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Black Joke Morris dances almost always consist of two parts. There is usually a set of figures, performed to the first part of the tune (the 'A' music) and a chorus, to the second part of the tune (the 'B' music). For example in The Black Joke, the chorus consists of hand-clapping, between two rows of three ladies for four bars, followed by a hey, which is a figure-of-eight movement by each line. This occupies the 12 bars of the second part of the tune, the so-called 'B' music. There are three different sets of figures, each occupying the six bars of the first part of the tune, the 'A' music. These are first of all, a forward and back in lines, and a 'back to back' (do-si-do), secondly a 'half-hands' (2 lines merging to form a single line and then separating again), and thirdly 'rounds' (all six dancers dancing in a circle). The whole dance ends with 'capers' (leaps on the spot). The phrase 'the black joke' is vernacular for a 'woman's commodity' so it is not surprising that variations of this dance are found in a number of Cotswold traditions!. It is not clear at what point the Ilmington side started to dance it. However, it was in their repertoire in 1886. The tune was apparently very popular in the 1720s and is found in 'The Country Dancing Master' by John Walsh, which was published in 1731. Ludwig van Beethoven set a song by T Toms - 'Dermot and Shelah' to the tune in 1810 and it was published as WoO152,#14 by George Thomson in Edinburgh in 1814. Click . here to hear it sung by soprano Ann Murray. (WMP). The Sussex Carol is often used as an alternative at Christmas. Shepherd's Hey This is the oldest dance in the repertoire. One account (not necessarily to be relied on!) relates how the Ilmington side performed this dance on Dover's Hill near Chipping Campden, around a banner on which was written 'Heigh Ho for the Cotswolds' in about 1750. They certainly performed this dance annually at the Dover's (or Drover's) Olympick Games at Chipping Campden held from 1790 until about 1852. This dance is also a handclapping dance with many of the figures being similar to the Black Joke. The dance is sometimes referred to as 'Shepherd's Aid', or 'Shepherd's Aye'. The tune is undoubtedly very ancient, and when the various versions are compared, it can be seen how some would have been played easily on the three-hole pipe, whereas other versions needed the extended range of the fiddle or other instruments. The tune has been extensively 'borrowed' by composers of symphonic music, notably Percy Grainger (1882 - 1961), who may have learned the tune from Sam Bennett when he visited him in about 1908. Grainger recorded music on an Edison wax cylinder machine, rather than notate the tunes in a notebook. He published 'Shepherds Hey!' as a piano solo in 1910, and subsequently for other instrumental combinations. 'It came upon the midnight clear' is used as a Christmas tune, with some judicious (some might say misguided!) orchestrating to make it fit the dance. Maid of the Mill This dance is interesting as it is unique in being a linked handkerchief dance. The dancers were joined together by knotted handkerchiefs.  Here is a 1908 picture (courtesy of Evesham Journal) of the Ilmington side showing them with knotted handkerchiefs. Sam Bennett is on right of picture. Apparently he and the fool would go down the middle of the set during the dance. The tune is by William Shield (1748 - 1829) and is from his ballad opera 'Rosina' first performed at Covent Garden in 1783.It was the hit tune of the show, and when it was re-staged in 1785, it was renamed 'The Maid of the Mill'. Within two years, the tune was widely known in America. 'We saw three ships' is used as a Christmas tune. Old Mother Oxford (or Molly Oxford) This handkerchief dance and tune in various versions is found in many Cotswold traditions. It seemed to undergo a number of alterations, as no less than four different versions of the dance are recorded from the Ilmington side, in 1867, 1897, 1906, and 1945. (Bacon, 1974) The version England's Glory perform is based on that used in 1945 by the girl's side. Bumpus o'Stretton This dance was used as a coming on dance (or 'morris on') in 1909 (or 1907 - accounts vary) at the Stretton-on-the-Fosse flower show and may well have been recently learned, or even (horror of horrors!) specially written for the occasion. It apparently was a handkerchief dance or a clapping dance or a stick dance. England's Glory usually perform it as a handkerchief dance. Recent research seems to point to this dance being from neighbouring Blackwell, or perhaps from Stretton itself. According to Bumpus family researcher Rosie Armadale The dance and/or tune may be the creation of, or named after, a John Bumpus (Old Bumpus of Stretton?) who was born about 1839 in Stretton on Fosse. He worked successfully as a landscape gardener firstly at Cossington Hall, Leicestershire and then in New York (at the recommendation of Lady Isobel Barnett’s family) before returning and eventually retiring in Stretton on Fosse where he died in 1921. The tune is unique to the dance, and midi file can be heard by clicking here. 'While Shepherds Watched' is used as a Christmas tune Trunkles This is another dance which is found in many Cotswold village traditions, with each village having a slightly different version of dance, and often, tune as well. It would appear (from quite scanty evidence) that the dance was introduced to the Ilmington side around 1900. The tune may be by Charles Dibden (1745 - 1814) who also wrote 'The Bells of Aberdovey' and 'Tom Bowling'. If so it was originally called 'Trinculo's Jig' and was the music for an interlude in Shakespeare's 'The Tempest' in which the character is the jester. Cuckoo's Nest Versions of this dance and tune are widespread. It was collected by Cecil Sharp from Ilmington in 1908, and it is this version that is performed today, with short sticks. The tune has been attributed to the Irish harpist, O'Carolan, (1670 - 1738) and is found in Ireland as a song, 'The Magpie's Nest', and in America as a military band march, 'The Eagle March', where it was collected in Connecticut in 1777 by Giles Gibbs. It is also found in Wales as 'Nyth y Gwcw'. 'Hark the Herald Angels Sing' is used as a Christmas tune. The Lively Jig (or 4-Lady) This dance for four seems to have been introduced by Sam Bennett for the ladies side, as there is no record of it in the original Ilmington repertoire. It may originate from Blackwell, or Stretton-on-the Fosse. photo: Evesham Journal. This 1946 picture shows three sets of girls (with mob caps!) outside Sam Bennetts home in Ilmington. The tune that is used is called the 'Wonder Hornpipe', and was collected by Cecil Sharp from the Grenoside dancers of Sheffield, and by the late Peter Kennedy from Northumberland. There is some evidence that this tune is a Newcastle clog hornpipe, and may be by James Hill. (Peter Kennedy, letter to the author) Nowadays we often use the traditional tune 'Rub-a-Dub', which reached number three in the Christmas singles charts in 1980 when recorded by British pub-rocker Jona Lewie Bold Nelson's Praise This solo jig is found all over the Cotswolds. The version danced by England's Glory is in the form of a competition between two dancers, and obviously echoes the kind of shipboard dancing that was supposedly common during the Napoleonic wars. (although this may be a Victorian invention!) The tune used, Princess Royal, is named after Mary MacDermott, Princess of Coolavin, of an ancient Irish royal family, and is by O'Carolan. It is also used in the song, 'The Saucy Arethusa' (1778) by William Shield. (Keith Chandler, letter to the author) Column Dance This dance was written by then member of the side Jane Pyzniuk, and subsequently extended in length. The Ilmington tune used for this dance is called 'Old Woman Tossed Up'. 'Deck the Halls' is used at Christmas time - although we do not always fit the music correctly for the 'slows'! Twinkle Side member Tina Brown wrote this dance because it was then thought that no processional dance had been recorded from Ilmington. In fact there was an informal processional used by the Ilmington dancers at some stage to the tune 'Flowers of May' (similar to Winster Processional) Eight dancers normally perform Twinkle. The traditional tune used was in fact not associated with the nursery rhyme until 1860; it is a very old tune known in several European countries. In Germany it is called 'Morgen kommt Weihnachtsman' and is associated with Christmas, in France it is called 'Ah, vous dirai-je, Maman!'. It was also known in Italy, where the composer Gaetano Pugnani (1731 - 1798) used it in his Violin Sonata in E. Johann Christoph Friedrich Bach (1732 - 1795), son of the great J S Bach, wrote a set of variations on this tune, (as also did Mozart) however the variations played by the England's Glory musicians today were (allegedly) composed by Stewart Watts. 'Good King Wenceslas' is used at Christmas time. Salmon Tails This garland dance for four was originally written by former side member Hilary Carter especially to use the well-known Northumbrian rant tune of that name. This tune may have been originally Irish, and called 'Freedom for Ireland' or 'Saorsacd Na N-Eirinn', and is within a set of dance tunes called 'The Seige of Ennis'. However it is also found as 'Banks of Inverness' so may be Scottish! It is not related to the Scottish strathspey of the same name. The dance has subsequently been amended by Gail Olivant and others. Auntie May's Caper Dance This dance was written by Mavis Reynolds and Karen Mitchell at a workshop session in the winter of 1987/88. The tune used is called 'The Railway', and is found in an American tune collection called 'The Road to Ruin', to be used for a social dance called 'The First Decade Reel'.(Malcolm Taylor, VWM Library) 'Jingle Bells' is used at Christmas. Tip-Top Polka (6-Garland) This Garland dance was written by Tina Brown, based on the Great Wishford Garland Dance. The tune used is 'Tip-Top Polka' which is used by the Bacup dancers of Lancashire, (who call it 'Clow Bang' or 'Clow Bank') and is probably by Max Maretzky,the polish-american composer, conductor, and impresario, written about 1850, and published by Walker of Philadelphia. The Polka took over as the popular dance of the day in the 1830s, ousting the Gavotte, and many tunes were written and adapted to fit the new rhythm at about that time. 16th May Former side musician Stewart Watts wrote this handkerchief corner dance for the birthday of his wife, then side member Wendy Watts. It is danced to the tune 'Lilliburlero', usually attributed to Henry Purcell (1659 - 1695), but almost certainly Irish, which was published in the 8th edition of Playford's 'English Country Dancing Master' in 1690.The name is probably a corruption of the Gaelic phrase “An lile ba léir é; ba linn an lá,” which translates as “The (Orange) lily was (the most) evident; we carried the day,” which would fit with the political associations of the song. Some rude (and treasonable) words were written to this tune in the time of James II by Lord Wharton, and perhaps contributed to the reasons for the King's eventual removal from the throne. It was also used in The Beggars Opera of 1728. 'The Gloucestershire Wassail' is sometimes used at Christmas. Lockswood Tina Brown wrote this Garland Dance, and the tune used is 'Portsmouth', a very ancient tune, which appears in the 11th edition of Playford in 1701. Coincidentally, HMS Warrior, after whom the original England's Glory match brand was named, is now on display in Portsmouth harbour! See home page for picture and details. Queen Victoria's Jubilee Dance Queen Victoria had two Jubilees, in 1887, and 1897. It is thought that this dance was introduced in honour of the 1897 Jubilee, possibly by Sam Bennett. It is ironic that a morris dance should be named after Queen Victoria, as she had a hand in stopping women taking part in the morris, as she thought in unseemly. The tune used for this is 'Oyster Girl', used by the North Skelton sword dancers of Yorkshire, and collected by Peter Kennedy. 'We Three Kings of Orient Are' is used at Christmas. Caudle Green This dance is very much a family affair, with the dance being written by former side members (mother and daughter), Eunice Spry and the late Judith Palmer, and the tune, 'Clucking Hen', written in 1987 by former musician Becky Palmer ©1987 (who went on to become one of the early members of the 'Token Women', but has now retired from the folk scene). The name of the tune is a family joke! (England's Glory own the publishing rights to the tune!) Abram Morris Dance This dance (often incorrectly referred to as 'The Abram Circle Dance') and tune comes from Abram in Lancashire, (pronounced AYBRUMM - the village was originally called 'Abraham') which is half way between Wigan and St Helens. It was part of a Festival held every few years in the village for the purpose of preserving rights to a plot of public land. The original deed of gift had stated that if the young people of the village did not celebrate the festival at least every 25 years, the land would revert to the nearby Maypole Colliery. (Dann 1983) The Maypole Colliery attained notoriety for a major pit explosion in 1908, when 76 men lost their lives. It would seem to have been originally the custom that only unmarried people performed this dance. Interestingly, there is a strong tradition of ladies dancing the morris in the area. This 1901 picture shows the very last performance of the dance before the custom was revived about 20 years ago. Today the festival is performed annually in Abram, and the 'Morris Ground' has been cleaned up and restored with a public grant. Nowadays, England's Glory often use this dance as the finale to their performance, and after a demonstration, invite members of the audience to join in. The tune is believed to have been put together from a number of tunes popular at the time (1850s?)in the North-West, including 'Faithless Nancy Dawson'. 'British Grenadiers' (a fife tune from around 1790, the words were added later, after the Battle of Waterloo) is used as a morris off. ('We wish you a merry Christmas' in the festive season) Dorset 4-Hand Reel This is a fishermens' dance from Bridport, originally collected from a Mr F Masters. (Although one version suggests it was made up by the local branch of EFDSS in 1950 for a Sidmouth workshop!) However it has been learned by the author that Peter Swann and the Ashmore Group of researchers and collectors, of Dorset had seen the dance performed by fishermen in a pub in Bridport, and at the request of EFDSS, wrote it down for publication and performance, in 1955 or 1956. In doing so, they just changed some of the hand holds to make it more suitable for mixed (couple) dancing, as opposed to 'men only'. England's Glory learned it on a morris tour with Swindon side Liddington Hall about 20 years ago, when it was danced in the aisles (upstairs and downstairs) of a double-decker bus! There is a short paper on the history by Rhod Davies here 'Ding Dong Merrily on High' is used at Christmas. Dummer 5-Hand Reel This dance was written by the ladies of Dummer Women's Institute (Dummer is just outside Basingstoke in Hampshire) about 60 years ago, and collected from them by Roy Dommett, who taught it to local side Minden-Rose. At the wedding of local girl Sarah Ferguson to Prince Andrew, they performed the dance in the village in front of some of the original WI members! (who according to their squire even recognised the dance!) Minden Rose use the tune 'Brighton camp' but we use 'Double Figure of Eight'(From the Old Swan Band) which is properly the Welsh tune 'Rhif Wyth', or more recently we have been using 'The Rose Tree'. Full name of this tune is 'A Rose Tree in Full Bloom', first found in print in 1764 as'An Irish Lilt' By 1780, the tune is widespread in America, Ireland, Scotland, and parts of UK, especially Sussex, from where versions were collected in 1920s and 30s. 'Angels from the Realms of Glory' is used at Christmas time. Grenoside Processional This garland version of the Grenoside sword dance from Sheffield was learned from Appleyard Traditional Dancers, and the tune 'Speed the Plough' (correctly 'Speed the Plow') is used, usually with a change of key half way through to make it more interesting. Although it usually thought of as a traditional tune, it was actually composed by John Moorehead, principal viola player at Covent Garden, in 1799. It became a very popular tune, but the composer hanged himself in 1804! More on the tune can be found Here . 'Once in Royal David's City' is used at Christmas time. Plymouth Reel Click here to see Plymouth Maids, whose original dance it was, performing it. Their side member who taught (and presumably, wrote) the dance has now left them. Enquiries about the origin are, as they say, continuing! Plymouth Maids, as we do, use the country dance tune 'Soldier's Joy' This late eighteenth century tune (sometimes called 'King's Head' - the 'joy' refers to money, hence King's Head on the coin) is variously described as American, Scottish and Irish!(Lutgair An Sigeadoir/t-Saigdiura in Irish Gaelic). Shrewsbury Flourish This dance was devised by Bev Langton of morris side the Shrewsbury Lasses in the summer of 1984 when the side was invited to participate in the Sidmouth Festival. The idea was to have a dance to display and to teach at workshops. 'It was intended to be appropriate for any woman's side to dance' There is also a tune specially composed by their musician Ray Langton.(©1996) To download a Word document of this tune click here (169K) or to hear a midi file click here However, England's Glory use the tune 'Enrico' from the Lock-Hardy MS which was apparently the favourite tune of author Thomas Hardy (1840 - 1928) who for some unaccountable reason changed its original title of 'Jacob'. Hardy was an accomplished fiddle player, playing for 13 years from the age of nine in the family band in Dorset. Upton-upon-Severn Dances These dances were originally collected by Dr Maud Karpeles in Upton in 1925, when one of her informants was a Mr Little from Hanley Castle, a few miles away. This Mr Little is possibly one of the great-great-uncles of side musician Astrid Cripps. He told Maud Karpeles, that the dancers were referred to in the area as 'the unemployed' and were like himself, mostly fishermen. Apparently the Upton dancers only had one dance, which they performed once with sticks, and once with handkerchiefs, to make more of a performance. They usually only performed at Christmas time, mainly at the big houses in the area, particularly Croome Court, seat of the Earl of Coventry. (better 'cadging'?) Although the dancers were usually men, quite often women made up the numbers if they were short. The tunes used by England's Glory today are 'Two Maids'(sometimes called the Twin Sisters) which is an American tune, for the stick dance, (Bromsberrow version of 'Holly and Ivy' at Christmas time) and 'Brighton Camp' (called 'Julian Clary' - ie bright and camp!) for the handkerchief dance. 'First Nowell' at Christmas. Whiteladies Aston This dance is from the village of that name in Worcestershire, and was collected by John Phillips in 1906, A L Glover in 1927, and Dave Jones and others from local man Bill Scarrott in 1988. The tune used is 'The Big Ship Alley Alley O. (tune mentioned by A L Glover) Although England's Glory only added this dance to the repertoire fairly recently, it was one of the first dances taught at workshops by the newly founded 'Women's Morris Federation' in the 1970s. The tune 'Big Ship' is properly called Eglise de Sherbroek and was written in France to celebrate the death of the Duke of Marlbrough (of Blenheim fame) The Ally-O allegedly refers to the Manchester Ship Canal, but this is unlikely, not least because there is an account from Canada of the words which predates the canal opening. We use 'O Little Town of Cheltenham' during the festive season. Peover This dance came originally from Lower Peover, in the silk weaving area of Cheshire. Lower Peover is a few miles south of Knutsford, near Haydock Park racecourse, and seat of the Mainwaring family. In 1900, the Knutsford morris dancers performed this dance in the town, and were observed, and the dance noted down. It formed the basis of all the present day 'Carnival' morris dances performed by young girls in Cheshire, Lancashire, and North Wales, where it today forms a thriving tradition (over 200 sides or teams!). The tune used is 'Not for Joe. There are two music hall tunes and songs of that name, both written in 1867. The one England's Glory use is by H J Whymark, who also wrote 'Champagne Charlie', and has very politically incorrect words, which include "I had a little nigger, and he didn't get any bigger, so I put him in the wild west show" The other is by Arthur Lloyd. (Not for Joseph, No, No, No! full story here ) Astrid's Amble This is the latest dance to be added to the repertory, and came about because muso Astrid Cripps complained that the current processionals were too fast for her short fat legs to keep up whilst carrying a heavy accordian! Dancers Anita Carpenter and Sally Ayland wrote the dance. (with help from other members of the side) Muso Doug Watt wrote the eponymous lovely little scottische tune, and the rest is, as they say, history! To hear the tune click here or to see the dots click here (198K). Tune is copyright Doug Watt ©2005 (all rights reserved) - but open to reasonable offers!
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