Winter Sword Dancing: a black and white issue? – summary

Summary of Andrew Kennedy’s Talk on “Winter Sword Dancing: A Black and White Issue”

Andrew Kennedy’s talk, organised by the Morris Federation on 29 January 2023, explored the multifaceted history and evolving practices of winter sword dancing. He examined its cultural roots, the role of disguise, and the controversial use of blackface, providing historical context and analysing modern implications.

Historical and Cultural Background
Kennedy opened by tracing the origins of winter sword dancing to European guilds and apprentices in towns like Nuremberg and Ulm, where it began as part of civic celebrations. Over time, the practice spread to rural areas, where it was incorporated into broader midwinter festivities. Sword dancing historically coincided with seasonal customs such as Carnival and the period between All Souls’ Day and Shrove Tuesday. These festivities often featured riotous behaviour, cross-dressing, and face blackening as methods of disguise.

He noted significant distinctions between civic sword dancing, which was orderly and performed for dignitaries, and midwinter sword dancing, which was more raucous and anarchic, often involving masks or blackened faces. This blackening symbolised masquerade and fun, contrasting the formality of white costumes often associated with higher status.

Disguise and Blackface
Disguise played a central role in midwinter customs, both for anonymity and as a symbol of social inversion, echoing Carnival traditions. Kennedy linked the historical use of blackface to practical and symbolic purposes, including theatrical masking and obscuring social hierarchies. He acknowledged its historical significance but emphasised that modern debates on blackface have largely been exhausted, urging a focus on broader contextual understanding.

Gender and Social Dynamics
Kennedy discussed the male-dominated nature of traditional sword dancing, citing historical records of young men participating while women remained at home. However, he noted that some women in both historical and modern contexts have taken on active roles, particularly in Continental traditions. Examples included women’s participation in guising (disguised performances) and mixed-gender adaptations in modern festivals.

Regional and Theatrical Variations
He explored regional differences, contrasting stately Continental performances with lively, disorderly English traditions. He also touched on links between sword dancing and theatrical performances, highlighting examples of sword dances in stage settings and regional adaptations.

Modern Relevance and Controversy
Kennedy addressed contemporary debates about blackface and tradition. While some sword dance groups have modernised practices to avoid offensive symbolism, others maintain historical authenticity. He emphasised the importance of adapting traditions to reflect evolving cultural values while preserving their historical significance.

Audience Discussion and Q&A
The talk concluded with a lively Q&A session. Participants explored themes such as the legitimisation of youth culture through sword dancing, the relationship between sword and Morris dancing, and the role of music. Kennedy highlighted the need for further research into lesser-documented aspects, such as the interaction of sword dancing with theatre and regional variations in music.

Conclusion
Kennedy’s talk provided a nuanced exploration of winter sword dancing, balancing historical analysis with contemporary considerations. It highlighted the interplay of tradition, disguise, and social dynamics, inviting ongoing dialogue about the evolution of folk practices in a modern context.