The Lingdale Primrose Traditional Yorkshire Longsword Dance
This text is from Kirkleatham Museum. It was written down circa 1999 and is based on the dance learnt in 1945. The text was photographed by Vince Rutland and is retyped below by Judith Proctor.
The dance is known to have been danced by present members who danced in their teenage years in 1925, but goes back a lot longer reputedly to Pagan times.
The dancer starts thus:
The dancers are arranged as follows waiting for the musician to give a prearranged signal to come on stage.
4 5
3 6
2 1
After the march on number 1 wheels to the left and number 2 to the right. They then join up again and are now in the correct order to start the dance.
Figure 1
The musician gives two notes, on the first the dancers point their swords downwards to the centre of the circle. On the second they raise them up to make a point (the hey rick) above the centre of the circle. They then commence dancing and clashing their swords together in the centre at the top always dancing in a clockwise motion. Next they clash their swords together once at the top (after a complete circuit and taking their cue from the captain number 1) Each dancer then place his sword over his right shoulder taking hold of the man in front’s at the same time. Taking cue from the captain number 1 at all times usually a little nod of the head. They change to their left shoulder going over their head, taking care that they are all in unison and in time with number 1. After this they form a circle holding the next man’s sword point thus.
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They then do the jump for the number 1 figure. Number 1 brings his sword down to ankle height. Number 6 lowers his point to ankle height allowing number 1 to jump over the sword, the method of the jump is more like hop first over with the right foot and a little hop on the left, then hop again bringing the right foot over. Then turn out into the circle again. All the dancers do this in their turn 2, 3, 4, 5, 6. Upon completion by number 6 and a little nod from number 1 dancers 1 and 2 hold-up number twos sword parallel head height and the other dancers dance in pairs thus 4 and 5, 3 and 6. Then numbers 1 and 2 turn inward and follow 3 and 6 through and form a neat circle again. This movement is repeated by numbers 4 and 5 holding their sword up. When the circle is formed again numbers 1 then turn inwards and jump over number 2 sword thus forming the circle again. This procedure is repeated again with number 4 and number 5 holding sword down allowing number 1 and 2 and number 3 and 6 to dance through as previous, then they do the jump and reform circle. On a cue again from number 1 the lock is made. To make the lock each man passes the point of his neighbour’s sword under the handle of his own sword handle (making sure he has equal length of about 4 or 5 inches) this is the secret of making good locks. Whilst holding these in his right hand he then takes hold of the man on his hands left sword point. Passing this over his own handle about (4 to 5 inches) the lock has now been made. It is then raised by the captain number 1 and displayed to the audience. Then it is lowered to shoulder height each man taking his handle and keeping his hand on the man in front (these were placed there when the lock was raised by the captain) when the music stops the swords are withdrawn and the dancers stop for the completion of number 1 figure.
Figure 2
Proceed as in number 1 bottom top clash swords then face up as follows. Numbers 2 and 3 face number 1 on numbers 4 and 5 face number 6 as shown.
Each man then with his own sword over his right shoulder, then weaves in and out as illustrated thus 1, 2, 3 and 6, 5, 4. Weave and turn at the end returning to starting positions. Then commences the shunting movement. Dancers are paired as shown, returning to where they started ready to do the next move.
This is the rolling motion (which represents the cutting of the crop). Having returned to their positions numbers 1 and 6 rolled over numbers 5 and 2. Meanwhile numbers 4 and 3 roll twice in the opposite direction. Numbers 4 and 3 then roll under numbers 1 and 6 and do one more roll under numbers 5 and 2. This goes on until all are back where they started. They then all give one rolled in the direction of numbers 1 and 6. Then reform the circle ready to do the number 2 figure jump. This is commenced by number 1 turn inward by bringing his left hand over his head turning and jumping over his sword. All the dancers repeat this jump. Having done this the swords are pointed downward (known as the Bush) to the centre of the circle. Thus.
After 1 clash of the swords each dancer places his sword behind the man on his right back. At the same time he put his left arm under the man on his left’s arm taking hold of the sword point. By bringing all the swords over their heads and taking care not to let go of any handle point the lock is made and displayed as in figure 1.
Figure number 3
Form ring in same order as previous figures: tap the swords at the top go around roughly one circuit and then clash the swords at the top and fall back for what is known as the windows, pairing off thus: one and 2, 3 and 6, 4 and 5.
4 and 5 dance back 4 steps with their swords over their right shoulders ready to dance through the windows are made by 1 and 2, 3 and 6. Thus
Note; handles. bend from waist swords to ankle height facing away from number 4 and 5.
One in 5 have dance through the 2 windows jumping them as they dance, number 3 and 6 full back and repeat the procedure. As 21 and 2 in their turn. As the pair dance the windows the other 4 dancers making the windows keep dancing backwards, so they end up in the position they started in. When the last pair have dance through all the dancers keep bent down from the waist and still all face the same way. (Next follows the hardest jump of the dance)
Each pair bring their rear sword forwards and after 4 steps dancing on the spot, they jump over the lower swords of numbers 1, 5, 6. The 3 pairs (each pair now back to back with partner) now (keeping hold of all handles and points) turn out to form ring by bringing 1, 5, 6 swords over their heads. Next the bush is formed as before. (All points of swords pointing to centre of circle and down). After one circuit number 3 jump goes thus: number 1 turns inward, bringing his right arm over his head as he jumps over number twos sword which is held by him at an angle of 45°, this jump is repeated by all. Then when finished, circle is now formed. Then bottom bush, one circuit. Clash of swords once. Swing sword point out, all dancers dance with their backs to the centre, backward lock is formed. Each dancer places his handle over person on left’s point, then takes point from left again and passes handle under. This is the hardest lock to do but most rewarding if done well in competitions. Figure now end is same as number 1 and 2.
Figure 4
Same as in previous figures, one circuit, clashing swords at the top, turn and face as follows with swords over right shoulders.
Then dancers weave in and out, passing 1st on the right and on the left, until they are back where they started. They then pair off 1 and 2, 3 and 6, 4 and 5. 1 and 2, 3 and 6 hold swords double at ankle height facing away from 4 and 5 who, having dance 4 steps backwards, proceed dancing forwards, then jump over the other dancers swords. All pairs do this in turn, dancing back slowly to keep in same small area which is sometimes done on a small stage (discretion is used as far as possible by the captain – number 1) so that dancers facing the audience. Example: coming through the window, etc. All dancers watch number 1 out of corner of their eye for his lead. When all have done previously stated movement, all dancers stand up still in same pairs holding double swords at waist height. Then again following number 1’s lead, they give one role in pairs at his direction. Next a bush is formed the bottom, with a clash of swords. Then follows number 4 figure jump. Number 1 brings his left arm over his head and jumps over number sixes sword which should be held by him, number 6, parallel at ankle height. This is done by all in this order: 2, 3, 4, 5, 6. Then dancing round one circuit, number 1 turns in bringing his left arm over his head all others following his lead and doing the same as quickly and smoothly as possible. (This is known as the “Corn Rippling in the Wind” effect). Still holding swords and points, and on cue from number 1 dancers turn out and make lock as previously stated.
Figure 5
In this figure, swords are held in the left hand. Immediately at the start of the figure thus:
d##########diagram#############
This is known as the “Hayrick Completion” of the harvest. Swords are held stationary for one circuit dancing anti-clockwise. Then the swords are changed hand into the right hand whilst now dancing in a clockwise direction. As the swords are changed into the right hand one clash is done as hayrick is formed again. At the top, another circuit is danced, then the arches are formed thus:
holding swords up to make those arches while numbers 4&5 dance back four steps with swords on their right shoulders.
Diagram###################
4 & 5 dance through and hold up their swords in the arch position as 3 & 6 dance back with swords over shoulders. All take their turn dancing through at the same time, moving so they all end up where they started. They then keep dancing on the spot with swords on right shoulders thus?
4 5
3 6
2 1
While dancing on the spot 4&5 tap swords once then turn outward No. 4 dances by numbers 3&2, No.5 dances by numbers 6&1 keeping in step and opposite each other they then dance back through the arches of 1&2, 3&6 back to their places. When 4&5 are back to their places. When 4&5 are safely back 3&6 tap at the top once then dance through 4&5’s swords. Turn outwards dance back to the end then through 2&1’s swords back to place. Next 2&1 tap once then dance through 3&6 and 4&5’s arches back to their place.
The dancers then tap in time to the music for a few bars, taking cue from No.1 they form a circle for what is known as “The Horse and Plough”. No. 4&5 lower No. 5’s sword to ankle height, No.1 dances over holding his sword handle over his right shoulder and No 2’s sword point over his left shoulder (this represents the horse between the shafts). No 2 and 6 dance over after him while No 3 stays on the side holding one handle one point in his hand (this represents the plough man holding the reins) No 4 and 5 jump over No 5’s sword, which is then lowered immediately for No 1 to dance over and jump, but this time the jump is performed by him dancing backwards. Then No 2 and No 6 dance over after him, thus returning to the circle. Again, this movement is then repeated once more with No 4 as the horse and No 6 the ploughman, No 1 and No 2 holding down sword and turning inward to jump over No 3 and No 5. The normal lock is formed after which dances bow and march off as they started in two columns usually to the tune of Farmer’s Boy.
It is 54 years since I learnt the sword dance in 1945 when 14 years old. I was taught by Mr W Knight who danced as a young man when a Mr Featherstone (known as Feathery) who had a wooden leg was the musician. He was from North Skelton. In later years Mr D Hoggarth was musician and in 1936 the Lingdale team (who were known as the Lingdale Primrose Sword dancers) danced in Germany at the big Nurenberg [sic] Arena and were presented to Adolf Hitler. Members of that team
I can remember being told were D Hoggarth (musician) W Knight, W Hill, E Brown, W Hopper, J Dockerey, and a man called Coleman. These are all I remember. Mr D Hoggarth had a suitcase full of newspaper cuttings from these times. Other musicians for short times were Sid (Towny) Tremain
and Arthur Marshall. The earliest period Mr Knight talked about was 1925, but I know the dance is a lot older than that.
I would venture to say that a lot of the older dances in the area were developed off the Lingdale dance. Especially the Loftus one, because Mr Knight and my brother and I in 1948 used to go to Moorsholm school to teach a team there our dance. In later years these lads were pupils at Loftus school and danced there doing a slightly different dance under Mr Normington Headmaster.
dance comments
I was told by Mr Knight who was told the same story when he started dancing that the dance represents the gathering of the corn of the crops. This can be seen by the figures of the dance i.e. The hay rick when the swords are held at the top, the cutting of the corn when the swords are in the rolling motion and lastly when in figure 5 the corn is being led in as the ploughman and his horse.
Also in the dance when we first learnt it were two additional dancers dressed up as the farmer and his wife (dressed up in corduroys, pipe, walking stick, dresses, veil and all). These characters joined in the dance from the side going through the windows arm in arm as a pair. Also figure 1 and anywhere else. In figure 5 the farmer (who represented a very bad character brandishing his stick at anyone including his wife) ducked in and put his head through the lock turning the opposite way to the
dancers who then withdrew the swords seemingly cutting off the farmer’s head, whereupon his wife raises her arms showing lots of happiness. By these functions it can be seen to be a very old dance
from pagan times. In writing the dance down before it is forgotten I have kept a promise made when I danced in London at the Albert Hall in 1966. This promise was made to a lovely lady called Miss Charlotte Webb of the E F D S to keep the dance going. Long may it continue. My brother who was in the sword dancers earlier than me said that the name of the team originally was the Black and Amber and was changed to the Lingdale Primrose in 1938. Alson another name in the team who
went to Germany was Mr Ellwood. Another team in 1926 was called the Lingdale Progressive.
The following photos, of the swords and the sword box, were taken by Vince Rutland at the museum
