THE MORRIS STEP.
As we have told already, the Morris dance is a bodily manifestation of vigour and rude health, and not at all of sinuous grace or dreaminess. This will be obvious at a glance to anyone who watches the traditional Morris dancer at his evolutions. The first step, therefore, towards acquiring the true art of the Morris-man is to put away all thought and remembrance of the ballroom manner—really to unlearn, so far as possible, the lessons of the dancing-master and all his exhortations upon and exhibitions of glide, pirouette, chassez; the pointed toe, the gently swaying body, the elegant waving and posturing such as become the finished performer of round and square dances in the drawing-room. To say, put away for a while these methods is to put no slight upon them, or to offer a word of criticism: it is requisite and necessary, even as one should advise a change of clothing to somebody about to quit the ballroom for some rough-and-tumble pastime in the open fields.
Firstly, as to the manner of the steps. The Morris-men wear bells strapped to their shins; the bells are there that they may ring their music—and a fine wholesome music it is, too: to ring, they must be well shaken; to be shaken, the leg they are strapped to must be kicked and stamped. Get that principle into your head, and that practice into your legs, and you make the first long stride towards acquisition of the art of Morris dancing. Strap a set of bells to your shins, get out upon a grass-plot or the King's highway; never mind elegance or the criticism of the emasculate modern: kick and stamp upon the earth in such a manner as to make your bells ring their loudest, and ring all together. You will see pretty soon that, to do so, you must, when you jump, let the heels come solidly to earth, immediately following the toes—no man, even an old-time Morris-man, may jump and alight upon his heels alone, with the spine held rigidly above them (see p. [33]). You will find also that, in stepping it, whether to advance or retire, or to step rhythmically in one place, to make your bells ring the true fortissimo you must kick, and kick hard.
Half an hour's experiment of this kind will do more to instil into the would-be dancer the spirit that presides at Morris revels than chapters of exhortation. It is a robust and friendly spirit, and will set the learner's steps—given that he be of English blood, or even of Anglo-Saxon sympathy—a-thumping to its solid downrightness.
Once possessed of the spirit, the form of the Morris step needs little explanation and description, for the steps are few and simple. With an eye upon the foregoing notes and, it is hoped, a personal memory of the experiment as recommended, the learner will readily grasp the description that follows here.
Roughly, the Morris step is alike throughout all the dances; it varies only in force, length (i.e., the length of the stride varies more or less), and height (i.e., the foot is lifted more or less).
The foot, when lifted, is never drawn back, but always thrust forward. The toe is never pointed in line with the leg, but held at a right-angle to it, as in the standing position. The foot, therefore, the forward or stepping foot, is lifted as in walking, as if to step forward, then the leg is vigorously straightened to a kick, so as to make the bells ring. At the same instant that the forward leg is straightened, a hop is made on the rear foot; the dancer alights upon the toe, but lets the heel follow immediately and firmly, so that he stands upon the flat foot. A good snap-shot photograph of one in the act of walking, when the forward foot has made about three-fourths of its stride, gives a perfect illustration of the Morris dancer's step.
As with the step, so also with the jump, which in so many cases begins and ends a measure; the dancer jumps, roughly, as high as his own foot, holding when in air legs and body straight, alighting upon the toes, but only so as to break the shock sufficiently for comfort, then letting the heels come firmly down. In alighting from the jump, the knees are bent just enough to save the dancer from injurious shock, and are straightened immediately.
Such are the Morris step and jump; the jump never varies; the step does vary as to height, length and vigour of stride, as will presently be noted. It must, however, constantly be borne in mind that, high or low, there is always sturdiness in the Morris step; to Morris-men the languorous and the lackadaisical are for ever unknown.
For the purposes of compiling a notation, we have classified the steps necessary to the dances described into two, as follows:—
In the step most commonly used the raised foot is thrust forward only so far that, when the leg is straightened to the kick, the forward heel is roughly the length of the dancer's foot in advance of the toe of the rear or supporting foot. This step, it must be remembered, will be used always, except when specific instructions are given to make it higher or lower.
In the high step, used chiefly in the figures called "Capers" (see p. 50), the dancer must, if his activity will allow of it, raise the forward foot until its toe is as high as the knee of the rear or supporting leg. It is an exercise not to be attempted all at once in its completeness, because it is one well calculated to send the inexperienced enthusiast sprawling on his back. Its study should be approached gently, by way of familiarity with the simpler movement, which, once it is mastered, may easily be extended to the harder one. The latter must be approached with caution—that is all. And the novice is to bear constantly in mind that, in the matter of vigour, he simply cannot put too much of it into his Capers. There will be little trouble about his remembering that, however; the Morris Caper-music will not let him forget it for a moment.
This step is called in the Notation—High.
It has always to be remembered that in Morris dancing, unless definite instructions be given to the contrary, every movement or part of a movement is begun by stepping out with the right foot.
DIAGRAMS OF MORRIS STEPS.
WITH NOTATION MARKS ADDED.
Steps used in 4-time music (whether simple or compound). The letters R and L signify right or left foot.
This is called in the Notation—4/1.
This is called in the Notation—4/2.
This is called in the Notation—4/3.
This is called in the Notation—4/4.
STEPS USED IN 6-TIME (i.e., COMPOUND 2).
WITH NOTATION MARKS ADDED.
This is called in the Notation—6/1.
This is called in the Notation—6/2.
This is called in the Notation—6/3.
These steps are perfectly simple, and all but one may be learned at a glance, even by one who has no knowledge of music, for such a one has only to keep his eye upon the beats, which give the rhythm.
The exception—the only one that presents a difficulty at first—is the one marked 4/3 and 6/3, these two being one, since only the time differs; the feet step the same in each. A hint will make this step come as easily as the rest. Let the beginner in temporary difficulty with it bethink himself of the polka-step; sing a stave of the polka, and dance round the room to it. He will find that his feet are stepping exactly in order of the Morris 4/3 and 6/3 step—left, right, left, hop-left; right, left, right, hop-right, and so on. Now, all he has to do in order to adapt the polka to the Morris four-time step of 4/3 is, firstly to manage his feet as described, then to make the hop at end of each bar of the polka not as it were a dotted note, but in even measure with the other beats: for the last step of each bar to Morris four-time music is a hop, as in the polka, but in even time and in the Morris fashion.
Now, having adapted the polka step to the Morris 4/3, let the learner simply count six to the bar and step to it in exactly the same way. He will find, given just an average ear for rhythm, that he will soon be dancing thus, counting as he
1 2 3 4 5 6
dances--1, 2, 3, 4, 5, 6--Right--left, Right--right;
1 2 3 4 5 6
Left--right, Left--left.
Having mastered these, one last instruction may be given. The 4/3 Morris step is occasionally varied, so as to make it exactly like the polka-step—that is, with the final hop danced like a dotted note; like a quaver, if the music be in common time. This is a variation practised occasionally by the Morris men themselves, and the enthusiastic amateur will find himself dropping into it occasionally, following his enthusiastic leader. No instructions for this changing of the step will be given in the Notation, for it cannot be specified. The whole side will fall into it naturally, upon occasion: for instance, where there is a long stretch of the step, danced in one position, couples facing, arms swinging and handkerchiefs waving, as in "Blue-eyed Stranger." This is fairly intoxicating to the dancer, and here the hop will often suggest itself. And again, in hurrying, if one gets left behind a pace, as, for instance, in the Chain. But to hop, or not to hop, unevenly in the 4/3 step, that is a matter that will be easily arranged by the spirit of the dancers and the discretion of their leader. We desire merely to indicate a rule that, upon occasion, may be agreeably infringed.
POSITIONS, AND CHANGE OF POSITION.
The Morris side, when in position for dancing, stands in, or returns to, the positions as shown hereunder. The only exception to these is the Ring, as explained below.
POSITION 1 (COLUMN). POSITION 2 (Front).
^ ^
1 2 1> <2
^ ^
3 4 3> <4
^ ^
5 6 5> <6
Thus the six stand in two parallel lines of three each. The top, as the rule is in dancing, is set towards the music. The angles represent the dancers: the apex of each angle points as the dancer's face is turned; the numbers within the angles will be used throughout in describing movements of individual dancers.
The dancer at the top left-hand corner, No. 1, is invariably the leader of the side. No figure is completed, and no dance can end, until No. 1 has returned to his place at the top left-hand corner.
It is the duty and privilege of No. 1 to call loudly and clearly the name of each figure or part of a figure as each falls due for performance—"Corners," "Chain," "Back-to-back," and so forth, and to announce the end of the dance by the call of "All in."
In Position 1, or Column, the dancers stand in two files, and all face the same way.
This is called in the Notation—Column, or Col.
In Position 2, or Front, the dancers are turned inward, and face each other in pairs.
This is called in the Notation—Front, or Fr.
The change of position, from Column to Front, or vice versa, whether made by jumping or by stepping to measure, is executed invariably thus:—
To change Column to Front the dancers turn inward. Thus, in Position 1, Nos. 1, 3, and 5 make a half-turn to the right; Nos. 2, 4, and 6 make a half-turn to the left.
To change Front to Column, in Position 2, Nos. 1, 3, and 5 will make a half-turn to the left; Nos. 2, 4, and 6 a half-turn to the right.
In changing from Column to Front when the column is reversed—that is, the dancers having their backs to the music—the half-turns as given above will be reversed also.
As for the distance to be maintained between individual dancers, whether in Column or Front, the files (i.e., odd and even numbers) should stand so far apart that, when arms are extended, the hands of each will overlap his neighbour's hands.
The distance between the files will vary according to the nature of the dance. In the Stick and Handkerchief dances, pairs (Nos. 1 and 2, &c.) stand near enough to clap hands or tap sticks with each other. In the Corner dances, as will readily be seen from the descriptions and Notation, the files must be well apart to give plenty of room for the necessary movements. The right distance will easily be found; roughly, the side should form a square measuring some twelve feet each way.
In the Notation, the term "Partners" is used to denote the pairs as they stand fronting or abreast, Nos. 1 and 2, 3 and 4, 5 and 6.
The term "Opposites" is used in referring to couples when they must change places, or re-change, as in Corners and Capers, Nos. 1 and 6, 2 and 5, 3 and 4. The latter couple, the centres, it will be noticed, will have both terms applied to them, according as the movement described is Corners or Capers, or another, such as hand-striking.
In some dances, as, for instance, in "Bean-setting," the side forms a ring, and many dances end in this formation. Instructions for this, as and where it occurs, will be found in the Notation, and will be marked under Formation, thus:—Ring.
EVOLUTIONS.
Here follows a detailed description, with diagrams, of the various evolutions necessary to the dances which we have embodied in this series; to each evolution a Notation word is attached.
The best way for a teacher who has never seen the dances performed, yet wants to teach them from the book, is to study the diagrams and learn by heart the Notation word for each. He should then stand a side upon the floor, make them go through the evolutions by word of command, or Notation word, slowly, as described; counting the beats, but without music.
This manner of beginning is advised only when the teacher has nothing but the book for guide: where an experienced dancer is available we have found it best for the novices to set to at once upon the dance; the practised one showing steps, evolutions, &c, as they occur.
DOWN-AND-BACK; AND UP-AND-BACK.
This movement occurs at the beginning of so many dances that to simplify matters it will be described here, and symbols will be attached to the description and used in the Notation. The movement is executed as follows:
The side stands in Column, and starts by advancing for the first two bars, and retiring for the second two bars. Each file advances and retires its own length; that is, Nos. 1 and 2 will move ahead, the others following, until Nos. 3 and 6 have come to the places of Nos. 1 and 2; in the next two bars all get back to position.
The two bars' advance is made always according to the time of the music, either at 4/3 or 6/3 step: the two bars' retiring is always made at 4/2 or 6/2 step (see p. [48]).
The whole movement is made in eight bars. In one dance, the second four bars are danced the same way as the first four; but in all the others the Column is reversed at the end of the first four bars. The two ways of executing the movement will be marked in the Notation as follows:
When the side is to advance and retire twice, without reversing at end of fourth bar, and is to form Front at the end of bar 8, this will be marked in the Notation, so:
| MUSIC. | MOVEMENTS. | FORMATION. |
| A. | Down-and-back twice, then j. | Col. to Fr. |
| (Forming Fr.) |
When the side is to advance and retire, reversing position at beginning of fifth bar, and in bars 5 to 8 facing the opposite way, then at end of bar 8 forming Front, this will be found marked in the Notation, so:
| MUSIC. | MOVEMENTS. | FORMATION. |
| A. | Down-and-back, Ju. | Column. |
| Up-and-back, j. (forming Fr.) | Col. to Fr. |
THE CHAIN.
This movement is also completed in eight bars.
In the following diagram (Figs. 1, 2, and 3) the movements of the leading three, Nos. 1, 3, and 5, are shown separately to avoid confusion.
To begin the Chain the side stands in Column (see p. [48]). No. 1 turns outward, that is, to the left, and goes forward in an S-shaped double curve as shown, passing in the middle of the curve the place of No. 3, and finishing in the place of No. 5.
No. 3 starts out to rightward, and goes in a circle, in the second half of which he is following the first half of No. 1's track.
No. 5 starts to leftward, making a double curve as No. 1, but opposite, passing in the middle of it the place of No. 3, and finishing in the place of No. 1.
Fig. 1., Fig. 2. & Fig. 3.
Therefore, No. 8 follows No. 1, and No. 5 follows No. 3 round the track of an imaginary figure 8, or double circle, for that is the shape of the completed movement. Thus:
Fig. 4. & Fig. 5.
[NOTE.—At middle and completion of Chain, all turn inward, as shown in Fig. 5, and face partners as they jump (see p. [48]).]
At the end of the second bar, No. 5 should be at No. 3's place, in the centre of the figure; No. 1 should have already passed it, and No. 3 be coming to it, so that No. 5 passes between Nos. 1 and 3. In second half of Chain, same positions are to be observed.
In the second four bars, for completion of the Chain, the movements already described are simply reversed. As No. 1 is always leader (see [38]), and must turn outward and be followed by Nos. 3 and 5 on the lines of the figure 8, he must now return to his station along the double curve travelled in the first four bars by No. 5. No. 3 must follow No. 1 in the other circle of the 8, and No. 5 must get back to his station along the double curve travelled in the first four bars by No. 1. Thus:
Fig. 6. & Fig. 7.
The Chain is danced by Nos. 2, 4, and 6 precisely in the same way: No. 2 is always leader; always turns outward; and Nos. 4 and 6 always follow No. 2 on the lines of the double curve, or figure 8. No. 6, as No. 5, passes between Nos. 2 and 4, in chaining.
Occasionally, as for instance in "Country Gardens," the term "Half-chain" will be found. This means that the movement shown in Fig. 4 is executed to four bars of music; another movement follows; then "Half-chain" again, bringing numbers back to original stations.
If, as very often occurs, the Chain follows a movement executed in Front formation, the dancers simply turn and follow one another as shown in diagrams, when the Chain music begins.
This is called in the Notation—Chain.
CROSS-OVER.
This movement is executed in Front formation, to eight bars of music, as follows:
In the first two bars each dancer crosses over and takes the place of his partner, setting the pairs back to back, thus:
Fig. 1. & Fig. 2.
In crossing and re-crossing, invariably, each must keep his partner to the right, that is, the right shoulder of each passes by the right shoulder of each partner.
In bars 3 and 4 (keeping up the step all the time) all come to the right-about, that is, face inward again, by turning to the rightward (maintaining position all the time), thus:
Fig. 4. & Fig. 5.
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.