The Morris Book Part 8

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 b.u.t.t-end. The top is held always to the right--b.u.t.t, 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 b.u.t.t of No.

2, on beats 3 and 4, thus:--

[Ill.u.s.tration: DIAGRAM OF STICK-TAPPING.]

In the second bar of "B" music, No. 2, with top end, taps the b.u.t.t of No.

1, on beats 3 and 4, thus:--

[Ill.u.s.tration: 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:

First beat, No. 1, with b.u.t.t end, taps No. 2 on top end.

Second beat, with top end, taps b.u.t.t.

Third beat, with b.u.t.t, taps top.

Fourth beat, with top end, taps top of No. 2.

Thus:--

[Ill.u.s.tration: 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 b.u.t.t 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 b.u.t.t 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 b.u.t.t. 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 fas.h.i.+on 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 l.u.s.ty _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 ill.u.s.tration 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 s.e.x. 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 l.u.s.ty 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 att.i.tude 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 clas.h.i.+ng, 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.

[Ill.u.s.tration: DIAGRAM OF HAND-CLAPPING.]

Hand-clapping in last four bars of "B" music is a repet.i.tion 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). Col. to Partners tap across at half-bar in Ring.

bars 4 and 8. 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 Column.

stand for a moment with sticks crossed. ALL IN.