Milkmaid Molly - "Buddies" and Musicians needed

Milkmaid Molly founded in 2012 is part of Milkmaid Folk Arts, a Community Interest Company, offering a place of welcome and acceptance for people with disabilities and those without who meet on equal terms and find companionship. The Milkmaid’s ethos is to support vulnerable and disadvantaged people to build a life that is both fulfilling and rewarding through the joy of music, art and performance.

 

We meet at Station Hill Social Club, 1 Station Hill, Bury St Edmunds, IP32 6AD on the first Thursday of each month promptly at 07.30 pm and finish by 09.00 pm. Both the Buddies and the Mollies would be so grateful if you could come along and help for just an hour and a half once a month. We are also looking for more musicians. Next meeting 1st March 2018.

Milkmaid Molly have a core of people with Learning Disabilities who choose to be called the ‘Mollies’ and a group of dance “Buddies” who assist the Mollies. The idea has proved so popular that we have a large number of Mollies but need more Buddies. Assisting with the Mollies does not mean you have to be in any way super fit or have any dance experience, Buddies just help with steering in the right direction when we perform very simply adapted Molly dances. The Buddies have more complicated routines of their own and during the evening to give the Mollies a rest from dancing we invite them together with our regular musicians to play for us. The Mollies enjoy playing percussion instruments, or in some cases their own guitars or mouth organs. Every practice we have fun, lots of laughs and have all made some good friends.

If you are fleet of foot and wish to take part in more intricate dances please come along on the third Thursday of the month as well when the Buddies have a practice alone concentrating on more complicated dances. During the summer both branches of the team have performed together Euston Rural Pastimes Country Fair, Ely Folk Festival and Oxjam.

If you wish to join us please ring Gill 01284 767476, or email This email address is being protected from spambots. You need JavaScript enabled to view it., look on line at www.milkmaidmusic.co.uk or just turn up on the night we would love to meet you.

Jan Robinson; Milkmaid Molly

Milkmaid Molly performing at Ely Folk Festival 2013

The 2017 Morris Census

The 2017 Morris Census; The Results are in.

 During 2017 all UK morris sides and as many foreign sides as possible were sent a detailed census form.  The object was to try to compile a picture of the current state of morris dancing.  The term “morris dancing” is used in its widest sense and embraces all forms of English traditional dance: Cotswold, Border, Molly, Northwest, Garland, Mumming, Rapper, Clog Step, Longsword, Appalachian, English Country Dance/Playford and Stave.  The 798 sides who replied included both UK and foreign sides.

 The results were sent to all participating sides at the end of 2017 and they are available to a wider audience at the website www.morriscensus.uk​ .  The site is interactive and easy to use, giving information not only for the UK, but also for New Zealand and Australia, the US and Canada and for international sides.  You can look up your Morris organisation and your form of dance and by clicking on the appropriate column find the 2014 figures too. 

Some of the conclusions.

Read more: The 2017 Morris Census

Morris Man died on the Somme

George Butterworth; Morris Man and composer died on the Somme August 1916

On this day when the nation remembers its’ fallen heroes the Morris fraternity can remember one of their own who died on 5th August 1916.

Butterworth described himself as “a professional Morris dancer” and folk song collector before he became known as the composer who with Housman’s blessing set his poem “A Shropshire Lad” to music.  Collecting folk songs and Morris dances was the source of his inspiration and he became a friend of Cecil Sharp and a founder of the English Folk Dance Society in 1911.  He was a paid member of the EFDS demonstration Morris dance team three of whom were killed in 1916. 

Butterworth had joined as volunteer with the rank of Private but was soon commissioned and served with the Durham Light Infantry.  Butterworth won the Military Cross for his defence of a trench in Pozières which was subsequently named after him.  He died at the age of 31 from a sniper's bullet on the following night. 

Like many who died at the Somme he has no known grave but his name is included amongst the 73,357 listed as missing on the Thiepval Memorial near Pozières.  He is also remembered at St Mary’s Church, Deerhurst, near Tewksbury, Gloucester where his Grandfather had been Vicar.

 My thanks to the Vaughan Williams Memorial Library, The Guardian and Wikipedia

 

Plough Monday

In anticipation of this years Plough Monday on 8th January and the Whittlesea Straw Bear on 13th January you may like to read this recently discovered account of a previous Plough Monday from a bygone age.  This year Old Glory Molly Dancers and Musicians will be performing at the Rumburgh Buck on 8th January.

There are a few articles which descibe Plough Monday including references in “Truculent Rustics” by Elaine Bradtke and “Molly Dancing in East Anglia” by Needham and Peck.  Articles by William Palmer, Russell Wortley and Cyril Papworth describe Plough Monday traditions in the Cambridgeshire villages of Little Downham, Littleport and Balsham, amongst others.  Unfortunately I could find few historical references to Plough Monday traditions in Suffolk, indeed one authority on the subject, Peter Millington, states in a comprehensive paper called “The Origins of Plough Monday” that “Norfolk and Suffolk are almost devoid of Plough Monday records".  So I began a diligent search of the internet and came across this article which seems to come from a late Victorian account of an event in Rumburgh.  Unfortunately, as we know, Google is an unreliable source so I cannot vouch for the authenticity of the following report. 

The Land of the Saints has a Dark Side

 “On 13th January this publication received an alarming report from several eye witnesses of a disturbing event which occurred the previous evening, the first Monday after Epiphany, which some call Plough Monday.  The incident took place in the depths of East Suffolk in the area known as The Saints; but this was no Christian ceremony and some said it was ungodly and pagan mischief.  We are persuaded that an authentic account of that affair will not be unacceptable to the public.  The principle witness, who wished to remain anonymous, has asked to be simply known as “The Apprentice”.

 “The disturbance occurred during the hours of darkness near the village of Rumburgh.  There were no warnings but there were reports of strange lights seen in the Western skies and a report of a low booming which some claimed as distant thunder but as it was a clear, dry evening this was disputed.  The lights and noise caused a crowd of anxious villagers to gather on the village outskirts and around The Buck Public House.  The lights could now be identified as flaming torches and as they approached the village “The Apprentice” reported that he saw a heavy plough being dragged into the village by a menacing group of dissolute ruffians, their identities concealed by blackened faces. 

 “No word was spoken until they arrived at The Buck where a cry went up from their apparent leader who bellowed, “Only once a year, a Penny for the Ploughboys”!  This may have been said to excuse the disturbance but it appeared to reassure some present and the crowd parted and allowed the plough to enter the pub yard. 

 The men were accompanied by a dark band of travelling musicians with herbaceous headdresses and primitive instruments who struck up a deep and earthy sound presaging the next stage of the proceedings which appeared to be part of a very strict and particular pagan ritual.  Some of the men seized hold of each other and began a series of muscular movements, turning and twisting, pulling and shoving each other giving no quarter.    The rough-music coming from this rustic orchestra which caused the men to twist and spin was like no music heard in respectable company and was more akin to the terrifying cries of beasts enduring agonising torments in the dark night.

 Some said there were women amongst these rural vagabonds and a witness said she had seen a lady with the dancing men but another disagreed and said “that were no Lady; she had whiskers under her bonnet”.  Others said they were sure it was a woman and said they’d heard her called “Bessy”.  Another said “if they was women they all looked as though they’d been dragged through a hedge back’uds”.  One witness said he could confirm that there were indeed women amongst the gang and some of them had scrubbed up quite nicely but there were no frills.

 At one point the crowd was intimidated into drinking a strange potion.  Many protested that they were determined to have a “dry January” but these cries were to no avail and the threatening presence of the men, emboldened by their disguise, induced many in the crowd to swallow the foul brew which some claimed had a strange gingerish after-taste.  A collecting box was taken around the crowd and, perhaps as a result of drinking the gingerish brew, many felt obliged to provide the “penny for the Ploughboys” demanded by the ruffians.

If readers hear of any plans for similar disorder and dissolute behaviour they are advised to stay indoors and contact the appropriate authorities.

“The Apprentice”

 

The Ballad of Shirley Collins - Film release

Widely regarded as the 20th century’s most important singer of English traditional song, Shirley Collins is someone who was born to invoke the old songs. Alongside her sister Dolly, she stood at the epicentre of the folkmusic revival during the 1960s and ‘70s. But in 1980 she developed a disorder of the vocal chords known as dysphonia, which robbed her of her unique singing voice and forced her into early retirement.

The Ballad Of Shirley Collins - which premiered at this year’s London Film Festival - tells this story, though to reduce it to that single aspect
does everyone (not least of all Shirley!) something of a disservice. The story proves itself to be something of a time-travelling Transatlantic road-movie of sorts, utilising a motherlode of archive audio to recount the tale of her seminal 1959 song-collecting trip around America’s Deep South alongside her then-lover (and legendary ethnomusicologist) Alan Lomax. As well as these songs (notably Alabama Sacred Harp Convention, Texas Gladden and Sidney Hemphill-Carter) there are more recent offerings, a home recording of Shirley's sister Dolly Collins, and a BBC session from 1958, "Eight Five Spiritual" which gets its first release, some 60 years after it was recorded.

Shirley Collins spent her life in song. Even during her time without her performing voice she was telling the stories of others’ music. Not once has she dropped the baton in keeping these songs, these stories, these people alive. The soundtrack to ‘The Ballad Of Shirley Collins’ - though diverse - showcases just a fraction of the facets that make up an extraordinary career by anyone’s standards.


"Music Documentary Of The Year" – Louder Than War

"One of the great voices in British folk music" - The Guardian

Deliberately eschewing a straightforward biopic approach, Rob Curry and Tim Plester's follow-up to their award-winning documentary WAY OF THE MORRIS, is a lyrical response to the life-and-times of this totemic musical figure. Granted intimate access to recording sessions for Shirley’s first album of new recordings in almost four decades, and featuring contributions from the comedian Stewart Lee and David Tibet of Current 93, what emerges is a meditative and carefully textured piece of portraiture. A timely delve into the arterial blood, loam and tears of our haunted island nation. The film was released in October and has played more than 50 venues to date. January 9th is the date to look out for, with the film showing at around 30 venues across the country. Between then and January 20th there will be screenings in:
Bath , Birmingham, Bradford, Brighton, Edinburgh, Exeter, Glasgow, Henley, Liverpool, London, Norwich, Oxford, Southampton, Torrington and York.
Performance dates can be found HERE

Winter Solstice

 A new season begins bringing with it the age-old winter festivals: a mélange of Christian and pre-Christian symbolism, celebrating light at a time when days are short, plenty after harvest and good company.

 At Winter Solstice last year we were invited to an old and lonely farmhouse deep in east Suffolk.  In the farm kitchen, little changed in centuries, were a group of people drinking and exchanging stories.  At a given time those of us who had no part in what was to come, were led out into the night by an elderly but spritely little lady.  Leaving signs of habitation behind, she sure-footedly led us through the dark along hedges, round woodland, through pastures and over stiles.  I was intrigued, but had no idea of where we were going or, for that matter, where we had come from.

 At length we crossed a narrow bridge leading over a river and through a copse to the garden of an old inn.  A menacing group of tall, black-robed, faceless and silent figures loomed out of the dark, standing sentinel, their heads lost in greenery.

 Lanterns marked a processional way across the garden and a crowd of people quietly waited for – what?  Eventually a tiny flickering light, a will-o’-the-wisp, appeared far away across the fields.  Slowly approaching it became a dozen flaming torches borne aloft by stern, black-faced, silent men in the garb of C19 farm workers.  Crossing the bridge, the only sound the thud of their hob-nailed boots, they filed between the lanterns to the courtyard and formed into sets for Molly dancing, the heavy rhythmic East Anglian form of Morris.  As the music began, some of the men stood guard, unsmilingly gazing out at the crowd as if protecting a mysterious and ancient rite.  Indeed I did have the feeling that here was something very old, a custom which had survived into the C21 in an isolated pocket of rural England.  It sent shivers up my spine.

 This was my introduction to Old Glory Molly Dancers and Musicians at the The Locks Inn at Geldeston.  Old Glory dance only during the winter, celebrating the winter festivals.  Their performances are characterised by a strong sense of theatre and if you want to see them wrap up well and get there early as there is often a torchlight procession to the venue. 

 Gill Brett

News from East Anglian Traditional Music Trust HQ

 

TRADITIONAL MUSIC DAY will be taking place in Bungay, Suffolk on 15th September 2018. We are really excited that the new version of TMD is going ahead with a view to it taking place in a different county each year. There will be plenty of concerts, workshops, sessions and much more to keep you inspired and entertained. We will be taking over the whole Fisher Theatre and St Mary's Church (of Black Shuck fame) with more venues to be announced. Make sure you put the date in your diary now for this very exciting day of music, song and dance.

Our website is currently offline and having a little break over Christmas, (i.e. we have unfortunately been hacked! Don't worry we have a back up!) But.... this gives us the opportunity to complete the brand new website which will be up and running in January, fresh and new for 2018. Please email if you have any general queries before it is up and running This email address is being protected from spambots. You need JavaScript enabled to view it.

Folk Choir Workshops starting on February 19th 2018 These sessions will be led by a very inspiring professional singer who specialises in traditional and early songs. The workshops will lead towards a performance at the Traditional Music Day in September, being part of the performance is not compulsory if you would like to take part in the workshops without the pressure of performing. Booking Details will be available in January.

Melodeons & More  There have been several enquiries about the Melodeons & More Day for 2018. A decision was taken by Katie and the Trustees not to book one for 2018 as they had not appointed a new Director. I am sorry if this is disappointing news for some of you, but rest assured there are some really exciting projects in the pipeline.

Sound Survey Collecting Project This is a major new project we are working on, details of which will be announced early 2018, including how to submit your own recordings. We will also be launching our very own EATMT Record Label in 2018.

We are also discussing lots of other interesting things... and always keen to hear ideas from EATMT Friends and subscribers - This email address is being protected from spambots. You need JavaScript enabled to view it.

Laura Cannell and Alex Bartholomew