Here’s a 500-word summary of Andrew Kennedy’s talk on “Who Were the Sword Dancers and Why Did They Do It?”:

Andrew Kennedy’s talk, part of the Morris Federation’s lockdown series, explored the identity and motivations of historical sword dancers. Unlike Morris dancing, where the dancers themselves remain largely anonymous, Kennedy argued that for sword dancing, there is a surprising amount of information about individual performers across different periods. He illustrated this with three case studies from the 17th, 18th, and 19th centuries.

Kennedy, an experienced sword dancer and editor of Rattle Up the Boys, noted that sword dancing has long been studied through grand theories proposed by outsiders rather than by asking the dancers themselves why they performed. He questioned whether “sword dancing” is even a single definable tradition, given the wide variation in styles, purposes, and associated objects across different regions and time periods.

The talk examined the golden age of sword dancing in Northern Europe (1400–1600), particularly within guilds in Germany and the Low Countries. One striking example was the Nuremberg Cutlers’ Guild’s 1600 performance, where 12 linked dancers were accompanied by drummers, a fool, and an audience of local elites. Another example, from the Netherlands in 1560, showed a village sword dance as part of St. George’s Day festivities, illustrating both civic and communal aspects of the tradition.

Kennedy discussed various theories explaining sword dancing’s origins, including its supposed connections to Germanic warrior traditions (Tacitus, 98 AD), religious fertility rites (Schuster, 1870), male initiation ceremonies (Wolfram, 20th century), and occupational training for miners and metalworkers. While some dances were linked to military preparedness, he dismissed ideas of pagan survivals, highlighting the lack of evidence for such claims.

Three case studies illustrated the diversity of sword dancing traditions:

1. Nicholas Blundell’s Dance (1712, Lancashire, England) – Blundell, a Catholic gentleman, composed and taught an eight-person sword dance for a marling (soil improvement) celebration. The dancers were local agricultural workers, and the performance was accompanied by paid musicians, showing a mix of elite patronage and working-class participation.

2. Bilk Sword Dance (18th–19th century, Germany) – Performed at Shrovetide in village kitchens, this dance involved young men tossing a dancer onto a beam to snatch sausages. The tradition ended in 1850 when the church imposed 48 hours of pre-Lenten prayer, illustrating the influence of religious authorities on folk traditions.

3. Elgin Sword Dance (1623, Scotland) – Five young men from prominent merchant families performed a masked sword dance at Twelfth Night, violating strict Presbyterian prohibitions. Records show them repeatedly fined for other youthful misdemeanours, yet most later became respected civic leaders, suggesting that sword dancing was part of youthful rebellion before settling into adult responsibilities.

Kennedy concluded that sword dancing was primarily a male pursuit before the 20th century, emerging in strong social networks rather than specific occupations. While some traditions were civic or ritualistic, others were simply about fun, prestige, and camaraderie. The persistence of sword dancing today suggests that, despite historical shifts, the fundamental appeal remains—bringing people together for spectacle, celebration, and enjoyment.