Vanessa Di Cesare
Professor Matthew Sergi
ENG331H1S
1 April 2014
Morris Dancers in Early
English Drama: Chester, Wales and Shropshire
Keywords: Christmas Winter
Watch, Cordwainers, Anticke, Gamboles, Morice, Cross-dressing
This essay is intended to
analyze the implementation of Morris dancers in dramatic processions and plays
based on the Records of Early English
Drama in the 16th and 17th centuries. The term, Morris is derived from the Latin word
“moris” meaning tradition or custom (Witcombe “Morris Dancing”). What
distinguishes Morris dancers from other types of dancers is that it is a
ritual, English folk dance where bell pads were usually worn on the shins.
Implements such as sticks, swords, and handkerchiefs were also used (Witcombe
“Morris Dancing”). Morris dancers were an integral component to the dramatic
and ceremonial activities in England. Its use to entertain and gather funds
collectively functioned to enhance the cultural and traditional wealth of
English communities. My investigation on how and why Morris dancers were
incorporated in dramatic activities will increasingly inform my understanding
of early English performance. This report will focus on the distinctive
traditions of Morris dancers in Chester, Wales and Shropshire.
Chester’s
inclusion of Morris dancers in dramatic celebrations was crucial because they
were predominantly used to ensure the city’s safety. In the early 1400s, a
series of attacks occurred on Chester and as a result, ceremonial processions
were created so that everyone could join in and watch out for future attacks.
This was popularly known as the annual Christmas Winter Watch (Clopper li).
When the council recreated the Christmas Winter Watch in the 1990s, it turned
into an entertaining parade in the lead up to Christmas. Every year since the
1400s, Cestrians look forward to their annual Christmas Winter Watch. Even
though its original purpose was to protect Chester, it enabled the city to come
together every year and give recognition to its dramatic traditions. It is for
this particular reason that entertainment expenses were paid for by the city
(Clopper lviii). The Treasurer’s Account Rolls were accountable for disbursing
Morris dancers along with other city rentals. The Treasurer’s Account Rolls’
records regarding Morris dancers at the Christmas Winter Watch prove that they
were a necessary component of Chester’s ceremonies. Other than this event,
Morris dancers were viewed in the Midsummer Show which began in 1499. Every
year in mid-June, Cestrians would gather to watch their city’s most popular
show. However, the city only paid for the use of dancers in the shows; their
payments did not include the dancers’ costumes, shoes or accessories. Payments
for the Morris dancers’ shoes were contained under the Cordwainers and
Shoemakers’ Records. According to my research, cordwainers were “workers in
cordovan leather” (Merriam-Webster). This shows that Morris dancers were well
taken care of and required specific, custom shoes for their performances.
Hence, Morris dancers were highly supported by Cestrians because they worked
not only to entertain them, but to assist officials in protecting the city of
Chester. Their ability to effectively entertain proves the quality of Chester’s
drama and why many people continue to attend the annual Christmas Winter Watch
and the Midsummer Show.
In Wales, Morris
dancers were not viewed as integral to the city as they were in Chester. In the
16th century, Wales was distinguished by two large-scale changes in
society: the rise to power of a new class gentry and the expansion of urban
centers (Klausner xx). It is from this economic change that may account for the
presence of other types of dancers rather than Morris dancers. In Wales, a type
of dance represented each season: Anticke
dancers represented autumn, country dancers of heymake or reapers
represented summer, Morrice dancers
represented spring, Gamboles dancers
represented winter, and cross-dressing
dancers represented summer. A popular dramatic performance in Wales was called
“Myddelton of Chirk” that ran from 1634-1641. There are no details that
specifically state when the show is set, however, it took place in the Chirk
Castle and consisted of all types of dancers other than Morris dancers. The
accession of James I in 1603 brought a few changes to Wales. James I saw the
continuation of the Elizabethan order under the new king as the best means to
preserve and consolidate their estates (Klausner xxii). Furthermore, for
financial and cultural reasons, the city and other institutions did not support
entertainment in Wales. As a result, performances were held in private
households. From my research, it seems that Morris dancers were treated like
any other citizen of the city and their work did not serve as any help to the
city’s needs. The REED contained an inquiry concerning assaults at a Morris
dance on in 1653. It is evident that Morris dancers were not as highly regarded
as other types of dancers and it is for this reason that their actions were
closely watched. A common feature of midsummer dancing activities in Northeast
Wales after restoration was cross-dressing
dancers (Klausner 419). Unlike Morris dancers, cross-dressing dancers wore large floral garlands and engaged in
sword dancing. After the performance, money is collected, and this is how they
were paid for their work. In Wales, there is less focus on dancers and more
towards the urbanization of the city. Even though the city’s expenses went
towards its economic needs, some people still continued to engage in Morris
dancing within their own households.
In comparison to
Chester and Wales, Morris dancers in Shropshire represented a spiritual
significance because their dances only occurred in religious settings. In 1584,
under the Diocese of Coventry and Lichfield,
summer Lords, Ladies or disguised persons were asked to dance in churches and
churchyards during holy service or sermons. However, there were conditions if
one was a Morris dancer in Shropshire: if any of the dancers were a parson,
vicar or curate, they were regarded as having an evil religion or bad life and
were not allowed to dance in a church setting (Somerset 4). Also, if a Morris
dancer came reverently into the church or churchyard to dance or show
themselves disguised in common prayer, they were viewed as committing a
“disorder” (Somerset 4). Hence, Morris dancing was seen as a form of prayer and
to maintain its spiritual significance was crucial. Like the Morris dancers in
Wales, the Morris dancers in Shropshire were closely examined. A court case was
held at the Archdeaconry of Hereford Acts
of Office in 1969. A dancer was accused for using the communion cloth of
Abdon for a flag in a Morris dance. Even though the dancers revolved in the
church environment, they had limited freedom in their use for implements.
According to Richard Baxter of The Divine
Appointment of the Lord’s Day, Morris dancing was considered a riotous
sport. The only time Morris dancing was allowed was when the Common Prayer was
read; they could not dance during public service time. Therefore, Morris
dancing in Shropshire was considered sacred because it was translated into a
form of prayer. Shropshire’s conditions on Morris dancing were taken seriously,
and it is because of these reasons that it maintained its spiritual trademark.
Through an
analysis of Morris dancers in Chester, Wales and Shropshire, it is insightful
to notice that there is variation in how they are incorporated in each of the
city’s dramatic traditions. The presence of Morris dancers is not only a form
of work and entertainment, but it is a fundamental component that strengthens
Early English Drama and its events. In Chester, Morris dancers engaged in dual
roles; they protected the city while maintaining their entertainment acts.
Although Morris dancers were not as equally supported by Wales, some still
acknowledged its presence in their private households as a means to preserve
its significance. In Shropshire, Morris dancers were participants of prayer
through dancing, and it is because of this that Morris dancing was considered a
sacred act. Although drama was prevalent in 16th and 17th
century England, it is interesting to see that each city has a unique way of
preserving it. Morris dancers were only a component of entertainment, but had a
profound influence on a city’s social and political stature.
Works Cited
Clopper, Lawrence M. “Chester” in Records
of Early English Drama. Toronto: University of
Toronto Press, 1979.
"Cordwainer." Merriam-Webster.com. Merriam-Webster,
n.d. Web. 29 Mar. 2014.
<http://www.merriam-webster.com/dictionary/cordwainer>.
Klausner, David M. “Wales” in Records
of Early English Drama. Toronto: University of
Toronto Press, 2005.
Somerset, J. Alan B. “Shropshire 1: The Records” in Records of Early English Drama.
Toronto: University of
Toronto Press, 1994.
27 2014.
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