Coconut Dancing – more than just a Lancashire tradition – summary

The talk “Coconut Dancing – More than Just a Lancashire Tradition” by Peter Bearon, organised by the Morris Federation and hosted on Zoom on 3 December 2021, delved into the complex history, origins, and variations of coconut dancing, a practice often associated with Lancashire but with broader cultural and geographical connections. Peter presented his findings while avoiding discussions on blackface, focusing instead on the dance’s historical and musical evolution.

Bearon began with the Britannia Coconut Dancers, the only surviving tradition in Lancashire, known for their Easter performances. Their dance involves distinctive costumes with wooden blocks attached to the knees, hands, and waist, and is performed to tunes with historical connections. Peter noted similarities in costume and style between the Britannia team and the Els Moritons, a Majorcan tradition featuring boys dancing during the Festas de San Domingo. He highlighted a shared tune between the two traditions, resembling the Rochdale Coconut Dance tune.

He discussed a third coconut dance tradition from Provence, France, known as Lei Coco. This tradition was revived in the late 19th century and performed in Provencal festivals. Historical references suggest connections between Lei Coco and theatrical productions, specifically those inspired by Paul and Virginie, a French operatic work set in Mauritius.

The talk explored the role of 19th-century theatrical performances in popularising coconut dancing. Bearon traced references to coconut dances appearing in pantomimes, circuses, and melodramas, often as exoticised representations of non-European cultures. For example, the Chirini Family, a prominent performance group, showcased coconut dances on English and French stages, contributing to the dance’s diffusion.

Peter scrutinised theories on the origin of the Lancashire tradition. Some attribute its introduction to Cornish miners who migrated for work, but historical records challenge this, suggesting the dance developed locally around 1857, possibly influenced by theatrical coconut dances prevalent at the time. Other Lancashire teams, such as the Tunstead Mill Nutters, also contributed to the dance’s local history.

Musically, Peter compared various coconut dance tunes, including the Rochdale tune, Els Moritons’ melody, and French sources like the Negro March from William Reeve’s Paul and Virginie. He observed shared motifs and rhythms, suggesting the tunes form part of a broader genre tied to theatrical traditions.

Bearon highlighted international connections, mentioning a Philippine coconut dance, Maglalatik, which symbolises a battle between Moors and Christians, and an Italian Grand Contra Dance with melodic similarities to the Britannia tradition.

In conclusion, Peter emphasised that coconut dancing is a rich, layered tradition shaped by cultural exchange, theatrical influence, and local innovation. He called for further research, particularly in Spanish and Majorcan archives, to clarify connections and origins. The talk showcased coconut dancing as more than a regional curiosity, positioning it within a broader narrative of global dance traditions.