Welsh Folk Dances

An Inquiry - 1935

The following text is from the Introduction and references from this book :

Almost every country has its more or less typical National Dance, using the latter word in a collective sense.

In some, the Folk Dance is, at present, in full flower; in others it is a dying plant. In certain countries, for example, England and Denmark, the nearly lost National Dance has been revived with a success so pronounced as to make one wonder why it was so neglected as to become almost forgotten.

If Playford had not published his "English Dancing Master" in 1650 and if Cecil Sharp had not, almost accidentally, seen the last surviving Morris side of Headington, the greater part of the wonderful inheritance of English Folk Dances that we possess would have been lost forever.

Dancing nowadays plays a greater part in the national life than it has done for some generations, and the revival of the English Folk Dances has been quickly followed by revived interest in the Scottish Dances both Highland and Lowland Country. Ireland has always kept her love for her distinctive reels and jigs, but where does Wales stand?

It is nearly twenty years ago since I first asked this question in Wales, and the answer was invariably "Wales has no dances; if she had they have been lost and forgotten generations ago." My attention was drawn to the fact that the Welsh Language had no distinctive word for "dance" - the usual "dawnse" being borrowed from the English. (This, I afterwards found, has also occurred to the mind of Wm.Jones, the 18th-century antiquary.) But when one realises that most European countries use the same word (French "danse", German "tanz", Swedish "dans", Russian "tanets", &c.) this argument loses any significance.

I was told that the great religious revival of the 18th century, which so affected the country with its puritanical outlook, must have completely swept away all memories of dancing. But I remembered that it was during the Puritan period in England that Playford was emboldened to publish the first book of Country Dancing.

So, in spite of all discouragement, I made it a practice to inquire everywhere I went anent the possibility of recovering anything, no matter how meagre, relative to any distinctive Welsh dancing.

The results are set out in this little book and, I fear, are indeed meagre; my only consolation is that, where others found nothing and refused to believe that any other result was possible, I have at least found a little - possibly all there is to find.

Whether anything of value remains to be brought to light one knows not. (Who could imagine that a MS. describing in full the set dances learnt on the village green at High Arcol in Shropshire in the year 1685 would remain buried in a library and unknown until recently?) So one may still hope that, amongst the masses of still unexamined manuscripts in public and private libraries some notes on Welsh dances may still be found, or, more valuable still, there may yet be someone who has traditional knowledge of some otherwise long-forgotten dance. As regards the latter I believe that South Wales still holds possibilities, for the communal folk-dance survived there after its disuse in other parts. The districts around Neath, Pembrokeshire, and the inland part of Cardigan might repay a thorough search.

As regards North Wales I am not hopeful, and the only part where I think a genuine Welsh reel might still be remembered is in the district of Bala. I have traced one dance there and secured some particulars, but others were evidently known, though not to my informant who had, however, seen them danced many years before.

The following references to Welsh Dancing found in various works and papers contain, I believe, almost everything of any value which can be found.

The earliest reference known is that in Giraldus Cambrensis, who wrote about the year 1188. It is not an eye-witness account and is a non-technical story of a religious dance at a churchyard near Brecknock. It is only of only the slightest interest.

There are very few references indeed in old Welsh literature to dancing: in one poem, I believe the late 16th century, a dance is mentioned - by name "The Beginning of the World" - which is, of course, the alternative name of the well-known old English Round dance, "Sellenger's Round".

There are two early Welsh Musical Manuscripts known - one (the Penllyn Manuscript) dates probably from about the year 1650. It is now in the British Museum. Penllyn was a harper who was one of the chief bards of North Wales in the years of Queen Elizabeth's reign. The whole is in a lute tablature, though ignorant of this fact, John Parry in the "Welsh Harper" refers to it as the "most ancient specimen of Welsh musical notation extant," and that "the characters used are those of the ancient bardic alphabet." There are, apparently, no Welsh tunes in it. It consists of composed music of the period so dry and so full of uninspired counterpoint that in any attempted performance nowadays the dust would choke one.

The Rhys Jones Manuscript, of unknown but probably contemporary date with the former, is equally uninteresting.

Blind John Parry of Rhuabon, assisted by Evan Williams, issued in 1742 the first collection of melodies professedly Welsh. There are no dance tunes as such in it.

During the next hundred years numerous collections were published by John Parry, Edward Jones, "Bardd Alaw," and others containing in a greater or less degree Welsh airs. In none of these books is dancing mentioned in the letterpress, but certain tunes, here and there, are marked with such notes as "A Jig"; "In North Wales this is danced by six persons."

In the year 1798 the Rev. Richard Warner made his second tour through Wales. On August 13 he arrived at Pont Neath Fechan and prepared to stay at the inn there. He writes : "No sooner was our supper despatched than Mrs. Jones gave us notice that at a neighbouring public-house the cottagers had met and were dancing to the sound of the village harp. The idea of a "genuine Welsh Ball" pleased us highly, and Mr.Gilpin having previously discovered that our company there would not be considered as intrusive, we immediately adjourned under his auspices to the scene of festivity .... The room was not indeed very commodious nor famously illuminated, being about fifteen feet square and having only one solitary candle of sixteen to the pound. The party, however, which consisted of twenty-five or thirty, made up for every defect; animated by the tones of their favourite national instrument and enlivened with the idea of the week's labour being terminated (for it was Saturday night) they entered "com amore" into the business of the evening and exhibited a complete picture of peaceful happiness.... Men and women individually solicited us to dance. As the females were very handsome it is most probable we should have accepted their offers had not there been a powerful reason to prevent us - our complete inability to unravel the mazes of a Welsh dance. 'Tis true there is no great variety in the figures of them, but the few they perform are so complicated and long that they would render an apprenticeship to them necessary in an Englishman. We therefore contented ourselves with looking on, and were really astonished at the agility and skill which these rustics displayed. Our surprise, however, was still more excited by the performance of a custom which, as it is not practised at the Bath Balls we were not prepared to expect. On a sudden the dance ceased, and the harper, running his finger rapidly down the chords of his instruments, gave the accustomed signal on which every gentleman saluted his partner three or four times with considerable ardour. The dancing then recommenced with the energies of all parties concerned... The ball was concluded by a contest of agility between two brothers, who danced two distinct hornpipes with so much power of muscle, variety of step and inflexible perseverance as exceeded everything of the kind we had seen."

The Rev. Mr.Warner was a travelled man and evidently a dancer, and this account seems to imply that the first dance or dances he mentions were English Country Dances but with unfamiliar features in them. He was reminded of the Bath Balls where, of course, such dances were almost the only ones done. The Country dances as performed in the Town Balls had, in Mr. Warner's time, become so enervated under the direction of the many teachers of dancing and deportment that it is little cause for surprise that he did not feel able to join in one when he saw it in the vigorous country style. Had these dances been "reels" there is little doubt that Mr. Warner would have mentioned so unusual (to him) a fact. This does not preclude the possibility that reels were also danced : it was usual to commence with them, and his late arrival on the scene probably caused him to miss seeing them - which is a pity.

The next extract is from the "Gentleman's Magazine" for March 1819, where the following letter signed "E.H." and dated from West Glamorgan, is published :

"Without troubling you or your readers with many impertinent observations upon the subject of the Morris Dance in all its various forms and which has been illustrated by many abler hands than mine, allow me to give you a plain statement of such modifications of the ancient dance as are still exhibited in this part of the country, not during the "Merry Month of May" but like that recorded by Dr.Plot, at Christmas and mingled with the usual exhibitions of that festive season.

The most conspicuous feature is the "Aderyn bee y llwyd," Bird with the grey beak : this is formed by the skeleton bones of a horse's head furnished with artificial eyes and ears, and highly decorated with ribbons and coloured paper; it is borne by a man whose person is concealed beneath a long cloth : his part is to imitate the amblings, curvetings, startings and kickings of the horse; he is attended by a groom, whose business is to soothe his affected angers and fears and keep him within proper bounds; three or four partners in the profits of the exhibition who are by turns horse, groom or attendants, accompany him from house to house and after a due exhibition of the horse's various antics a hat is put into his mouth, and a collection levied upon the spectators.

This is evidently the Hobby Horse detached from the Morris Dance, and is observable that the Welsh name very nearly approaches that of a similar French exhibition 'l'oiseau', the bird.

Another exhibition is called, correctly, 'The Merry Dancers.' There are usually three persons dressed in short jackets which, as well as their hats, are decorated with a profusion of paper ornaments : they proceed from house to house dancing a sort of reel chiefly, I believe, peculiar to Wales; after dancing the heys and setting, two of the dancers, by turns, take strong hold of each other's wrists and continue turning round for much longer than would be sufficient to make an ordinary head completely giddy.

The Welsh are generally good dancers, and very fond of it, and on occasions, particularly, the feet keep time with the musick in a most energetic shuffle upon the floor, somewhat similar to a particular step in the old hornpipe, which is also occasionally danced by one of the 'Merry Dancers' if any of the party happens to be particularly expert.

The musick is generally the harp, which I am sorry to observe is daily declining and the detestable fiddle is superseding the native instrument.

A frequent but not universal accompaniment of this merry dance are the conspicuous and grotesque figures of Punch and Judy."

The gentleman is dressed according to the taste and ability of the wearer - generally in a cap and mask of some animal's skin with the hair on, and the jacket is either much decorated or entirely composed of the same materials. A fox's brush (if it can be got) or some other hairy ornament is pendant from behind, and a concealed bell tinkles about his hinder parts. His right hand wields a rod with which he plentifully belabours his wife, Judy,  who is personated by the tallest man the party are able to procure.

He is habitted in female attire, the face blacked, and an enormous broad brimmed, slouched beaver hat upon the head.

The two dance a 'pas de deux' to give occasional rest to other performers. The step of this dance is a sort of shuffling run, in very short steps, somewhat resembling what in fashionable assemblies twenty years ago was known by the name of the 'partridge step'. The jingle of Punches bell is the only music, and frequent application of his rod on Judy's back the most 'striking part' of the performance."

The merry dancers are not always accompanied by these figures, but each occasionally form a separate exhibition. Old Christmas day is that upon which these, as well as "Aderyn bee a llwyd", make their appearance.

Apart from the account of the Hobby Horse this letter is of interest more particularly on account of the confirmation contained therein of traditional fragments found recently in South Wales.

The next extract relates to North Wales and refers to Morris Dancing. It is from "Cambriam Popular Antiquities" published in 1815, and compiled by the Rev. Peter Roberts, Rector of Llanarmon :

Whitsuntide

To this festival the only appropriated amusement that I know of is that of morrice-dancers. It is somewhat singular that an amusement mentioned by Shakespeare should not have been noticed by Bourne or Brand.

According to Shakespeare it should seem that the number of persons who represented the dance was nine [Note : he mixes up "morrice" with "nine men's morris", a game played on a board and mentioned in Shakespeare], and as the tune to which the dance is, as far as a recollection many years back can trace it, "Country Bumpkins", which is danced also by nine, it may be the correct number. The dancers are all men : their dress is ornamented with bibbands and small bells are attached to the knees. The dance itself is somewhat like that of "Country Bumpkins", and, in the course of it, someone of the more active exhibits a kind of somerset, with the aid of two others. They are Jack and Gill, or, as they are called in Wales, the Fool and Megan.

The fool is the same as the clown of the old comedy; the megan, a man dressed in women's clothes and with the face smutted to represent a hag.

Both entertain the mob by ridiculous tricks; and the megan generally solicitis contributions from the spectators, and keeps off the crowd by the dread of blows of her ladle.

The following reminiscences appeared in the Cardiff Times in 1911, in a weekly causerie on old Welsh lore, conducted by "Cadrawd".

The period referenced would be about 1850.

The Morris Dance

I notice in the papers that this old Welsh dance is becoming popular again, and that in the schools of London. Why not in Wales? I was pleased to be able to present the Welsh Folk-Song Society at their meeting during the Caermarthen Eisteddfod with a photograph of the music of the "Morris Dance" as copied by the late Iolo Morganwg, possibly at the dictation of an old Welsh harpist.

I am looking forward to this being published in the next report of the society, which is doing such excellent work up and down the Principality. I promised to give the society a copy which I believed I had of a description of this particular dance if I could lay my hand upon it. This week I have found it, and the following is how they danced.

It was generally a long room which was provided in almost every village many years ago in connection with the village inn, which was generally planned for the purpose of dancing at the Gwyl Mabsant and other feasts.

The Morris Dance was called at Llangynwyd the "Long Dance". Assuming that the minstrels have taken up their position and have started to play : on looking up the room there will be seen twenty or more couples engaged in going through the preliminary. Dont't suppose this to be light work. Begining at the top couple, each pair has to go through figures more or less intricate with every succeeding couple all the way down, set and pousette, cross hands and back again;form rings change partners, down the middle and up again; set corners, set partners and begin the next couple.

There are perhaps four or five couples or pairs of dancers all at once at intervals, toiling downwards, every side couple on their way insisting upon being danced with to the full extent of their due. No shirking or passing by is permitted. No mere sliding or slipping and walking as in modern dancing the fashionable quadrille, by hearty downright toe and heel dancing and in exact time with the music, which is now fast and furious and becoming more so as the dance progresses and nears the end.

The same (November 8)

Since the appearance of my article on the above subject a few weeks ago in this column, I have received several very interesting communications from persons interested in the revival of a pastime once popular, and particularly characteristic among the peasantry of Gwent and Morganwg, when the population lived on the surface and on the product of the soil, in peace and harmony, in mirth and song, in the sound of the harp, and the old spinning wheel.

I may mention one letter from Mrs. Richards, the harpist to the Hon. Mrs. Herbert of Llanover, stating that she remembered reading my description of the old Welsh dances as I remembered seeing them at the Llangynwyd Revels, over a half century ago.

I may inform Mrs. Richards that the Long Dance at Llangynwyd was the same as the Country Dance in the Vale, and the older name for both was th "Morris Dance", which has been described very minutely by Mr.Warner. [Here follows Mr. Warner's description printed, herin, p.8]

Mrs. Richards mentions the "Welsh Reel", or the "figure of eight". It would be well to distinguish between Scotch and Welsh reels. No doublt they had their characteristics. Then we have two distinct hornpipes referred to by Mr.Warner. It is possible that these have been mixed up, and often the Irish or Scotch dancers taken for the Welsh. The Welsh reel consisted of four couples, four of each sex. The jig was only practised by males. To excell as a jigger or stepper was a point eagerly sought for, and it was quite an exhilarating sight to see two or more famous jiggers competing for the applause and appreciation of the onlookers. This exercise was indulged in mainly before the ladies arrived, when the reel had to take its place - in which a good deal of jigging was done by the gentlemen, while the ladies reeled or stepped sideways in half a circle, facing their partners.

Then breaking up suddenly, all the couples would go through an intricate figure which after a time brought them face to face again, when the process would be repeated.

But the country dance was the main attraction, especially to the ladies - the jig and the reel being, as it were, side-dishes or interludes of the great feast to be indulged in at resting time or before the whole of the company had arrived. It is to be regretted that dancing is now as completely a lost art as spinning or weaving among the Welsh peasantry.

The above relates principally, of course, to longways triple set of English Country Dances, but there are notes as to reels which conform with the usual information. "Cadrawd" was very mixed in his idea of a "Morris Dance", and evidently did not know the real meaning of the term.

It seems such a pity that he should have relied on writers like Mr.Warner instead of going out amongst the folk and getting traditional information of real value and which was undoubtedly to be got at this time.

The next, and  last printed reference is from an obscure book by Wirt Sikes, for years United States Consul in South Wales. The book is called "Rambles and Studies in Old South Wales", and was published in 1881 though probably written earlier. On p.173 he writes :

A small brass band is playing a brisk tune and I penetrate through a circle of rustics to find a few couples of men and women dancing on the greensward. The women clutch their partners firmly, one arm about the man's waist and the other on his shoulder. The dance is a queer sort of quadrille, the like of which I have not seen before in which there is much individual and unsupported whirling on the part of the women and solemn leg-lifting (like a serious can-can) on the part of the men, but the men only - and which breaks periodically into a romping waltz, in which the couples go prancing madly over the whole rods of greensward and come back panting and dishevelled, to resume the balancing, the leg-lifting and the whirling as before. With all this, there is great solemnity of demeanour as of people with their duty to do - a solemnity more befitting a religious rite than a merry-making, and a vigur which causes every dancer to sweat profoundly, though the day is a cool one.

Mr Sikes does not indicate the village where he saw this dancing. The "reel" he saw is obviously different from those mentioned by previous writers. His account is of considerable interest when taken into consideration with the description of the "Clydach" dance.