Custom and Creativity: The Chicken and Egg of Folk Performance Histories – summary

Peter Harrop’s talk, “Custom and Creativity: The Chicken and Egg of Folk Performance Histories” presented on Zoom for the Morris Federation on 5 February 2022, explored the dynamic interplay of tradition and innovation in folk performance. Harrop questioned the perception of customs as static relics of the past, positing instead that creativity and specific contexts have shaped them. Drawing insights from his contributions to The Routledge Companion to English Folk Performance and other works, Harrop delved into the histories of Morris dancing, sword dancing, and Mummers’ plays, illustrating their evolution through documented performances.

Key Themes and Ideas:

1. Origins and Evolution: Harrop outlined historical milestones in English folk performance:

   • 1477: The first recorded Morris dance in a London parade.
   • 1541: A sword dance noted in Norfolk churchwardens’ accounts.
   • 1746-1769: The first printed Mummers’ play in Newcastle. These early records reveal performances as commissioned or context-driven creations rather than remnants of ancient rituals.

2. Impact of Victorian and Edwardian Revivals: Harrop emphasised the profound influence of 19th and early 20th-century folklorists and antiquarians, such as Cecil Sharp, on shaping contemporary perceptions. Sharp’s views, linking Morris, sword, and Mummers’ plays to pagan and sacramental roots, have dominated folk revival narratives and influenced their performance styles.

3. Custom and Creativity: Folk performances have always been dynamic, adapting to changing social and cultural contexts. Harrop highlighted that elements like personages, story fragments, and imagery were often borrowed or reimagined, likening this process to modern “sampling” in music.

4. Performance and Context: Harrop challenged the idea of folk as inherently distinct from other performance genres. He argued that these traditions were shaped as much by collectors’ interpretations as by their original contexts. For example:

   • Morris Dancing: A multi-faceted activity found in urban, rural, and theatrical settings.
   • Sword Dancing: With early references spanning Norfolk to Lancashire, its forms varied and adapted to local needs.
   • Mummers’ Plays: Sometimes incorporating house-visiting traditions, they blend aspects of early-modern convivial mumming with theatrical performance.

5. Romanticism and Cultural Memory: Harrop discussed how Romanticism’s fascination with the past endowed folk performance with a “ghosting” effect, where each reiteration evokes layers of history. This perception contributes to their enduring appeal and perceived authenticity.

6. Modern Implications: Harrop celebrated the diversity and adaptability of folk traditions, advocating for a broader understanding that honours both historical accuracy and creative reinvention.

Audience Discussion:

Participants raised questions about specific traditions, such as the origins of bells in Morris dancing and sword dancing’s regional associations. Some shared insights from their research and experiences, like Beatrix Potter’s writings on Cumbrian dances and the creative evolution of local Mummers’ plays.

Conclusion:

Harrop concluded that folk performance histories reveal a vibrant interplay between inherited customs and individual creativity. Rather than static relics, these traditions represent a continuous negotiation of meaning, driven by the people who create and reinterpret them.