INTRODUCTION Whilst investigating manuscripts at the Vaughan Williams Library I came across this information gathered at Stretton-on-Fosse by Cecil Sharp and an article by Paul Davenport, where he works on this information, there was also a hand written version of the same document with differences that I have used to further expand and elucidate the information. What I have done is worked this information into what I consider to be a coherent whole. The vast majority is the work of another. Stretton-on-Fosse The Stretton-on-Fosse tradition is mentioned in both Needham's and Cawte's versions of the Geographical Index. In the earlier document Needham mentions a tradition with a dance like the Wryesdale Greensleeves Dance. This is said to be a Stretton dance by Cawte in the later Index. In Bacon's aide memoire the Ilmington Tradition appears in three versions, varying according to collector and informants. Certain of these dances bear an uncanny resemblance to those of Stretton. Indeed "Bumpus" is called "Bumpus O'Stretton" in the Ilmington version. From comments made by earlier members of the Ilmington Side, it would seem Sam Bennett, from whom much of the later Ilmington information comes, was regarded somewhat as persona non grata by these older dancers. Michael Johnson said 'that they could not dance to his playing!' According to Lionel Bacon, one dance, which appears in the Esperance Morris Book, is attributed to the Ilmington Tradition. Indeed Bacon comments that the 'Lively Jig', taught by Bennett was not of a characteristic Ilmington flavour. Despite Bacon's misgiving about this placing the only evidence for this is that the informant was Sam Bennett to Clive Carey. We know from the Morris Book that Sharp's informants at Ilmington did not include Bennett, despite the fact that the Field Notes show that Sharp did infact collect from him. The tunes in Sharp's Field Notes do not match those from the Ilmington Tradition despite the informant. It would seem to add to the evidence that Bennett was infact recording the Stretton Tradition at this time and that the later information recorded by Kenworthy Schofield was a mixture of the two traditions. One therefore wonders where this jig originated from. From the information above it seems likely that Bennett's "Lively Jig" fits in with the Stretton Tradition much more closely than with the Ilmington dances and could thus be used to augment this unique series of dances. It may be noted further that even if this were true there is still no repetition of a dance type with regard to the hankerchief dances. There are grounds to suppose that Bennett knew little of the Ilmington Tradition and added to the sparse knowledge with information from elsewhere. This would make sense on these grounds:- a.)There is a strong similarity between the Stretton-on-Fosse and Ilmington Morris, which is only apparent in the later revival at the latter village. b.)One of the Ilmington dances, 'The Lively Jig', is not in the character of the Ilmington tradition. c.)There was antipathy between Bennett and the Old Ilmington Side. d.)The variants of the tradition are greater than in any other tradition (c.f. Bledington). e.)The Stretton dances do not have a set pattern being more akin to the Warwickshire dances than is Ilmington (c.f. Bidford). f.)Ilmington appears to be an Oxfordshire tradition, suggesting some influence other than oral tradition. g.)Ilmington has standardised figures in the later stages. h.)There is an "Ilmington Processional" so why is "Bumpus O'Stretton" used as a 'Morris On'? i.)Why does "Old Bumpus" become "Bumpus O'Stretton" at Ilmington. In C.J.Sharp's "Folk Words", there are a number of dances named as coming from Stretton-on-Fosse (Folk Words 2073-2078). These dances indicate a morris tradition with a series of dances which have figures, for the most part, peculiar to each dance. This is characteristic of the Bidford tradition, also from Warwickshire and suggests the authenticity of the information. In his Field Notes, Sharp noted down these and other dances from the same tradition. There is little information on hand movements, a swing is indicated in "Maid of the Mill" and waving is used in the same dance. In jumps the hands are raised and brought down quickly with the "fall of the body". The only other information on 'hands' is with regard to hand clapping. If as I suspect Bennett used his knowledge of the Stretton tradition to extend the Ilmington repertoire of dances then the 'Lively Jig' probably originates from Stretton-on-Fosse and the hand movements used in that dance may possibly be characteristic of the Stretton tradition. The steps used at Stretton are of two types 6/2 and 4/2. There is use made of a swing step in the "Buffoon" this is rather like that used in the Bampton "Fool's Jig" with the feet not quite crossing; its says fig 3 of Bacca Pipes in the MSS. Unfortunately Sharp was characteristic of the collectors of his time in one respect. He records only bare details of his informant in most cases. In the case of Stretton even this information is lacking. We do not know from whom the dances were noted only that it took several visits for the information to be assembled. Sometime between May and August 1909 Sharp wrote in his field notes the preliminary notes on the dances. Later in that period, around the 10th August he returned with a new field notebook and revised the information. The differences are slight. Sharp obtained the form of the following dances:- The Buffoon, Maid of the Mill, Old Molly Oxford, Constant Billy, Shepherd's Hey and The Black Joker. In his "Folk Words" he calls "Old Molly Oxford","Old Mother Oxford". There is no record in the "Field Notes" of "Shepherd's Hey" though this occurs in the "Folk Words"(2077). The tunes collected at this time are apparently missing from the "Field Notes" in the Vaughan Williams Library. There is a cryptic note (Field Notebook 1909II) which reads as follows:- Oxley, Mrs Daily old man fiddler and he and his wife dance no mention is available as to whom this reference concerns, it follows on from a brief note "Maid of the Mill - Ribbon Dance". The Stretton tradition would seem to have been overlooked because on prima facie evidence it appears to be Ilmington. Yet closer examination of the way in which the dances are constructed shows that this is not the case and infact this is a separate tradition of a quite unusual character. The information in Sharp's notes should have attracted attention immediately but due to the links with Ilmington it might easily be supposed that these dances belong to the latter tradition. The evidence which refutes this, is obscure, only coming to light when both Field Notes and manuscripts are examined together. The vital differences occur as shown below:- The Ilmington Tradition has; a.)A set of uniform common figures b.)A processional dance c.)Differences in distinctive figures i.e. Maid of the Mill The Stretton-on-Fosse Tradition has; a.)A set of variable common figures b.)A processional dance differing from that of Ilmington. c.)A mode of execution of distinctive figures that varied from that at Ilmington. d.)A pattern of music usage is different to that at Ilmington. AABB(A's being used for CF but B's also being used for the same purpose.) There are other factors which will become apparent in the following reconstruction. The tunes are to be found in the Ilmington variants of these dances. The similarities being sufficient to allow the same tune to suffice for each tradition although adjustments in playing are needed with regard to usage of A-B divisions. The most interesting aspect of the tradition is that its peculiar form gives it a position intermediate to both Border and Cotswold. This position can be arrived at by considering the lack of Cotswold figures, e.g.Half Gip, Half Rounds and the odd form i.e. no common figures and distinctive figures merging in the dance. Indeed, there are more schematic similarities with the Cheshire dances in this tradition than with the Cotswold Morris. RECONSTRUCTION Stretton-on-Fosse Figures according to progression in Manning MSS regarding the procedure in dancing
The table shows the progression of figures in each known dance and therefore the likely progression in the two dances lacking precise information. Since the most normal order would appear to fall into the pattern AABBBBAA (Maid of the Mill & Molly Oxford) with slight variation (Black Joker) it would seem reasonable to reconstruct in a conservative manner, the two un-described dances see bottom of diagram. The Dances of Stretton-on-Fosse Sources C.J.Sharp Field Notes 1909 II & 1909 III Folk Words 2073-2078 The dances are seven including a Morris On, two stick or hand clapping, one of indeterminate character, one of comical character, a linked handkerchief dance and a side-step dance. There is reason to suppose the existence of a set jig. Common Figures - These vary according to the dance. They comprise OTY - jump, FU - forward & back , this is sometimes danced on the spot, DP - Sharp calls this mark time, AMR - advance meet & retire, BB - could well be version a.) of cross & back, CB - Cross & Back (like Sherborne Whole Gip, Davenport) but the MSS have two versions; a.)crossing left shoulders odds turn under, backwards to place 2 bars, right shoulders evens turn under, backwards to place, 2 bars. b.)partners cross right shoulders turning under, repeat right/left shoulders turning under c.f. under Maid of the Mill. WH, HH - hey's are country dance style as a 'chain', also Bidford in & out hey, Bidford without the loops. The order of figures is not fixed and varies from dance to dance. Steps - Steps seem to be of normal types, 4, 2, 1. In the case of the latter this is a lazy swing with little or no lift on the supportinng foot c.f. earlier reference to Bampton. There are apparently no backsteps. Sidestep is described as a "shuffle". Capers are plain. The style appears to be fairly loose and easy throughout with no great expenditure of energy. Hands - Little information. One can assume an analogy with Ilmington or adopt the following alternative based on the evidence of one dance and the Ilmington 'Lively Jig'. This dance shows all the signs of being a Stretton dance and has only the source, Sam Bennett, to suggest that it is from Ilmington. Using the jig information on the hands they are down and up, one hand at a time, left hand with right foot, down to the side of the body except in the Buffoon where the hand travels past the body. Sharp MSS says, hands high on jumps, down quickly with the fall of the body. Hands swing in linked handkerchief dance, wave high in some stationary figures and low on capers. The later by conjecture.
The Dance Notations Old Bumpus -Sharp MSS(Field Notes) [Processional] A1 Dance on in column 4 bars, 4 step, jump, Turn on the spot with same sequence to face up B1 As above A2 as above And so on until reaching the dancing place then No1 calls "face" and the following turn as usual but to face partner. They then dance in position 'marking time' with 4 step. Old Molly Oxford - Sharp MSS (Field Notes) [sidestep & halfhey] A1 Foot up 2 bars, 2 step Retire to place 2 bars, 2 step, face partner Dance to partner 4 bars, 2 step, jump A2 Dance towards partner 2 bars Retire to place 2 bars * Cross over right shoulders return backwards 4 bars [Cross & Back this is almost a whole gip as danced at Sherborne (Davenport) MSS have two versions; a.) crossing left shoulders odds turn under, backwards to place, 2 bars, right shoulders evens turn under, backwards to place,2 bars, AND b.) partners cross right shoulders turning under, repeat right shoulders turning under)] B1 Odds shuffle to left waving left hand} Evens " " " " " " } Reverse of above to right 2 bars Half hey finish with a jump B2 first 4 bars as B1 Back to Back B3 Repeat B2 B4 Repeat B1 A3 Repeat A2 A4 Repeat A1 face up final jump. *It would seem reasonable to suppose that the repeat of this and similar figures i.e. BB, is a reverse movement - i.e. the other way.
Black Joke C.Sharp MSS(Field Notes) [Hankerchief Dance] OTY - come in in last 2 bars with 4PC, hands wave. Facing up and turning to face partner, complete turn A1 Dance to partner (DP) 4 bars 4 step Caper out to face, 2 bars, 4PC A2 Cross and Back (c.f. Old Molly Oxford) 4 bars 4 PC turning out, 2 bars B1 Half Hey, 4 bars DP, 4 bars 4PC out to face B2 Back to Back, 4 bars DP, 4 bars 4PC out to face, 2 bars A3 Foot up facing down, 2 bars Retire to place, 2 bars 4PC turning out, 2 bars *B3 As B2 B4 As B1 A4 As A2 A5 As A1 All face up on last caper *This is the order as Field Notes 1909II, in the later field Notes Sharp says again from B (B1 here). The dance does not occur in "Folk Words". Maid Of The Mill - C.Sharp MSS (Field Notes) [Linked Hankerchief] The hankerchiefs are tied together and held between partners in their right hands. When not actually being used to pass under, these are held at hip height and swung in time to the music. When forming arches they are raised above head height. 4 step throughout OTY Jump A1 As Molly Oxford - free hand wave on dance to partner A2 Cross & Back single turn under, 4 bars MSS have two versions; a.)crossing left shoulders odds turn under, backwards to place, 2 bars, b.) crossing right shoulders evens turn under, backwards to place, 2 bars, "by this means hankies will be untwisted at finish"; partners cross right shoulders turning under, repeat right shoulders turning under) DP 4 bars B1 Arches - 3&4 do not move, ends change through middle. 1&2 under 5&6 should change in middle under 3&4 Cross & Back, 4 bars B2 High Arches - Fool and Hobby Horse prance through arches from bottom CB, 4 bars B3 As B2 B4 As B1 A3 As A2 A4 As A1 CB's should be reversed i.e. 1st starting to left, 2nd to right. The Buffoon - C.Sharp MSS (Field Notes) 1 step throughout, bring knee up as high as compatible with the music. Hands high swing and back. A1 Whole Hey 8 bars (MSS says chain 21/2 times gives inverted set.) A2 Half Hey 4 bars *Close up ends moving out thus
1 2 1 2 to 4 bars A 3 4 3 4 give 5 6 5 6 *This is according to Sharp, an alternative is for 3 to dance up the middle and 4 down the middle to give two circles top and bottom, B1 1 clap hands, strike rt. knee, slap next man's shoulder and kick his backside, 2 bars ditto next man 3 2 bars ditto next man 5 2 bars *Return to places 2 bars *In the notes 1909II Sharp says this is in axial position this does not occur in 1909III. If the alternative change is made in A2 then the position could be 3 1 3 2 1 2 after A2 after B1 5 4 6 5 6
4 A3 As A1 8 bars A4 As A2 4 bars - then as alternative B2 as B1 but blow (feint) to head instead of kick by each in turn 6 bars *A5 as A1 A6 as A2 all in 8 bars *This is not included in any notes but will serve to finish off the dance by reforming the set the right way up.) Constant Billy - (Field Notes & Folk Words) This is noted to suggest a stick dance in 1909II Field Notes. Only a hand clapping is given in "Folk Words" No order of figures is given in either source so the following is suggested. 2 step? throughout OTY Jump A1 FU and retire 4 bars DP jump and clash 4 bars A2 BB 4 bars one way only DP as above 4 bars B1 stick or handclapping 4 bars HH 4 bars jump clash B2 stick or handclapping 4 bars CB 4 bars B3 as B2 (I reckon it should be other half CB and DF) B4 as B1 see brackets - changes to make a mirror image. A3 as A2 A4 as A1 facing up sticks odds t/even b | evens t/odds b | bt | bt | hand clapping b R | b L | b beh | b r+r l+l | Shepherd's Hey C.Sharp MSS "Folk Word" This is noted as both a stick and hand clapping in "Folk Word" Full notation for DF is given. Davenport's notation, I suggest gives a rather excessive 16 bar hey and 8 bars of sticking/clapping repeated soon. I give my opinion which, I give in italics below, c.f Buffoon, one MS says 21/2 chains. 4 step OTY Jump A1 DP jump & clash CB 4 bars A2 CB 4 bars DP 4 bars B1 HH 4 bars (DF 8 bars) DF 4 bars jump clash B2 DF 4 bars (Whole Hey) BB 4 bars B3 as B2 B4 as B1 A3 as A2 A4 as A1 4PC facing up. Distinctive Figure Sticks - first part stick held by opposite at both ends: XXX | XXX | XXXX | XXX- | odds evens TBTB TBT- Clapping b rk r+r | b lk l+l | b ur b ul | b-beh | MSS says don't bend the knee on clap stoop down The Lively Jig 4 men - step as the Stretton Buffoon with high arms, going alternately, lt with right foot and rt with lt foot, raised knee as high as tempo allows. 1 step rlrl | rlr- | The music shows the characteristic 'mirror' pattern of Stretton (OTY(AABB)AA (Bacon seems unsure of this. Sequence OTY,Walk Round, Back to Back, Forward & Clap, WR, Fwd & Clap, WR WR 8 bars c.cl BB Rt shoulders only. 1&2 in 4 bars then 3&4 in 4 bars F&C 1&2 advance clap rt on last beat bar 1 clap left on last beat bar 2 Retire to place in 3&4 Repeat in bars 5 - 8 bars 9-16 same danced by 3&3 Note Due to the nature of the tradition one can assume that the form was not altogether rigid. It would be reasonable to assume that figures were substituted as mood or occasion merited. Indeed Back to Back is noted by Sharp as an alternative to Half Hey in certain dances whilst in others this figure was used in place of Whole Hey or even cross and back. It seems almost to be a case of 'if in doubt - back to back!' FOR THE MUSIC CLICK BELOW |