tag:blogger.com,1999:blog-4702664911484208340.post1574145828993949226..comments2022-09-01T06:48:42.382+01:00Comments on Marie Marshall, lady wot writes: WWC♯D?Marie Marshallhttp://www.blogger.com/profile/12120270081544467506noreply@blogger.comBlogger3125tag:blogger.com,1999:blog-4702664911484208340.post-64814727865157515322010-12-11T08:39:26.747+00:002010-12-11T08:39:26.747+00:00Errata:
Line 3 - "fact", not "fat&...Errata:<br /><br />Line 3 - "fact", not "fat".<br /><br />Paste the links into your browser.Marie Marshallhttps://www.blogger.com/profile/12120270081544467506noreply@blogger.comtag:blogger.com,1999:blog-4702664911484208340.post-92044595106982842432010-12-11T08:36:49.216+00:002010-12-11T08:36:49.216+00:00Thanks for your comments.
Interesting debate you&...Thanks for your comments.<br /><br />Interesting debate you're having with yourself in the second paragraph! I think that is why I headed this blog "What Would Cecil Sharp Do?" - not to advocate a Sharpian approach, but more to point out the fat that in your field you are working in a fluid or dynamic situation. Your manifesto in the first paragraph is probably spot-on; but on the other hand, when you find something wonderful that is dying out, even because of a shift in the community's attitudes which is perfectly valid, I can imagine the pang you must feel.<br /><br />You cite the Tibetans. The movement for preservation of traditions comes from them - that's an important fact.<br /><br />The Lancashire Rosettes do remind onlookers of cheerleaders or (sometimes) majorettes. I wouldn't rule out some influence on the look, BUT their role (outside of competitions, such as you saw on the clip) has traditionally been as processional dancers in the yearly "Whit Walk" and other street carnivals in the NW of England, and that role dose date back to immediately after WW1, when so many men's teams had ceased due to the slaughter. Anyone familiar with the men's processional dances will be able to spot similarities in the steps, movements, etc, and be able to draw the conclusion that it is a continuing but changed tradition, not an import.<br /><br />Regarding the Nutters. I think that their tradition pre-dates Music Hall minstrelsy. They are not the only traditional English group which do, or did, black up, and certainly not the only group to disguise their faces. It seems much more likely to me, judging by the time of year that most English traditional dances and plays take place, that their origins are in pre-Christian ritual, though some connection has been made to celebrations of the Aragonese defeat of the Moors in Spain. The word "morris" has been linked to "moorish", though the etymology may be tenuous. There are also seasonal "mumming" plays, the name of which might come from a Norse word for a mask.<br /><br />If this link works, you can see a mumming play put on in a pub in the SW of England. The characters usually include Saint (or King) George, who fights and kills a Turkish Knight, and a Doctor who revives him.<br />http://www.youtube.com/watch?v=G8lzIW2fw_Q<br /><br />One of the most fascinating of British rituals is the Hobby Horse procession in Padstow, Cornwall. Here is a link to an amateur video - not terrific quality, but you get a reasonable view of the grotesque "horse" <br />http://www.youtube.com/watch?v=v_EJTCftTew<br />The tune, "Unite and Unite", keeps up all day.<br /><br />You're right. It is all about context. I think it is also a matter of looking at it from all angles, being open to discovery, but also having the facility to identify and eliminate the unlikely! I have heard some opinions voiced about British rituals that have been extremely specious.<br /><br />Lastly, thank you for that comment about my being an ethnomusicologist. I am honoured. Frankly, I can't hold a candle to you. I don't have your drive. I do have a knack for being able to see things - as you say - in context.Marie Marshallhttps://www.blogger.com/profile/12120270081544467506noreply@blogger.comtag:blogger.com,1999:blog-4702664911484208340.post-90453449916969481962010-12-10T16:09:51.561+00:002010-12-10T16:09:51.561+00:00I think our job in the debate as ethnomusicologist...I think our job in the debate as ethnomusicologists is to be the mouthpiece for the traditions and not make opinions or comparisons either way. If the traditions are to be living traditions, then it is up to the people of the tradition to make it so. If it is a dying tradition, then it is our job to preserve it, if only to add another archive to the library. Sometimes it's that simple. <br /><br />I know someone in Peru right now who had to talk her informants into realizing that their musical traditions were unique and should be continued and preserved. I don't agree with that. If they don't think it's important, then why keep it? Preservation and archival are important, but maybe it's not so vital to keep certain traditions alive without the progression of change. Then again, take a look at the Tibetans who are struggling to keep their traditions in the face of genocide. <br /><br />As an aside, the Lancashire rosettes Morris dancing troupe reminded me of American cheerleaders and I'd have to really stretch my neck out to see the "traditions" inherent there. At one point does it get so far away from its original intent that the name should change entirely? Not sure. <br /><br />As for the Coconut dancers - interesting. Are you sure it's not "blackface"? <br /><br />Awesome post - sorry I didn't find it earlier. You're a better ethnomusicologist than I'll ever be. It's all about context, and that's your forte, Marie.Anonymousnoreply@blogger.com