till the stick is above and at right-angles to No. 2's, then thrusts outward till his butt strikes No. 2's top. On beat 2, No. 1 lowers his hand, keeping the stick perpendicular, moves hand to right and taps his top on No. 2's butt. Beat 3 is as beat 1; on beat 4, No. 1 simply lowers hand and taps No. 2 on his right, or top end. This explains all the taps that occur.
For the method, which is invariable, except where specially stated, of holding the stick (see p. 60).
In the second four bars of "B," double-tapping and steps are repeated precisely as in first four bars; and throughout the dance it is the same to "B" music, four bars of double-tapping, repeated, up to the call "All in."
BLUFF KING HAL.
In this the step is 4/3 throughout. It should be danced something after the fashion of "Morris-Off," but not quite so soberly; yet the step is less vigorous than the normal Morris step. Like "Morris-Off" it has, what with its length and staid monotony, a quaintness all its own. To teach and to learn the right way of dancing "Bluff King Hal" is more a matter of drill and precision than lusty abandon: it must be danced evenly, seriously almost, and quite quietly, or its true effect will be marred or lost.
The music is marked ad libitum: the musician simply brings his labours to an end in whichsoever section he shall hear the warning call of "All in." Even the Morris-men themselves do not invariably go through all the movements. These instructions are given in order that, should audience or dancers weary of the exercise, it can be curtailed. Where we have taught the dance to novices, we have found, at first, curtailment to be advisable, for the length and monotony of it palled. Later, however, when the learners had mastered its curious intricacies, we found no weariness amongst them, but a constant demand for every single movement to be performed in its traditional completeness, and over and over again, as long as we chose to play it. We shall therefore describe it here at length, and leave it to the tact and discretion of the teacher where and when and to what extent it shall upon occasion be abbreviated. The files should stand as in Corner Dances—about twelve feet apart.
HOW D'YE DO (CORNER DANCE).
This dance, as will be clearly seen from the Notation (see p. 75), serves as illustration of the national method of settling quarrels—by a bout of fisticuffs. All the dances are typical of the race; this one is of course singularly so. Where boys are found disposed to look favourably upon the Morris dance, "How d'ye do" may be recommended as the very best to encourage the tendency in them. There is a spice of wholesome rowdiness in the spirit of the dance that will not fail to make itself known and beloved of boys. Besides, the shaking of hands before the fight, the squaring-up for war, and the reconciliation, can only be given the right robustious ring and defiance by the fighting sex. Another most engaging feature of "How d'ye do," is that the notes fitting these words, as will be found, are sung in every instance by the dancers, before, during and after the encounter. There is plenty of room, there, for a different sounding of the phrase: for making it ring of challenge, and strife, and victory—also of honourable defeat, after lusty strokes have been dealt and taken: the next best thing to a win—sometimes even a better thing.
The following instructions for the dancing of "How d'ye do" must be noted in connection with the Notation (see p. 75).
The phrase "How d'ye do" is always sung, by all the couples, as marked and played in music "B." Opposite pairs advance as shown. They should meet together in the centre on the word "do," and shake hands, or square up for the fight, according to instructions.
Having joined hands, or squared, and paused in the centre, the first two pairs (Nos. 1 and 6, and 2 and 5) break away immediately after pause, and back briskly to their places, making room for the next pair. There is no changing of corners in this dance.
The last pair (Nos. 3 and 4) remain in position, holding hands or squaring up, during pause in music, and still remain in the attitude while bars 4 and 5 of "B" are played. During these bars all the other dancers stand still.
When the music strikes into "A" section, all take part according to instructions. Nos. 8 and 4 loose or lower hands immediately the "A" music starts, and take their place and part with the others.
SHEPHERD'S HEY.
STICK-TAPPING.
In this, the sticks are held in the fist, up and slanting outward, the top as high as the head. Partners cross sticks, leading file (Nos. 1, 3, and 5) holding to the right of even numbers. The tapping (or clashing, rather, for here the sticks are loudly clashed together) is done on first three beats of bars 1 and 2, and 5 and 6 of "B" music (see mark X). Partners strike each other's sticks, right, left, right, according to position, in the manner of sham fencing—the manner of brigands in pantomime.
While the tapping is being done all stand fast, not moving the feet at all. When the six taps are finished, in bars 1 and 2, 5 and 6, the sticks are held crossed and in position; and in bars 3 and 4, 7 and 8 all break into 4/3 step, and keep it up throughout those bars. The movement sounds absurdly simple: so it is, but if done with precision the effect is at once quaint and stirring.
HAND-CLAPPING.
This is done with the naked hands, handkerchiefs hanging loose from middle fingers; and dancers should clap hands as loudly as ever they can. Each dancer claps hands and knees in a number of different ways, according to explanation and diagram which follow. All stand fast while clapping, not moving the feet.
Claps his hands together before him:
Shown thus in diagram which follows b.
Or slaps right knee with right hand r.k.
Or slaps left knee with left hand l.k.
Or raises right knee and claps hands under it un.r.
Or raises left knee and claps hands under it un.l.
Or claps both hands together, behind him b.beh.
DIAGRAM OF HAND-CLAPPING.
Hand-clapping in last four bars of "B" music is a repetition of clapping in first four bars, as shown in diagram. Therefore in the Notation of this dance (p. 77) the term "Hand-clapping" means clapping as shown above, and the same repeated.
ON HOLDING STICKS.
Unless specially instructed otherwise, the stick is held, whether at the end or middle, as follows. It must be grasped much as a penholder should be; that is, lying in the hollow at the base of the thumb, supported by the second finger, and with the forefinger and thumb meeting together above it, to hold it in place.
NOTATION.
| MUSIC. | MOVEMENTS. | FORMATION. |
| BEAN SETTING (STICK DANCE). | ||
| In this dance, the step throughout is 4/2. | ||
| Once to yourself. | Partners tap across on last half-bar. | Column. |
| A. (1st time). | Ring (see p. 51). Partners tap across at half-bar in bars 4 and 8. | Col. to Ring. |
| B. (1st time). | Dibbing (see p. 52). | Front. |
| A. (2nd time). | Cross-over. Partners tap across at half-bar in bars 4 and 8, that is, at middle and end of the Cross-over. | " |
| B. (2nd time). | Dibbing. | " |
| A. (3rd time). | Back-to-back. Tap as in A. (2nd time). | " |
| B. (3rd time). | Dibbing. Two bars before the end, leader calls "All in, " whereupon all, as they tap for the last time, j. outward, forming Column, and stand for a moment with sticks crossed. | " |
| ALL IN. |
| MUSIC. | MOVEMENTS. | FORMATION. |
| COUNTRY GARDENS (HANDKERCHIEF DANCE). | ||
| Once to yourself. | Ju. last half-bar. | Column. |
| A1. | Down-and-back, Ju. | " |
| Up-and-back, j. (forming Fr.). | Col. to Front. | |
| B1. | ||
| Bars 1 to 4. | Hand-striking as per Notation (see p. 58). | Front. |
| Bars 5 to 8. | Half-chain. | Column. |
| Bars 9 to 12. | Hand-striking. | Front. |
| Bars 13 to 16. | Half-chain. This completes the Chain. | Column. |
| C1. | Chain. | Column. |
| B2. | ||
| Bars 1 to 4. | Hand-striking. | Front. |
| Bars 5 to 8. | Hand-striking, repeated. | " |
| A2. | Cross-over. | " |
| B3. | ||
| Bars 1 to 4. | Hand-striking. | " |
| Bars 5 to 8. | Hand-striking, repeated | " |
| C2. | Back-to-back. | " |
| B4. | ||
| Bars 1 to 4. | Hand-striking. | " |
| Bars 5 to 7. | Hand-striking, repeated. Beginning of bar 5, leader calls "All in." | " |
| Bar 8. | Beat 1, all j. (giving Col. formation). Half-bar, all throw up hands. | Column. |
| ALL IN. |
| MUSIC. | MOVEMENTS. | FORMATION. |
| CONSTANT BILLY (STICK DANCE). | ||
| Once to yourself | Partners tap across, last half-bar. | Column. |
| A1. | Down-and-back, Ju. | " |
| Up-and-back, j. (forming Front). | Col. to Front. | |
| Partners tap at half-bar in bars 4 and 8. | ||
| B1. | ||
| Bars 1 to 4 | Tapping (see diagram, p. 54). | " |
| Bars 5 to 8 | Half-Chain. Tap on half-bar in bar 8. | Column. |
| Bars 9 to 12 | Tapping, as in first 4 bars. | Front. |
| Bars 13 to 16 | Complete Chain. Tap on last half-bar. | Column. |
| A2. | Chain. Tap at half-bar in bars 4 and 8. | " |
| B2. | ||
| Bars 1 to 4 | Tapping as before. | Front. |
| Bars 5 to 8 | Tapping as before. | " |
| Bars 9 to 16 | Cross-over. Tap at half-bar in bars 12 and 16. | " |
| A3. | ||
| Bars 1 to 4 | Tapping as before. | " |
| Bars 5 to 8 | Tapping as before. | " |
| B3. | ||
| Bars 1 to 8 | Back-to-back. Tap as in Chain, &c. | " |
| Bars 9 to 12 | Tapping as before. | Front. |
| Bars 13 to 16 | Tapping as before; but in bar 14 leader calls "All in," and in bar 16 all j. (to Col.), and tap across on last half-bar, holding sticks as at the beginning. | " Column. |
| ALL IN. |