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I think we should always be optimistic, even if developments move in directions we may not be comfortable with as individuals. What I do like is the return of a perception of morris as a performance art rather than just a hobby – something that is worth watching as well as worth doing. Seeing Boss Morris at the Brits, I thought they were evoking not so much a tradition of Englishness as something exotic and spectacular, which must have been the kind of feelings morris evinced when it first burst onto the entertainment scene at the royal court in the 15th century. Memory is at the heart of all learning. Finding tools and techniques that support memorisation and help transcend the limits of short-term memory is a fantastic way any parent can help their child to lean. And you don’t need to tie a knot in your handkerchief to remember that. When someone came up with an idea, the others discussed it,” she said about The Knot , “everyone added something to it, and thus it gradually crystallized into its final form.”

Probably, WTF!? I think that one new element that has emerged in the revival is the idea of morris as a hobby for its own sake. It is of course done for a variety of reasons, and always has been. Another thing that might strike an older dancer is the variety of styles of dancing visible at the same time. Morris dancing was much more regionally focused before the revival, so most people would only know of one style for much of the historical period. Lots, I hope! I think that the majority of the sources have not been cited in a published history before. If asked to single out one thing, I think it is that in the later periods I have shifted the main focus of the narrative from Cotswold to the North West, and the logical conclusion to which that leads is contemporary carnival morris. It began in Oxford in 1976 – quite late; I was already nearly 30. I had seen Oxford City Morris at the annual fair in Oxford a few times, and driving through Bampton one Bank Holiday I happened to see Gloucestershire Old Spot dancing and thought they looked impressive and so sought out Oxford City and joined them. On that note, one we missed: a recent behind-the-scenes for the Mexican series Frankelda’s Book of Spooks . It points to a short that’s new to us — the visually stunning Revoltoso , by the creators of Frankelda . So this hasn’t just been about revisiting and updating work that’s gone before; you’ve covered a lot of new ground and uncovered new history?Practice and repetition. This helps transfer information from short-term memory to long-term memory. General Lafayette was greeted on a visit to Providence, R.I., by "nearly 200 Misses, arrayed in white", who strewed flowers in his path "at the same time waving their white handkerchiefs". "Lafayette In America". Times [London, England] 16 October 1824, p.2. Mr. PITT's carriage was nearly the last...he was received with very general applause; the ladies waving their white handkerchiefs from the windows as he passed." "The Procession To St. Paul's". Times [London, England], 20 December 1797, p.2. I began to look at the early records and then found out that John Forrest in the USA was doing the same. We agreed to collaborate and that produced our Annals of Early Morris listing of early morris-dance references in 1991, and a joint article discussing the material. Annals was comprehensive enough to give us a much fuller perspective on the early history, instead of the fragmentary and only half-understood sources available before then. We set our cut-off date at 1750, partly, from my perspective at least, on the presumption that after that morris was much closer to what we see today. I was wrong! The word handkerchief derives from the word kerchief which came from two French words: couvrir, which means “to cover”, and chef, which means “head”; so a handkerchief is a similar cloth in the hand rather than on the head. (In the Middle Ages, [5] kerchiefs were often used to cover the head.) [ citation needed]

Is there anything from the history of morris to suggest that interest comes in cycles, and that we might be on the cusp of another revival? Boss Morris’ appearance at the Brits and interest in folklore generally suggests that we might already be in the middle of another one… Starting with her first major project, Ferda the Ant (1944), Týrlová made lyrical films for kids. As a documentary noted in 1961, “The aim of her remarkable work is to give the best to those she likes the best — children.” Like The Knot , many of these films are playful and near-plotless. The style won her fans, but detractors as well. During the mid-1950s, she spent a few years listening to her detractors. Thanks for speaking to us, Michael. Firstly, let’s establish your morris credentials. I understand you are a dancer yourself? Where and when did your morris career begin?Practice testing. This is where you test your child, or they test themselves, in a low stakes environment. For example, by using flashcards. This concept had existed since at least the ‘40s. “ The Knot in the Handkerchief is a very old one,” Týrlová said in 1979. It wasn’t a plan for a story — just a thought that she could turn a handkerchief into a character. (Týrlová’s choice of physical material drove many of her films, guiding her other decisions.) Sikhism started when a young Punjabi, Nanak Chand, who was born in 1469, set out to draw together the Hindus and the Muslims. He believed that there was much in common between the two faiths and that the misery and the wars which had so hurt the Punjab over the centuries could be avoided if the two peoples could be brought together. Accompanied by a Muslim musician and a Hindu peasant, Nanak preached his message of the brotherhood of man throughout the Punjab and as far afield as Assam and Ceylon. His crusade was against the fanaticism and intolerance of the Muslim faith as much as against the meaningless rituals and discriminations against castes and sex which were marring the Hindu religion. While English folk music has been explored and written about on many occasions, our folk dances have had less academic attention. Aside from John Forrest’s The History of Morris Dancing 1458-1750 (2000) and Dr John Cutting’s History and the Morris Dance: A Look at Morris Dancing from Its Earliest Days Until 1850 (2006), there has been little attempt to chart the history and development of morris dancing. And with these works ending their analyses in the mid-18th and -19th Centuries respectively, there is even less written about morris up to the present day. I love anecdotes like this. I think they show that these dances were not performed for the sake of ‘tradition’ or set in stone, but because people enjoyed dancing them and would adapt them to suit the situation.