Goathland Plough Stots Long Sword Tradition – summary

The Goathland Plough Stots long sword tradition was discussed in a Morris Federation Zoom talk on 10 January 2021, led by Keith Thompson. The talk delved into the rich history, cultural significance, and evolution of this traditional dance form from its earliest records to the present day.

Thompson began by explaining that the Plough Stots’ origins can be traced back to 1812, with written references in the History of Whitby. By the 1870s, the Plough Stots had become a prominent part of Goathland’s community events, with gatherings often held in local pubs like the Lord Nelson and the Crossed Pipes. The dance team would embark on tours, covering significant distances on foot, sometimes accompanied by the Lockton Brass Band. These tours served not only as social events but also as a way to raise funds for community needs, such as healthcare, which was managed through a local mutual aid cooperative.

In the late 19th century, societal changes, including the advent of the railway and shifts in Goathland’s socio-economic landscape, led to the Plough Stots ceasing their activities around 1885. However, the tradition was revived in 1923 by Frank Dowson, a local schoolteacher and folklorist, who organised a village meeting to rekindle interest. Dowson’s efforts, influenced by figures like Cecil Sharp, were pivotal in preserving the dances, tunes, and associated customs.

Thompson highlighted the tradition’s continuity through significant historical events. For instance, during World War II, dancing ceased, and the team only resumed in 1947, reflecting the village’s focus on community recovery. The Plough Stots then flourished, participating in festivals and maintaining their place in local culture. Notably, the dances were passed down through families, creating a multi-generational legacy.

The 1970s and 1980s saw challenges, including internal conflicts over leadership and changes in the team’s direction. Despite this, the Plough Stots persevered, benefiting from village support and involvement in broader folk events, such as the International Sword Spectaculars. The team adapted to modern times, incorporating female dancers and musicians and joining the Morris Federation.

Thompson also discussed the importance of documenting traditions. Inspired by Dowson’s writings and other archival materials, he emphasised the value of recording history for future generations. Recent efforts include teaching sword dancing in schools and engaging children in the tradition, although these initiatives were temporarily halted by the COVID-19 pandemic.

The Plough Stots’ current base is a community hub in Goathland, showcasing artefacts, costumes, and historical records. This hub symbolises the team’s commitment to preserving and sharing their heritage. Future projects include publishing a book on the team’s history and collaborating on a broader study of North Yorkshire and East Cleveland sword dances.

In conclusion, the Goathland Plough Stots exemplify the resilience of traditional dance, serving as custodians of a unique cultural legacy that continues to evolve and inspire.