Michael Heaney’s talk, “More Morris than You Can Shake a Stick (or Handkerchief)” hosted by the Morris Federation on 2 April 2023, provided a rich exploration of the history and evolution of Morris dancing in England, drawing upon his book, The Ancient English Morris Dance. He traced Morris dancing’s journey from its traditional forms to its Victorian revival and beyond, challenging long-held perceptions and celebrating its dynamic history.
Heaney began by spotlighting a pivotal moment in Morris history: Cecil Sharp’s 1899 Boxing Day encounter with the Headington Quarry Morris dancers, featuring William Kimber on concertina. While often credited as the origin of the Morris revival, Heaney contextualised this event within broader antiquarian interests and earlier efforts to preserve and reinterpret Morris. Figures like Darcy Ferris, who recreated Bidford Morris dancers for Shakespearean pageants in the 1880s, and Percy Manning, who documented and revived Morris practices in the 1890s, were integral for maintaining continuity and inspiring Sharp’s later work.
Heaney delved into the diverse forms of Morris dancing at the time, particularly its presence in the South Midlands and Northwest England. He highlighted the intricate footwork, handkerchiefs, and sticks of South Midlands Morris and contrasted these with the evolving Northwest traditions, which featured clogs, slings, and ribboned wands. Despite sharp regional distinctions, he noted that Morris was thriving across England by the late 19th century, particularly in the Northwest, where teams proliferated in the 1890s as part of Whit Week and May Day celebrations. These teams, including mixed-gender and youth groups, demonstrated innovation while rooted in older customs.
Heaney also discussed the varied cultural contexts of Morris dancing in Victorian England. It appeared in village festivals, urban carnivals, theatres, and professional dance troupes. Examples included theatrical adaptations of Morris in operettas like Edward German’s Henry VIII and its reinterpretation at society balls. He pointed to May festivals, well-dressing customs, and even horseback Morris dancing as evidence of its widespread appeal. The flexibility of the term “Morris” allowed it to encompass many creative and regional expressions, from comic Morris performances to the “grotesque” costumes of carnival dancers.
The decline of traditional village-based Morris by the 19th century, driven by the end of Whitsun Ales and shifts in community dynamics, was juxtaposed with its reinvention as a professional and entertainment spectacle. This transition reflected changing societal values and the increasing role of antiquarians in preserving cultural heritage.
Heaney concluded that Morris dancing was simultaneously nowhere and everywhere by 1899. While certain forms faced decline, others were thriving in unexpected ways. Sharp’s revival focused on South Midlands traditions, but Heaney emphasised that Morris dancing had always been a dynamic, evolving art form, shaped by its historical and cultural context. This comprehensive account provided a nuanced understanding of Morris dancing as both a deeply rooted and continually transforming tradition.
