Roy Dommett’s Sword Dance Notes – Southern Star Longsword

ROY DOMMETT’S MORRIS NOTES

VOLUME 4: SWORD DANCES

Edited by

Judith Proctor

First published in a Limited Edition for the English Dance Week held at Pinewoods Camp, Plymouth,

Massachusetts in August, 1984.

Second Edition published by CDSS of America, 1986.

Third Revised Edition by Judith Proctor 2018

Permission to copy and distribute freely granted as long as no profit is made.

(JP: In the notation l = left foot, r = right foot, h = hop, //=end of musical phrase.)

The dance notation in this document is in Courier font. If global font changes are made, then the dance notation will no longer make sense as it needs to align correctly.

ROY DOMMETT’S MORRIS NOTES

VOLUME 4: SWORD DANCES

Table of Contents

SECTION 1: NORTH-EASTERN LONG SWORD

North-Eastern Long Sword

Ampleforth

Bellerby

Flamborough

Greatham

Grenoside

Handsworth (John Pitts)

Helmsley

Kirkby Malzeard

Kirbymoorside

Thirsk/Sowerby

Long Sword in Cleveland

General Background

General Structure of Dance

Distinctive Figures:

Double Under:

Sleights

North Skelton

Loftus

Lingdale

Double Over:

North Skelton

Boosbeck

Loftus

Lingdale

Whole poussette:

North Skelton

Boosbeck

Lingdale

Loftus

The Roll:

North Skelton

Boosbeck

Loftus

Lingdale

Arches:

North Skelton

Boosbeck

Loftus

Lingdale

Windows:

North Skelton

Loftus

One Lead Over:

Loftus

Lingdale

Advance and Retire Over the Swords:

Boosbeck

Loftus

The Dances: Notations

North Skelton

Boosbeck

Loftus

Lingdale

Skelton

Further Notes on Loftus Based on EFDSS Film

North Skelton: Sharp MSS

Lingdale: Examination of EFDSS Film taken circa 1936

First Look at EFDSS North Skelton Film

The Grenoside Sword Dance (Background, Notation, and Tunes)

SECTION 2: RAPPER SWORD

Background

Notes on Dances:

Amble

Beadnell

Murton

Winlaton

SECTION 3: OTHER SWORD DANCES

The Sword Dance of Papa Stour:

Background

Notation

Introduction to the third edition of Roy Dommett’s Morris Notes, Volume 4: Sword Dances

In the Autumn of 2016, I formed Southern Star Longsword. I started teaching Lingdale, using “Longsword Dances” by Ivor Allsop. I became interested in the history of the dance and managed to obtain copies of Allsop’s sources, which were the 1936 film and the second edition of the book you’re reading.

As I started reading through Dommett’s notes on Lingdale, I noticed details on the dance that weren’t in Allsop’s work. I also realised that Dommett had spotted far more in the film than I had (though he probably had the advantage of an earlier generation – I was working from a very bad DVD conversion). Southern Star had been having problems with the Double Over. I tried the 1936 version, and the move suddenly became significantly easier. Inspired by this, I went back to the original version of ‘Over the Double Sword’, (which was simplified in Allsop). Harder to do initially, but we soon got used to it and the ‘new’ version was faster and looked better.

More of the moves started falling into place. The original Lingdale dance, especially the first figure, was carefully crafted in relation to the music – something I simply could not have worked out without Dommett’s notes. He had managed to count every single step, and with that assistance, I was able to understand where, and for how long the Open Rings should be. All Allsop’s Open Rings in Lingdale are for 8 bars, but with Dommett’s aid, I came to realise that some of Open Rings existed simply to use up music left after a figure and could be less than 8 bars, indeed, one of them is only 2 bars.

I started reading more and became absorbed by the history of the Cleveland dances and the comparisons between them.

I got more and more frustrated by the condition of the pdf I was reading. It was faint, and it was impossible to quickly search for the text I was looking for.

To cut a long story short, I was able to contact Roy Dommett’s estate who kindly gave permission for a new edition of the Sword Dance notes, and Hilary Maidstone volunteered to help with the typing, and here we are with a new edition, which I hope will be as helpful to future longsword dancers as it has been to me.

A few alterations have been made to the original text.

The two sections on the North Skelton film have been merged.

Cutting and pasting has allowed each of the Cleveland dances to be printed completely, rather than having to refer back to the comparison section for some of the moves.

It is a condition of this edition being published that it should be freely available and not sold for profit.

Judith Proctor 2017

Introduction to the 2nd Edition of Roy Dommett’s Morris Notes

In February of 1964, l taught a class on the morris dances of the Cotswold village of Kirtlington for the Country Dance Society of Boston. After one of the classes, a dancer approached me with a ninth or tenth generation photocopy of a set of notations of Kirtlington dances and pointed out that there were some differences between what l had taught and what was vaguely discernible on these blurred sheets. Recognizing these notes as being an early issue from Roy Dommett’s typewriter, I asked the dancer where he had gotten them. ‘Oh,’ he said, ‘they were a copy of a copy that a friend got from someone else.’

Over a period of almost thirty years, Roy Dommett has been issuing sets of notes based on his research with the field notebooks of other collectors, his extensive 8mm film archive of contemporary morris dance teams, and his own thoughts enriched and informed by active collecting, teaching, discussing, and lecturing on the English morris. The influence and impact of these notes has been widespread but largely anonymous. Lionel Bacon, editor of the Handbook of Norris Dances (published by The Morris Ring, 1974) gives full credit for Roy’s invaluable contribution to the preparation of the widely used manual. In the Foreword, he wrote:

…this book is to be seen as the work of many men: but along them one man stands out as the main researcher of the manuscripts and is the main source of my information on unpublished dances. This is Roy Dommett, those work on the manuscripts has been indefatigable, and his generosity in making the material available to me has been absolute. (p. ii)

This collection (especially Volumes l and 5) includes most if not all of the information given by Roy to Lionel Bacon to assist in the preparation of the ‘Handbook.’ But they contain far more than materials culled from the notebooks of field workers. Roy Dommett is almost unique among morris scholars in that his interests are as much for morris dancing as a contemporary phenomenon as they are for the historical aspects of the dance. Roy has notated interpretations of ‘traditional’ repertoire as danced by new or ‘revival’ teams and also contemporary performances by ‘traditional’ teams. The notes contain newly composed dances from many sources including American sides, from women’s sides, and also from Roy’s own choreographic activities. Perhaps the most significant influence has been the reconstruction of whole dance repertoires from meagre information provided in field workers’ notes. Roy has had a hand in developing Cotswold-style traditions which many dancers now use as a basic repertoire. The Ducklington dances as people

know them, for example, are almost entirely the result of Roy’s collaboration with the Bath City Morris Men over a period of years. The revival of interest in the Border Morris owes a great deal to Roy’s careful and deliberate distribution of manuscript materials and ideas as to what to do with them to selected individuals and groups.

ln the USA, Roy’s approach could be compared to the activities of the folk hero, Johnny Appleseed, who is said to have travelled around the North American continent planting apple trees grown from quality seeds. Once planted, they become the property of the individuals who live with them and nurture them and this has been Roy’s strategy. Hence the anonymity of the notes and my motivation for editing my collection together. It is in part a way for me to express my gratitude for Roy’s generosity with his work. Based in the USA, l could not have pursued my own activities as a dancer, teacher, and scholar without the 6” high stack of notes given to me by Roy over a period of ten years. Other teachers in this country have been able to avail themselves of the resource because of his willingness to have them copied. In the past, Roy himself only occasionally published any of these materials. The pages of Morris Matters, a publication edited by a very active women’s team in England, Windsor Morris, now regularly feature articles of the sort which once would have been mimeographed and handed out at a Halsway Manor weekend in England

or at Pinewoods Camp in the USA. Whether in England, Australia or the US, Roy has encouraged and nurtured dancers whoever they are and wherever he has found them. Through his teaching, knowledge and unlimited enthusiasm, he has left the dancing better than before he came, the clubs healthier and wore motivated, and the team leaders better informed.

My sense of fairness was offended by the dancer in Boston who produced a set of Roy’s notes without having any idea who was responsible for them. When Brad Foster, Director of the Country Dance and Song Society, asked me soon afterwards if l had an index to Roy’s notes, I decided to organize them so that credit would be directed in the right place when copies were circulated. A set of Dommett notes lies in a pile of single sheets in a cardboard box in the headquarters office of CDSS in New York City and I half suspect that if Roy himself has a complete set, it is scattered somewhat randomly around his work room at home.

Published in a limited edition for Pinewoods Camp in August, 1986, the original five volumes represented all of the notes which had made their way onto this side of the Atlantic on the many trips that Roy has made either by way of his business as a senior civil servant or by way of his visits as an ambassador for the Morris. After receiving a copy of that edition of his papers, Roy promptly sent me a package containing about 120 sheets which I had not previously seen.

This second edition, then, is the result of merging the new material with the old. The primary effect of this has been on Volume 1 which has been bound in two parts. Much of Roy’s recent work has been concerned with commentary on the history and revival of the Morris of the South Midlands. The scholarly efforts to unravel the history of the Morris have increased in the past few years under the guidance of luminaries such as Keith Chandler, Mike Heaney and Tess Buckland. In this context, Roy has tried to keep pace with the need to relate the plethora of new information on what it was like, to what is going on today.

The Morris in America suffers in a more severe form from a disease which is surprisingly rampant in England: Ignorance. Most American teams, however, are aware of their lack of knowledge and are desperate for film, video, and written materials which will help them in their efforts to start and maintain Morris dancing in their own communities – I hope this collection of Roy’s notes will make it easier for dancers to get access to ideas and information which can help them in their task.

The reader should venture further with a few words of warning and advice from the editor, who has almost made a profession of finding his way around his congeries of Domettiana. First, they were intended primarily for use by dancers. Roy has not always included references to sources of notations or historical and biographical information. I have not tried to provide the ‘missing’ details. Second, the notes were created over a large number of years, for several different purposes, and on several different typewriters. Where the notes were unreadable for one reason or another, I have had them re-typed. For this service, I am grateful to Edna Newmark and Ann Marie of the University Professors Program at Boston University, who have labored mightily over the eyesight-ruining problem of deciphering complex Cotswold Morris notations often from faint photocopies. Almost all of the original notes have been reduced from peculiar English paper sizes to fit the American 8 1/2 x 11 standard. There were times when I considered issuing a magnifying glass with each volume. Third, do not treat these notes as ‘gospel;’ they are intended to challenge misconceptions arising from limited knowledge and to stimulate by providing a pool of good dance ideas.

It is not easy to work one’s way through the mass of historical, musical, and choreographic

details which are packed into Roy’s notes. The dancer or teacher who tries earnestly to become familiar with the contents of these volumes will be rewarded with a taste of the way Roy has been able to strike a productive bargain between the Morris as a living phenomenon with a valuable place in contemporary life and its historical and traditional existence.

The volumes are organized with the American dancer in mind. Volume 1 covers what, in

England, is now sometimes called the ‘Morris of the South Midlands’ rather than ‘Cotswold

Morris’. Roy has talked of it as ‘Wychwood Morris‘ after the royal forest in which most of the complex repertoire was located. Essentially, it is the Morris of Whitsun, of short set dances, and of white costumes, ribbons and bell pads. Part 1 consists of the commentary, background information, and general useful discussion of the practice and teaching of the Morris. Part 11 contains the dance notations organized alphabetically by the location with which the repertoire is associated. It is now generally acknowledged that the practice of identifying a ‘tradition’, consisting of a single style and a cluster of set dances, with a particular town or village in the South Midlands counties is a potentially misleading and inaccurate fiction. The dancing, as is partly illustrated by the multiple teams currently in Bampton and Abingdon, seems to have been wore the property of individuals or families than of towns or villages. Sharp, reflecting the prevailing view of his times, preferred to publish folk songs and dances under a county, town or village label and, for the Morris dances, the labels stuck. Bearing all this in mind, however, dancers have found this practice useful in developing club repertoire and l have used it as the main organizing principle for that reason. The lengthy studies of the Morris at Longborough, Bucknell, Sherborne, Bampton, and Stanton Harcourt and the multiple notations from different time periods in the life of the Ilmington Morris merit special attention in this regard. Part ll contains an extensive collection of manuscript information on the Headington Quarry Morris. included is a draft copy of Kenworthy Schofield’s attempt to provide an updated replacement for Sharp’s published Headington notations.

The North-West Morris of Cheshire and Lancashire (Volume 2) has received less attention in North America, but this morris of urban parades, of clogs, of rush-carts and of bass drums has begun to attract interest. Roy taught an extensive workshop on these materials in Putney, Vermont in 1978 and prepared a set of notations for that event incorporating Garland dances with the dances of Cheshire and Lancashire. This package of information with its boldly emblazoned title page declaring it to be a collection of ‘Garland Dances and the Lancs and Cheshire Morris’ was the centrepiece of one of my favourite anecdotes about Dommett the peripatetic dancing master. Roy travels on a diplomatic passport because his work with the Royal Aeronautics Establishment involves frequent contact with foreign governments. It is not usual for customs officials to question the personal effects of officials travelling on government business. When Roy opened his briefcase on arriving in New York to reveal nothing but these hefty packages of notations, there was a brief hesitation and a raised eyebrow while the customs officer tried to figure out the relationship between Morris dancing and the governments of Britain and the United States.

Volume 3 on the Garland dances reflects the establishment of several teams specializing in the performance of this repertoire which is from the European continent as well as from England, from women’s teams as well as from men’s. I have felt free in Volumes 3

2 and 3 to list repertoire either by town of origin (‘tradition’), where possible, or by the name of the club from which it was recorded. Roy’s output on the Sword dances (Volume 5) is limited, but nevertheless deserves its own volume because it attracts a different set of dancers.

Volume 5 (‘Other Morris’) merits a little more discussion. One of the most important ideas I obtained from conversations with Roy and from trying to absorb the consequences of the information contained in his notes is the immense diversity of the Morris. It is not confined exclusively to men; it does not consist entirely of pretty, graceful dances pleasing to the heart of those with delicate sensibilities; it is sometimes very simple and crude. As Roy puts it:

One must not judge all morris by the yardstick of the Cotswold dances which after all

is only one flower on the folk tree. Any custom is only as elaborate as necessary to fill the need which occasions it in its community. (Section on Reels, Volume 5: Other Morris, p.3)

The set of notes which I have labelled with Roy’s term ‘Other Morris’ reflects the diversity of the English Morris. It includes display dances which are basically recreational country dances partly because they needed to be included somewhere and partly because many of them make fine dances for a display and may actually get used by groups putting on a seasonal or ceremonial dance performance. It includes the ‘Border’ Morris of Herefordshire and Worcestershire, and morris forms from locations other than the South Midlands or the North-West or dances from those locations which are not consistent with the prevailing genre. This goes against the trend established by Lionel Bacon in his Handbook, since l have separated the Border Morris, the Lichfield Morris, the East Anglian Molly Dances and the Derbyshire Morris from the Cotswold group of dances. It makes no sense to me to interpret any of the above mentioned repertoire in the same breath as the Cotswold

dances because they are variously different contextually, choreographically, and in movement quality from the Morris of Whitsuntide in the Wychwood Forest.

Another editorial decision which is perhaps more controversial and, therefore, in need of

explanation is the inclusion in Volume 1, Part II, of detailed notations and tunes for the Morris at Chipping Campden and at Abingdon. They were excluded from the Handbook of Morris Dances edited by Lionel Bacon on the grounds that these are ‘living traditions’ and the ‘men from those towns claim copyright on the dances and prefer that they remain unpublished.’ l have chosen to re-issue Roy’s documentation of these repertoires for three reasons. First, omission of these notations would severely diminish the usefulness of this collection for scholarly research especially when films and printed descriptions of the dances have been publicly available for several years. Teams from both towns have encouraged Roy and myself and probably others to take visual recordings of public Morris occasions at which they were performing. Roy has, in fact, with the teams’ permission, filmed the dancing from both towns over a twenty year period or more. Much of

this work at Abingdon was conducted while he was dancing with the Abingdon Traditional Morris Dancers. Given his reputation and personal frankness, it must have been with the knowledge that his purpose was one of documenting the dancing. In the summer of 1979, I was welcomed at practices and tours of the Chipping Campden team and Mr. Hemmings’ Morris Dancers in Abingdon to film all of the teams’ repertoire to add to my own research archive and to include in a series of video-tapes designed to show American dancers the range and high level of performance possible within the Morris.

The second reason, then, is that the evidence shows, I believe, that other teams have largely shunned or avoided performing any of the dances from Chipping Campden or Abingdon out of respect for the wishes of the dancers in those towns rather than because there are no notations available. Other teams who would rather that their dances were not performed by anyone else, such as the Handsworth Traditional Sword Dancers, have actually led public workshops or instructionals in which explicit details of performance have been taught. If people chose to perform dances over which a team makes proprietary claims, the lack of available notations would not stop them any more than the French Maginot Line stopped Hitler’s single-minded advance. A public performance of a team is not a state secret and anyone with a little knowledge of Morris dancing, a pencil, and

paper could make their own notations from watching the relatively uncomplicated choreography in Abingdon or Chipping Campden.

The third and final reason for including this material along with that from all other locations is that the details of what to dance are only a small part of the network of interactive factors which shape a Morris performance or custom. Who dances, how they dance, when they dance, where they dance, why they dance, and for whom they dance all contribute to the way it looks and to what it means. Has the fact that hundreds of teams perform the ‘Bampton’ dances made the dancing of all three teams in Bampton any less special? Any performance style is like a good wine in that it can only be achieved through a careful process of ageing. It is possible that someone lay seek to train a team to imitate or emulate the dancers at Chipping Campden or Abingdon. It would take so long and so much effort to accomplish what has been achieved in those teams that personal and

environmental idiosyncrasies would inevitably have made it into its own unique Morris, quite likely unrecognisably different from the original. This is the story of the process of learning a craft, skill or art form by imitation whether in a traditional folk context, in the folk ‘Revival,’ or in the so-called ‘fine arts.’

This is a lesson l learned in great measure from Roy Dommett. He has never been especially tolerant of any efforts to restrict that dissemination and availability of dance ideas. His notes and his workshops have served to inspire more dancing and better dancing. He would agree, l think, that a film can do little more than inspire a team to practice harder. A notation on a printed page can only be at best a starting point in the long difficult process of creating a dance performance which is satisfying to the dancers, entertaining for the audience, and a source of pride for a community.

Finally, I fully anticipate that Roy already has two or three dozen new offerings which will

necessitate additions to this collection. I welcome suggestions and criticises from any reader.

Anthony G. Barrand

Boston, Massachusetts

July, 1986

THE NORTH-EASTERN LONG SWORD

The major source of information is the “Sword Dances of Northern England” by Cecil Sharp – 2^nd edition 1951 – in 3 volumes. The following is supplementary.

AMPLEFORTH

There has been a revival of the dance at the village which had some assistance on difficult parts of Sharp’s notation from old dancers. This needs to be followed up.

BELLERBY

Source: M Karpeles. Journal EFDS 2^nd series No 2, 1928

Team of six numbered clockwise. Skipping step.

1. Link up hilt & point Circle left 8 bars, circle right 8 bars, face direction moving

2. Single Over and Under Numbers 1 & 6 hold down sword. Number 2 jumps over followed by 3, 4, 5, 6 & 1. This leaves number 6 with hands crossed. Numbers 1 & 6 hold up their sword. Numbers 5, 4, 3, 2, 1 & 6 in turn pass under to original places. No 6 takes turn to uncross hands.

1. As before.

3. Lock Raise hands & make whole turn clockwise to face centre – Lock made at head level – point over hilt. Dancers walk clockwise, king displays lock. Lock then thrown down in middle of set.

4. Reel (a) Hey for three on each side – men face up and passing left shoulders. Double step (8 bars)

(b) clog stepping – middles facing tops (4 bars)

(d) Repeat all.

3 4

2 lock 5

1 5

5. Pick up lock and draw.

FLAMBOROUGH

Source: Schofield MSS. (JP:see Longsword Dances by Ivor Allsop for more detail on what the Threedling moves actually are)

The following suggestions were made based on either traditional or EFDSS practice.

1. Call Threedling A, “Threedle Over”

Threedling B & C, “Threedle Under”

Double Threedling A, B & C, “Cast & Spin,” “Arches”, “Poussette.”

2. Either let No 1 go over or under first each time or let every man lead off one movement, going successively round set.

3. Form up in column

8 7 6 5

V V V V

^ ^ ^ ^

1 2 3 4

Start poussette “all together” not progressively.

4. Form straight hey either 1>2<3<4<5<6<7<8 & start progressively

or start “all together” 8> <1 7> <2 6> <3 5> <4

GREATHAM

Source: N Peacock, Journal EFDSS Vol 8 No 1 p 29, 1956

6 dancers numbered clockwise.

Order of dance:-

The Calling on; First Dance; Play; Second Dance

Lock: comes in play not dance – like “Nip-it” in Sleights – each man turns clockwise and finishes with right hand over left.

Step: a “hitching” step with lift of foot rather than a hop (as Bellerby). Leader can direct a lapse into a steady tramp.

Order: figures in any order but Roll & Weaving only in second part and often omitted.

SINGLE UNDER TO THE RIGHT. 1 & 2 put up 2’s sword and 6 leads under it, going to the left round 1 and returning to his place. 5 & 4 follow 6; 3 follows 4 through the arch, but turns right, round 2, to his place, 3 & 4 carrying 4’s sword over the heads of the rest while 1 & 2 turn under 2’s. (cf. Third-man-under, Ampleforth). Repeat with swords raised in clockwise order.

SINGLE UNDER TO THE LEFT. Mirror image of above. 3 leading under 2’s sword first time. Repeat with swords raised in clockwise order.

DOUBLE UNDER as Kirkby Malzeard with 2’s sword raised first and others in clockwise order.

SINGLE OVER TO RIGHT OR LEFT, DOUBLE OVER. As above; the men who hold down sword do not go over it.

THE ROLL. 1 & 2 lead away for a few paces, the rest of the set (still linked) following in two lines

5 6 1

4 3 2

2’s sword is raised and 6, 5 & 1 and 3, 4 & 2 make small circles passing underneath it. After a few rounds, leader calls on another pair to lead off.

WEAVING. A poussette without spins, performed by 1&2, 6&3, 5&4 linked in pairs. At end of each dance each man “draws” his sword with flourish outwards from centre of the ring.

At beginning of each dance the dancers link up hilt & point & go clockwise for 8 bars and anticlockwise for 8 bars.

GRENOSIDE

Source:- Schofield MSS – based on performances in 1938 and written notations from member of team. It is not necessary to assume that the traditional side had changed its dance since Sharp saw it – inspection of his Field Notebooks show that the differences can be explained by (a) he did not notice all the finer points (b) the side dancing a little sloppy (c) making wrong choices when reconstructing from his notes. The following notes should be read with Sword Dances Part 1. (JP: Sharpe’s Sword Dances Part 1 is online here https://archive.org/details/sworddancesofnor113shar/page/n6 )

1. Before starting a movement or for stepping, set is in a column not a circle; with sword going up or down as one end.

2. Start left foot first beat of bar, right foot first on middle beat. Always try and go over sword right foot first, ie middle beat.

3. JIG: start tap left foot, marking time, then step forward with right putting swords onto left shoulder. Change shoulders every 6th step, ie when on right foot (middle beat). Present side every 3rd ring then stepping, both ways. Lock. Ring then stepping, each way again but with clashing of swords (Sharp did not see this). Low clash.

4. HORNPIPE: sword between 1 & 6 always up or down first.

Over Neighbour’s Sword: preparatory step on right foot on last beat of bar. Step up to sword with left, over with right, then left & to place with right on last beat.

Single Sword Down: the men holding the sword down move slowly across the set & retire backwards, without going over the sword (this is in ShaF but not ShaSi). Couples go over in pairs.

Double Swords Down: see discussions in “Sword Dance Variants” EFDS News Sept 1928 and “Fresh Light on Kirkby Malzeard” Jour EFDSS 1947 – Journal Reprint No 1.

5. REEL: Sharp has a mistake – taken literally never end in one’s place. Start facing other way 1 v 6 etc, across top of column. Step a jaunty walk in which free foot may strike ground lightly on off beat. Circular hey for 6 bars, stepping for 2. Repeat. Then step for 8 bars. Then all through again.

Roll done with couples very close to each other and very fast.

6. RING-A-RING-O-ROSES: lay swords aside. Each dancer, starting with Captain, goes into middle of set and steps while rest take hands in a ring and circle left and right around him. End with all stepping. cf Eynsham

There seem to have been some minor changes to tighten up the dance since the war (see English Dance & Song 1964 Vol 26 No 5, p 125). The traditional side has close contacts with the Grenoside Morris Men.

HANDSWORTH

After “three-divide-down” there is a fast figure, seen by Sharp on his first visit but not on his second, which precedes the Lock.

Ring: dancers march round with sword in right hand, held vertically up right arm, tucked into side.

Clash: move slowly round clockwise then join up hilt and point and circle clockwise facing centre, slip step.

Snake: each man takes four steps to go over sword – step over on 3^rd. All stamp alternate foot throughout.

Single-Up: circle keeps flowing anticlockwise. No 1 turns out counter-clockwise under his raised hands while rest of set bunch up in centre and continue anticlockwise. No 1 then circles round set going clockwise – always facing centre – till he can drop into his place. Figure really a fast “Single-Up” & even more like a “single-guard.” To accommodate the stiff sword each man holds his neighbour’s sword sloping up over his left shoulder – thus right hands rest on left shoulders in front.

The team wears boots and accents steps onto left foot.

GOATHLAND dance reputedly similar to SLEIGHTS. Where is a notation?

RIPON dance reputedly very similar to KIRKBY MALZEARD.

HELMSLEY

Source: Sharp MSS. 6 men to a team (cf dance to Ampleforth)

Step: springy bounding step much as Handsworth all through the dance

3 taps on drum then

CLASH – 8 steps clockwise, 8 steps counterclock in usual way.

THIRD MAN OVER – 1 puts down sword (between him & 6) over which 2, 3 … 6 jump and return to place. Nos 2, 3, 5 turn to right round 1. No 4 (the third man) to his left round No 6, No 6 jumps round after

THIRD MAN UNDER – as last except No 1 raises sword and makes arch.

PLAITING – link up in couples 1&2, 6&3, 5&4. Half poussette in usual way, 3 turns, till all in places.

ROLL – as usual, spinning between each pass & at each end when neutral.

THREE REEL OVER – group in 3s.

2 4

3 5

1 6

Lower swords between 1&3, 6&5. 2 jumps over 1’s sword & turns to his left round No 3. No 1 follows him and both return to place. Done in stationary position by each set of 3.

DOUBLE OVER – as at Sleights, No 1 first holding down sword & then 2, 3 … 6. No 6 jumps sword first round.

YOUR OWN SWORD – as usual once around.

SHOULDER LOCK – stand facing c.cl with left neighbour’s sword over right shoulder and other sword in left hand. Whole turn clockwise and lock.

ROSE – leader raises lock in right hand. All dance round counter-clock (8 bars). Then leader places lock on ground and gives 3 claps after which all raise lock and dance round very fast, music quickening to end of phrase, when all draw (8 bars).

KIRKBY MALZEARD

Sources: see under Grenoside for Kennedy papers.

D N Kennedy said in 1927 that there were slight differences between Sharp and traditional side in method of dancing single-under and single-over. Sharp Fieldnotes say: “In single over left upright man backwards all time. Then he turns backwards & becomes right upright in next round. After first round, 1^st man under in single under goes backwards.” This statement is not reflected in published description.

There was clearly an error in Sharp’s description of Over-Double-Sword due to a mis-reconstruction. In his Fieldnotes Sharp has Kirkby Malzeard “same as Grenoside” – yet for Grenoside he did not note the order in which they went over. Obviously he guessed wrong!

Rolf Gardiner wrote to Artur Heffer on 15.9.24 having seen the traditional side on 14.9.24 and said:

“There was no running but a very speedy quick-march step, the feet slithering over the ground, not shuffling quite, yet still never leaving the floor for more than a fraction of an inch. The dance was far compacter than we generally take it and gave rather more the impression of a rapper dance than the open Handsworth fashion.”

Ralph Woods, the captain, would have none of “the doggerel business.” The tune used was “the auld wife O’Dallow Gill”

Double Sword: Nos 2, 3 down, No 1 goes over putting his right hand down and jumping backwards over his own sword. Then the order over Nos 6 (not 4), 5, 4, etc. This gave a much neater appearance to the movement.

Lock: They all stoutly affirmed that the hexagonal lock was not traditional in Kirkby but the triangular one was.

#################IMAGE of triangular lock

Made right over left, under one hand and over t’other.

One man gashed his forehead badly on a sword sharpened on both edges.

KIRBYMOORSIDE

Source: Sharp MSS. Team of 6 numbered clockwise (cf Ampleforth)

Tune: Girl I left Behind Me. Step: a walk not springy.

CLASH: 4 bars clockwise, 4 bars anticlockwise then repeat in a ring hilt & point.

THIRD MAN OVER (never under) No 1 puts down sword. 6 goes over first. 5 leaps over and turns to left round 6, No 4 goes to right round No 1 and Nos 3 & 2 go to left round 6. No 4 is third man over and only one to turn to right. This continued, opening clockwise, sword being held down successively by 2, 3 … 6.

THREE REEL: 2 sets of 3 each.

No 2 goes under No 1 sword, turns to left round 3 to place. No 1 follows No 2 round No 3 to place. This repeated Nos 2, 3 raising swords. The whole figure generally done 2 or 3 times, then “fall-in” called. The 3 men could if they liked go on doing this moving round the room at the same time.

LOCK: All go round a while clockwise hilt & point. Then all make whole turn c.cl & face centre & tie in ordinary way. Walk round a while joining swords. Then No 1 exhibits lock while all walk round 4 bars clockwise and 4 bars c.cl.

Then Rose at waist height, 4 bars each way & all draw, raising lock preparatory to doing so as at Sleights.

RING: ring round clockwise for 2 or 3 times.

FOURTH MAN OVER (never under): as third man but 4^th man to right.

WEAVING: whole not half poussette. Neutrals spin in reverse direction to that they have previously been moving in.

ROLL: as Grenoside – spinning at ends only. 1st couple over 2^nd, under 3^rd, spinning as they go over but not as they go under. At each end spin twice reversing direction.

RING: ring once or twice then Lock & Draw as before, all shouldering swords at finish.

SKELTON-IN-CLEVELAND, NORTH SKELTON, BOOSBECK, LOFTUS, LINGDALE & SKELTON GREEN form a family that need more investigation.

THIRSK/SOWERBY

Source: Sharp MSS. Assume these are the same dance.

Tune: Girl I Left Behind Me.

Six dancers. Part of action of a play as Ampleforth or Bellerby.

CLASH: “Beat-up” as at Kirkby Malzeard.

YOUR OWN SWORD (& YOUR NEIGHBOUR’S SWORD) – as Kirkby to

SINGLE OVER – “Single Shuffle” (& SINGLE UNDER) – as Kirkby to

DOUBLE OVER (& DOUBLE UNDER) – “Double Shuffle” –

HIGH LOCK – ring clockwise – half turn clockwise to face outwards & tie lock above head. Place lock around Clown’s head. Then each holding own hilt, dance round 8 bars & draw. Clown falls down & feigns death. Cry for doctor, ending with revival of clown.

WAVES OF THE SEA: as at Sleights, those going down passing over each of other couples, those going up passing under.

THREE REEL: as Kirbymoorside.

LONG SWORD IN CLEVELAND

The most widely practised long sword dance is North Skelton.

The tradition in Cleveland was made famous between the wars by the North Skelton White Rose team and five figures of the dance described by Douglas Kennedy and published by the EFDSS in 1927. The dance exists on film in the EFDSS archives. The Cleveland dances are related to those at Sleights and Goathland of which the former was published by Sharp, Sword Dances of Northern England Part II (l9l2). Goathland Plough Stots are still active. Another Cleveland variant was published by Leta Douglas in Three More Dances of the Yorkshire Dales (1934). This dance is at present performed by schoolboys in Boosbeck. Contemporary with North Skelton and also still active is Lingdale Primrose, and finally Loftus represent a revival of the early 1950’s of another dance in this general tradition. Over the years there have been other sides, such as at Skelton Green, of limited existence.

The limited historical information in the Kennedy booklet can be supplemented from ‘Loftus Urban District Council Souvenir Coronation Year Bock 2nd June l953‘ printed by J.E.Ford and Sons, Loftus, pp 26-29 ‘Sword Dancing in Loftus‘. (JP: see below)

“……….In his records (Cecil Sharp) he tells how: the organisers of these teams (at North Skelton) learnt their dancing from an old man at Loftus,but he was not able to continue his enquiries there.

It would appear that the sword dancer here referred to, was that encouraged and taught by Mr John Featherstone of Hartington St.about 1890. He learnt the figures and three traditional tunes from an old Goathland Plough Soot called Ventress living near, who, it is said, was not much of a dancer himself. The latter was an ironstone miner but left here to become a publican at Egton.

In order to keep his children and their friends out of the public houses and off the streets at night, Mr. Featherstone and his wife encouraged them to play games like Fox and Geese and Merrils (JP: Merrils = Nine Men’s Morris – a simple strategy game with a board and pegs).’ The idea of sword dancing quickly caught their imagination and while John whistled the tunes, the younger men danced around the kitchen, using hazel sticks for swords. The dancers included the brothers George and Robert Featherstone (in 1953 living in Great Ayton), Joe Winspear, Charles Mayes, Tom Martin and William Martin. The last named later married John Featherstone‘s daughter ,who was still alive in 1953, and living in Loftus and is the source of much of this information.

Later, George Featherstone learnt to play the melodeon and became a most proficient performer, in constant demand for all kinds of folk dancing for teams in East Cleveland until his death. Joe Winspear also became a musician and played many years later with North Skelton, but in the early days the musician was John Watts from Skinningrove.

Some steel swords, a few of which are still in existence, were made for the team at Robinson’s Foundry near the Railway Station at a cost of 2/8d each and for public occasions, some pink linen jackets were made by Mrs. I. Creswick, Joe Winspear’s cousin of Liverton mines. These were later replaced by military uniforms which were apparently considered more appropriate…

There were always 2 extra members of the team in addition to the 6 dancers, who dressed in clown’s clothes and had their faces blackened with soot. Alternatively, one of these was dressed as an old woman and took part, with her husband, in some ritual which was traditionally part of the dance. They also took up the collection from the onlookers attracted by the music and the dancing.

Daring the early 1690’s much distress was caused in the district by a strike in the Durham coalfield and many miners, including all of the team, moved to Derbyshire, to a newly built town called Poolsbrook, nr. Chesterfield. The whole Featherstone family together with the Martins, Joe Winspear, at Seymour, John Watts and Charlie Mayes, settled here for the next few years and it was not long before the sword dance team was in action. Tom Martin, however, became interested in a girl and left the team, being replaced by George Darby, a Staffordshire miner.

A photograph of the team taken at Chesterfield in 1892 (in EFDSS library), the only one of the team in existence apparently, shows the following: Matthew Seymour, William Martin, George Featherstone, George Darby, John Watts, Joe Winspear, Charlie Mayes, Robert Featherstone, with Tom Shaw and Tom Gilbert clowns. The last names was not a regular member. After a few years in Derbyshire where, according to Mrs Martin, they never really felt at home, the Loftus people came back to Cleveland.

After the death of her husband, Mrs Featherstone and her youngest son, John, took a smallholding at Moorsholm, where they were joined by George and Robert and their wives. Joe Winspear settled in North Skelton where he taught sword dancing to the team which became so famous, and William Martin obtained employment and a house at Lingdale. Later, George Featherstone moved to Lingdale where he was responsible for forming the Lingdale Progressive Sword Dance Team which included three of his own boys. When Mr Martin was asked to go to Ayton to open out the Roseberry mine, he took Robert Featherstone and several others with him. The Martins stayed here for many years, apart from a fruitless trip to America, where the anthracite mining did not suit his health, before he returned to Loftus, and Mr Martin worked as overman at the Loftus mine until his retirement.

Some time after 1900 another sword dance team was formed here and this team, with certain changes, continued in existence until after the 1914-18 war, its last performance being in about 1921. Many members of this team are still alive and include Joe Winspear, the musician, cousin to the same named previously, Jack Logg, Jim Taylor, A. Henwood, Dick Magor, Paddy Hodgson, R. Jackson and J. Garner. The swords used by this team were made from strips cut from old crosscut saws by the blacksmith at the mine.

Mr Winspear tells how their team, supplemented by others including Charlie Dadd, who played the bones and did a bit of clog dancing, gave “benefit” concerts in aid of unfortunate friends, who because of illness or unemployment and in the absence of the kind of help that would be given today, found themselves in difficulties. On occasion, as much as £14 was raised by these efforts. In wet weather, practices were held in Mr. “Jumbo” Harrison’s kitchen, but never in the luxury of a hall, and in fine weather the team went to a clearing in the woods below Loftus and practised there. When it was necessary to practice in the dark, the young men made miner’s “widges” consisting of empty fruit tins with a hole cut in the side to hold a candle and hung those on the trees around the arena. During the strike of 1911 the team went out on a week’s busking at Whitby, dancing and making collections at various farms and villages on the way. They slept for several nights on the benches and floor of a public house in Whitby and danced in the streets during the day. On several occasions they were pelted with dead fish by the fisher lads, but by the end of the week everyone was quite friendly to them. On other occasions the dancers would go to outlying farms to dance, where they were given eggs, pieces of bacon and other welcome gifts in addition to money.

In the present revival of sword dancing (at Loftus) we have tried to recapture the spirit and enthusiasm of those pioneers. The figures of our dance have been decided upon after talks we have had with the survivors of the old dance teams, and if there is any similarity between our dance and the other named Cleveland dances, this is natural in view of the history of these dances. The present Loftus Sword Dance Team was started at the County Modern School in 1950 and since the spring of 1951 we have been fortunate in having the advice and help as musician of Mr. Arthur Marshall of Charltons, who has a national reputation as a player of sword dance music. He first became interested in playing the melodeon with the North Skelton team in the early 1920s. The first public dancing done by the new Loftus team was in connection with the Festival of Britain ceremonies in the town in 1951”

GENERAL STRUCTURE OF DANCE (JP: in Cleveland)

There are seven figures to the dance, they are all repetitions of the first figure with an additional distinctive figure added in the middle.

Each figure begins with:

Low Salute – all face centre or clockwise and point swords down so that tips touch in centre on lead-in chords.

High Clash – all raise swords to touch tips above heads and walk round clockwise clashing tips twice a bar.

Shoulders and Elbows – link hilt and point, own sword back over inside shoulder, walking round clockwise. Raise swords over heads onto outside shoulders and continue walking. Lower swords to level of outside elbows and continue walking. Raise swords back over heads and form open ring walking clockwise. (32 bars)

Over a Sword – Each in turn hops over a sword, ring still circling clockwise

Over a sword can be done in a variety of ways, the choices being:

1. over own or neighbour’s sword.

2. going over from outside to inside or vice versa.

3. going over with the nearest foot first not turning, or other foot making a half turn.

4. make a complete turn under the swords after or before crossing the sword.

5. or make a half turn before crossing the sword, so that the dancer is moving backwards when crossing. The dancer either completing or reversing the turn while crossing or afterwards.

Not all the possibilities are physically easy to do. A different movement would be used in each figure – those chosen were normally based on the clockwise turn.

Each figure ends with:-

Open Ring –

Low Basket – as a Low Salute, but all walk round clockwise, but not clashing, which would be a ‘low clash’.

Clash and Lock – On first beat, all make a single low clash and then link up and form a lock.

Rose – Leader holds lock up vertically while dancers continue to circle.

Draw – Lock is lowered to shoulder level, each man grasps his sword with his right hand and puts his left hand on the right shoulder of the man in front. Circle for 8 bars. Then music speeds up and men break into a trot for 8 bars. All stop and draw out sword from lock.

The lock can be formed in a variety of ways and a different way would be used in each figure, the choices being:

1. Right and Left – form open ring, approach centre while still circling, each man passes his right hand over his left, passing the point to the next man on the right who takes it and locks it over his own hilt.

2. Clash Hilts – Clash hilt in right hand on point in left hand and open out into a ring, one to three times, then, as above.

3. Back – still moving round, dancers face in and each passes his sword behind his right neighbour’s back, grasping the point of the man next but one on his left, right arm over, left arm under. Carry swords over heads into the lock, hilt over point.

4. High – all make a ¼ turn anticlockwise to face out, but continue to move slowly round clockwise. Raise hand above heads, crossing hands left over right, each passing point in left hand to the dancer behind him, at the same time receiving a point in his right hand. Form lock by passing point under hilt.

5. Back Ring and Turn In – all face out and then link up hilt and point and circle. Raise right arms over heads and make ½ turn anticlockwise to face centre. Form lock by drawing hands apart and passing hilt under point.

6. Clockwise Turn – each man in turn makes a clockwise turn under his swords, ending with swords on outside elbow. Then all turn clockwise, raising swords over head and form lock.

7. Nip-It – as above, but all together. Raise both hands well above heads, make a whole turn clockwise and lower arms, crossed left over right and close in. Form lock by pushing hilt under nearest point on left.

No dance keeps rigidly to the pattern, either through forgetfulness or artistic licence. The differences are usually of omission. Interesting differences occur at the start of later figures.

For example: –

1. Boosbeck Figure 4

Each man places the point of his sword on the outside of his right hand neighbour’s right toe, and on the second of the two preparatory notes make one low clash and on the first beat of the phrase one high clash. Walk round clockwise holding swords vertically in front of them, hilts at shoulder level (8 bars) then walk round holding sword down with hilt on the right hip (8 bars) then link up for open ring.

2. North Skelton Figure 5

Holding the sword in the left hand, face anticlockwise and make High Salute. High Clash, moving anticlockwise. Make ½ turn anticlockwise and change sword back to right hand. Walk round clockwise forming a High Basket (8 bars) then High Clash (8 bars) etc.

3. Loftus figure 5, Lingdale Figure 5 (JP: Dommett only shows 3 complete figures for Lingdale in his section on the film, and this move is in his figure C. However, Peter Kennedy, 1948, has five figures and his figure 5 is Dommett’s figure C.)

Low Salute, High Basket anticlockwise, High Basket clockwise, High Clash, Open Ring.

There are six distinctive figures which can be interpolated. These are:

1. Double Under and Double Over

2. Poussette and Roll

3. Arches

4. Windows (or the New Roll)

5. One Lord Over

6. Advance and Retire over the swords

Individual teams have introduced some differentiation. For example, North Skelton separates Double Under and Double Over, putting the former into the first figure, presumably to make it more interesting. Boosbeck put 3 and 2 together in their figure 3. Loftus put 5 and 3 together in their figure 5. Lingdale do the same but in reverse order.

It is worth commenting that the Cleveland dances seem to be a modern development. The structure appears to be designed for exhibition rather than ritual (JP: To quote Dommett’s writing elsewhere: “Despite a century of academic searching, there is still no evidence to support a postulated direct link to any ancient pagan or fertility rite.”) and in view of the geographical location the similarities to the Rapper must be significant. The Cleveland dances were derived from an 8 man dance, which was revived at Skelton, but it is important that the figures used are either elaborations of the ‘Roll’ figure, which is an appendix to the dance further south rather than an integral part, or versions of the circle figures which appear in the Rapper. In particular, Double Under, less one dancer and with flexible swords, is the basis of bi-circling Rapper figures.

The dances require changes from ring to column and back. This is always done by a link movement, viz:-

1. Reels of three (on the sides)

2. Circular hey

3. Low basket

In that order of frequency. The only other movements introduced are a Cross Over (North Skelton) and an In-Line (Loftus) which seem to be unlinked versions of figure six above.

There are, of course, differences in the manner of performance of particular figures between the various teams. Only in the case of ‘Windows’ is there a basic difference in the movement – at North Skelton it is related to the ‘roll’, at Loftus to ‘arches’. As this note is intended to be comparative, the figures will be described first, rather than in the description of the individual dances as is the usual custom.

DOUBLE UNDER

In all the descriptions it is assumed that the dancers are numbered clockwise from 1 to 6. In each figures the set breaks at number 1 first, thus movements are led off by 1 & 2 or 1 & 6.

The basic reference for a description of a Double Under is usually Kirkby Malzeard, Sword Dances of Northern England Part 1. p. 49, as modified for Sleights, Part 2. p.21.

Numbers 4 & 5 raise the sword between them, making an arch and move slowly forwards towards the centre. Numbers 1 & 2 carry 2’s sword under, followed by 3 & 6. Having carried their sword under the arch, 1 & 2 raise it, make a half turn away from each other under it, and carry it back over the other dancer’s heads to their starting places. As 1 & 2 turn, 4 & 5 make a half turn inwards to face 1 & 2; the couples having passed as far as the swords will comfortably allow; and 4 & 5 lead their sword back under the new arch.

At end, to get straight, 1 & 2 make a quarter turn inwards. 4 & 5, who have recrossed the set with arms crossed, have to make a half turn outwards under the sword between them.

Sleights Each double under takes 8 bars and is followed immediately by the next.

North Skelton & Boosbeck Each double under takes 8 bars and is followed `immediately by an open ring for 8 bars.

Loftus The sword is led through at waist level, and the arch is made just above head level, so that dancers do not have to duck. 4 & 5 do not seem to cross as far over as 1 & 2. The movement is done in 12 steps, followed by 4 steps in open ring before the next pair of double unders. The phrasing of the turns is also a little different. On step four, 1 & 2 turn back; on step eight, 3 & 6 turn back and 4 & 5 turn in to go through; on step twelve, 4 & 5 turn to get straight.

Lingdale Double under repeated immediately by opposite couple as at Loftus. Lingdale’s phrasing is not so tight as Loftus’s. They also take about twelve steps. The sword going over at the start is raised with a full arm swing to well above head level. 1 & 2 turn back on steps six or eight. 3 & 6 turn on step ten, when 4 & 5 who raise their swords as soon as they have passed under 1 & 2’s sword are already turning to back into place in order to be straight on step twelve.

DOUBLE OVER

This figure is very similar to double under, except that the sword is lowered rather than raised. Crossing the sword is done in a way which is very characteristic of the Cleveland dances. The crossing takes four beats:

beat 1 – a step.

beat 2 – a hop on the supporting foot, lifting the other over the sword.

beat 3 – step onto the other foot, having crossed the sword.

beat 4 – hop on the supporting foot, bringing the other foot over.

This puts the dancer back into his original leading foot. (Over a sword, etc. is also done this way.) The exact timing depends on the figure and the team. The dance is done with left foot leading. If right foot over first, the stepping is:

l. r. l. r./ l. hl. r. hr./

If left foot over first, it is:

l. r. l. r/hr. l. hl. r./

Left foot first is the usual way.

North Skelton The couple holding the sword down, swoop it down, and moving slowly pass it under the feet of the couples. After the second couple have crossed, the couple holding the sword down turn towards each other and step over the sword to place. Each couple crosses shoulder to shoulder and the stepping is:

1&6 l. r. l. r./ hr. l. hl. r./ l. r. l. r./ l. r. l. r./

2&5 l. r. l. r./ l. r. l. r./hr. l. hl. r./ l. r. l. r./

3&4 l. r. l. r./ l. r. l. r./ l. r. l. r./hr. l. hl. r./

Each double over is followed by an open ring for 8 bars.

Boosbeck As above.

Loftus The sword goes down on the first beat of the figure, it is carried about ¾ of the way over the set. The couple leading over raise their sword to forearm horizontal, elbow into side. First couple, having crossed, on next two beats they turn out and take their sword back over the top, going over the third couple as (or before) they go over the lowered sword. As the first couple start to start to cross, the second couple are shoulder to shoulder immediately behind them. As soon as second couple cross, third couple are shoulder to shoulder but still bending down. The third couple after crossing turn away from each other and take 2 to 4 steps to get straight (the first few steps of the open ring) – Stop as above, left foot over first.

Lingdale Phrasing not so precise. Sword is swung out, then down, at end of preceding phrase, very quickly. Unlike the above, the third couple turn after the second couple have crossed and have to cross the swords very quickly on the last two beats. The second and third couples seem to be prepared to insert extra steps before crossing.

Each double over is followed by a short open ring, about four bars. I’ve found this team very difficult to follow in this.

WHOLE POUSSETTE

Team lines up in column like a morris side, couples facing, either 1v2, 6v3, 5v4 or 6v1, 5v2, 4v3. Each couple joins swords across the set at waist level, grasping his partner’s sword point in his left hand.

The path is an angular figure eight. Couples orientate so that the swords are along the line of travel and couples make the minimum of turn at the corners. NB. 4&5 take two steps and two steps back at the start. 3&6 take eight steps in crossing the top end, rather than the usual four. 1&2, 3&6 mark time for four steps at the end.

32 steps = 16 bars.

Diagram Image

Boosbeck As above but middle couple move off along other diagonal; couples circulate in the same sense; top couple take first 8 steps drawing out to the left wall while waiting to come in as 3^rd couple.

Lingdale As above, but circulating in the opposite direction. Link swords on the first beat. Take 14 bars travelling and 2 marking time still holding both swords.

Loftus Circulate same direction as North Skelton. As at Lingdale, phrasing not so precise. Top couples take 3 or 4 steps to pass at start while bottom couple mark time, then travel along each straight which takes about 6 steps.

THE ROLL

This movement starts from the same formation as the Poussette. It is a hey performed by going under and over the pairs of swords. Between each change of place, each couple does one or more ‘rolls’, that is, they turn away from each other, either up or down on the spot, swinging their arms round in a circle, swords together. In the following diagrams the outer arrows represent going over, the inner going under. The small arrows show the direction of each roll. Each diagram shows the movement during 4 steps, vertical lines indicate every 4 bars. ‘Top’ is at the top of the diagram.

North Skelton

Rule – go under going down: roll in direction one is going. At the ends, three rolls, two in the direction one was going, one in the direction you’re going to go.

HERE

Diagram Image

Boosbeck

diagram

Loftus

The odd couple at the end tend to turn a bit quicker than indicated so that they are turning while the other two are passing. Sometimes the end couple moves a bit away from the set before rolling. Because the end couple turns during the end of the other’s passing they are ready to go over as the other comes out of their turn. No roll once back to starting place.

diagram

Lingdale

(JP: taken from diagram)

All couples roll down set.

Bottom couple pass over middle couple.

All couples roll down set

Middle couple pass over top couple

Top couple roll up set

Other couples roll down

Bottom couple pass over middle couple

Top couple roll up set

Other couples roll down

Middle couple pass over top couple

Top couple roll up set

Other couples roll down

Bottom couple pass over middle couple

Top couple roll up set

Other couples roll down

Middle couple pass over top couple

(JP: Rule: roll down the set unless you have just arrived at the top, in which case you roll the other way.

Couples progress from the bottom to the top and the couple moving up the set always pass over the other couple.

After each couple have done this once, the move is complete.)

diagram Image

ARCHES

North Skelton

“Clash and Mark Time”

Dancers form up in two files 1v2, 6v3, 5v4, and partners cross swords with arms held high to form arches, and while quietly marking time with their feet, they clash their swords together on the 1^st and middle beats of each bar with a slight movement of the wrist from right to left (8 bars).

“Guard of Honour”

Partners cross tips as above and mark time for 8 bars without clashing (8 bars).

Lowering their swords onto their right shoulders and breaking into a running step, 1&2 go side by side down the middle of the set, passing under the swords of the other dancers who, still marking time, edge up one place sideways (4 bars). On reaching the bottom 1&2 face inward and fall into the places vacated by 5&4, cross tips of swords and mark time in this position (4 bars). This is done by the other two couples in turn (24 bars in all).

“Move Down and Cast”

On the first beat, 1&2 lower swords on to their shoulders and go down middle as before, but on reaching the bottom they cast off outside their own side and come back to place. Meanwhile 6&3, marking time, move up to the top (2 bars) then lowering their swords follow 1&2 down the middle and cast up to places; while 5&4 move up to the top (4 bars total) lower their swords and follow 6&3 down the middle, making a turn outward at the bottom to position (8 bars).

(JP: This does not agree with Dommett’s notes on the North Skelton film, but the version here may not be from the same source. Interestingly, Allsop cites his source for North Skelton as Dommett’s notes on the film, but the text he uses for this move clearly comes from the paragraph above.)

###################################### Image

Boosbeck

“Arches”

Dancers form up into 2 files: 6v1, 5v2, 4v3, each pair silently crossing their swords at the tips and marking time (8 bars) 1&6 drop their swords onto their right shoulders then go through the arches to the bottom place, the others moving up (4 bars). All mark time (4 bars). This repeated in turn by 2&5, 3&4 till all are back to original places, after which they all mark time for a further 8 bars.

Loftus

Form in two rows, swords raised in arches.

Mark time on spot, no clashing, with gentle step (8 bars). Top couple cast down outside to bottom and march up through arches to place. Sword sloped over right shoulder. No clashing by arches (8 bars).

Middle couple up middle under top arch, cast outside to bottom and up middle to place (8 bars).

Third couple up middle and cast to bottom, form arches (8 bars).

Arches mark time and clash (8 bars).

Lingdale

Form two facing lines, swords in arches. Mark time, no taps. (8 bars)

The (JP: 1965) film is not too helpful on phrasing as it seems that the team at the Albert Hall did each movement in 4/8 bars as expected, but marked time for about 2 bars between each movement. I think:

1^st couple under arches and take up position at bottom (4 bars). As couple goes down, arches move slowly up one place.

2^nd couple mark time (2 bars) then as 1^st couple (4 bars).

3^rd couple mark time (2 bars) then, as 2^nd couple (4 bars)

1^st couple down middle, cast up outside to place (8 bars)

2^nd couple wait (2 bars) then down middle, cast up outside to top and down middle to place (8 bars)

3^rd couple wait (2 bars) then cast up outside to top and down middle to place (8 bars)

Arches mark time and clash (8 bars). It adds up to 4 bars adrift.

WINDOWS

There is a difference of principle between the manner of performance at North Skelton and at Loftus. At Skelton the figure is related to the Roll and is called “The New Roll” and is characterised by everyone doing rolls between each change. At Loftus the figure is very similar to Arches.

North Skelton

Dancers form two files and hold both swords as for Poussette.

“Preparatory Windows”

Couples do a preparatory spin, two top couples up, bottom couple down (4 bars). Still marking time, each couple lowers the sword furthest from the top, while holding that nearest as high as possible. Each dancer after marking time 4 beats steps over the lowered sword onto the left foot on the 6^th beat and the right foot on the 8^th beat, hopping on the 5^th and 7^th as in Double Over (4 bars). Turning away from each other (down) the dancers re-face and return swords to normal position (2 bars). Then all spin once upwards in last two bars (8 bars in all).

“Progressive Windows”

All mark time, partners holding both swords horizontally etc. Centre couple lower and raise sword as in Preparatory Windows and top couple pass through the window thus made, timing steps as in Double Over. The two couples then spin away from each other, 1&2 down, 3&6 up. Meanwhile the bottom couple spin 3 times down then twice up (6 bars in all). 1&2 then similarly pass through window made by 4&5 while 3&6 do 3 spins, one up and two down. This movement continues in the same pattern as the roll until all back to place (36 bars in all). In each case the movement through the window takes 4 bars and the spin 2 bars. After each window each couple spins once in the direction they have been moving. Neutral couples spin 3 times, once the way they have been going and twice the reverse. Except 1&2 who on reaching the top at the end do 3 spins up.

Loftus

Step a very quiet mark time throughout the figure. At end of previous figure all form windows with hands nearest top lowered, the opposite to Skelton, and back away from top a little ready for start of figure (4 bars).

On 1^st beat swing the raised sword down so that men are facing up but still bending down with outside hands and swords just in front of feet and inside sword at knee level, horizontal and a little further forward than the lower sword. All make 4 steps up starting left foot and then hop over the outside sword left foot over first as in Double Over. On the 2^nd hop the dancers are facing out with inside hand almost over own head, in two more beats they are straight having done a roll upwards and are now standing upright facing partner, swords together (4 bars).

2^nd and 3^rd couples face up & make windows, bending down so that outside sword is as low as possible and inside sword as high as possible – but the swords are not in the same vertical plane. They are held so that in going through one passes under one before hopping over the other – there should be enough room for couple to go through without ducking more than an inch or two. 1^st couple marks time a few beats then casts out down outside of set, going well past end of set if possible so that turn to face up with a “spacing” between them and bottom window (8 bars). Marking time before cast and after facing up at bottom no longer than 2 bars each. 1^st couple do whole movement with sword sloped over right shoulder. 1^st couple then comes up through windows to place. The stepping is

1 2 3 4 / h l h r / 1 2 3 4 / h l h r

Approach 1^st window approach 2^nd window

Then immediately form their own window. This will take up to two beats of next phrase. The other couples move similarly. 2^nd couple goes round, 4 bars through 1^st couple, 8 bars cast to bottom, 4 bars through to place.

Cleveland 11

3^rd couple go round, 8 bars through & 8 to bottom. As they go to bottom, the other two couples move slowly backwards a few feet as at beginning of preparatory movement. 3^rd couple reach place, link both swords but don’t form a window. They face up with both swords held low as in preparatory movement which the other 2 couples swing into as they walk up 4 steps and roll outwards as at start (4 bars). Then all do another roll up (2 bars) and loose swords at finish to go into next movement.

ONE LEAD OVER

For No 1 lead over and back it is briefly:

Loftus

4&5 lower sword and lead towards 1. No 1 leads the others across with both swords across his shoulders followed by 2&6 side by side and then 3 alone. 1 crossed sword in bar 2, 2&6 in bar 3 and 3 in bar 4. Then 1 returns over sword, going backwards but the others turn, 2&3 anticlockwise and 6 clockwise to cross moving forwards. Then all straighten out.

In detail:

Stepping for each:

1^st man 1 2 3 4 / h l h r / 1 2 3 4 / 1 2 3 4 /

2^nd couple 1 2 3 4 / 1 2 3 4 / h l h r / 1 2 3 4 /

3^rd man 1 2 3 4 / 1 2 3 4 / 1 2 3 4 / h l h r /

Individual movements are:

No 1 – (bar 1) move forward (bar 2) move forward over sword (bar 3) move forward (bar 4) move forward 2 steps & back 2 steps without turning (bar 5) move backwards (bar 6) move backwards hopping over sword (bar 7) move backwards (bar 8) get straight. In bars 1-4 No 1 has a sword over each shoulder to the dancers behind. In bars 5-8 the swords are together in front of him.

No 6 – (bar 1) move forward, falling in behind 1, with 2 on his left (bar 2) move forward (bar 3) move forward hopping over sword (bar 4) complete turn clockwise under 1’s sword to face forward again with back to No 5. Swords now crossed in front (bar 5) half turn anticlockwise, 4 steps to face back over sword, (bar 6) move to sword (bar 7) lower sword (bar 8) half turn anticlockwise under 1’s sword to straighten out in 2 beats.

No 2 – (bar 1) move forward, falling in behind 1 with 6 on his right (bar 2) move forward (bar 3) cross sword (bar 4) half turn anticlockwise under own sword, backing so as to pass No 1; Nos 1 & 2, going backwards, pass left shoulders. At end of 4^th step in bar 4, he is farthest across and Nos 6 and 3 are level. No 2 then has his wrists crossed, right over left (bars5-6) approach sword ending shoulder to shoulder with No 6 (bar 7) cross sword (bar 8) take 2 beats to turn clockwise under own sword to straighten.

No 3 – crosses sword in bar 4 and moves to his left as No 1 comes backward to sword. Does half turn anticlockwise under own sword to fall in behind No 2 by taking a step to his left after the couple has passed him. Half turn clockwise under own sword to get straight at end.

Lingdale

The movement differs from Loftus in that the men holding the sword down hop over it but the odd man marks time on the spot facing across the set throughout.

Individual movements are:

No1 – as Loftus, swords being brought up onto shoulders in bar 2.

2& 6 – (bars 1-2) approach sword (bar 3) cross sword shoulder to shoulder (bar 4) turn clockwise; No 2 half turn and fall back under 3’s sword, swords now crossed in front, left over right; No 6 half turn and face across set under No 1’s sword, 1’s sword up high. Move to sword, cross and back to place turning anticlockwise under neighbour’s sword to straighten.

No 3 – throughout mark time on spot facing across set.

Cleveland 12

4&5 – 1^st beat swing sword back, then swing it forward and down and move forward across set 3 bars. At end of 3^rd bar turn in to face back shoulder to shoulder and then cross sword in bar 4. In bar 5 they make a complete turn outwards under swords, 4 anticlockwise, 5 clockwise to end facing back. Move lowered sword slowly back and straighten out in bar 8 with a half turn, 4 clock, 5 anticlock.

At Loftus and Lingdale each movement takes 32 steps or 16 bars in the above, each “bar” is 4 steps long and really is two bars of music. Each “One Lead Over” is followed by 8 bars Open Ring and then done by the man opposite in the ring.

ADVANCE AND RETIRE OVER THE SWORDS

If this was not a distinct figure at Loftus one would imagine that the Boosbeck figure was a variant of the above figure.

Boosbeck

Numbers 2&1 helped by number 6 hold swords up. Numbers 5&4 helped by 3, hold theirs down and advance to meet each other in lines of three. Number 1 jumps over the sword between 4&3, Numbers 2&6 passing outside the other men, 6 past 5, 2 past 3. The lines having passed each other, 3, 4 & 5 turn clockwise and move forward again while 1, 2 & 6 fall back, 1 jumping backwards over the same sword. 3, 4 & 5 turn anticlockwise into hilt and point position (8 bars in all). The jump is on the 1^st half of bars 3 & 7. Each movement is followed by Open Ring for 8 bars.

Loftus

Numbers 2 & 1 raise swords and 6 & 5 lower theirs. Number 1 goes over the sword between 6 & 5, Number 2 goes over the sword between 5 & 4. Number 3 goes past 4 at the end. Number 6 has been marking time on the spot. Then 6, 5, 4 turn round quickly clockwise to face back with hands crossed and 1, 2, 3 go backwards, jumping where necessary, to places. Followed by Open Ring 8 bars.

THE DANCES

NORTH SKELTON

FIGURE ONE

High Salute

High Clash (8 bars)

Shoulders and Elbows (24 bars)

Open Ring (8 bars)

Over Neighbours Sword (12 bars)

Open Ring (4 bars)

Double Under – 3 & 4 make arch (8 bars)

Open Ring (8 bars)

Double Under – 5 & 6 make arch (8 bars)

Open Ring (8 bars)

Double Under – 1 & 2 make arch (8 bars)

Low Basket (8 bars)

Low Clash (8 bars)

Back Lock (8 bars)

Rose (8 bars)

Draw (16 bars)

Over Neighbour’s Sword – Each man takes four steps (2 bars). Neighbour’s sword is lowered, hop over from outward inwards, left foot over first, turning clockwise. After crossing, sword hands are crossed right over left -lift right hand over head to straighten out while next man is going over his neighbour’s sword.

Low Basket – Dancers take three beats to deliberately cross swords in centre of ring just above ground level.

FIGURE TWO

Low Salute

Low Clash (8 bars)

Cross Over (8 bars)

Hey (8 bars)

Clash and Mark Time (8 bars)

Poussette (16 bars)

Roll (32 bars)

Circular Hey (8 bars)

Open Ring (8 bars)

Clash Hilts Lock (16 bars)

Rose (8 bars)

Draw (16 bars)

Cross Over – Line up 2, 1, 6 v 3, 4, 5. All fall back four steps (2 bars), lines change places, passing by right shoulder (2 bars). 2, 1, 6 make half turn clockwise and 3, 4, 5 half turn anticlockwise to face partner (2 bars). Lines cross back, passing left shoulder, and turn the shortest way into the hey (2 bars).

Hey – country dance straight hey for three: 2, 1, 6 and 3, 4, 5. 1&6 face each other to start, likewise 3&4. The first pass is by the left shoulder. (JP: Note that the heys start at opposite ends of the set)

Circular Hey – Slope swords over shoulders. 1&2, 3&4, 5&6 face and the first pass is by the right.

FIGURE THREE

High Salute

High Clash (8 bars)

Shoulders (16 bars)

Open Ring (8 bars)

Over Own Sword (24 bars)

Open Ring (8 bars)

Double Over 3 & 4 holding sword down (8 bars)

Open Ring (8 bars)

Double Over 5 & 6 holding sword down (8 bars)

Open Ring (8 bars)

Double Over 1 & 2 holding sword down (8 bars)

Circular Hey (8 bars)

Back Ring (16 bars)

Turn-in Lock (8 bars)

Rose (8 bars)

Draw (16 bars)

Over Own Sword – Each man takes 4 bars. Raise both hands and do a complete turn anticlockwise under the swords (2 bars); lower both swords and step over own sword, right foot first. As right arm is now across body, pass it over head to straighten out as the next man starts his movement.

Circular Hey – 1 & 6, 2 & 3, 4 & 5 Face, and pass by the right first.

Back Ring – All face out and link up. Dance round anticlockwise.

FIGURE FOUR

High Salute

High Clash (8 bars)

Shoulders (16 bars)

Open Ring (8 bars)

Low Basket ( (8 bars)

Low Clash (8 bars)

Guard of Honour (32 bars)

Move Down and Cast (8 bars)

Open Ring (8 bars)

High Lock (8 bars)

Rose (8 bars)

Draw (16 bars)

FIGURE FIVE

High Salute

High Clash anticlockwise (8 bars)

High Basket (8 bars)

High Clash (8 bars)

Shoulders (16 bars)

Open Ring (8 bars)

Left Turn (32 bars)

Low Basket (8 bars)

Low Clash (8 bars)

Column (8 bars)

Preparatory Spin and Windows (12 bars)

Progressive Windows (36 bars)

Hey (8 bars)

Open Ring (8 bars)

Right and Left Lock (8 bars)

Rose (8 bars)

Draw (16 bars)

Left Turn – All dance round clockwise. Number one raises both hands and makes a complete anticlockwise turn (2 bars). This is then done by each dancer in turn (12 bars in all). Ring (4 bars) still dancing clockwise. Number one makes complete clockwise turn, followed by the rest in turn (12 bars). Open Ring (4 bars).

Column – In two files, holding swords as for poussette, mark time.

Hey – 1 & 2 pass between 3 & 6, then outside 4 & 5 to start. (JP: It’s an unusual way to start a hey, but everyone does get back to place.)

BOOSBECK

FIGURE ONE

Low Salute

High Clash (8 bars)

Shoulder and Elbows (24 bars)

Open Ring (8 bars)

Over Own Sword (24 bars)

Open Ring (8 bars)

Low Basket (8 bars)

Low Clash (8 bars)

Right and Left Lock (8 bars)

Rose (8 bars)

Draw (8 bars)

Over Own Sword – each dancer takes 4 bars – lower own sword, hop and step over, right foot over first and make whole turn anticlockwise under the swords, being ready at end to lower neighbour’s sword.

Over Neighbour’s Sword – each dancer takes 4 bars – on first four beats, turn half way round clockwise, lowering neighbour’s sword, and then hop and step over it left foot over first, completing turn as crossing, carrying his own sword over his head.

FIGURE TWO

Low Salute

High Clash (8 bars)

Over Own Sword (24 bars)

Open Ring (8 bars)

Double Under 4 & 5 arch (8 bars)

Open Ring (8 bars)

Double Under 1 & 2 arch (8 bars)

Open Ring (8 bars)
Double Under 5 & 6 arch (8 bars)

Open Ring (8 bars)

Double Under 3 & 4 arch (8 bars)

Open Ring (8 bars)

Double Over 4 & 5 down (8 bars)

Open Ring (8 bars)

Double Over 1 & 2 down (8 bars)

Open Ring (8 bars)

Double Over 5 & 6 down (8 bars)

Open Ring (8 bars)

Double Over 3 & 4 down (8 bars)

Open Ring (8 bars)

Low Basket (8 bars)

Low Clash (8 bars)

Right and Left Lock (8 bars)

Rose (8 bars)

Draw (8 bars)

Over Own Sword – each dancer takes 4 bars – each in turn lifts swords above head and make a turn anticlockwise underneath (2 bars), immediately lowers own sword with hands crossed and hopping, steps over, right foot over first.

Double Under – In all the descriptions it is assumed that the dancers are numbered clockwise from 1 to 6. In each figures the set breaks at number 1 first, thus movements are led off by 1 & 2 or 1 & 6.

The basic reference for a description of a Double Under is usually Kirkby Malzeard, Sword Dances of Northern England Part 1. p. 49, as modified for Sleights, Part 2. p.21.

At end, to get straight, 1 & 2 make a quarter turn inwards. 4 & 5, who have recrossed the set with arms crossed, have to make a half turn outwards under the sword between them.

Each double under takes 8 bars and is followed immediately by an open ring for 8 bars.

Double Over – The couple holding the sword down, swoop it down, and moving slowly pass it under the feet of the couples. After the second couple have crossed, the couple holding the sword down turn towards each other and step over the sword to place. Each couple crosses shoulder to shoulder and the stepping is:

1&6 l. r. l. r./ hr. l. hl. r./ l. r. l. r./ l. r. l. r./

2&5 l. r. l. r./ l. r. l. r./hr. l. hl. r./ l. r. l. r./

3&4 l. r. l. r./ l. r. l. r./ l. r. l. r./hr. l. hl. r./

Each double over is followed by an open ring for 8 bars.

FIGURE THREE

Low Salute

High Clash (8 bars)

Open Ring (8 bars)

Circular Hey (8 bars)

Arches (40 bars)

Whole Poussette (16 bars)

Roll (24 bars)

Low Basket (8 bars)

Low Clash (8 bars)

Open Ring (8 bars)

Clockwise Turn Lock (8 bars)

Rose (8 bars)

Draw (8 bars)

“Arches”

Whole Poussette – Team lines up in column like a morris side, couples facing, either 1v2, 6v3, 5v4 or 6v1, 5v2, 4v3. Each couple joins swords across the set at waist level, grasping his partner’s sword point in his left hand.

32 steps = 16 bars.

Diagram

Roll – This movement starts from the same formation as the Poussette. It is a hey performed by going under and over the pairs of swords. Between each change of place, each couple does one or more ‘rolls’, that is, they turn away from each other, either up or down on the spot, swinging their arms round in a circle, swords together. In the following diagrams the outer arrows represent going over, the inner going under. The small arrows show the direction of each roll. Each diagram shows the movement during 4 steps, vertical lines indicate every 4 bars. ‘Top’ is at the top of the diagram.

diagram

As above but middle couple move off along other diagonal; couples circulate in the same sense; top couple take first 8 steps drawing out to the left wall while waiting to come in as 3^rd couple.

FIGURE FOUR

Opening Move (16 bars)

Open Ring (8 bars)

Advance and Retire, number 2 jumps (8 bars)

Open Ring (8 bars)

Advance and Retire, number 5 jumps (8 bars)

Open Ring (8 bars)

Advance and Retire, number 3 jumps (8 bars)

Open Ring (8 bars)

Advance and Retire, number 6 jumps (8 bars)

Low Basket (8 bars)

Low Clash (8 bars)

Back Lock (8 bars)

Rose (8 bars)

Draw (8 bars)

Opening Move – Each man places the point of his sword on the outside of his right hand neighbour’s right toe, and on the second of the two preparatory notes make one low clash and on the first beat of the phrase one high clash. Walk round clockwise holding swords vertically in front of them, hilts at shoulder level (8 bars) then walk round holding sword down with hilt on the right hip (8 bars) then link up for open ring.

Advance and Retire – Numbers 2&1 helped by number 6 hold swords up. Numbers 5&4 helped by 3, hold theirs down and advance to meet each other in lines of three. Number 1 jumps over the sword between 4&3, Numbers 2&6 passing outside the other men, 6 past 5, 2 past 3. The lines having passed each other, 3, 4 & 5 turn clockwise and move forward again while 1, 2 & 6 fall back, 1 jumping backwards over the same sword. 3, 4 & 5 turn anticlockwise into hilt and point position (8 bars in all). The jump is on the 1^st half of bars 3 & 7. Each movement is followed by Open Ring for 8 bars.

LOFTUS

“In the present revival of sword dancing, we have tried to recapture the spirit and enthusiasm of those pioneers. The figures of our dance have been decided upto after talks we have had with the survivors of the old dance teams, and if there is any similarity between our dance and the other named Cleveland dances, this is natural in view of the history of these dances.

The present (1953) Loftus Sword Dance Team was started at the County Modern School in 1950 and since the spring of 1951 we have been fortunate in having the advice and help of Mr Arthur Marshall of Charltons, who has a national reputation as a player of sword dance music. He first became interested in paying the melodeon with the North Skelton team in the early 1920’s. The first public dancing done by the new Loftus team was in connection with the Festival of Britain ceremonies in the town in 1951 and since then the team has an unbroken sequence of successes at folk dancing competitions at Newcastle, Darlington, York and Whitby. At Easter 1952, they danced at the Easter Conference of the EFDSS at Scarborough by invitation…. since then, the team has performed at festivals at Newcastle, London, Birmingham, Harrogate and elsewhere….. It competed in 1953 at Llangollen.”

Music – very fast – too fast for rapper. “Oyster Girl” only – 24 bars in 20 seconds or dotted crotchets (can’t read original)

Dance exists in three forms:

1. Old form, as taught at the school – full set of repeats – eg. Everyone did over own swords, double unders done all round set, etc. (JP: having done some longsword teaching in schools, I’d say that the dance could easily have acquired extra repeats at this point, as teachers want all the children to have a turn at making arches, etc)

2. Figures were shortened by eliminating some of the repetition.

3. Two or three years ago, figures further shortened and amalgamated for competition purposes, particular Llangollen. This is not the usual form used for a public display. It was interesting that at Sidmouth we saw a team with a reserve in it who did not really know all the figures of the old dance even though they are build into the segment he was doing.

The following is a description of form 2.

FIGURE ONE

Low Salute

High Clash (8 bars)

Shoulders (16 bars)

Open Ring (8 bars)

Over Own Sword (24 bars)

Low Basket (8 bars)

Low Clash (8 bars)

Open Ring (8 bars)

Right and Left Lock (8 bars)

Rose (8 bars)

Draw (16 bars)

Over Own Sword – done in full by 1, 3, 5 only, but circles at same rate throughout. Dancer does complete clockwise turn in four steps, turning under neighbour’s sword raised over head. Other sword is not moved. Then bend down, hands crossed, left over right and hopping, step over own sword going from inside to out.

FIGURE TWO

Low Salute

High Clash (8 bars)

Shoulders (16 bars)

Open Ring (8 bars)

Over Own Sword (24 bars)

Hey (8 bars)

Roll (24 bars)

Poussette (16 bars)

One Roll & Low Basket (8 bars)

One Clash & Open Ring (8 bars)

Lock (8 bars)

Rose (8 bars)

Draw (16 bars)

Over Own Sword – might be done differently -done by 2, 4, 6 only.

Hey – for three along sides. All heys should be done the same way, but often not lined up the same way as Windows. Top two couples pass by right shoulder to start with, and the bottom couple come in progressively. End facing partner and grasp both swords ready for next movement.

FIGURE THREE (2 mins)

Low Salute

High Clash (8 bars)

Inside Shoulders and Outside Elbows (16 bars)

Open Ring (8 bars)

Over Own Sword (24 bars)

Double Under 4 & 5 make arch (8 bars)

Double Under 1 & 2 make arch (8 bars)

Open Ring (8 bars)

Double Over, 4 & 5 lower sword (8 bars)

Open Ring (8 bars)

Double Over, 1 & 2 lower sword (8 bars)

Open Ring (8 bars)

Right and Left Lock (8 bars)

Rose (8 bars)

Draw (16 bars)

Over Own Sword – done by 1, 3, 5 only in turn – half turn clockwise under swords then cross sword, right foot over first, which making second half turn. Open Ring (4 bars)

FIGURE FIVE (2 min 25 sec)

Low Salute

High Basket anticlockwise (8 bars)

High Basket clockwise (8 bars)

High Clash (8 bars)

Open Ring (8 bars)

One Lead Over by 1 (16 bars)

Open Ring (8 bars)

One Lead Over by 4 (16 bars)

Open Ring (8 bars)

Hey (8 bars)

Arches (40 bars)

Open Ring (8 bars)

Low Basket (8 bars)

Low Clash (8 bars)

Back Lock (8 bars)

Rose (8 bars)

Draw (16 bars)

FIGURE SIX (2 min 10 sec)

Low Salute

High Clash (8 bars)

Open Ring (8 bars)

Advance and Retire Over Swords, 1&6 jump (8 bars)

Open Ring (8 bars)

Advance and Retire Over Swords, 4&3 jump (8 bars)

Open Ring (8 bars)

Circular Hey (16 bars)

Into Line (8 bars)

Open Ring (8 bars)

Advance and Retire Over Swords (8 bars)

Open Ring (8 bars)

Advance and Retire Over Swords (8 bars) (JP:check if this is accidental duplication. Check numbering with Allsop and note direction of numbering)

Open Ring (8 bars)

Clockwise Turn Lock (16 bars)

Rose (8 bars)

Draw (16 bars)

Into Line – form up into two lines facing, swords sloped over right shoulders. Lines move forward to stand right shoulder to right shoulder with partner in one line (2 bars forward, 2 marking time, 2 falling back, 2 marking time)

Entry – 1. walk on in column, each file casts out and back to form a circle. Dancers face centre with sword still sloped over shoulder and mark time. At end of phrase, all turn to face clockwise and bring point of sword down for low salute, then up for High Clash, start off moving on left foot.

2. Walk on in single file and cast alternately into circle and mark time with swords down in the middle.

General – springy walk -in Open Ring, hand about 18 inches from body, comfortably outstretched. In shoulders the outside, left, arm is up, entirely at shoulder level, horizontal and comfortably curved. In outside elbow, the circle is still the same size as for shoulders.

EXHIBITION OF SEQUENCE ONE (3 mins, based on figures 2 & 3)

Low Salute

High Clash (8 bars)

Shoulders (16 bars)

Open Ring (8 bars)

Over Own Sword 1, 3, 5 (24 bars)

Hey (8 bars)

Roll (24 bars)

Poussette (16 bars)

One Roll & Low Basket (8 bars)

One Low Clash and Open Ring (8 bars)

Double Under 4&5 arch (8 bars)

Double Under 1&2 arch (8 bars)

Open Ring (8 bars)

Double Over, 4&5 down (8 bars)

Open Ring (8 bars)

Double Over, 1&2 down (8 bars)

Open Ring (8 bars)

Lock (8 bars)

Rose (8 bars)

Draw (16 bars)

EXHIBITION SEQUENCE TWO (3 min, 30 seconds) based on figures 3, 4, 5

Low Salute

High Clash (8 bars)

Open Ring (8 bars)

Advance and Retire Over Swords 1&6 jump (8 bars)

Open Ring (8 bars)

Advance and Retire Over Swords 4&3 jump (8 bars)

Open Ring (8 bars)

Hey (8 bars)

Windows (48 bars – second couple do NOT cast round)

One Roll and Low Basket (8 bars)

One Clash and Open Ring (8 bars)

One Lead Over by 1 (16 bars)

Open Ring (8 bars)

One Lead Over by 4 (16 bars)

Open Ring (8 bars)

Hey (8 bars)

Arches (24 bars – ONLY second couple go round)

Open Ring (8 bars)

Low Basket (8 bars)

One Clash and Back Lock (8 bars)

Rose (8 bars)

Draw (16 bars) or lead off with the Rose

LINGDALE

(JP:This version of Lingdale is probably taken from the Albert Hall performance in 1965. Compare with Peter Kennedy, 1948, and Dommet’s notes on the 1936 film.)

(JP: assume dancers are numbered clockwise) prob…

FIGURE A

High Clash (8 bars )

Shoulders (16 bars)

Open Ring (8 bars)

Over Own Sword (24 to 36 bars)

Open Ring ( )

Double Under Twice (16 bars)

Double Over Twice (16 bars)

Open Ring ( )

Right & Left Lock (8 bars)

Rose (8 bars)

Draw (16 bars)

Double under – repeated immediately by opposite couple. (Lingdale’s phrasing is not so tight as Loftus’s). They also take about twelve steps. The sword going over at the start is raised with a full arm swing to well above head level. 1 & 2 turn back on steps six or eight. 3 & 6 turn on step ten, when 4 & 5 who raise their swords as soon as they have passed under 1 & 2’s sword are already turning to back into place in order to be straight on step twelve.

Over Own Sword – keep facing same way as circling, lower own sword (2 bars). Hopping, step over it from outside to inside (2 bars), turn anticlockwise under neighbour’s sword (2 bars). It is difficult to be sure of the phrasing. When lowering sword, the man at the other end bends to keep it horizontal.

Double Under & Over, 4 & 5 sword up or down first, then 1 & 2.

Double Over – Phrasing not so precise. Sword is swung out, then down, at end of preceding phrase, very quickly. Unlike the above, the third couple turn after the second couple have crossed and have to cross the swords very quickly on the last two beats. The second and third couples seem to be prepared to insert extra steps before crossing.

Each double over is followed by a short open ring, about four bars. I’ve found this team very difficult to follow in this.

(JP: This figure, perhaps because it is the first in the dance, has hardly changed since 1936. The dropping of the Elbows move is the only real difference. See Peter Kennedy 1948, where the elbows move is also missing.)

FIGURE B

High Clash (8 bars )

Shoulders (16 bars)

Open Ring (8 bars )

Over Sword (36 bars)

Open Ring and form column (8 bars)

Mark Time 1 (8 bars)

Heys on the Side (8 bars)

Mark Time 2 (8bars)

Whole Poussette (16 bars)

Roll (24 bars)

Open Ring (8 bars)

Right and Left Lock (8 bars)

Rose (8 bars)

Draw

Over Own Sword – ½ turn clockwise to face backwards under neighbour’s sword (2 bars). Hopping, step over sword, right foot over first, neighbour’s sword still over head (2 bars) get straight (2 bars).

Mark Time 1 – bottom couple face up, rest face down, swords sloped.

Mark Time 2 – face partner, swords sloped, then at end link both swords and anticipate poussette slightly.

Whole Poussette – Team lines up in column like a morris side, couples facing, 1v2, 6v3, 5v4 . Each couple joins swords across the set at waist level, grasping his partner’s sword point in his left hand. Link swords on the first beat.

32 steps = 16 bars.

diagram

As diagram for North Skelton, but circulating in the opposite direction. Take 14 bars travelling and 2 marking time still holding both swords.

diagram

(JP: This figure isn’t in the 1936 film, but it has similarities with figures in some of the other Cleveland dances. The poussette/roll combination is in North Skelton and Bosebeck, for example. Peter Kennedy, 1948 records a Lingdale figure with a poussette and roll, though the rest of the figure has several differences.)

FIGURE C

High Basket anticlockwise (8 bars)

High Basket clockwise (8 bars)

Arches

Open Ring (8 bars)

One Lead Over (16 bars)

Open Ring (8 bars)

One Lead Over and Open Ring a few more times, then Lock, etc.

General – at end, sometimes the men all take a half turn anticlockwise to face out and bow to the audience.

(JP: this figure is very similar to the 1939 version. Also close to Peter Kennedy’s record in 1948.)

Arches – Form two facing lines, swords in arches. Mark time, no taps. (8 bars)

1^st couple under arches and take up position at bottom (4 bars). As couple goes down, arches move slowly up one place.

2^nd couple mark time (2 bars) then as 1^st couple (4 bars).

3^rd couple mark time (2 bars) then, as 2^nd couple (4 bars)

1^st couple down middle, cast up outside to place (8 bars)

2^nd couple wait (2 bars) then down middle, cast up outside to top and down middle to place (8 bars)

3^rd couple wait (2 bars) then cast up outside to top and down middle to place (8 bars)

Arches mark time and clash (8 bars). It adds up to 4 bars adrift.

One Lead Over – The movement differs from Loftus in that the men holding the sword down hop over it but the odd man marks time on the spot facing across the set throughout.

Individual movements are:

No1 – as Loftus, swords being brought up onto shoulders in bar 2.

No 3 – throughout mark time on spot facing across set.

SKELTON

The dance at Skelton was for 8 men and the following is from Sharp.

FIGURE ONE

Clash

Walk round with sword on inside shoulder, right

Walk round with sword on outside, left.

Double Under, Captain goes through first with man on his right.

Double Over

Once round, hilt and point (8 bars)

Over Your Own Sword, Captain beginning

Open Ring

Clash _

Back Lock, Captain exhibits and you walk round, or if fool is there the lock is placed over shoulders.

Walk round and draw as at Sleights.

Each man places left hand on partner’s shoulder in Rose.

FIGURE TWO

Clash at bottom

Hilt and point

Sword over shoulder, face in 2 lines 1234 v 5678

Files pass through 8 steps, tum round. and return (8 bars)

Whole Hey,back to place (8 bars)

Ring Round (8 bars)

Each man turns round anticlockwise then, jumps over his sword. Moving round each man doing it in turn.

Sleights Roll, twisting at bottom then round (8 bars)

Front lock, swinging lock as follows:

All meet in centre and back again. – –

Again locking as at Kirkby

Exhibit in ring (8 bars) hold up

Exhibit in ring horizontally and draw.

The above is very fragmentary but can be read as showing that the eight man dance follows the six man dance closely. Therefore one can guess reliably what the eight man figures must have been.

It will be assumed that each figure follows the general pattern of structure established before. Over a sword takes four bars per man and will take 32 rather than 24 bars.

Double Under – no significant change as this is done by eight dancers in eight bars in other sword dances.

Double Over – one could put two bars of stepping between each couple crossing the sword so that the movement takes 16 bars, or much more likely, the fourth. couple holding the sword down do not cross the sword, as in some other dances, so that it still takes 8 bars.

Poussette – Hey – the only question is whether the couples start all together or come in progressively.

Roll – as Sleights, progressive couples roll as they change, but do not roll between changes.

Arches – Windows – could be done as for six just taking longer but more probably done as "Change and Clash”at Sleights, that is working in two groups of two couples rather than one big set.

One Lead Over – as Lingdale, odd man does not cross but third couple crosses as odd man does at Loftus.

Advance and Retire – lines of four and three men jump

Between the four dances discussed and remembering the general principles, it is possible to construct ones own dance for six or eight within this tradition.

FURTHER WORK

There is more to Boosbeck and Lingdale than I have seen.

There are films of North Skelton to compare with the Kennedy notation and surviving dancers may know more figures.

There is a Sharp manuscript notation which differers slightly from Douglas Kennedy’s.

FURTHER NOTES ON LOFTUS BASED ON EFDSS FILM

1. Double Over – sword is moving forward as couples cross, even when couple holding sword down are crossing. They travel sufficiently on the hops to get out to the ring formation.

2. Lock – when tied, men hold their crossed hilt/point in their right hand till leader raises the lock in the rose. Numbers 2 & 6 tend to hold on as long as possible to steady the lock.

3. Draw – the crossing by each man has the hilt in front of the point, going round clockwise. ie. Hilt on left when facing centre. In going round hold crossing with right hand palm uppermost, fingers round hilt, thumb across the crossing.

4. Clockwise Turn Lock -swords lifted from outside elbows straight up to form lock without men turning to face centre. Men pass the point along to neighbour to form lock. (figure 6)

5. One at a Time Lock of fig 4 -like clockwise turn lock, but men do not turn only lift swrods over head to rest on outside elbows.

5. Windows – first and second couples back 16 steps.

7. Top couple in Windows, Arches, Hey is 1 & 6

8. IN circular hey, number one goes clockwise round set. ie. Starts by facing number two.

9. IN the locks in notes 4&5 above, the men successively turn in clockwise order.

10. Over own sword (figure 3) -men do not bend, but men behind lower almost to ground so that it is easy to swing the legs over.

11. Not sure that all locks are hilt over point.

North Skelton, Sharp Manuscript

Figure 1

Clash, as at Sleights. 8 bars

Walk round, swords on right shoulders as at Sleights. 8 bars

Walk round, swords on left shoulders, as at Sleights. 8 bars

Double under, supports standing still as at Kirkby, Captain and right hand neighbour beginning.

Hilt and point ring, going round clockwise. 8 bars

Back arm lock as at Sleights.

Captain holds up lock and walks round, as at Sleights.

The Rose as at Sleights, except that each man places his left arm over his front neighbour’s left shoulder.

(Sometimes fool comes into ring, the lock is placed on his shoulders and Rose done as above)

Figure II

Clash right and left shoulders as in figure 1

Over your own sword as at Kirkby, except that all are moving round as the leaps are made.

Hilt and point ring as in figure 1

"Open Ring Lock" – all move into centre (4 steps) All move back (4 steps) All move into centre with hands crossed and right arm over left & tie lock as at Kirkby.

Exhibition of nut and rose as in Figure 1

Figure III

Clash with swords pointed towards the ground, then get into files.

Files cross over, change places & face front. (4 bars)

Return to places. (4 bars)

Whole hey with swords still over shoulders. (8 bars)

Hilt and point ring clockwise. (8 bars)

Each in turn makes a whole turn anticlockwise, jumps over his own sword, as all progress round clockwise, each jumps in time with the music.

The Roll as at Sleights.

Hilt & point ring clockwise. (8 bars)

"Open Ring lock" as in Figure 11

Exhibition of nut, rose as in previous Figures.

LINGDALE

Examination of EFDSS film taken c.1936 Looked at on 9th, 11th Feb 1970.

Title

English Traditional Sword Dances

Title

Lingdale Primrose ( Long Sword Figs 1 – 3 )

Costume

White shirts, dark trousers held up by belt. No. 4 wears cloth cap. No.1 going bald.

Quality

Opening shot good exposure, rest underexposed, three figures filmed

At one point a few frames missing, joins usually good.

Characters

Tommy & Betty who join in third figure. Accordion player.

(JP: See Kennedy 1948, for a song that was sung before the dance.)

(JP: Dancers are numbered clockwise)

FIGURE ONE

All face clockwise holding sword in right hand.

High Salute – raise swords in bars 5-6 & hold the basket for 7-8.

High Clash – 8 bars – clash on each step – walk step – start left foot. It is a left foot dance.

Inside Shoulders – 8 bars – breaking into springy walk (almost run)

Outside Shoulders – 8 bars

Elbows – 8bars – swords in ring horizontal, – at waist level – wrist over elbow, but elbow forward a hand’s length from side of body. (JP: By 1948, see Kennedy, the elbow move had gone and been replaced by an 8 bar open ring.)

Over Own Sword – 32b – each man takes 10 steps. Like this –

ring circles at same speed as before

l r/l r/l r/l hl/r hr/l r/l r/l r//

No. 1 hops turns next sword lowered

lower sword

l hl/r hr/ l r/l r/l r/ l hl/r hr/ l r//

No. 2 No. 3

l r/l r/ l hl/r hr/ l r/l r/l r/l hl//

No. 4 No. 5

r hr/ l r/l r/l r/l hl/r hr/l r/l r//

No. 6

(As 6 goes over, there is a change of reel and exposure level, and extra frames inserted!)

(JP: Each of the lines above is 8 bars of music.)

(JP: to put Dommett’s description into words, 4 steps at the start to get out of the Elbows move, 2 steps to lower sword, 2 step-hops to go over sword, 4 steps to turn, 2 steps to lower next sword, etc.)

NB. 4 preparatory steps. Man steps outside (handwriting) to inside, right foot over first, then anticlockwise turn to get straight. Sword that is gone over is lowered by man behind to mid shin level – horizontal – turn after cross.

Open Ring – 8b

Double Under Twice – 16b – each is done in 14 steps. Second Double Under follows immediately after the first one.

1&2 arch first, opposites,_4&5 repeat. I cannot say that in this or Double Over that there is was much attempt at orientation but this might be due to the filming needs.

Arch holds up sword at arm’s length – the sword going under is held at chest level – couples going through bend forward.

On 2nd step – arch over head of 1st couple

4th – 1^st couple, having gone under the arch, start to turn out

8th – 1^st couple carry sword back over over the original arch couple

10th – middle couple straighten up

12th – 1^st arch begin to straighten

14th – all straight and anticipating next movement.

In repeat start open ring movement on 12^th.

(JP: two Double Unders, done from opposite sides of the set. Each one takes 14 steps and there is no break between them. This leaves an extra 4 steps to finish the musical phrase and those are done as a brief Open Ring.)

(JP: Allsop has 8 bars for the open ring, but gives no timing for the Double Under. I assume he intended the Double Under to be a bit slower than in the film, and to take 16 steps.)

Open Ring till end of musical phrase – 4 steps (4 of men 6 steps or (JP:I have no idea what is missing here.)

Double Over and Open Ring Twice – 32b – 1 & 2 sword down first, then opposite 4 & 5. 1st couple does 4 steps then over, left foot first – 2nd couple does 8 steps & over, 3rd couple 14 steps & over so that 1^st two steps of open ring are used.

First couple’s sword goes over horizontally at mid-chest height. Sword-down couple are bent, backs horizontal, sword goes to about mid-set for 1^st couple and only a little further for 2^nd, turn in to face and walk back over ½ way back before going over, going over so that in place starting to ring when over.

(JP: Read this figure carefully. It has details that are not in Allsop’s version of Lingdale, and the part where the sword-down couple turn in and walk ½ way back before going over their mutual sword, makes the figure much easier to dance.)

(JP: to summarise: Double Over 8 bars, Open Ring, 8 bars, Double Over 8 bars, Open Ring 8 bars)

(JP: Dommett doesn’t specifically say, but I believe there are some step-hops in this move – Allsop has a right step hop before going over the sword and a left step hop going over it, and I think I can see that on the film. It would be consistent with other moves in the dance.)

(JP: I prefer Allsop’s alternative name of ‘Arches Down’. It reduces confusion with ‘Double Under’ when calling.)

Lock – right & left – take all 8 bars to make – bend body a little, crouch coming in.

Display – Number 1 raises lock in right hand, palm forward. Everyone puts left hand on right shoulder in front, except Number 1 who keeps left hand free. Put hands on shoulders, as let go lock to have it raised.

Draw – lower, turn horizontal, all grab hilt as it comes down at head level, lock is steadily lowered to face level, draw swords on last beat and all stop, turning to face centre. (JP: left hands remains on shoulder in front until the moment of the draw)

FIGURE TWO

All start facing clockwise – high salute.

High clash – 8b – some frames missing (about 4 bars worth)

Circular Hey – 16b – coming out of clash, form column facing front and continue turning till top and bottom couple are facing cross set and middle facing up thus in 4 preparatory steps.

5 6> 1

v v

^ ^

4 3> 2

End couples start circular hey by passing right shoulders.

(Handwriting – appears to say “If 4+5 faced up, they would need 4 more steps)

Although the bottom couple (Handwriting) cross at the start, they can only come in progressively. Thus top couple 1 & 2 are in place in 12 bars but others take 14 bars (this includes initial 4 steps).

4&5 put swords over right shoulders, face up and walk backwards 4 steps in bars 15-16. 0thers join both swords just below waist level, standing up, facing partner.

Windows – 24b -THE COUPLES DO NOT IN FACT FORM WINDOWS but keep swords together, bend forwards so that swords are horizontal at mid-shin level. Partners are facing. I assume that the window’s edge is torn down to make room for couple going over to go down at end. (Handwriting)

Bars 1-8 bottom couple approach 8 steps, over the first pair of swords and over the second pair without extra steps between.

l r/l r/l r/l r/hr l/hl r/hr l/hl r//

over over

9-16 Second couple stand, face up, sword sloped over right shoulder, walk back 4 step, forward 4 and over – same step as above.

17-24 Third couple do the same.

Mark time – 8 bars – all stand up, holding swords together and mark time very quietly.

Roll and Low Basket – 8 bars – each couple do one roll, 4 steps, bottom couple down, other two couples up, then into walk round clockwise & low basket.

Low Clash – 8 bars, same direction

(JP: Open Ring – 8 bars – not sure how Dommett missed it, but Allsop caught it and it’s definitely there on the film.)

Over Neighbour’s Sword – 24 bars

Each man takes 8 steps, 4 bars. The man in front lowers his sword almost to ground level.

Stepping:

l r/l r/hr l/hl r//

Left foot over first. Half turn to face back, completed as left foot goes over, completing turn that man raises his own sword and ½ turn anti-clockwise under it to face back, hop over, getting straight by raising neighbour’s sword, which helps next man to turn ready to go over. Must check this. (Does Lingdale always go over anticlockwise?) (Ring or straight into lock?)

(JP: Dommett was right to be concerned that he’d got a mistake here. The correct move is half turn clockwise, as the move is from the outside of the ring to the inside. Note that the dancer on the other side of the neighbour needs to be ready to drop his sword. The swords are at an angle of 45 degrees, one end help low and the other around thigh height.)

l r/l r/hr l/hl r//

over

(JP: Open Ring – 8 bars – another one missing. No idea why. Allsop and film both have it.)

Lock – right & left – same lock, made in 4 bars, held up for 12 bars.

Draw – 8b

FIGURE THREE

Start, all face anticlockwise with sword in left hand.

Point down, tips touch ground in centre.

High Salute – point up, tips touch. (other ﬁgs start with swords held up for a while) These on two chords.

High Clash – left: hand, anticlockwise,- 8b – turn in and face back, change hand.

High Basket – right hand – 8b – clockwise – ending by moving into Arches position still keeping swords up.

(handwriting) Arches – 1v2, 6v3, 5v4, sword up & crossed (handwriting) with partner near tip, left hand resting on side of hip, mark time hardly raising foot all, very quiet.

1. – 8b – stationary facing partner (handwriting)

2. – 4b – bottom couple come up middle side-by-side, shouldering sword, while other arches shuffle (handwriting) down a place; fall into top place. All in 8 steps.

4b – next couple ditto.

4b – last couple ditto.

4b – all stationary 4 bars.

3. – 8b – bottom couple come up under arches, cast out & down outside back to place – 16 steps – at 8 steps are 1/2 way round. Rest mark time on spot.

8b – middle couple up under top arch, cast,up under bottom arch etc

8b – top couple cast & up middle

4. 8b – all face, mark time & clash tips with partner.

Tommy & Betty join in at 3, going round like the other couples but out of phase ie coming up the middle when men going down outside. They have extra turn round in 4, all to themselves.

Open Ring – 8b

One Man Over – 8b each & 8b open ring following (even last time?) (tick)

Figure not like did at Albert Hall, (JP: Albert Hall would have been the 1965 performance) much simpler as only one man over here, rather like Papa Stour figure ?

Ring stops and man goes across middle of set (handwriting) to other side, sword down is that 2 to the left, which moves forward (how much (handwriting)) to meet

Stepping

l r/l r/hr l/hl r/hr l/hl r/l r/l r//

over back

When holding sword down, do not turn, others do not cross but stand facing.

Number 4 over 1^st between 1 & 2

1 2^nd 4 & 5

5 3^rd 3 & 2

2 4^th

Other two do not go.

Lock – 8b to make – 8b up and Betty comes in middle.

Draw – 8b lowered over Betty’s head.

(Handwriting)

FIRST LOOK AT EFDSS NORTH SKELTON FILM 29.1.70 (JP: this is a merger of the first and second set of notes on the film)

(Revision 5.2.70)

Titles

1. The North Skelton Traditional Sword Dance

2. Exclusive rights owned by the Scarborough and District Branch of the EFDSS.

3. Filmed October 1932 by H.L.Kettle ARPS Scarborough in the grounds of Skelton Castle by kind permission or Col. and Miss Wharton.

4. The Team

G. Hugill T. Jackson

J. Hugill T.H. Batterbee

J.T. Hunter R .Evans

G. Tremain

Reserves S. Winspear, F. Hugill

Film

1, Opening shot is pan of team in line with lock in front of them.

2. Called "Rehearsal", it is a shot of Figure 4 from "Guard or Honour" to the "Draw" taken at ground level with the building as background.

5. Main part of film consists of the 5 published figures straight through,taken from an upper window.

Quality

In general the quality is good. There are parts underexposed. An important part, progressive windows is one, so that it is impossible to get s clear view of how the men go over the swords. Parts of the film show scratching along the right hand side on the copy I used. However the original negative seems to exist and a new print from this could correct the exposure differences to a great extent.

(Handwriting)

Costume

White Shirt. Dark trousers, trousers held up by leather belt, not through loops, around trousers some inches below top in true working man’s fashion.

The Dance

Figure One

Elbows – wrist of right hand over the elbow joint of left am, left upper arm as little forward as possible.

Open ring – arms more or less straight out at side, about 1 ft from body.

Neighbour’s Sword – each men takes 4 beats – left foot over first, facing backwards, bending well down.

Double Under – 1 & 6 under first. 2 & 5 next etc. A few frames missing in second Double Under. Swords not raised too high, so men duck a little in going under. First couple under, turn on on step 6 and raise sword over head and back to place on step 12. Next couple come side by side on step 3, turn out on step 9. Third couple start turn on step 10 and straight on 12. 2 & 3 lead next double Under, 4 & 5 the last.

Back Lock – link behind back and circle 8 bars. Lock then formed in 4 bars – raised and held up for 12 bars. Men hold their hilt. In draw, lock held just a little above waist level.

Figure Two

Low Clash – round in 12 steps, mark time 4 steps.

Clash and Mark Time – men look up at the clash

Poussette – First couple in place in l2 steps, rest on step l4, thus always a bit ahead of Kennedy description.

Roll – Some differences from Kennedy.

in bars 5 – 6 third couple turn in not out, so that they start by doing 3 spins down, then 2 up.

in bars 27 – 28, first couple spins up not down, so that they end the movement with 4 spins up.

When changing direction swords are not brought between men, but to side of body only.

Clash Hilts Lock – preparatory swing back of both arms before coming into centre. Swing upper hand up to head height – hold it momentarily and bring down sharply to clash. Appeared to clash only twice. Lock made in 4 bars. Held up 12 bars. Draw just above waist height.

Figure Three

Over Own Sword – start left foot, right over first, having turned the hands are crossed at the wrists, sword hilt just below knee level, following man has hand almost at ankle level – ie. sword is sloped away from man going over.

Double Over – order as Double Under. Start left foot, left foot over first, etc. Turn immediately over sword. Lead couple swung sword up as crossing to anticipate turn but others did not in repeats.

Third couple turned to face over sword after the second had crossed. Sword as low as possible for first foot over, then just behind knee for getting second foot over. Have to lift leg well up. In getting right leg over, need to get leg tight up against thigh and thigh high up

against chest – men are well bent forward.

Back Ring – 6 bars not 16. (Different from Kennedy)

Second Detailed Look at North Skelton Film 5.2.1970

Figure One

Double Under – first arch goes about 2, 3 across set. First couple under goes almost across set by turn back, as they are going under the arch when it has only travelled forward a few steps. Each couple goes as far as necessary and as far as swords will allow.

Lock – raised by leader, palm up, held up palm forward. Plane of lock along radius, lowered, palm up, men hold own hilt when lock still at head level and lower lock to just above waist level. Draw can be seen to be forward across front of body.

Figure Two

Roll – when changing direction of roll, pair do not face front, don’t complete, but stop when facing up or down with pair of swords across front of body.

Circular Hey – 12 bars – Ring following – 4 bars.

Clash Hilt Lock – preparatory outward swing of arms (and swords) at end of Ring. Swing in 1 2 3 4 moving into tighter circle and raise right hand to top of head level, move out 4 steps. No third clash – start to make lock where 3rd clash would have been – hold up at start of (handwriting) (ie. take 6 bars – leisurely)

Figure Three

Double Over – sword goes only just half way across, couple it holding go further to get over.

Figure Four

Basket – in high and low baskets the swords are crossed between half and two thirds of the distance to the point, not at the tips.

(note – on film – top couple other end of set to musician)

Guard of Honour – 8 steps down middle, 2 more to turn front and take up position.

Low Basket – form open ring swing arms and swords out before releasing tips to make basket.

Move Down and Cast – First couple turn down and walk side by side down the middle, costing out at the bottom. First couple 1,2,3,4, then 2nd couple follow on next 1,2,3,4, then third couple join in, facing down for next 2 bars, then turn out on spot to face front on last 2 bars.

High Lock – don’t turn – keep facing direction going while forming lock above heads. Left hand over right – right goes back, left forward, left go left and bring it back. Don’t turn over.

Take hilt in left, still high above head, draw left, right on right shoulder of person in front. Retain sword in left hand for start of next figure.

Figure Five

High Salute – facing anticlockwise – sword in left hand.

High Clash

High Basket – take 4 steps, turning in to face clockwise, changing hands on sword and raising sword again.

Left Turn – (handwriting) starting at No.1 – take 4 steps, anticlockwise turn. Raise right hand above head as make ¼ turn anticlockwise to face out, bring hands together crossed at wrists, right in front of left. Continue completing anticlockwise turn, bringing hands,still crossed at wrist, over in an arc, till on inside of circle. Lett hand behind right at right side of body. As each man turns, circle tightens.

Ring for 4 bars.

Left Unturn – Raise hands, still crossed over head in an arc, and uncross near end of turn (clockwise).

Preparatory Windows – 12 bars – 2 preparatory rolls, (JP:I think the asterisk here meant ‘different from Kennedy’) top couples up, bottom couple down (4 bars), all face down, make windows, but not in usual way but both low down, rear one lowest and nearest as Lotfus, 4 steps (2 bars). All step through, left foot over first, turn out (2 bars) get straight from facing out. Downside arm brought over head in the turn – other arm got straight by doing a small circle. Eg number one goes over sword in right hand – other sword held forward – sword held in left hand brought over head – right arm will be twisted, needs straightening. (2 bars) another roll as before (2 bars)

Progressive Windows – when forming windows – upper arm to top.

Window not so high that couples do not have to duck through.

Take 4 bars for two couples to pass, under going down, during passing neutral does a roll out then one in. Agree that couple who pass do a roll in direction they are going, and neutral do one in direction they are to go. At end couple will do two out, then two in in

succession. At end of movement top couple does 4 rolls up (36 bars).

Hey -mirrors, top between middle, bottom face up at start.

From Open Ring straight into right and left lock – seemed to have trouble – took 24 bars to form lock – don’t turn over.

Problem of nature of Windows due to being Sleights for 8?

Over fool’s head in first figure of distinctive movement.

(Handwriting

Guessing. In —- the film – in Kennedy, notation which is –five years —- Fq
The artificial differences are — of windows, where troubles ————
Details of phrasing— might be different in competition/composition of particular team ——-just ——, Dancers were obviously following the music.
——- the wave is to simplify the notation in an attempt to force the details that makes the dance flow smoothly. )

THE GRENOSIDE SWORD DANCE

The present side has developed by gradual loss and replacement from a team formed just after World War 11. A number of Grenoside and Ecclesfield lads who had learned the dance in the Rover Scouts, became the active side replacing an older team that had largely fallen apart.

The post war team received instruction from two brothers, Colin and Harrington Houseley whose father had been an earlier dancer. The present captain Ted Frost, was one of the Rover Scouts who formed the side. He and three others are still in the side after 25 years whilst the remainder have served various terms from 20 years down to about 4 or 5 years.

The uniform has not been consistent; One team between the wars wore Officers Mess jackets in pink calico rather like the Handsworth jackets – lion tamer style. The present uniforms are tailor made from the pattern devised by loving housewives from Paisley pattern furniture fabric kept in the house for furniture repairs or making settee covers. Clogs being the normal footwear not only for working in the pits and quarries, but for ordinary outdoor wear too, it was natural that the dance should be structured to accommodate stepping. There used to be much more stepping in the dance, and there was also an item of entertainment that earlier teams offered called “Ring; o’ Roses” where

each man in turn offered a clog step. The instructions in Sharp’s Sword Dance Book Part I are rather out of date in some minor respects, but the main structure is unaltered. The characteristic steady tramp remains and the climax is achieved by the increasing tempo in the roll, but older dancers watching the dance performed on Boxing Day can usually find something to grumble about in the way the "break" is performed or what is the correct foot to start on. In this side at least, tradition is not static. Subtle changes occur almost without

conscious effort. Other changes are deliberate when men feel there’s an improvement to be |made and it’s rather the luck of the draw which changes stay and which changes are discarded.

The Dance

General form

Part 1 1. Captains Song

2. Ring, lock and clash

Part 2 1. Over Your Neighbours Sword

2. Single Sword Down

3. Single Sword Up

4. Double Swords Down

5. Double Swords Up

Part 3 1. Tantiro (pronounced tantairo)

2. The Reel

3. The Roll

4. Jolly Lads

4 3

5 Captain 2

6 1

Part 1

The Captain’s Song

O Ladies and gentlemen, I’ll have you make room

Contented awhile for to be

It is I an myself that has brought us along

And my trade you will quickly see.

Whilst in foreign parts we rambled

All both proper stout and tall

Though we passed through many dangers

And at length I caught a fall.

Wounded by a charming lady

Her charms I almost dread

To die for her I am quite ready

And at length I conquered her.

Six stout lads have I abye me

Both of honour and renown

Festive time – tis drawing nigher

And since we’ve come in this town

Since that we have all come hither

Fiddler draw thy strings advance

PLAY beside us HERE to guide us

And these lads will show ’em a dance.

(on PLAY, men take hold, hilt and point. On HERE, men step into circle, swords over right shoulder)

(All men now silently say – “One”)

2. Immediately after saying ‘One’, all march round clockwise 3 steps to the bar, starting left foot and transferring swords from shoulder to shoulder on each main beat.

In your head, say or sing the rhythm:

1 di diddly diddly 2 di diddly diddly etc ——- (9/8 time)

5 di diddly diddly 6 2.3.4.5.6. (All turn inwards 6 steps and march counter clockwise)

1 di diddly diddly 2 di diddly diddly etc.

5 di diddly diddly 6 (Make lock, right over left, around captain’s neck, still tramping on the spot.)

Men tramp clockwise round to places (no particular count), turn inwards and march back to places counter clockwise.

Meanwhile, the Captain displays the lock then kneels with it round his neck. All draw swords, the Captain falls dead, number two endeavouring to tip off his animal head. Men clash swords in pairs (1 & 6, 2 & 3, 4 & 5) marching clockwise to places, turn inwards and

clash back to places. The musician judges when the men are all in places and the music stops abruptly.

Part 2 Ring, lock and clash

The tune changes abruptly to the last two bars of the broken time Hornpipe (Roxburgh Castle or Wonder Hornpipe). The men come in with a shuffle or break and take hold of swords hilt and point.

Shuffle –

L, r.toe, r.hl, r.toe; R, l.toe, l.hl, l.toe; L, r.toe, Stamp R.

(JP: Using Allsop as a guide, I’m taking L or R to indicate that this foot is supporting the weight of the body. r.toe is likely to mean a glancing stroke (something between a scrape and a tap) forwards or backwards of the toe. r.hl I will guess as as being a similar movement of the heel. In other places I would have guessed h for hop, but not here.)

1. Over Your Neighbour’s Sword

Beginning with No.1 each man in turn steps over the sword on his left from inside to outside (Left foot in front, Right foot over). This takes 12 beats, then all shuffle. This manoeuvre is done six times, each man in turn beginning the movement.

2. Single Sword Down

The sword between 6 and 1 goes down. Opposite couple lead over and separate, followed by middles, but 1 & 6 retire backwards without giving over. Take 12 beats than all shuffle. This manoeuvre is done six times, numbers 1 & 2 lowering number 1’s sword next, etc.

3. Single Sword Up

The sword between 6 & 1 goes up. The holders mark time for 4 beats, then pass over the heads of the opposite couple and middles who then separate as in ‘single sword down’. Numbers 1 & 6 turn in towards each other, lead back to places and turn under their sword.
Take 12 beats and shuffle. The manoeuvre is done six times as before.

4. Double Swords Down

Preparations must be made during the shuffle. No. 1 prepares to go down, both hands together. No.6 prepares by changing his grip to dagger grip. He approaches No. 2 who also approaches him. No. 6 places his handle by the tip at No. 1’s sword held by No. 2. No. 6 goes over in 2 beats: L. foot in front of the two swords R. foot over the swords. Each man in turn goes over, No. 5 following No. 6, taking 10 beats. No. 1 takes 2 beats to spin counter clockwise under the swords which he has now lifted, then all shuffle. The manoeuvre is performed 6 times, No. 1 next going over his sword alongside No. 2’s sword, and so on.

5. Double Swords Up

No. 1 raises both hands together. No. 6 goes under his own sword which is held alongside No. 1’s sword held by 1 & 2. Avoid making an ellipse with 5 men. Keep a good circle. No. 1 meantime slowly circles clockwise for 12 beats until all are back in places, then all shuffle. No. 1 then leads under his own and No. 2’s sword, each man leading in turn. After No. 6 has held up No. 5’s sword and his own and all men are back in places, make 2 lines again to shuffle. On the last beat drop swords by sides.

Part 3

1. Captain Since that we have all come hither

And so sweetly I do sing

Now my lads you’ll take to singing

When you hear these swords to ring

Captain lowers his sword onto the rising swords of the team to make a clash.

All Tantairo, tantairo, the drums they do beat.

The trumpets they do sound upon call.

Methinks music’s here,

Some bold Captain’s near,

March on ye brave soldiers away.

2 The Reel

1 & 6 face, 2 & 3 face, 4 & 5 face.

All tramp around in a circular hey, clashing swords in pairs 1^st beat of four, when passing right hand to right hand. Take 12 beats to return to own place then shuffle.

This is done 4 times

3. The Roll

Give point of sword to opposite, Number. 1 & 6, 2 & 5, 3 & 4. Begin roll with 1 & 6 passing over 2 & 5 then under 3 & 4. At each end, dancers spin under their own pair of swords, prior to passing over the next pair of heads into middle place. Dance twice through the roll with a slight pause, still stepping on the spot, before dancing the roll twice more gathering speed.

4. Jolly Lads

Without any break in the music, the men hold swords upright at shoulder height in the centre of the circle, left hand on shoulder of neighbour and step in position as follows:-

L r. hl. r. toe. L. R l.hl. l. toe R etc, finishing R L.hl.

(Handwriting for music)

On the last beat, all plant Left heed in the centre (avoid friends’ toes) and raise swords, holding this position for a second or two. March off behind Captain.

Approximate time for the whole dance 12 minutes.

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Input music

THE RAPPER SWORD page 39

The traditional terms are: a dance is subdivided into “Knots” (figures). Each Knot ends with a lock, called a “Star” (nut) under which the men “Jig” (step, rose).

Sharp said (Sword Dances Part1 p71) “So far as my own investigations have gone, the dance itself seems to have varied very little. The number of figures that were performed in different villages varied very much, but in every case I have noticed that the figures themselves had apparently been drawn from a common stock.” Most leaders had a larger repertoire of knots than the team normally used. It is known that knots have been sold. It was common to invent new knots – it is known that one team did this in a train to London. Even “revival” clubs have invented their own knots. It seems usual to arrange the knots into “dances” each with from four to eight knots. “Running” and “Jigging” knots can be used for contrast.

Every team incorporated some movement characteristic of the team in each knot. Thus –

AMBLE – Knot/optional single guard/star

BEADNELL – Knot/star, half turn clockwise and step with backs to centre

EARSDON – Single guard/knot/star

HIGH SPEN – Knot/curly/star

MURTON – Knot/star

NEWBIGGIN-BY-THE-SEA & WESTERHOPE –

NORTH WALBOTTLE – Single guard/knot/star

SWALWELL – One turn off/knot/star held up displayed

WINLATON – Spin/knot/star

There is a lot of information and ideas in the report of the Chipperfield meeting derived from Bill Cassie. There are many further points in Cassie’s article on High Spen in Folk Music Journal 1965 (available as reprint).

The traditional teams can be divided into two types, those that aim for quiet fluent movement at speed and the others whose figures could be compared with the “discharge of a rocket; a bang followed by a breathless period on the part of the audience, and then a second crash, bringing a great sense of relief, when the star was tied.”

AMBLE

List of Knots:

Single Run (or Jog Trot); Double Run – processional figures Two and Three; Waves; Single Jump; All Round Jump; Three Jump; Fast; Fast and Loose; Single Guard; Double Guard; Double Run and Somersault.

BEADNELL

ShaF says “used to jump over the swords and other figures which have died out.”

MURTON

Source: Schofield MSS and EFDS News No 17, April 1928 by Orde. It has been recollected more recently and may be published somewhen. (Cawte, ED&S March 1957)

Eight Knots were collected.

SINGLE SCRINGE – like Needle at Winlaton or Twos and Threes at Earsdon with two circles going round and round but No 3 always in same ring as 1 and 2.

STAR – tie as at Earsdon but No 5 stays still. Jig under the Star. No 1 turns out to right to untie.

DOUBLE SCRINGE – like Single Scringe except that after one circuit Nos 2 and 4 cross over and join opposite circles.
TRIPLE SCRINGE – obviously a more complex figure in same family.
FRONT GIRDLE – a variant of Single Guard. No 1 on arriving at top carries on and makes a complete circuit of the set cl. The rest on reaching their places face centre and step. At end of his circuit No 1 makes a whole turn cl and takes place; No 5 turns half left and moves clockwise round the set as No 1 did. Repeat by 4, 3, 2.
BACK GIRDLE – like Front Girdle but dancers face outwards. On loosening star all keep hands up, make a half turn clockwise and face outwards. No 1 steps forward, turns one-quarter clockwise and moves clockwise round the set. On arriving opposite his place he turns three-quarters clockwise and falls into it. At the same time No 2 starts off round the set and does as No 1. 3, 4, 5 repeat in turn. Dancers in centre step. At end all turn half anti-clockwise.
HORSES – 1&5 in front, 2&4 behind, 3 at back.
JUMPING KNOT – rather like No 1 ring in Newbiggin. 1&5 lower 5’s sword and 4 jumps over, all step to end of half phrase (4 bars); 3&2 jump together, step to end of half phrase; 5 jumps, step; No 2 jumps sword between him and No 2. Each dancer after jumping takes up his position facing outwards. After No 1 has jumped all turn half anti-clock. (3&2 jump sword between 1 & 5, 5 jumps sword between 5&1.)
CHAIRMAN’S KNOT – on loosing swords after a star, dancers open out into a line 4 5 1 2 3 and step. They then retie, open out and hold it up.

A Scringe between everything, but no two Scringes together. Star not displayed to end. Never a ring as at Winlaton. In stepping, used heel as well as ball of foot. In Scringe did a sort of “sand-dance-step” scraping foot forward on the beat.

WINLATON

Step: White Stars used a “heel-and-toe” step = /L rh rt rh/ weight on one foot for whole bar. The taps with heel and toe make a gentle rocking movement of the foot.

Blue Stars and subsequent used single shuffle.

NEEDLE: – as Swalwell – 1&5 turn out not up through middle. Neither Sharp nor Butterworth noted how figure started.

FIDDLER – as knot of same name at Earsdon and High Spen.

TUMBLER – Sharp called this FIDDLER – can include somersault like Stand in Guard at North Walbottle.

ROLL – can also be danced as a Single Guard.

DOUBLE JUMP – Straight line then 1&5 jump over, all step, jump back.

BACK-TO-BACK – from open ring turn counter-clockwise to face out and tie star overhead. 1&5 break away to form star in normal way.

SECTION 3: OTHER SWORD DANCES

THE SWORD DANCE OF PAPA-STOUR

There are three basic sources:

Sir Walter Scott “The Pirate” (not the first edition)
Dr Hibbert “Description of the Shetland Islands” 1822
Alex Johnson “Sword Dance of Papa Stour, Shetland” 1926

The first two references derive from a MSS extant about 1820 and observation of the team. They form the basis of the accounts in

Alfred W Johnston “The Sword-Dance of Papa Stour, Shetland” 1912
Cecil Sharp “Sword Dances of Northern England” Part 1, p21, 1911
D H MacLennan “Highland and Traditional Scottish Dances” 1950 (this has a good photo)

The third reference was based on performances in 1921-2 and 1926. It is the best source but one can use the others, as did the dancers, for clarification. The following, in “Sword-Dance-English,” uses all three and indicates where different interpretations are possible.

Team: SEVEN dancers (suggests connection with rapper) named in order

St George of England
St James of Spain
St Dennis of France
St David of Wales
St Patrick of Ireland
St Antony of Italy
St Andrew of Scotland – the seven champions of Christendom.

Music: Jigs and a few strange Shetland tunes.

Step: A slow springy run.

PROLOGUE: “Calling-On song” 2 to 7 stand in a line facing audience. No 1 sings – during which each dancer in turn is called forth to draw his sword and do a little solo stepping before returning to place.

INTRODUCTION: 2 to 7 are in one line, sword in right hand, sloping up over right shoulder. No 1 does a few steps in front of No 2, then strikes No 2’s sword. No 2 then moves out of line to follow behind No 1. No 1 then repeats this in front of each in turn, each falling in behind in turn (ref 2 could mean that each man brings his neighbour into the dance in turn). One can only assume that all that have been called out join in the stepping.

FIGURE ONE – “RING”: all march into clockwise circle, then extend sword to full length to right side and grasp end of left hand neighbour’s sword in left hand. Circle left, hilt and point, twice round.

FIGURE TWO – “CLEW, 2 turn out”: Nos 1 & 2 raise the sword between them and No 2 passes under, turns to his left and goes counter-clockwise round outside of circle. At the same time No 1 goes down the other side carrying the sword over top of the set. The rest follow No 2 in order but going alternately to right and left. That is No 3 to the right after No 1, No 4 to the left after No 2, etc. The figure continues ad lib with men going alternately to left and right and thus each man goes down alternate sides in successive cycles. Swords are crossed over set to make a tunnel – one side has its hands crossed. To finish, No 1, after going through the tunnel, turns to his right, and the rest follow, turning to right also.

FIGURE THREE – “OVER NEIGHBOUR’S SWORD”: All, simultaneously (one supposes it could be done successively as is usual elsewhere) step over their left hand sword, from outside – left over, stepping in and turning clockwise. This leaves all with swords crossed and backs to centre. All raise right hand sword and turn sharply on heels to right, under it, to face centre. Ring to left twice round (ref 2 once).

FIGURE FOUR – “UNDER & OVER”: No 1 crosses set and goes under sword between Nos 4&5 and jumps (ref 3 – steps) backwards over sword followed in like manner by 2, 7, 3 & 6. Then Nos 4 & 5 raise sword between them and turn sharply round under it (No suggestions on phrasing – one might suggest repeating it with others leading).

FIGURE FIVE – “CLEW No 1 turn out”: Mirror image of Figure 2 started by Nos 1&2 raising sword and No 1 turning under it to right followed by 7, 6, 5 … going alternate directions as before (ref 1 & 2 could be conventional single under but ref 3 refers to Figure 2). Ring to left twice round.

FIGURE SIX – “OVER YOUR OWN SWORD”: (here I prefer not to follow ref 3). All, simultaneously, step out, over one’s own sword (on the right) right foot first, turning to right, ending backs to centre and swords crossed with “hands across their backs.” Dance round in ring till Leader calls “Loose!” then each raises left hand (ie sword which is out at one’s right hand side) and turns right to face front.

FIGURE SEVEN – “CLEW No 1 goes under”: No 7 lays down his sword. No 1 crosses set and goes under sword between 4&5 and turns to left, lifting his own sword over his head. No 2 goes under sword and turns to the right. Each follows, going alternately left and right and developing a figure similar to 2 & 5. Come out by No 1 going through tunnel and all following him round to right.

FIGURE EIGHT – “LOCK”: while going round in a ring all let go of neighbour’s sword and turn abruptly to right to face away from centre and link up again with man on other side (ie No 1 grasps No 7’s point). All turn simultaneously to left, raising right hand sword over their head – face centre with swords crossed right over left. All separate hands pressing swords gradually towards centre, passing right hand under next sword to right and putting hilt on top of point of the next sword to the right (thus left hand over next to left and under one after that). Making a seven pointed star called a “Shield.” Men then dance round in circle to the left; then

(a)	Each man in turn steps into middle holding shield over head by two points while rest join hands and dance in a circle round him (cf Ring-a-Roses at Grenoside). The last throws the shield forcibly to the floor to break the lock, each picks up his own sword and falls back into one line as at Prologue.
or
(b)	While dancing round in ring each man in turn has the shield upon his head. The shield is then laid down on the floor. Each takes hold of the hilt and point he had before, but in other hands (ie crossed) and by uncrossing breaks the lock. After (a) or (b) music stops and No 1 steps forward and speaks an EPILOGUE.

After Fig 7 all or part of the figures can be repeated. The swords were straightened barrel hoops.