THE BEGINNERS GUIDE TO COTSWOLD MORRIS
All you really wanted to know, and some things you didn't.
By Steve Douglas
Introduction
This article attempts to explain the essence of Cotswold Morris and gives some insight into the
form of the dancing and how the dancers organize themselves and perform.
These days most people in the United Kingdom have either seen Cotswold Morris dance, or know about it.
However, it is a serious presumption to expect that everyone in the world knows what a pub is, never mind how
Cotswold Morris dancing works. Some things here may be obvious to you and me but not to the
majority of non-English people, in other words, most of the world. Please therefore bear with me when I say
something obvious, or say something slightly inaccurate for the sake of simplicity.
The Cotswold Style of Morris
Cotswold Morris is not restricted to the geographical region of The Cotswolds.
It is danced all over the country, and all over the world too. If you had to sum up the
Cotswold style in a few phrases you would have to say that it was typified by a light,
jumping style, and the use of bells, sticks and hand-kerchiefs (or wavers as they are sometimes known).
The expression 'light, jumping style' is a relative term, other styles of Morris involve a heavier
'stamping rhythm' type of dance coupled with shouts, more akin to the African tribal dancing.
It is relative because not all Cotswold Morris sides perform strictly 'light' jumping.
Some dances for example involve heavy footwork and,
especially with a double or triple team (12 or 18 dancers) the expression 'light' does not come to mind.
For example, on one memorable occasion Eynsham Morris, who dance the Cotswold Style, broke the stage at
the Chippenham Folk Festival dancing a double set of Brighton Camp.
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A man with a hammer and a tin of nails mending the stage at the Chippenham
folk festival after some 'light' Cotswold Style dancing.
(The sheet of wood he's nailing down looks surprisingly new, doesn't it_)
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Organization
A dance team is colloquially referred to as a 'side', and dances take place with
members arranged in a formation known as a 'set'. Performances are informal, and therefore
the side will not necessarily know in advance exactly which members will turn up to perform
on a particular day. Having said this, smaller sides will often go to some effort to ensure that
sufficient dancers are available.
The set of dancers for a particular dance will be chosen from those who have happened to
turn up, often randomly.
Dances are usually performed by a set of six dancers, occasionally by eight. A few can be performed by four, or
multiples of four, but the form of a set is almost without exception two lines of dancers that produce pairs
that are able to face each other.
One member of the set will be the 'caller', whose job it is to act as the leader of the dance,
often shouting out (calling) the moves or sequences that make up the particular dance.
Sometimes the caller will be a more experienced member of the side, or a member of 'higher rank'
but in some sides that are organized less formally the caller can be anyone who thinks they
know what they're doing. If the mood is right and sport is to be had, the caller can even be
someone who the other dancers feel definitely doesn't know what they're doing.
Without wishing to start sounding like the famous Schoolboy's Essay on Cricket, there are two
sides to a set, the line of people behind the caller (the 'caller's side') and the other line of people who have
no specific name. They're just not the caller's side. The distinction is important because
some sequences are asymmetrical and someone has to start them, or go first.
The place where the musicians are assembled is usually used as a reference for directions.
Some sides refer to 'facing up' and 'facing down', or similar terms, where 'up' means towards the musicians.
As with everything there are exceptions. On stage for example the musicians are often at the back where they
don't obscure the dance, but the sensible direction for 'up' is towards the audience.
A matter for agreement, preferably before going onstage. Dances are usually performed as theatre 'in the round'
where the side are surrounded by spectators and it doesn't matter.
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The usual configuration for a set of Cotswold morris dancers. The odd dance by
some sides has eight men not six, but they remain in two lines.
This dance is on stage rather than 'in the round' and the musicians are at the back
in the blue covered awning. Where the musicians are stood would normally be called
'the front', but in this instance the dancers would automatically know otherwise.
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Generally speaking, dances have a fixed format so that they fit the structure of the tune in both
length and dynamics, and end at the same time as the tune. If they have been with the side for any length of time
most morris dancers know the order of sequences for all their dances anyway, but it is generally
accepted that the 'correct' form of the dance on any particular occasion is what the caller calls.
Another way of saying this is that the dancer should do what the caller says, not what he thinks
ought to happen.
Some sides will occasionally make a spectacle of putting out a set to dance whatever the caller
decides at random. The result is often quite amusing to say the least.
For spectacle, and if numbers permit, a side will sometimes put out more than one set for a
dance. Arranged two sets side-by-side, or even three or four sets in a star-fashion like the blades
of a propeller with the musicians
in the middle, the noise and colour make for a formidable performance. These tend to be infrequent
and only happen on important local festive occasions, such as the first day of dance, when enough
members turn up.
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A double set (12 dancers), two lines of three per set. The musicians are in the foreground
with their backs to the camera. Each set of six are essentially completely separate units and
dance the same moves. Because some moves take dancers outside the confines of the space taken up
by their lines the sets can appear to interact, which adds to the spectacle.
The only difference from the point of view of the dancers is for the inner lines to remain
aware that there is not much clear space directly behind them, so moves that involve going backwards
must be done with a slight offset.
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Despite the enthusiasm leading to the revival of English Folk Dancing over the last thirty years
it is sad to reflect that most Morris sides still struggle for members, and many do not have the luxury of
even considering putting out two sides for a dance.
The Bladder-man
The Cotswold dance is almost always accompanied by a 'fool' or 'bladder-man', so called because
of the custom of carrying an inflated dried ox bladder attached to a stick by a short length of
leather lacing.
The 'fool' traditionally announces dances to the watchers, forming a bond between the audience and the
side, and providing a focal point for the proceedings. He will often dance in and around the set of dancers
during the performance, providing counterpoint and making light-hearted banter with the
audience at the expense of a particular dancers style or state of dress, occasionally swiping
an unsuspecting member or errant onlooker with his bladder, a completely harmless action that nevertheless produces
an enormous 'crack', much to the mirth of all involved.
Despite being referred to as a 'fool' this character is often a very accomplished dancer, and
'playing the fool' is a demanding task in the same way that a circus clown is far from being
clumsy and stupid, and is in fact a formidable entertainer.
Ox bladders are not easily obtainable these days because the ox is not common in England nowadays, and the usual equipment
consists of a, smaller, pigs
bladder tied on with string, a less secure option which offers the possibility for even more
advanced entertainment when it comes off, and is stamped on by a quick-witted dancer who sees
the opportunity to indulge in showmanship.
Moves and Sequences
The dances of most sides are constructed by stringing together sequences of moves, in the same way
that Country, Square-dancing, and Line-dancing is performed. Some of these sequences are performed
all together by everyone as individuals at the same time. Others are performed as pairs, but still with
all pairs performing the move at the same time. Other moves are performed by each pair, but one pair at a time,
while the spectators and the rest of the side look on.
Occasionally sequences will be seen where each member dances alone, or where one member of the pair 'demonstrates'
a while the other performs an unrelated and lower-profile move.
These are often called 'challenges' because there is a symbolic contest between the two performers to see
who demonstrates the best rendition of the move. They are repeated twice so that the other member also has
a turn to demonstrate.
This always brings to mind the famous Monty Python Fish Slapping Dance, which was a perfect interpretation of a challenge, and executed in typical Python fashion.
Going Out
Most sides have a dancing season that starts on May Day and continues through to around September. They will perform
in public outside these dates for special occasions, like Christmas.
So that members can organize their lives, sides may have a specific evening during the week on which they go out to dance.
Weekends are another good choice, especially Saturdays where no-one has to get up the following morning for work, but
Sunday lunchtimes are also traditional times for dancing.
Typically they will use the time over Winter to practise, repair equipment, and to arrange venues for the coming year.
Sides will routinely travel within a reasonable distance of their home to dance with other villages by prior
arrangement.
These are often at pubs (public houses, ale houses, inns) where the entertainment takes place outside and some sides gather together
inside afterwards to sing and play.
A fairly mad rush of communication therefore takes place between sides in the early part of the year
to sort out schedules. Visiting another side in their village means that at least one party knows their way
around, and can advise on subjects such as the good places to dance, and what local beers are best.
In addition to this most sides will arrange a longer outing or two during the year, perhaps to visit a side for a weekend, or
go overseas. They may also dance at festivals, and local shows or carnivals.
Typically they will leave some dates free to be decided later.
Once out, a side may dance in one location for the whole performance, or may move from place to place, usually on foot.
In the course of an evening they may perform the same dance more than one but, as with music sessions,
unwritten etiquette usually dictates that they would not perform the same dance twice in the same place
on the same occasion.
The Start
Without exception a dance will begin with the musicians playing the first part of the tune (corresponding to one move)
through with the dancers standing ready to begin. This is often referred to as 'once to yourself', and is done so that the dancers
hear the speed of the tune before attempting to dance to it. It is somewhat longer than the usual 'four bars in' type of intro that
is often played at the beginning of other types of dance.
The caller often uses this time to check whether all
dancers are ready, and not doing up bootlaces for example. Before the end of the introduction the caller will
shout some confirmation, usually 'This time' or just 'Time' if he's feeling lazy. This is the signal for
the dance to start at the beginning of the next phrase. In the absence of the caller shouting it is customary for the
musicians to play the introduction through again. Almost anything will therefore do as a shout, so attempts at shouting
'Wait' for example, should be avoided as dancers at the back might not actually hear exactly what was shouted.
The other purpose in playing through an introduction is to announce an impending dance to keep the
attention of the spectators who, having seen a number of dancers come together in some semblence of a set, are
justifiably expecting something to start happening. For this reason the musicians will sometimes go ahead and start
playing as a form of pre-dance entertainment. In the event that proper formation of the set is delayed due,
for example, to being short of a dancer, or the inability of six people to all face the same way,
they will often become fed up and play
unrelated fragments of tune like London Bridge is Falling Down or the theme from The Great Escape to relieve
the boredom.
Near the end of each move, usually during the last bar, the caller will announce the move he wants next.
This is often the one that everyone is expecting, but the trick is to dance what is called. If everyone does
that the dance will at least continue in a coherent fashion.
The Finish
Often in a circle, still formed as a set, or in a long line.
Some sides will then 'walk off' silently in a line following the caller, while others will pause
briefly and then walk off to a repeat of the introduction.
Occasionally a side will have a specific dance to end their day of performing which finishes with some
notable flourish.
Disaster Recovery
There are other less elegant ways for a dance to finish but, on the whole, Morris dancers don't often
give up even when things go wrong. The most important thing is to keep dancing and hope
that no-one notices. The transition from novice Morris dancer to experienced Morris dancer is not
always one of gaining skill. Experienced dancers don't necessarily make fewer mistakes, they have
simply learned not to shout about it, and therefore no-one tends to notice.
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What is it_