229:’ (pronounced geeze) was also popular, however it was not a dance form, rather a form of mumming that could include dance, music, singing, processions, games, cross-dressing and disguise. The term guise dancing is specific to west Cornwall and took place across the twelve days of Christmas. Margaret Courtney mentions geese dancers and a 'hobby horse' near Lands End about 1812. Writing in about 1880 Robert Hunt also described geese dancers. His guise dancers performed in the 12 days of Christmas and on Plough Monday with a disguise of tattered paper headgear. One was often a man dressed as a woman. They sang 'popular ditties' and performed a mummer's play. In
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198:.. always terminated the pilchard season. This was a feast for those connected with the cellars, each cellar having its own troil. After the feast, which was given in the loft, games and dancing followed. These were kept up until the small hours of the morning, the music being provided by a fiddler.' In 1870
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of 1790. In the West Briton in 1959 Ashley Rowe wrote. 'In the peace rejoicings at the defeat of
Napoleon in 1814 Truro danced the Flora for several hours; at Falmouth they danced until midnight on the Wednesday, Friday and Saturday; Penzance people also danced.' According to Wm. Penaluna, writing in
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noted that 'Elygen' (Illogan) held its 'feast or furri day the first Sunday before or after St. Lukes' The 1781 journal of
Christopher Wallis, Helston Attorney, mentions the Hendre (ancient) Furry Day at Helston. Such community dances, often associated with fairs or religious feasts seem to have been
71:
is late
Cornish for stone. The associated legend (of petrifaction for dancing or playing on the sabbath) is clearly post-Christian. The timing of language change from Cornish to English suggests mediaeval naming, though some may be more recent. The stone circles and rows apparently suggested circular
176:, near St. Austell, held its Flora Dance and at Truro the Mayor led the dance, which lasted till the small hours' He also tells that St. Mawes celebrated winning a lawsuit over fishing rights by dancing the Flora in 1842.' It was seen in St. Ives in 1884. Even the
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piper Merv. Davey’s grandfather, Edward Veale, remembered seeing the step dance, Lattapuch, in the Unity Fish
Cellars, Newquay in the 1880s. These reports are born out by dance collection. In 1997 set, linear and step dances were still in living memory.
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1834, the Furry was danced in Penryn on 3 May and in
Sithney and the Lizard on 1 May. Rowe also notes 'When Victoria was pronounced Queen in 1837, Falmouth and Chacewater danced the Flora.' On Coronation day 1838
237:) tells of mummers, guise-dancers and darky parties in c1892. Bottrell describes guise-dances as light-hearted plays in doggerel with music and dance interludes. Perhaps these shows, formalised in Nance's
130:(1808) some Scottish country dances are also being danced. To these quadrilles, waltzes and polkas were added as the century progressed, as shown by many documentary and MS references.
56:(Happy Night) dancing has attracted interest and popularity being a simpler, spontaneous form of social dancing to Cornish traditional tunes such as jigs, hornpipes, waltzes and reels.
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There is copious documentary evidence of morris dancing and mumming from 1466/7 to 1595. Iconography at
Altarnun church suggests performance of the Mattachins about 1525.
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and the industries they worked in. In most cases, particularly with the step dancing, the dances were still being performed across the region when they were collected.
245:. Morris is sometimes associated with mumming and some tunes used for morris are in Cornish MSS, but there is no evidence of the dance in 19th century Cornwall.
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The earliest documentary account which may refer to dancing in
Cornwall is the statute banning (inter alia) round dances in churchyards issued in 1287 by Bishop
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considered music integral to harvest home, feast days, even visits to the mill. He mentions 3-hand reels, jigs and ballads sung for dancing.
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dance can roughly be divided into 3 areas: 'Scoot' or step dancing, 'Furry' or Feast Day dances and dance which you will often find in a '
147:, which suggests a late mediaeval origin for such celebrations. Community or Furry Dances are hinted at from 1700 when
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were the last evolution of the mummers' art. Many mummers' plays have been collected in
Cornwall, notably by
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MS indicates familiarity with minuets and a wide range of country dances. By the time of the MS of
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and linear dances to their namers, reflecting the popularity of mediaeval rondes and farandoles.
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and St. Peter. A 'snake-walk' dance at a tea treat c1900 was described in the
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is 1802, though, like furry dances, the tradition is probably much older.
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brass band playing Jon the Bone (Helston furry)! The earliest evidence of
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Cornish stone circles and rows are often called maidens. Significantly,
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Cornish Verse Forms and the
Evolution of Cornish Prosody, c1350-1611
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116:(c1740) has music for Minuets, Rigadons, and Hornpipes. The
303:(Toronto, 1999) pp. 463–65 (text) and 579–80 (translation))
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of
Charles Lee, possibly the composer of the song Lamorna.
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461:, (Cornwall Books, 1989) 10, (facsimile of 1890 original)
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There are many 19th century reports of furry dances. The
474:(Llanerch, 1993) Appendix E (facsimile of 1881 original)
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R. Hays & C. McGee, S. Joyce & E. Newlyn eds.,
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R. Hays & C. McGee, S. Joyce & E. Newlyn eds.,
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Records of Early English Drama, Dorset & Cornwall
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Records of Early English Drama, Dorset & Cornwall
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100:. Later Cornish verse-dramas have similar passages.
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of 1375 contains invocations to dance at the end of
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316:. Cambridge, Mass.: Harvard Univ. Press, 2005
434:"Historical Guise Dancing and its Music"
382:A guide to St. Ives and its surroundings
34:, UK. It has largely been shaped by the
472:Popular Romances of the West of England
432:Goskar and Goskar (22 September 2019).
422:(Dyllansow Truran, 1983) 51-53 & 57
156:19th-century community and social dance
143:is used by Weekes in his 1608 madrigal
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371:(Helston Old Cornwall Society, 1931)
194:In fishing communities a dance or ‘
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356:Cornish People in the 18th Century
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340:Prying into Every Hole and Corner
16:Dance originating in Cornwall, UK
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459:Folklore and Legends of Cornwall
290:(Lyngham House, St. Ervan, 2007)
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409:(F. E. Williams, Newquay, 1923)
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358:(Lyfrow Trelyspen, 2000) p. 206
342:(Dyllansow Truran, 1993), p. 16
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504:Catalogue of Cornish dances
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110:Country and social dancing
169:The Gentleman’s Magazine
186:Padstow's May Day revel
167:Dance was reported in
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367:James Dryden Hoskin,
88:The Cornish-language
524:European folk dances
235:Arthur Quiller-Couch
231:The Delectable Duchy
86:Cornish verse dramas
52:. More recently the
519:Culture of Cornwall
405:S. Teague Husband,
369:Helston Furry Dance
243:Robert Morton Nance
122:MS (c1768) and the
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65:Mediaeval toponymy
30:) originates from
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407:Old Newquay
141:Furry dance
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82:of Exeter.
513:Categories
443:4 December
418:M. Davey,
352:J. Whetter
312:B. Bruch,
272:4 December
263:"NosLowen"
249:References
114:John Giddy
112:The MS of
470:R. Hunt,
90:Ordinalia
54:Nos Lowen
208:St. John
32:Cornwall
174:Trewoon
138:Helston
50:céilidh
42:Cornish
24:Cornish
420:Hengan
192:Troils
267:Dalla
196:troil
46:Troyl
445:2019
274:2019
182:Paul
96:and
69:medn
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