BB
repertoire since 1980
see bottom
of page for more details of the non-traditional dances or click on dance
name
x = danced out that year - (x) =
practised but not danced out
DANCE |
Dance
Origin |
80 |
81 |
82 |
83 |
84 |
85 |
86 |
87 |
88 |
89 |
90 |
91 |
92 |
93 |
94 |
95 |
96 |
97 |
98 |
99 |
00 |
01 |
02 |
03 |
04 |
05 |
06 |
07 |
08 |
09 |
10 |
11 |
12 |
13 |
14 |
15 |
16 |
17 |
18 |
19 |
20 |
21 |
22 |
23 |
24 |
Dances for Leading On / Off |
Two-by-Two
/ Three by Three |
BB |
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x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
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x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
(x) |
x |
x |
x |
x |
Wheel of Fortune |
BB |
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x |
x |
x |
x |
x |
x |
x |
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(x) |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
(x) |
x |
x |
x |
x |
Going Away |
BB |
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x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
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(x) |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
(x) |
(x) |
x |
x |
x |
x |
x |
(x) |
x |
(x) |
x |
(x) |
x |
x |
Field Town Processional |
BB
adapted |
x |
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x |
x |
x |
x |
x |
x |
x |
x |
x |
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x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
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x |
x |
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x |
x |
x |
1-6
dance (Queens Delight) |
BB |
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x |
x |
x |
x |
x |
x |
x |
x |
x |
(x) |
x |
x |
(x) |
x |
x |
x |
x |
Hanky
Dances |
Albemarle's Hop |
BB |
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x |
x |
x |
x |
x |
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x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
(x) |
(x) |
(x) |
(x) |
(x) |
x |
Arse
about Face |
BB
adapted |
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? |
? |
x |
x |
x |
x |
x |
x |
x |
x |
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(x) |
(x) |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
(x) |
x |
x |
x |
x |
Banks
of the Dee |
Traditional |
x |
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(x) |
Binfield Jump |
BB |
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x |
x |
x |
x |
x |
x |
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(x) |
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(x) |
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(x) |
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x |
x |
x |
x |
x |
x |
x |
(x) |
x |
(x) |
(x) |
x |
Charles
Dance |
BB |
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(x) |
(x) |
x |
x |
x |
Cheesy
Bob |
BB |
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x |
x |
(x) |
x |
x |
x |
x |
Dance
of Chance |
BB |
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x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
(x) |
x |
x |
x |
x |
Dearest Dicky |
Traditional |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
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(x) |
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(x) |
(x) |
(x) |
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(x) |
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Glorisher |
Traditional |
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x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
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x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
(x) |
(x) |
x |
x |
x |
x |
x |
x |
(x) |
(x) |
(x) |
(x) |
(x) |
(x) |
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(x) |
(x) |
Jockey to the Fair |
Traditional |
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(x) |
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Jug by the Ear |
Adapted |
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(x) |
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(x) |
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Highland Mary |
Traditional |
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? |
? |
x |
x |
x |
x |
x |
x |
x |
x |
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x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
(x) |
x |
x |
x |
x |
Lord Barry's Breakfast |
BB |
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x |
x |
x |
x |
x |
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x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
(x) |
(x) |
(x) |
x |
x |
Lucky Pierre |
BB |
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x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
(x) |
(x) |
x |
x |
x |
Mrs Casey |
Traditional |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
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x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
(x) |
(x) |
x |
x |
x |
Old Marlborough |
Traditional |
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x |
x |
x |
x |
x |
x |
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(x) |
(x) |
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(x) |
Princess Royal |
Traditional |
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? |
? |
x |
x |
x |
x |
x |
x |
x |
x |
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(x) |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
Schrödingers
Hat |
BB |
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x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
(x) |
(x) |
(x) |
(x) |
x |
x |
Shepherds Hey |
Traditional |
|
(x) |
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(x) |
x |
x |
x |
x |
x |
x |
x |
x |
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(x) |
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(x) |
x |
x |
x |
x |
x |
x |
(x) |
(x) |
(x) |
(x) |
(x) |
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(x) |
(x) |
x |
x |
(x) |
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(x) |
(x) |
(x) |
(x) |
(x) |
(x) |
x |
Sucking the Monkey |
BB |
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(x) |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
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x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
(x) |
x |
x |
x |
x |
The
Old Woman Tossed Up |
Traditional |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
|
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
(x) |
x |
x |
x |
x |
The Rose |
Traditional |
x |
x |
x |
x |
x |
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(x) |
(x) |
(x) |
(x) |
(x) |
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(x) |
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(x) |
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(x) |
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Trunkles |
Traditional |
x |
x |
x |
x |
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(x) |
x |
x |
x |
x |
x |
x |
(x) |
(x) |
(x) |
(x) |
x |
x |
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(x) |
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x |
x |
x |
x |
(x) |
(x) |
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(x) |
(x) |
(x) |
(x) |
(x) |
Winnersh
Triangle |
BB |
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x |
x |
(x) |
x |
(x) |
(x) |
(x) |
(x) |
(x) |
(x) |
x |
x |
Young Collins |
Traditional |
x |
x |
x |
x |
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Stick Dances |
Balance the Straw |
Traditional |
x |
x |
x |
x |
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Base
over Apex |
BB |
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x |
x |
x |
x |
x |
x |
(x) |
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(x) |
(x) |
(x) |
Boggle |
BB |
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x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
(x) |
x |
x |
x |
x |
Constant Billy |
Traditional |
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x |
x |
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Country Gardens |
Traditional |
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x |
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Dance of the Little Fairies |
BB |
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x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
Dance of the
Big Goblins |
BB |
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x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
(x) |
x |
x |
x |
x |
Jolly/Cocky Jockey
Sticks |
BB |
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x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
(x) |
x |
x |
x |
x |
Shepherds Hey (Stick) |
Traditional |
x |
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Shooting |
BB
adapted |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
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x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
(x) |
(x) |
x |
x |
x |
Spotty Dog |
BB
adapted |
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x |
x |
x |
x |
x |
x |
x |
x |
x |
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x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
(x) |
x |
x |
x |
x |
The Devils Highway |
BB |
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(x) |
x |
x |
x |
x |
x |
x |
x |
x |
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x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
(x) |
x |
x |
x |
x |
The
Laughing Cavalier |
BB |
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x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
Wizo
the Flem |
BB |
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x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
(x) |
x |
x |
x |
x |
No
Stick No Hanky Dances |
Coconuts(Walk
of 2d Postman) |
BB |
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|
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
|
x |
x |
x |
x |
x |
x |
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Knees
Up |
BB |
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(x) |
(x) |
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The Mazurka |
BB |
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(x) |
(x) |
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Sword
Dances |
Matachin
/ Buffens / Flame |
Traditional |
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(x) |
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(x) |
Jigs |
As the Tide was Flowing |
BB
adapted |
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(x) |
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(x) |
(x) |
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(x) |
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(x) |
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(x) |
Blue Eyed Stranger |
Traditional |
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? |
x |
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(x) |
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(x) |
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(x) |
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(x) |
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(x) |
(x) |
(x) |
(x) |
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Go and Enlist |
BB
adapted |
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? |
x |
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(x) |
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(x) |
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(x) |
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(x) |
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Ladies
Pleasure |
Traditional |
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Lumps of Plum Pudding |
Traditional |
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? |
x |
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(x) |
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(x) |
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(x) |
(x) |
(x) |
(x) |
(x) |
Months of May |
BB
adapted |
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? |
x |
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None
so Pretty |
Traditional |
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(x) |
(x) |
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Nutting Girl |
Traditional |
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? |
x |
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(x) |
(x) |
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(x) |
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(x) |
(x) |
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(x) |
(x) |
(x) |
(x) |
(x) |
Old Molly Oxford |
Traditional |
x |
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(x) |
(x) |
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Plain Brown Wrapper |
BB |
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DANCE |
Dance
Origin |
80 |
81 |
82 |
83 |
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85 |
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87 |
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90 |
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24 |
Origins of the
(non-traditional) dances
Many of the dances in our repertoire, particularly the
traditional ones, are named after the tune. Other dances though, and
particularly the more recent ones, have acquired their names for a variety of
reasons. Some of the reasons are now lost in the mists of time but the following
is an attempt to help :
1-6 Dance (Queens
Delight)
A coming on dance done to the tune of
Queens Delight, and my wouldn't she be delighted if she ever saw us performing
this. Dancers are added on one at a time (up to 6) to perform the various
elements of the dance, and on special occasions (i.e. when there are enough
dancers) extra dancers come in at the end to add to the delight. The dance is
different from every position, so one of the things we have learned over the
years of performing it is that we shouldn't do it with dancers in particular
positions they are unfamiliar with. We especially learned this outside the
Ashmolean Museum in Oxford. With quite a lot of people watching.
Albemarle's Hop
This dance is the only one in the repertoire to use an unusual form of the heel
and toe step where the upper part of the leg is brought horizontal while hopping
on the other foot, and in doing so uses a lot of energy to go not very far. It
is named after a famous soldier of the 17th century, George Monck, Duke of
Albemarle, who is alleged to have marched his troops into battle so slowly, the
battle was always over by the time he got there. Of course this is almost
certainly a libellous slur on his reputation, as he was a renowned fighter who
in 1660 helped overthrow the Rump Parliament and pave the way for the return of
Charles II to the throne. He also successfully led the English fleet in a number
of battles against the Dutch, possibly after finding his wife was allergic to
tulips. Were he alive today he would probably sue us for defamation, but frankly
we wouldn't be taking much notice of a 400 year old anyway. Some other Morris
sides perform a dance called Monck's March, named after the same person, which
is similar to ours except for the stepping, the figures, the chorus and the
tune.
Base
over Apex
The result of a psychedelic dream sequence which envisaged
6 dancers floating effortlessly over a dance floor in a triangular formation,
twisting and turning like daffodils in the breeze, and with the smell of freshly
mown grass in the air. And so the dance was born, though the daffodils are
replaced with thick, mature specimens, the floating is replaced with
intermittent jerky movements while everyone works out which way to go,
and instead of freshly mown grass there's that usual funny smell no-one owns up
to.
Binfield Jump
An old favourite which has made a comeback in recent years, this dance features progressive
jumps in the chorus. And Binfield is
nearby. Did you see what we did there?
Boggle
One of the many dances in the repertoire carefully crafted after years
of research oh all right then, nicked from things other teams do. In
principle it's a variant of the 'Skirmish' dance done by many sides, but the
sticking chorus owes something to Boggarts Breakfast, and the hey to Oyster's
Woggle dance, hence the current name (though we are trying to think of something
worse). The dance involves several changes of set orientation and stick clashing
on various diagonals, giving rise to many opportunities to go wrong which we try
to take full advantage of. The tune is one of Blowzabella's, excellently adapted
by Sue to fit the dance.
Charles Dance
Not a homage to the renowned RSC actor, known in recent years for leading roles
in Game of Thrones and The Crown amongst many others, but instead a dance based
around a tune and dance moves brought to the team by our own Charles - a man of
multiple talents but acting isn't among them as far as we know. Mind you, since
Charles brought it to us we have changed the tune (more than once), and most of
the dance moves (more than once) - however, in the same way that Trigger's broom
is still Trigger's broom, it's still Charles's dance.
Cheesy Bob
Cheesy Bob is the name given by Guildfordians and those from surrounding
areas to a woodlouse. While that explains the term, it doesn't necessarily
explain how a local name for a crustacean from the monophyletic suborder
Oniscidea within the isopods came to be given to a BB dance. However the dance
itself, featuring a rare second corner start, is considerably more elegant than
its name would suggest.
Coconuts
Danced to a traditional tune (The Walk of the Tuppenny Postman), this
dance features hollowed out coconut shells which are clashed together to produce
a distinctive breaking sound. It is though actually a little known fact that
when Morris Dancing was first invented in 1765 by James Watt, while sitting at
home waiting for the kettle to boil, he envisaged the dancers using not sticks
(too macho), not hankies (too poncey), not swords (wa-hey, man, maybe for Nurrtheners
like, but not yurr Cotswolders like) definitely nothing floral, so what else but the coconut
halves he had lying around after working on prototypes for a new kind of
chocolate bar for sailors, the Bounty, though perhaps he should have used the
inside of the coconut rather than the outside for flavouring, which is why there
was later to be a famous mutiny on the Bounty. Our dance
follows James Watt's original designs very closely, though we drew the line at
the steam powered melodeon after it played havoc with the reeds.
Dance of Chance
Inspired by seeing the Tiller Girls on Sunday Night at the London Palladium,
this dance incorporates some of the famous pivoting movements, slick
choreography, dazzling costumes, cheesey grins, and general air of youth and
health which the girls exuded. Note the qualification "some of". Well,
there's a sort of pivot-y thing in the dance, and we do occasionally smile. The
name of the dance refers to some of the chance elements which make it up. We
also considered calling it the "which way are we going now dance", but
decided this was too accurate a title for our taste.
Dance of the Little Fairies
This dance is notable for using 2 sticks, a distinctive stick clashing chorus,
and an unusual heel and toe stepping sequence in 5/4 time, performed to a
haunting and atmospheric contemporary tune composed by Herbie Flowers. The dance
evolved before we had a tune for it, and we were therefore looking for some
suitable 5/4 music, but as soon as Jane played us this tune, we knew it was just
right. When we found it really was called 'The Dance of the Little Fairies', our
joy knew no bounds, and we skipped gaily round the room on our tippytoes, doing
good wherever we went, and condemning evil people to a lifetime of attending
Morris Fed AGM meetings.
Dance of the Big Goblins
This dance is notable for using 2 sticks and not being the Dance of the Little
Fairies. The tune is a waltz nicked from an RBB band CD, the stepping basically
is nicked from our own Mazurka dance, and the sticking chorus is nicked from a
workshop Jameson went to. So all our own work then. Why is it called Big
Goblins? - because it is the very antithesis of Little Fairies. We can safely
say this because none of our regular Morris audience will know what an
antithesis is.
Devil's Highway
A fairly straight stick clashing dance, this is named after a famous ancient road which
runs nearby. Unlike Berkshire Bedlam who never run anywhere if they can help
it. The road itself is so straight, it was thought in olden times the Devil
himself must have built it as it was so straight (best said in a fairly menacing
voice). But it was the Romans.
Going Away
A finishing dance, which originally had 2 versions, 'Going Away With Song', and
'Going Away Without Song', though nowadays only the first version is performed. This
features a short verse of song at the end of
the dance before processing off, ideally into the nearest impractical confined space we
can find. The song is usually performed slightly off key, and always when out of
breath, resulting in a frequently unintelligible and inaudible dirgey sort of
ending to our performances, but despite that the whole side love doing it,
especially Lee.
Jolly Jockey Sticks / Cocky Jockey Sticks
Jolly Jockey is a stick throwing dance, performed to the tune of 'Jockey to the Fair', out of
which came the name Jolly Jockey Sticks. The essence of this dance is that it
features stick throwing rather than stick catching, as the chorus, which
features a lot of stick exchanging, is actually very difficult to do
successfully. There is
a golden rule for the dancers known as the 'don't bend down if you drop your
stick' rule, which we keep meaning to learn but haven't got round to.
For the 2012 season it was decided in a pub discussion that as not enough sticks
were being dropped, a more complicated chorus was to be added halfway through -
the 'cocky' chorus. This has proved that decisions should never be taken down
the pub.
Knees Up
A not particularly serious dance developed to do jointly with the Outside
Capering Crew, it has developed an alarming life of its own and insists on being
done at most inopportune moments, like when there are people watching. However
this is actually a dance best viewed from a long way away, like in the next
county, and ideally it would be best kept locked away in a darkened room. If you
do happen to see it, don't stand behind the line of dancers, it's not the most
flattering view.
Laughing Cavalier
A stick dance with a lively and fast turning chorus danced to the tune of 'Dives
and Lazarus' which was the original name for the dance. Before the first stick
clash there is a pronounced 'ha!', but during one of the first performances of
the dance, another watching side extended the 'ha's', Laughing
Policeman style, throughout the chorus. We subsequently debated changing the
name to the Laughing Policeman but settled on the Laughing Cavalier. So now,
although Berkshire Bedlam may not look much like oil paintings, they have a
dance named after one. Boom-boom-tish.
Lord Barry's Breakfast
This hanky dance, which features interesting diagonal lines, was allegedly originally
choreographed over breakfast at a Little Chef on the A30 on the way to a BB
event, possibly the Dorset tour, using some of the implements that you find on the tables in Little Chefs
e.g. salt cellars, pepper pots, ketchup bottles, cockroaches etc. The dance was named in honour of
the then squire, Stuart Barry, as the dancers coming and going to the corner
positions was held to resemble the breakfast courses arriving at Lord Barry's
table. The current side still think affectionately of Stuart whenever
they see salt, pepper, ketchup, or cockroaches.
Lucky Pierre (briefly Lucky Serge)
The original title of this interesting hanky dance, featuring an accidentally
transposed Kirtlington hey, had absolutely nothing to do with the dance, but a lot to
do with an in joke that was circulating at the time the dance evolved. 'Lucky
Pierre' is apparently the term given to the man in the middle. If you are
curious to know more, ask one of the wise old heads of Berkshire Bedlam, though
bear in mind that for most of BB the description 'wise old' is only half true.
In more recent times the dance has been given some extra oomph by one side of
the set surging forward as one (or two, or three), which led for a while to the
dance being called
Lucky Serge, which had to be pronounced in a poor Belgian accent. But now the
name has reverted to Lucky Pierre, and Serge has gone back to drinking his
overpriced craft Belgian beers served from a pump which distributes beer and
froth in equal measure.
Mazurka
A dance with no sticks or hankies done to a Mazurka tune, hence the name. It
features an exaggerated heel and toe step, lots of hand clapping and thigh
slapping, and confusing heys which involve everyone running off just that bit
too far to get back in time with the music. Its most famous exponent is Trundle
R. (1940 - ) who, while performing it on the Arena stage at Sidmouth, found
himself in a position where he kept running to the front of the stage during the
hey, and improvised by blowing kisses to the audience. The Morris police are
still after him for that and several hundred other offences such as jumping too
high and having too much enthusiasm.
Plain Brown Wrapper
A rarely performed 'Over the People' type dance done to the tune of Yankee
Doodle. It was so named because ... actually I don't know, does anyone
else?
Schrödingers Hat
Erwin Schrödinger was a famous Austrian physicist, best known for his
mathematical studies of the wave mechanics of orbiting electrons. But you knew
that didn't you? He also had a cat that allegedly disappeared and reappeared.
This hanky dance features orbiting Bedlams, who wear hats. This somewhat tenuous
connection gave rise to the dance title. Most of us are still trying to work it
out, but I suppose, like most of Schrödingers work, you're not actually meant
to understand it ...
Shooting
Shooting is a traditional stick dance,
usually involving at some stage pointing with the stick and pretending its a
gun. Our version also involves pointing with the stick and pretending its a gun,
but critically we also go 'bang', thereby, we feel, differentiating us from
those sides who don't go 'bang'. An important difference. Actually we have some
other differences as our version features heel and toe stepping, is danced to a
composed tune, and features stick throwing across the set and to/from opposite
corners. We regard it as one of our best show dances and always introduce it as
'our most dangerous dance', an epithet it richly deserves as sticks do sometimes
go astray and have been known to strike small children and animals. Yes I know
its really their fault for watching, but occasionally we do feel pangs of guilt
- especially if the child was smiling beatifically or if the animal was staring
balefully and trustingly at us just a second or two before. Still, it had
enjoyed a good life.
Spotty Dog
Spotty Dog was a famous cultural icon of the 1960's (actually a children's
character) with a distinctive
lurching kind of walk. This stick dance also features distinctive lurching kinds
of stepping, though come to think of it so do most of the dances though they are
not supposed to.
Sucking the Monkey
A fine column hanky dance, one of our showiest non-show dances. It is named
after a genuine old (Wokingham) custom - in
sailor's slang 'to suck the monkey' is to surreptitiously suck liquor from a
cask through a straw, and when milk has been taken from a coconut, and rum has
been substituted, 'sucking the monkey' is drinking this rum. There is an old
time rhyme about it, which sounds bad enough to have been written by one of the
current side, which goes :
"Besides, what the vulgar call 'sucking the monkey'
Has much less effect on a man when he's funky."
If you think you understand this please let us know. Also, apparently among some Dutch people, one form of drinking is known as 'sucking the monkey',
because the early morning appetizer of rum and salt was taken in a Monkey
Spoon, a spoon having on the
handle a heart surmounted by a monkey, at one time given in the Netherlands at
marriages to some immediate relative of the bride, and at christenings and
funerals to the officiating clergyman.
Well now, didn't you want to know that?
Two by Two / Three by Three
Two by two is our customary Coming-on Dance, normally featuring one single dancer starting,
followed by 6 more coming on in pairs 2 at a time, hence the dance name. These days the
first on tends to be Paul, who dances in a style known and loved throughout BB
as 'Paul's style'. Others have tried to copy but its very hard to get the legs
turned out at exactly that angle. In 2010 a truly exciting innovation was added
- essentially the same dance but featuring the dancers coming on in 3 lines, 3
at a time. Now there's progress .....
Wheel of Fortune
Another coming on dance, done to the tune of The British Grenadier, and forming
circular patterns when all dancers have come in. Its called Wheel of Fortune
partly because it's circular, but mainly because its a bit of a lottery whether
we get it right.
Winnersh Triangle
Less well known than the Bermudan one but this triangular dance does feature
Bedlams going mysteriously astray in the middle of it. In fact our audiences
always ask lots of questions about this dance - questions like 'where did it
come from?', 'how does it work?', 'why does it look like they're in pain?', 'can
I go home now Mummy?' ...
Wizo the Flem
Most dances start with a dance pattern or a tune - this one started with a
stonking name, spotted by Angela on a plaque on a ruined castle in
Pembrokeshire. There really was a Wizo, who was a Flemish settler, in the 12th
century - in fact he became Lord Wizo - and we felt that a name like that once
discovered could not go uncelebrated. Andy, after much research of obscure
Flemish tunes, mostly unlistenable and certainly all unpronounceable without a
great deal of phlegm, came up with the whizzo tune that we use for the dance,
and also the original idea for the stick throwing chorus. Which the final
syncopated version is absolutely nothing like.
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