Allan reflected on her personal Morris journey, beginning with her exposure to Cotswold Morris in London in the 1970s. Upon returning to Cumbria, she explored local traditions after hearing anecdotes from her grandmother and mother about carnival Morris dancing. This inspired her research, ultimately leading to the foundation of Throstle’s Nest Morris, a women’s team incorporating Northwest Morris and local dances.
She explored how Cumbria’s Morris traditions evolved through local influences, particularly during the “Merrie England” movement, which romanticised rural customs. May Queens, maypoles, and carnival processions were prominent, often choreographed by figures like Oliver Cowper, a key dance teacher in the region. Cowper’s influence extended to various Cumbrian towns, where he created processional dances performed in local carnivals.
Allan discussed specific dances, including the Keswick dance, thought to have originated in Lancashire and adapted for Keswick’s May Day celebrations. She also described the Wigton dance, often associated with its carnival, but revealed it was first performed for George V’s coronation in 1911, choreographed by Cowper. Other dances, such as the Ulverston and Blennerhasset traditions, were similarly shaped by local teachers and contexts, often involving girls and performed to brass bands playing “A Hundred Pipers.”
The talk highlighted how local teachers, schools, and community figures were instrumental in transmitting these traditions. Allan’s research uncovered a mix of formal and informal influences, showing how dances evolved through individual creativity and communal engagement. She noted that local newspapers and oral histories were vital in piecing together the historical narrative.
In the Q&A, participants shared insights into their regional experiences, reflecting the diversity of Morris traditions and the challenges of preserving them. Discussions touched on the demise of carnivals, the role of schools, and connections to broader cultural movements like Eisteddfods and the arts.
Allan concluded by emphasising the importance of recognising bias in research and being open to revising assumptions as new evidence emerges. She reflected on how a few individuals, such as Cowper, significantly shaped the continuity and character of local traditions. Allan’s findings illustrate Morris dancing’s rich, dynamic history in Cumbria, shaped by cultural shifts, local figures, and communal spirit.
