The History Of Morris Dancing 1483 1750

Morris dancing is one of the more peculiar of English folk customs, greatly misunderstood. Seen as a descendant of pagan folk ritual, scholastic history of morris dancing has been based on calendar customs and other preconceptions. Anthropologist John Forrest shows that morris dancing has neither pagan nor ancient origins, but was a product of its time. 28 illustrations.

Morris dancing, one of the more peculiar of the English folk customs, has been greatly misunderstood. Traditional scholarship on this custom has been based on the assumption that morris dancing is one of the pagan calendar rituals, a preconception held by many folklorists of the late nineteenth and early twentieth centuries. Now, building upon his previous work with Michael Heaney of the Bodleian Library in Annals of Early Morris, John Forrest carefully analyses a wealth of evidence to show that morris dancing does not, in fact have pagan or ancient origins. His examination of early documentation draws morris traditions into the wider area of communal customs and public celebrations, showing the passage of dance ideas between groups of people who until now have been considered folklorically distinct. Careful, detailed, and encyclopedic, The History of Morris Dancing, 1458-1750 is an essential reference work for specialists in English drama and social historians of the period.

This book examines the health/fitness interaction in an historical context. Beginning in primitive hunter-gatherer communities, where survival required adequate physical activity, it goes on to consider changes in health and physical activity at subsequent stages in the evolution of “civilization.” It focuses on the health impacts of a growing understanding of medicine and physiology, and the emergence of a middle-class with the time and money to choose between active and passive leisure pursuits. The book reflects on urbanization and industrialization in relation to the need for public health measures, and the ever-diminishing physical demands of the work-place. It then evaluates the attitudes of prelates, politicians, philosophers and teachers at each stage of the process. Finally, the book explores professional and governmental initiatives to increase public involvement in active leisure through various school, worksite, recreational and sports programmes.

Selected as an Outstanding Academic Title by Choice Magazine, January 2010 The Encyclopedia of Play: A Social History explores the concept of play in history and modern society in the United States and internationally. Its scope encompasses leisure and recreation activities of children as well as adults throughout the ages, from dice games in the Roman empire to video games today. As an academic social history, it includes the perspectives of several curricular disciplines, from sociology to child psychology, from lifestyle history to social epidemiology. This two-volume set will serve as a general, non-technical resource for students in education and human development, health and sports psychology, leisure and recreation studies and kinesiology, history, and other social sciences to understand the importance of play as it has developed globally throughout history and to appreciate the affects of play on child and adult development, particularly on health, creativity, and imagination.

Over fifty years of folklore from the Empire State

In the middle of the 1970s, a storm swept through the world of Morris: women had started to dance what, up to then, had been widely considered to be a men-only tradition. John Cutting had joined Herga Morris in 1972 and was thus a newcomer at the time. What, then, was this Morris tradition? Was it entertainment? Was it some mystical rite?

How is the politics of Blackness figured in the flamenco dancing body? What does flamenco dance tell us about the construction of race in the Atlantic world? Sonidos Negros traces how, in the span between 1492 and 1933, the vanquished Moor became Black, and how this figure, enacted in terms of a minstrelized Gitano, paradoxically came to represent Spain itself. The imagined Gypsy about which flamenco imagery turns dances on a knife's edge delineating Christian and non-Christian, White and Black worlds. This figure's subversive teetering undermines Spain's symbolic linkage of religion with race, a prime weapon of conquest. Flamenco's Sonidos Negros live in this precarious balance, amid the purposeful confusion and ruckus cloaking embodied resistance, the lament for what has been lost, and the values and aspirations of those rendered imperceptible by enslavement and colonization.

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