The Morris Book Part 11

MUSIC. MOVEMENTS. FORMATION.

SHEPHERD'S HEY (STICK OR HANDKERCHIEF DANCE). Once to Ju. last half-bar. Column.

yourself. A1. Down-and-back, Ju. "

Up-and-back, j. (forming Fr.) Col. to Fr.

B1. Tapping (or Hand-clapping). Front.

(_See_ p. 59.) A2. Chain. Column B2. Tapping (or Hand-clapping). Front.

A1. (2nd time). Go-and-come. "

B1. (2nd time). Tapping (or Hand-clapping). "

A2. (2nd time). Back-to-back. "

B2. (2nd time). Tapping (or Hand-clapping). "

A3. Go-and-come. j. on last half-bar Fr. to Col.

(to Col.). To extend, repeat A1, B1, A2, B2 (2nd time). A3. Dance at 4/3 quick-step, mark time Column.

(repeat). (that is, in position); left hand (_Presto_). hanging loose, until last half-bar, when it is thrown up. Right hand holds stick across the body, the stick slanting upward towards the right shoulder. Two bars from end leader calls "All in." All Ju. on last half-bar, and throw up both hands. ALL IN.

MUSIC. MOVEMENTS. FORMATION.

BLUE-EYED STRANGER (HANDKERCHIEF DANCE). Once to yourself. Ju. last half-bar. Column.

A1. Down-and-back, Ju. "

Up-and-back, j. (forming Fr.) Col. to Fr.

B1. All dance at 4/3 step, mark time; Front.

Bars 1 to 8. swinging hands back and forth together in time. Bars 7 and 8 to be danced in 4/2 step. B1. Chain. Column.

Bars 9 to 16. A2. As previously in B1, bars 1 to 8. Front.

B2. Bars 1 to 8. Cross-over. "

B2. Bars 9 to 16. As previously in B1, bars 1 to 8. "

A1. (2nd time). Back-to-back. "

B1. Bars 1 to 8. As previously in B1, bars 1 to 8, "

(2nd time). until bar 7, when leader call "All in." All then draw into Ring in centre, throw up hands Fr. to Ring.

on half-bar of bar 8, and Call. (To extend this dance to full Ring.

length of music, _see note_ p. 50.) ALL IN.

MORRIS OFF.

This, as the name denotes, is the tune to which the dancers step as they leave the scene--be it stage, or high road, or village green--of their performance. Its execution is very simple, and there is no limit to the number of times the eight-bar measure may be played--or rather, the limit is set according to the fancy of the leader, for he may, if he pleases, and if the audience manifests no impatience, lead his side back and forth in a serpentine track, round and round for ever so long, till finally they wind from the scene.

The step is the 4/3 step throughout, but with a difference. It is more of a plod, with less of stamping and much less lifting of the feet. Morris Off, danced in the traditional manner, gives one the impression of a company agreeably tired, but pleased and comfortable, having rollicked to their hearts' content, and to the contentment of the lookers-on; and being now upon the way to supper, and to bed. Of course, if they be still exuberant, they may show it, and stamp their l.u.s.tiest; still a demurer step will usually suggest itself as the more appropriate. This quieter manner is best described as almost a slow, very gentle trot, the steps little longer than the foot--left, right, left; and then, on the fourth beat, not a hop, but a tap with the heel.

As for the movements. After "Once to yourself," the side marks time for 6 bars, and makes a complete right turn, slowly, in bars 7 and 8; then the leader, with Nos. 3 and 5 behind him, starts forward as described, Nos.

2, 4 and 6 meanwhile marking time. As No. 5 draws level with No. 2, he falls in behind, and Nos. 4 and 6 in order after him.

The side is now going slowly forward, in the manner of "Follow my leader." In every repet.i.tion of bars 7 and 8, all make a complete right turn, as already described, so that at the repeat of the first bar all are again facing in the course the leader shall have set.

The course will be set according to circ.u.mstances, and the position of exit, if in a room; or, if in the open, the leader will wind--or in the old manner of saying, he will "hey"--to some chosen point for quitting the scene.

To hey was to wind in and out and round about--though the term has many meanings. That is the leader's business: to lead the side across and back again, all turning together in the last two bars, and back and across again, or round about occasionally, as long as he may please.

Suppose more than one side has been dancing; then the leading side will start as already described, the other, or others, falling in as may have been previously arranged.

Morris Off, smoothly and quietly danced, with its strange monotony, has a fascination all its own. It is farewell, with no sorrow in it; good-bye, but with no dread of loneliness to-morrow; somehow, one cannot tell how, all the wholesomeness of the Morris, and of the folk that sent it down to us, and are with us yet, is in this dance. When the dance is over, and the bells quiet, there is neither surfeit nor exhaustion. Morris Off is like to make one think of sound sleep and clear awakenings.

THE END.