Papers by Chloe Middleton-Metcalfe
Journal of Southern History, 2016
valuable in documenting how even Primitives used “the language of the market to discuss their rel... more valuable in documenting how even Primitives used “the language of the market to discuss their religious affairs” (p. 66). Primitives were appalled by antebellum southern evangelicals’ rush to glorify material and financial progress. But contrary to the historical cliché, they were not backward, subsistence republicans bewildered and left behind by the market forces they resented. This insight alone puts this valuable chapter in line with the best of the voluminous research on southern evangelicals by the current generation of historians. Primitives—and Guthman—deserve a place of honor in this historical school. Primitives felt themselves to be “strangers below” on earth, but after this pithy and lively book they are much less strangers to Guthman’s readers.
Choice Reviews Online, 2015
General rights Copyright and moral rights for the publications made accessible in the public port... more General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim.
This work hopes to place English folk dance costumes within an understanding of post-modern socie... more This work hopes to place English folk dance costumes within an understanding of post-modern society. It draws upon contemporary historical and social analysis of modern nostalgia and heritage. This work combines theory and methodology from a wide range of disciplines including most notably dress, dance and folklore scholarship but also including key sociological and ethnological perspectives. This contextualisation of folk costumes within contemporary society is substantiated by research consciously undertaken from August 2012-August 2013 but also informed by the author’s personal life-long participation in English folk dance.
This essay investigates the non-existence of national costume in England. It examines the creatio... more This essay investigates the non-existence of national costume in England. It examines the creation of national dress in its neighbouring countries and establishes how, historically English nationalism has been of an essentially different nature to that of its Celtic neighbours. This essay explores the late 19th century English folk dance revival and examines clothing which could have been adopted as an English national costume. Finally this essay examines clothing which is seen as implicitly English. Contextualising these garments within wider cultural perceptions of Englishness.
By examining the evolution of morris costume alongside the context of performance, this paper dem... more By examining the evolution of morris costume alongside the context of performance, this paper demonstrates that the costumes worn were and are, by their very nature a product of their time. The costumes do not have an unchanged history rooted in morris tradition. Concepts of historical precedent, tradition and propriety cannot be substantiated by looking at costumes through a historical perspective. Costumes should be considered to be a product of their specific context, ever evolving not immutable.
Conference Presentations by Chloe Middleton-Metcalfe
Histories of the morris in England. EFDSS &Historical Dance Society
25-26.3.17
A version also giv... more Histories of the morris in England. EFDSS &Historical Dance Society
25-26.3.17
A version also given at the Memory and Perception TECHNE symposium 3.11.16.
This paper examines the the wider practices of wearing white in the 19th century to explain the traditional practice of wearing white trousers or breeches for Cotswold morris. In addition to looking at historical usage this paper focuses on modern interpretations of this practice. This paper explores three key areas: The use of white clothing in ceremonial and fashionable daily attire in 19th century England, mythologies which became associated with this clothing practice and lastly, contemporary usage.
This paper looks at the use of white trousers in army uniforms and fashionable attire and the use of light coloured clothing for working men until the 1870s. This paper argues that the use of white trousers would have been a fashionable choice during the early 19th century and probably continued in the South Midlands because of the connection with morris dancing at Whitsun. This paper looks at other uses of white clothing for Whitsun drawing references from customs such as Whitwalks and Friendly society club processions.
This paper then goes on to consider how the concept of wearing white became ritualised as part of the wider Frazarian interpretation of folklore in the early 20th century. It considers publications references which link the colour white to fertility ritual. This paper will then explore how white trousers are often explained in ways which conceptualise the historical dancer as having limited personal agency. For example, that white trousers originated from sailors clothing or even underwear. This paper looks at how these opinions reflect wider misunderstandings of 19th century dance practice.
Finally, this paper will look at the relative decline in use of white trousers. In the early 21st century white trousers are predominately worn by male only teams. This paper will explore the idea that the use of white clothing in the late 20th century represented too strong an association with an idealised masculine dance form, proper rather than womens’ morris, which prevented its adoption by female teams. This paper will conclude by considering the decline of white trousers or breeches with the increase of mixed gender morris and the declining influence of the English Folk Dance and Song Society.
Culture, Costume and Dress Birmingham City University 10-12.5.17. The proceeds of this conference... more Culture, Costume and Dress Birmingham City University 10-12.5.17. The proceeds of this conference have been published, including this article.
Why does England not have a national costume? This essay answers the question by analysing the costumes of English folk dancers in the early twentieth century. By examining the clothing choice of two leaders of the early folk dance revival, this paper argues that compared to the romantic historicised costume selected by Mary Neal (1860-1944), the choice of modern clothing by Cecil Sharp (1859-1924) complemented wider patterns of English nationalism.
This paper explicates how the concept of Britishness affected attitudes towards the possibility of an overtly English folkloric identity and specifically the creation of explicitly rural, historicised, sartorial representations of Englishness. Instead of English folklore, British institutions from regulated sport to monarchy were endowed with notions of nationhood. This wider form of nationalism was an implicit motivating factor for Sharp’s emphasis away from ‘Merrie England’ towards a modernist representation of folk dance. Sharp de-railed Neal’s hitherto successful attempt to use romantic, historicised costumes for folk dance performance. In the process, Sharp prevented the establishment of a costume idiom which, given time, might have become accepted as English national dress.
Reflected Shadows: Folklore and the Gothic A Joint Conference of The Folklore Society and Kingsto... more Reflected Shadows: Folklore and the Gothic A Joint Conference of The Folklore Society and Kingston University. 16th April 2016.
Informed by ongoing research with morris dancers, this paper explores the modern phenomenon of Gothic morris. Gothic morris offers an alternative form of English folk dance, being traditional without the negative stereotypes more commonly associated with white clad, hanky waving Cotswold morris dancers. Is this new form of morris, Gothic, Metal, Alternative or Pagan? Or, considering the diversity of participants, should it be given a new more inclusive term: Dark or, as jokingly invented by Terry Pratchett, Other? To what extent are dancers and musicians interested in alternative culture outside of morris? To what extent is the outdated concept of folk dance as ritual influencing the evolution of this style? Why has this form of dance evolved now and what does this say about the wider normalisation of Gothic culture in British society? The author welcomes audience response and opinion on these areas.
Bournemouth University BA Hons Costume and Performance Design Student Research Project Symposium... more Bournemouth University BA Hons Costume and Performance Design Student Research Project Symposium 19/5/16
This work examines the reasons why Cotswold morris dancers wear white clothing. Qualitative, ethnographic data collected in 2011-2012 showed that, viewed as traditional, white continues to be the most popular costume choice for morris dancers. The reasons for the initial adoption of white trousers or breeches by 19th century dance teams are explored in relation to Whitsuntide, when white clothing was regularly worn for public occasions and the relative normality of white trousers in men’s wear from the 1790s until 1870s. This paper also explores the gender divide in contemporary dancer’s choices. Women’s teams, still in the minority prefer coloured or black leg-wear. This paper proposes two influencing factors for this, the desire to create an acceptable feminine style of ‘women’s’ morris and the need to conform to wider societal clothing norms.
21/3/14 Dolmetsch Historical Dance Society
Dance Disguised and Obscured: A Dance Study Forum
Thi... more 21/3/14 Dolmetsch Historical Dance Society
Dance Disguised and Obscured: A Dance Study Forum
This paper explores the idea of historical re-creation and revival, through examining West Country Friendly Society stave dancing in the 20th century.
This paper looks at the people behind the revival, the sparse historical sources used to create this distinctive dance style and the context in which stave dancing was revived in the 20th century. This paper then explores stave dancing today, with particular attention paid to the contemporary dance group Somerset Morris who dance with original Friendly Society stave heads.
This paper summarises by examining key areas to consider in reviving a ‘dead’ dance tradition, giving particular attention to the contemporary context of the revival and the impact this had upon performances of stave dancing in the late 20th century.
A history of morris costume designed for a non-specialist audience.
Worthing Museum 'East meets... more A history of morris costume designed for a non-specialist audience.
Worthing Museum 'East meets West' season 1/5/15
Exploring the development of gothic, Pagan and alternative morris dancing within the context of t... more Exploring the development of gothic, Pagan and alternative morris dancing within the context of the border style.
This lecture and workshop explored west-country friendly society stave dancing in its historical ... more This lecture and workshop explored west-country friendly society stave dancing in its historical and revival context. This talk explored the sparse historical sources used to create this distinctive dance style and the context behind the 20th century revival, particularly the influence of Roy Dommett. This talk focused specifically on Somerset Morris (formally Somerset Maids), an all-female morris dance team founded in 1974 who dance with antique friendly society stave heads. This talk focused on how the contemporary context of the stave dancing revival in the late 20th century, particularly its use by female teams as a gender appropriate English folk dance tradition had a notable impact on how the historical dance sources were interpreted.
This session included three practical workshops exploring three key areas: source, interpretation and creation. Each of these areas was a guided, practical and danced exploration.
"Morris dancers are a source of fun. They are bearded elderly men wearing breeches or white trous... more "Morris dancers are a source of fun. They are bearded elderly men wearing breeches or white trousers and bells and they dance outside enchanting rural pubs as they have done since time immemorial. Today morris costumes are often designed to imply historical continuity, but change is in the air. Since the early 1990s gothic, biker, S+M, and pagan morris groups have been formed, their costumes influenced by sub-cultural fashions. Morris Offspring formed in 2003 even dance...without bells! They are part of the new attitude towards morris which emphasises the physical nature of the dance.
This presentation is based upon my undergraduate research which analysed information from 137 contemporary morris teams. This presentation charts the changes in morris costumes over the last 110 years. From Mary Neal and her Esperance club bedecked in gaily clad ribbons as if for “a village festival on a village green ” (Neal 2010:14), to the second folk revival and the influence of John Kirkpatrick’s Shropshire Bedlams. Costumes can act as a catalyst for both a wider understanding of contemporary society and modern morris dancing. Costumes evolve alongside contemporary fashions and wider societal attitudes. They act as a visceral indicator for both the personal aspirations of the dancer and the wider desires of the folk dance community.
"
A Public Lecture for Stony Arts and Heritage Week
Ever wondered why morris dancers where bell... more A Public Lecture for Stony Arts and Heritage Week
Ever wondered why morris dancers where bells? Or white? Or have black faces? Or quaint straw hats? This talk explores the evolution of morris costume from the 15th century to the present day. Hold on to your baldrics...it’s going to be quite a ride
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Papers by Chloe Middleton-Metcalfe
Conference Presentations by Chloe Middleton-Metcalfe
25-26.3.17
A version also given at the Memory and Perception TECHNE symposium 3.11.16.
This paper examines the the wider practices of wearing white in the 19th century to explain the traditional practice of wearing white trousers or breeches for Cotswold morris. In addition to looking at historical usage this paper focuses on modern interpretations of this practice. This paper explores three key areas: The use of white clothing in ceremonial and fashionable daily attire in 19th century England, mythologies which became associated with this clothing practice and lastly, contemporary usage.
This paper looks at the use of white trousers in army uniforms and fashionable attire and the use of light coloured clothing for working men until the 1870s. This paper argues that the use of white trousers would have been a fashionable choice during the early 19th century and probably continued in the South Midlands because of the connection with morris dancing at Whitsun. This paper looks at other uses of white clothing for Whitsun drawing references from customs such as Whitwalks and Friendly society club processions.
This paper then goes on to consider how the concept of wearing white became ritualised as part of the wider Frazarian interpretation of folklore in the early 20th century. It considers publications references which link the colour white to fertility ritual. This paper will then explore how white trousers are often explained in ways which conceptualise the historical dancer as having limited personal agency. For example, that white trousers originated from sailors clothing or even underwear. This paper looks at how these opinions reflect wider misunderstandings of 19th century dance practice.
Finally, this paper will look at the relative decline in use of white trousers. In the early 21st century white trousers are predominately worn by male only teams. This paper will explore the idea that the use of white clothing in the late 20th century represented too strong an association with an idealised masculine dance form, proper rather than womens’ morris, which prevented its adoption by female teams. This paper will conclude by considering the decline of white trousers or breeches with the increase of mixed gender morris and the declining influence of the English Folk Dance and Song Society.
Why does England not have a national costume? This essay answers the question by analysing the costumes of English folk dancers in the early twentieth century. By examining the clothing choice of two leaders of the early folk dance revival, this paper argues that compared to the romantic historicised costume selected by Mary Neal (1860-1944), the choice of modern clothing by Cecil Sharp (1859-1924) complemented wider patterns of English nationalism.
This paper explicates how the concept of Britishness affected attitudes towards the possibility of an overtly English folkloric identity and specifically the creation of explicitly rural, historicised, sartorial representations of Englishness. Instead of English folklore, British institutions from regulated sport to monarchy were endowed with notions of nationhood. This wider form of nationalism was an implicit motivating factor for Sharp’s emphasis away from ‘Merrie England’ towards a modernist representation of folk dance. Sharp de-railed Neal’s hitherto successful attempt to use romantic, historicised costumes for folk dance performance. In the process, Sharp prevented the establishment of a costume idiom which, given time, might have become accepted as English national dress.
Informed by ongoing research with morris dancers, this paper explores the modern phenomenon of Gothic morris. Gothic morris offers an alternative form of English folk dance, being traditional without the negative stereotypes more commonly associated with white clad, hanky waving Cotswold morris dancers. Is this new form of morris, Gothic, Metal, Alternative or Pagan? Or, considering the diversity of participants, should it be given a new more inclusive term: Dark or, as jokingly invented by Terry Pratchett, Other? To what extent are dancers and musicians interested in alternative culture outside of morris? To what extent is the outdated concept of folk dance as ritual influencing the evolution of this style? Why has this form of dance evolved now and what does this say about the wider normalisation of Gothic culture in British society? The author welcomes audience response and opinion on these areas.
This work examines the reasons why Cotswold morris dancers wear white clothing. Qualitative, ethnographic data collected in 2011-2012 showed that, viewed as traditional, white continues to be the most popular costume choice for morris dancers. The reasons for the initial adoption of white trousers or breeches by 19th century dance teams are explored in relation to Whitsuntide, when white clothing was regularly worn for public occasions and the relative normality of white trousers in men’s wear from the 1790s until 1870s. This paper also explores the gender divide in contemporary dancer’s choices. Women’s teams, still in the minority prefer coloured or black leg-wear. This paper proposes two influencing factors for this, the desire to create an acceptable feminine style of ‘women’s’ morris and the need to conform to wider societal clothing norms.
Dance Disguised and Obscured: A Dance Study Forum
This paper explores the idea of historical re-creation and revival, through examining West Country Friendly Society stave dancing in the 20th century.
This paper looks at the people behind the revival, the sparse historical sources used to create this distinctive dance style and the context in which stave dancing was revived in the 20th century. This paper then explores stave dancing today, with particular attention paid to the contemporary dance group Somerset Morris who dance with original Friendly Society stave heads.
This paper summarises by examining key areas to consider in reviving a ‘dead’ dance tradition, giving particular attention to the contemporary context of the revival and the impact this had upon performances of stave dancing in the late 20th century.
Worthing Museum 'East meets West' season 1/5/15
This session included three practical workshops exploring three key areas: source, interpretation and creation. Each of these areas was a guided, practical and danced exploration.
This presentation is based upon my undergraduate research which analysed information from 137 contemporary morris teams. This presentation charts the changes in morris costumes over the last 110 years. From Mary Neal and her Esperance club bedecked in gaily clad ribbons as if for “a village festival on a village green ” (Neal 2010:14), to the second folk revival and the influence of John Kirkpatrick’s Shropshire Bedlams. Costumes can act as a catalyst for both a wider understanding of contemporary society and modern morris dancing. Costumes evolve alongside contemporary fashions and wider societal attitudes. They act as a visceral indicator for both the personal aspirations of the dancer and the wider desires of the folk dance community.
"
Ever wondered why morris dancers where bells? Or white? Or have black faces? Or quaint straw hats? This talk explores the evolution of morris costume from the 15th century to the present day. Hold on to your baldrics...it’s going to be quite a ride
25-26.3.17
A version also given at the Memory and Perception TECHNE symposium 3.11.16.
This paper examines the the wider practices of wearing white in the 19th century to explain the traditional practice of wearing white trousers or breeches for Cotswold morris. In addition to looking at historical usage this paper focuses on modern interpretations of this practice. This paper explores three key areas: The use of white clothing in ceremonial and fashionable daily attire in 19th century England, mythologies which became associated with this clothing practice and lastly, contemporary usage.
This paper looks at the use of white trousers in army uniforms and fashionable attire and the use of light coloured clothing for working men until the 1870s. This paper argues that the use of white trousers would have been a fashionable choice during the early 19th century and probably continued in the South Midlands because of the connection with morris dancing at Whitsun. This paper looks at other uses of white clothing for Whitsun drawing references from customs such as Whitwalks and Friendly society club processions.
This paper then goes on to consider how the concept of wearing white became ritualised as part of the wider Frazarian interpretation of folklore in the early 20th century. It considers publications references which link the colour white to fertility ritual. This paper will then explore how white trousers are often explained in ways which conceptualise the historical dancer as having limited personal agency. For example, that white trousers originated from sailors clothing or even underwear. This paper looks at how these opinions reflect wider misunderstandings of 19th century dance practice.
Finally, this paper will look at the relative decline in use of white trousers. In the early 21st century white trousers are predominately worn by male only teams. This paper will explore the idea that the use of white clothing in the late 20th century represented too strong an association with an idealised masculine dance form, proper rather than womens’ morris, which prevented its adoption by female teams. This paper will conclude by considering the decline of white trousers or breeches with the increase of mixed gender morris and the declining influence of the English Folk Dance and Song Society.
Why does England not have a national costume? This essay answers the question by analysing the costumes of English folk dancers in the early twentieth century. By examining the clothing choice of two leaders of the early folk dance revival, this paper argues that compared to the romantic historicised costume selected by Mary Neal (1860-1944), the choice of modern clothing by Cecil Sharp (1859-1924) complemented wider patterns of English nationalism.
This paper explicates how the concept of Britishness affected attitudes towards the possibility of an overtly English folkloric identity and specifically the creation of explicitly rural, historicised, sartorial representations of Englishness. Instead of English folklore, British institutions from regulated sport to monarchy were endowed with notions of nationhood. This wider form of nationalism was an implicit motivating factor for Sharp’s emphasis away from ‘Merrie England’ towards a modernist representation of folk dance. Sharp de-railed Neal’s hitherto successful attempt to use romantic, historicised costumes for folk dance performance. In the process, Sharp prevented the establishment of a costume idiom which, given time, might have become accepted as English national dress.
Informed by ongoing research with morris dancers, this paper explores the modern phenomenon of Gothic morris. Gothic morris offers an alternative form of English folk dance, being traditional without the negative stereotypes more commonly associated with white clad, hanky waving Cotswold morris dancers. Is this new form of morris, Gothic, Metal, Alternative or Pagan? Or, considering the diversity of participants, should it be given a new more inclusive term: Dark or, as jokingly invented by Terry Pratchett, Other? To what extent are dancers and musicians interested in alternative culture outside of morris? To what extent is the outdated concept of folk dance as ritual influencing the evolution of this style? Why has this form of dance evolved now and what does this say about the wider normalisation of Gothic culture in British society? The author welcomes audience response and opinion on these areas.
This work examines the reasons why Cotswold morris dancers wear white clothing. Qualitative, ethnographic data collected in 2011-2012 showed that, viewed as traditional, white continues to be the most popular costume choice for morris dancers. The reasons for the initial adoption of white trousers or breeches by 19th century dance teams are explored in relation to Whitsuntide, when white clothing was regularly worn for public occasions and the relative normality of white trousers in men’s wear from the 1790s until 1870s. This paper also explores the gender divide in contemporary dancer’s choices. Women’s teams, still in the minority prefer coloured or black leg-wear. This paper proposes two influencing factors for this, the desire to create an acceptable feminine style of ‘women’s’ morris and the need to conform to wider societal clothing norms.
Dance Disguised and Obscured: A Dance Study Forum
This paper explores the idea of historical re-creation and revival, through examining West Country Friendly Society stave dancing in the 20th century.
This paper looks at the people behind the revival, the sparse historical sources used to create this distinctive dance style and the context in which stave dancing was revived in the 20th century. This paper then explores stave dancing today, with particular attention paid to the contemporary dance group Somerset Morris who dance with original Friendly Society stave heads.
This paper summarises by examining key areas to consider in reviving a ‘dead’ dance tradition, giving particular attention to the contemporary context of the revival and the impact this had upon performances of stave dancing in the late 20th century.
Worthing Museum 'East meets West' season 1/5/15
This session included three practical workshops exploring three key areas: source, interpretation and creation. Each of these areas was a guided, practical and danced exploration.
This presentation is based upon my undergraduate research which analysed information from 137 contemporary morris teams. This presentation charts the changes in morris costumes over the last 110 years. From Mary Neal and her Esperance club bedecked in gaily clad ribbons as if for “a village festival on a village green ” (Neal 2010:14), to the second folk revival and the influence of John Kirkpatrick’s Shropshire Bedlams. Costumes can act as a catalyst for both a wider understanding of contemporary society and modern morris dancing. Costumes evolve alongside contemporary fashions and wider societal attitudes. They act as a visceral indicator for both the personal aspirations of the dancer and the wider desires of the folk dance community.
"
Ever wondered why morris dancers where bells? Or white? Or have black faces? Or quaint straw hats? This talk explores the evolution of morris costume from the 15th century to the present day. Hold on to your baldrics...it’s going to be quite a ride
St George’s Day 2013, dusk, The Rose and Crown, Wick in South Gloucestershire. A line of 12 women with bells on their hands and feet are in procession carrying staves into the car park. The staves stand proud, two meters high and their brass heads glimmer in the last echoes of sunset. The women dance using the staves, the intricate heads of which are lovingly decorated with ribbons of cream, burgundy and gold with small flowerlike rosettes at the top. This is Somerset Morris, a women’s dance team formed in 1974, dancing with stave heads over 100 years old.
This paper aims to discuss the revival, re-appropriation and renewal of stave dancing by Somerset Morris. The paper will discuss the history of stave dancing, particularly its relationship to the West Country Friendly Societies. It will explore the staves and heads themselves from their physical appearance to their symbolic and aesthetic function. It will also look at the revival of stave dancing by Somerset Morris, the reasons and motivations behind the rebirth especially in to the blossoming of interest in folk dance and related activities in the 1970s. Bringing the information up to the present day, this paper will conclude with a look at the creative use of staves within the team. It will also examine the creation of new dances, often using figures from historical dances. The paper will conclude with a section on Somerset Morris’s collection of staves and stave heads, why new stave heads were commissioned, how they were made (with a note on modern equivalents) and to what level are issues of continuity and authenticity important to the dancers of today.
This article explores the link between minstrelsy and morris dancing and can be accessed for free from The Morris Federation website.
It can be downloaded free of charge from the link below.