At the same time as beginning this MA, I started to learn Morris dancing, a form of English folk dance. And, I had a new deadline: 1st May. May Day, International Workers’ Day, Beltane - a day of political and folkloric significance, and the first time I would dance in public.
I joined the Belles of London City, an all-female team, which is often seen as unusual in what is commonly perceived to be a male-dominated practice. In fact, the Belles continue as part of a long-standing tradition of women’s Morris dancing. Morris has occasionally been appropriated by a far-right, nationalist idea of Englishness, but the Belles, amongst other teams, promote a progressive view of this practice as inclusive, community-building and a tool for activism, such as our recent dance-out at a union fundraiser.
Artist, researcher, and Morris dancer Lucy Wright writes:
Both performing and making are integral practices of performance communities, complementary rather than distinct or opposed—and we might beneficially explore making as a type of performance in itself.
(Wright 2017: 44)
New dancers must make their own set of stays (an early form of corset) as part of their kit (outfit when dancing out), even if they have no sewing experience. I have been documenting this process, exploring hobbyist peer-to-peer learning, community building through making, and the performative aspects of sharing our making on social media. The experienced dancers become the audience as well as the teachers, cheering us on. Next year, I hope to join the seasonal ritual of kit-making, passing on the skills I have learnt.
I invite you to be both the audience and participant, whether it is learning the ‘Shepherd’s Hey’ dance with us, looking at the wonky stitches of my stays up close, or joining the Morris social media community.
Reference
Wright, L. (2017) ‘Making Traditions: Girls' Carnival Morris Dancing and Material Practice’, Yearbook for Traditional Music; New York, 49 (1): 26-47.
Artist, researcher, and Morris dancer Lucy Wright writes:
Both performing and making are integral practices of performance communities, complementary rather than distinct or opposed—and we might beneficially explore making as a type of performance in itself.
(Wright 2017: 44)
New dancers must make their own set of stays (an early form of corset) as part of their kit (outfit when dancing out), even if they have no sewing experience. I have been documenting this process, exploring hobbyist peer-to-peer learning, community building through making, and the performative aspects of sharing our making on social media. The experienced dancers become the audience as well as the teachers, cheering us on. Next year, I hope to join the seasonal ritual of kit-making, passing on the skills I have learnt.
I invite you to be both the audience and participant, whether it is learning the ‘Shepherd’s Hey’ dance with us, looking at the wonky stitches of my stays up close, or joining the Morris social media community.
Reference
Wright, L. (2017) ‘Making Traditions: Girls' Carnival Morris Dancing and Material Practice’, Yearbook for Traditional Music; New York, 49 (1): 26-47.