The Morris Book, Cecil J Sharp and Herbert C MacIlwaine, 1907 Bidford extracts The dances and commentary in the The Morris Book came from Sharp's visits to the Headington and Bidford Morris Men. He describes the movements for two dances, Bluff King Hal that impressed both Graham and Sharp, and Shepherd's Hey. Historical …the hobby-horse still prances in England to-day; at Minehead and Padstow, for instance, as an ancient and hallowed institution on its own account, and performing with the Morris-men at Bidford. Dress In the matter of dress, old-time accounts prove that the Morris-men indulged in considerable variety; and even amongst present-day inheritors of the tradition there are many differences. Still, certain features may be regarded as common, and the dress of Mr. Salisbury (plate opp. p. 21), leader of the Bidford men, may be cited as typical. The tall hat, though not universal, is the most popular and general headgear; and this dancer and his men wore a broad band of plaited ribbons on their hats some two-and-a-half inches wide, in red, green and white. The elaborately frilled and pleated white shirt is also typical; this was tied at wrist and elbow with blue ribbons, the ends left hanging. The breeches were of fawn-shaded corduroy, with braces of white webbing; on the braces were pinned, in front and at the back, level with the breast, rosettes of red, white and blue ribbons, the ends left hanging. The tie was of the same blue ribbon as that in the rosettes, also with the ends long and loose. The boots, as befitted the sturdy work they had to do, were substantial; the stockings of rough grey wool, which showed between the boots and breeches. The fool's dress would seem to be designed to-day, as in the olden time, upon no particular plan, but to follow the fancy of the individual wearer. The Bidford man, whom we saw at his really funny antics, had a fox's mask for headgear, the muzzle lying on the man's forehead, the brush hanging down his back. His face was raddled like a clown's; he had a vest of cowhide, with red sleeves; stockings and breeches much like the dancers', and he wore his bells, not on a shin-pad like them, but in a row all round the boot-top. He carried a bladder on the end of a stick, and with it he freely whacked the hobby-horse man and occasionally members of the audience. The hobby-horse man of the same company was dressed like a jockey; and, while the dancers had a rest, he and the fool carried on innumerable capers, sometimes backing in amongst the audience, occasionally overturning a few, and now and then chasing any maid that could be started on the run. If this pair be typical of the olden time, we can answer for it that their fun was uproarious and perfectly wholesome. Handkerchiefs Some dancers carry a white handkerchief—the middle finger thrust through a hole in one corner—in all their dances; we have, elsewhere, described the dances as we have seen them performed, with and without the handkerchief. 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. 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. Each individual dancer-- 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.
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