Lingdale
Peter Kennedy's notes from 1948
(SWORD DANCE noted at Lingdale, Cleveland, North Yorkshire by Peter Kennedy in 1948. (Copyright: Folktracks & Soundpost Publications 1964) (Comments: Judith Proctor 2016)
6 dancers with swords (as Sleights, North Skelton, Boosbeck & Loftus etc). Dancers number 1-6 from leader, clockwise. FARMER with walking stick & FARMER'S WIFE (man dressed as woman sometimes known as "Bessie") with umbrella. (These two characters were known as "Jolliers"). STEPS throughout start with LEFT foot.
ORDER OF ENTRY: Farmer & wife, #1 & #2, #3 & #6, #4 & #5.
SONG:
We are not the dandies from Danby
We are not the mashers from Marske ('Masher' is an old slang word for a dandy/womaniser.)
We not all the swells that mash all the girls (One definition of 'mash' is to impress a woman)
For bumping blue rock is our task
We go down the mine and toil daily
Down by the sun never shines
We are not what you seem but what you take us to be (Try: “We are not what we seem”, or “We are not what you see.”)
We're the boys from the Cleveland mines
During the dance the Jolliers run round, bow to each other, swing each other etc. In figure 5 they pass under the arches twice and at the end of the Farmers Wife comes into the centre to be beheaded.
FIGURE ONE: – (JP: Very similar to Allsop's version of Lingdale's first figure, though not identical) (Also compare with Dommett's Lingdale 'A' in 'Longsword in Cleveland' which probably relates to their performance at the Albert Hall in 1965.)
THE SALUTE: Dancers stand stationary with swords in right hand, touching the ground in the centre of the circle, then raised ready for the clash. (This was locally interpreted as "from the seed to the corn pyke", the Cleveland name for the circular corn stacks, and what is expected of the corn seed). (Music: 2 introductory chords)
HIGH CLASH: Moving round clockwise clashing swords overhead, starting on first beat of music (8 bars).
SHOULDER SWORDS: Link up swords placing first inside on RIGHT shoulder (8) then outside on LEFT shoulder (8 bars). (JP: In 1936 there was an ELBOWS move following this. Looks like the dancers dropped it, as it's not there in Dommett's 'Longsword in Cleveland' either.)
OPEN RING: Hilt-and-point circle moving round to left or clockwise (8 bars). Note: in order to form a small compact ring, the left hand, holding point of neighbour's sword, is still outwards, while the right hand with the hilt of one's own sword is held inwards.
OVER YOUR OWN SWORD: Still moving round, each in turn, lower own sword, and changing hand-grip, back round alongside own sword, then step over it, right foot over, left foot over, at the same time bringing left arm overhead, thus turning left to face front, ready to help the next man go over his sword. (8 bars)
(JP: This is physically impossible for 6 dancers to do in 8 bars. Compare with Dommett's notes on the 1936 film.)
OPEN RING (8 bars)
DOUBLE UNDER: #1 & #2 make an arch (keeping close together with bent arms) while #4 & #5 lead under. (8 bars). Open Ring (8) then arch by #4 & #5 with #1 & #2 leading under (8). Open Ring (8). Open Ring (8)
(JP: I've transcribed this exactly as written. I assume, though it isn't stated, that the return half of the double under is done is normal and that the second arch he mentions is part of a second double under rather than the second half of the first double under. This would fit with other recorded versions of the dance. It's also worth noting that each Double Under in this dance is often done in less than 8 bars and the following Open Ring just uses up the rest of the musical phrase. It's easy to miss unless you're looking for it. I strongly suspect that one or more of the Open Rings here is a typo. )
OPEN RING (8)
DOUBLE OVER: As for Double Under with Open Rings. Swords of the Leading Couple are swung back before swinging forward in front of them, before stepping over lowered swords with left hop, right hop. (Compare with the 1936 and 1965 versions, both of which pick up a subtle variation in this move.)
RIGHT AND LEFT LOCK: Made with right hand hilt being locked over left hand point.
ROSE AND DRAW: Leader raises the rose with right arm, while others place left arms on shoulder of the man in front (8). It is lowered to shoulder level (8) with the swords drawn on the last beat of the music.
FIGURE TWO (Not in Allsop or 1936 film. Related to Dommett 'B')
SALUTE AND HIGH CLASH: as in Fig. 1.
THE CROSS OVER: Fall back to face in two lines: 321 opposite 456.
Cross over, passing right shoulder, turning to face right (8). Cross back, again passing and turning right, and face (8).
DOUBLE HEY, POUSETTE or SEE-SAW: Working in three pairs, holding each other's swords at waist level, #1 with #6, #2 with #5, #3 with #4. Starting with #1 going forward, #6 backwards, and #2 going forwards with #5 backwards, they exchange positions in figure of eight as for the Single Hey. Then face to the end of phrase (16). (Should this have been the typical Cleveland pousette, which is done with diagonal moves and was recorded by Dommett in 1965, or is this genuinely a simpler version swapping two couples at a time?)
ROLL or ROLLING THE CORN: Keeping swords joined in pairs, all roll upwards (ie. Towards music) (4 bars) then exchange positions with arches, starting with#1 & #6 over #2 & #5, and one roll upwards. (4 bars for each pass and roll). At end, all make an extra roll downwards and then form hilt-and-point-ring. (24)
OVER YOUR OWN SWORD: As in Fig. 1, but this time from inside to outside turning to left: right hop, left hop.
LOW BUSH: Release from hilt-and-point and hold swords downwards in a low basket or bush, moving round without clashing, then clash on last beat.
BACK LOCK: Each dancer puts left arm under his neighbour's right arm to grasp neighbour's sword point, and his own sword over his neighbour's left arm, then lock hilt under point. (You have to assume the bit about lifting the swords up from behind your backs to over your head as being taken for granted.)
ROSE and DRAW: Leader holds up rose (8) and then lowers to shoulder level (8) and draw.
FIGURE THREE (No obvious parallels)
SALUTE/ HIGH CLASH (8)/ OPEN RING (8)
LOW BUSH & ONE clash at end (8)
WINDOWS: Mark time in column (ie. two lines 2,3,4 opposite 1,6,5) facing up (towards music) (8). #1 & #2 go through #3 & #6 making windows. (I assume he means that #3 & #6 are making the window.) Outside hands lower the sword, and inside raise arch to form the window. #4 & #5 shoulder their swords and mark time (8) then retire to bottom ready to go through window. Then #4 & #5 pass through window while marking time moving down backwards. (I think – using Lingdale moves from other sources, as a guide – that he means #4 & #5 go to the bottom of the set and then move another four steps down backwards. This fits with the four steps forward before hopping over the swords.)
Step LRLR/ right hop/left hop/ right hop/ left hop. Then the other two repeat. At the conclusion, all make low Windows with inside hand held in front of lowered sword, mark time and at the end jump over the lowered sword LRLR/ left hop/ right hop (8).
LOW BUSH & ONE CLASH (8)
OPEN RING (8)
OVER YOUR OWN SWORD: All raise left arms overhead and turning to right, they jump over their own sword, from outside to inside: right foot first: left hop/ right hop.
OPEN RING (8)
RIGHT AND LEFT LOCK: Swing swords out, then close in, clashing right over left as in Fig 1.
FIGURE FOUR (very similar to Allsop's figure 2, which is based on 1936 version.)
SALUTE/ HIGH CLASH and SHOULDER SWORDS (8)
GRAND CHAIN or CIRCULAR HEY: #1 faces # 2, pass right shoulders, to places then face centre and mark time. (16) (I'm a bit dubious about this one. Kennedy is writing in 1948. The 1936 film looks like a grand chain when you view it for the first time, and the second time come to that, but it is a bit more complex and involves #1 & #6 and #3 & #4 both passing right shoulders to begin the hey. #2 & #3 come in 2 bars later on. (See Allsop or Dommett for details) The film version leads naturally into Over Double Swords. Also, I find it hard to believe there are three separate LOW BUSH + OPEN RINGs in one single figure. However, if the dance had fallen into disuse at any period, fine details of the performance could easily have been forgotten, and the 1936 transition into Over Double Swords requires moving before the end of the phrase.)
OPEN RING (8) & LOW BUSH (8)
OVER DOUBLE SWORDS: Pairs hold both their swords together lowered almost to the ground while marking time (as in Windows) #4 & #5 go over first LRLR/right hop /left hop. The other two couples repeat. At conclusion all mark time and at the end make one roll upwards (8).
LOW BUSH & ONE CLASH (8)/ OPEN RING (8)
OVER YOUR NEIGHBOURS SWORD: Right arm overhead first, then turn to left from inside outwards: left hop/ right hop.
OPEN RING (8)
LOW BUSH & ONE CLASH (8)
SIDE LOCK: Each in turn raise left arm overhead turning to right, then, raising swords above head, all turn left to make the Right-and-left Lock, locking point over hilt. (This feels wrong to me. I've tried to dance it as written and it doesn't make good sense. I think it should read “all turn right, ¾ turn, to make a Left over Right lock, locking hilt over point.” This is what Dommett calls a 'Clockwise Turn Lock' in his list of Cleveland sword locks. Or maybe it really is the incredibly boring move, that failed to inspire when we tried dancing it.)
FIGURE FIVE representing the gathering-in, “Harvest Mell” or Harvest Home. (Similar to Allsop's figure 3, which is based on Dommett's notes from 1936 film.)
CLASH LEFT AND RIGHT: With sword in left hand, clash moving round counter-clockwise (8). Return with sword in right hand (8).
GUARD OF HONOUR: Into column formation (432 opposite 561) marking time making three arches with sword tips crossed. #4 & #5 tap swords once, shoulder swords and move up centre under arches to top. Others repeat, all move down while marking time. The Farmer and his wife go down the centre under the arches twice. #4 & #5 tap swords once, shoulder swords and move up the centre under arches and return down centre to places. Others repeat. Mark time to end of phrase tapping swords (8)
OPEN RING: Join up hilt-and-point and circle left.
HORSE, CART & DRIVER: #1 & #2 lower swords between them. #4 (horse) goes over followed by #3 & #5 (cart) who turn towards each other (bringing their swords overhead), #6 (driver) goes alongside, level with #4 (the horse). #1 & #2 turn towards each other, bringing swords over head and both step over sword. #4 does not turn round, but returns over sword backwards followed by #3 & #5 forwards. Then #4 & #5 down, #1 over followed by #2 & #6 with #3 alongside.
OPEN RING (8)
BACK OVERHEAD LOCK: Each in turn, turn right with left arm overhead, then all turn to left to make a high lock, locking points under hilt (see North Skelton collected by my father Douglas Kennedy). (See Dommet's description of a High Lock in his list of typical Cleveland locks – basically, you're forming the lock over your head, while facing away from the other dancers.)
CONCLUSION OR “KILL”: Leader holds up the rose as usual, but this time he leaves the ring and goes the opposite way, while the rest continue round leaving a space to maintain their leader's position.
Sometimes, the circle is turned inside-out by the leader who lowers the rose while inside-out and then raises it again when the circle is reformed.
The Farmer's wife comes into the circle while it is broken and swords are placed round the neck. When they draw swords at the end, the Farmer's wife falls dead.
6 dancers with swords (as Sleights, North Skelton, Boosbeck & Loftus etc). Dancers number 1-6 from leader, clockwise. FARMER with walking stick & FARMER'S WIFE (man dressed as woman sometimes known as "Bessie") with umbrella. (These two characters were known as "Jolliers"). STEPS throughout start with LEFT foot.
ORDER OF ENTRY: Farmer & wife, #1 & #2, #3 & #6, #4 & #5.
SONG:
We are not the dandies from Danby
We are not the mashers from Marske ('Masher' is an old slang word for a dandy/womaniser.)
We not all the swells that mash all the girls (One definition of 'mash' is to impress a woman)
For bumping blue rock is our task
We go down the mine and toil daily
Down by the sun never shines
We are not what you seem but what you take us to be (Try: “We are not what we seem”, or “We are not what you see.”)
We're the boys from the Cleveland mines
During the dance the Jolliers run round, bow to each other, swing each other etc. In figure 5 they pass under the arches twice and at the end of the Farmers Wife comes into the centre to be beheaded.
FIGURE ONE: – (JP: Very similar to Allsop's version of Lingdale's first figure, though not identical) (Also compare with Dommett's Lingdale 'A' in 'Longsword in Cleveland' which probably relates to their performance at the Albert Hall in 1965.)
THE SALUTE: Dancers stand stationary with swords in right hand, touching the ground in the centre of the circle, then raised ready for the clash. (This was locally interpreted as "from the seed to the corn pyke", the Cleveland name for the circular corn stacks, and what is expected of the corn seed). (Music: 2 introductory chords)
HIGH CLASH: Moving round clockwise clashing swords overhead, starting on first beat of music (8 bars).
SHOULDER SWORDS: Link up swords placing first inside on RIGHT shoulder (8) then outside on LEFT shoulder (8 bars). (JP: In 1936 there was an ELBOWS move following this. Looks like the dancers dropped it, as it's not there in Dommett's 'Longsword in Cleveland' either.)
OPEN RING: Hilt-and-point circle moving round to left or clockwise (8 bars). Note: in order to form a small compact ring, the left hand, holding point of neighbour's sword, is still outwards, while the right hand with the hilt of one's own sword is held inwards.
OVER YOUR OWN SWORD: Still moving round, each in turn, lower own sword, and changing hand-grip, back round alongside own sword, then step over it, right foot over, left foot over, at the same time bringing left arm overhead, thus turning left to face front, ready to help the next man go over his sword. (8 bars)
(JP: This is physically impossible for 6 dancers to do in 8 bars. Compare with Dommett's notes on the 1936 film.)
OPEN RING (8 bars)
DOUBLE UNDER: #1 & #2 make an arch (keeping close together with bent arms) while #4 & #5 lead under. (8 bars). Open Ring (8) then arch by #4 & #5 with #1 & #2 leading under (8). Open Ring (8). Open Ring (8)
(JP: I've transcribed this exactly as written. I assume, though it isn't stated, that the return half of the double under is done is normal and that the second arch he mentions is part of a second double under rather than the second half of the first double under. This would fit with other recorded versions of the dance. It's also worth noting that each Double Under in this dance is often done in less than 8 bars and the following Open Ring just uses up the rest of the musical phrase. It's easy to miss unless you're looking for it. I strongly suspect that one or more of the Open Rings here is a typo. )
OPEN RING (8)
DOUBLE OVER: As for Double Under with Open Rings. Swords of the Leading Couple are swung back before swinging forward in front of them, before stepping over lowered swords with left hop, right hop. (Compare with the 1936 and 1965 versions, both of which pick up a subtle variation in this move.)
RIGHT AND LEFT LOCK: Made with right hand hilt being locked over left hand point.
ROSE AND DRAW: Leader raises the rose with right arm, while others place left arms on shoulder of the man in front (8). It is lowered to shoulder level (8) with the swords drawn on the last beat of the music.
FIGURE TWO (Not in Allsop or 1936 film. Related to Dommett 'B')
SALUTE AND HIGH CLASH: as in Fig. 1.
THE CROSS OVER: Fall back to face in two lines: 321 opposite 456.
Cross over, passing right shoulder, turning to face right (8). Cross back, again passing and turning right, and face (8).
DOUBLE HEY, POUSETTE or SEE-SAW: Working in three pairs, holding each other's swords at waist level, #1 with #6, #2 with #5, #3 with #4. Starting with #1 going forward, #6 backwards, and #2 going forwards with #5 backwards, they exchange positions in figure of eight as for the Single Hey. Then face to the end of phrase (16). (Should this have been the typical Cleveland pousette, which is done with diagonal moves and was recorded by Dommett in 1965, or is this genuinely a simpler version swapping two couples at a time?)
ROLL or ROLLING THE CORN: Keeping swords joined in pairs, all roll upwards (ie. Towards music) (4 bars) then exchange positions with arches, starting with#1 & #6 over #2 & #5, and one roll upwards. (4 bars for each pass and roll). At end, all make an extra roll downwards and then form hilt-and-point-ring. (24)
OVER YOUR OWN SWORD: As in Fig. 1, but this time from inside to outside turning to left: right hop, left hop.
LOW BUSH: Release from hilt-and-point and hold swords downwards in a low basket or bush, moving round without clashing, then clash on last beat.
BACK LOCK: Each dancer puts left arm under his neighbour's right arm to grasp neighbour's sword point, and his own sword over his neighbour's left arm, then lock hilt under point. (You have to assume the bit about lifting the swords up from behind your backs to over your head as being taken for granted.)
ROSE and DRAW: Leader holds up rose (8) and then lowers to shoulder level (8) and draw.
FIGURE THREE (No obvious parallels)
SALUTE/ HIGH CLASH (8)/ OPEN RING (8)
LOW BUSH & ONE clash at end (8)
WINDOWS: Mark time in column (ie. two lines 2,3,4 opposite 1,6,5) facing up (towards music) (8). #1 & #2 go through #3 & #6 making windows. (I assume he means that #3 & #6 are making the window.) Outside hands lower the sword, and inside raise arch to form the window. #4 & #5 shoulder their swords and mark time (8) then retire to bottom ready to go through window. Then #4 & #5 pass through window while marking time moving down backwards. (I think – using Lingdale moves from other sources, as a guide – that he means #4 & #5 go to the bottom of the set and then move another four steps down backwards. This fits with the four steps forward before hopping over the swords.)
Step LRLR/ right hop/left hop/ right hop/ left hop. Then the other two repeat. At the conclusion, all make low Windows with inside hand held in front of lowered sword, mark time and at the end jump over the lowered sword LRLR/ left hop/ right hop (8).
LOW BUSH & ONE CLASH (8)
OPEN RING (8)
OVER YOUR OWN SWORD: All raise left arms overhead and turning to right, they jump over their own sword, from outside to inside: right foot first: left hop/ right hop.
OPEN RING (8)
RIGHT AND LEFT LOCK: Swing swords out, then close in, clashing right over left as in Fig 1.
FIGURE FOUR (very similar to Allsop's figure 2, which is based on 1936 version.)
SALUTE/ HIGH CLASH and SHOULDER SWORDS (8)
GRAND CHAIN or CIRCULAR HEY: #1 faces # 2, pass right shoulders, to places then face centre and mark time. (16) (I'm a bit dubious about this one. Kennedy is writing in 1948. The 1936 film looks like a grand chain when you view it for the first time, and the second time come to that, but it is a bit more complex and involves #1 & #6 and #3 & #4 both passing right shoulders to begin the hey. #2 & #3 come in 2 bars later on. (See Allsop or Dommett for details) The film version leads naturally into Over Double Swords. Also, I find it hard to believe there are three separate LOW BUSH + OPEN RINGs in one single figure. However, if the dance had fallen into disuse at any period, fine details of the performance could easily have been forgotten, and the 1936 transition into Over Double Swords requires moving before the end of the phrase.)
OPEN RING (8) & LOW BUSH (8)
OVER DOUBLE SWORDS: Pairs hold both their swords together lowered almost to the ground while marking time (as in Windows) #4 & #5 go over first LRLR/right hop /left hop. The other two couples repeat. At conclusion all mark time and at the end make one roll upwards (8).
LOW BUSH & ONE CLASH (8)/ OPEN RING (8)
OVER YOUR NEIGHBOURS SWORD: Right arm overhead first, then turn to left from inside outwards: left hop/ right hop.
OPEN RING (8)
LOW BUSH & ONE CLASH (8)
SIDE LOCK: Each in turn raise left arm overhead turning to right, then, raising swords above head, all turn left to make the Right-and-left Lock, locking point over hilt. (This feels wrong to me. I've tried to dance it as written and it doesn't make good sense. I think it should read “all turn right, ¾ turn, to make a Left over Right lock, locking hilt over point.” This is what Dommett calls a 'Clockwise Turn Lock' in his list of Cleveland sword locks. Or maybe it really is the incredibly boring move, that failed to inspire when we tried dancing it.)
FIGURE FIVE representing the gathering-in, “Harvest Mell” or Harvest Home. (Similar to Allsop's figure 3, which is based on Dommett's notes from 1936 film.)
CLASH LEFT AND RIGHT: With sword in left hand, clash moving round counter-clockwise (8). Return with sword in right hand (8).
GUARD OF HONOUR: Into column formation (432 opposite 561) marking time making three arches with sword tips crossed. #4 & #5 tap swords once, shoulder swords and move up centre under arches to top. Others repeat, all move down while marking time. The Farmer and his wife go down the centre under the arches twice. #4 & #5 tap swords once, shoulder swords and move up the centre under arches and return down centre to places. Others repeat. Mark time to end of phrase tapping swords (8)
OPEN RING: Join up hilt-and-point and circle left.
HORSE, CART & DRIVER: #1 & #2 lower swords between them. #4 (horse) goes over followed by #3 & #5 (cart) who turn towards each other (bringing their swords overhead), #6 (driver) goes alongside, level with #4 (the horse). #1 & #2 turn towards each other, bringing swords over head and both step over sword. #4 does not turn round, but returns over sword backwards followed by #3 & #5 forwards. Then #4 & #5 down, #1 over followed by #2 & #6 with #3 alongside.
OPEN RING (8)
BACK OVERHEAD LOCK: Each in turn, turn right with left arm overhead, then all turn to left to make a high lock, locking points under hilt (see North Skelton collected by my father Douglas Kennedy). (See Dommet's description of a High Lock in his list of typical Cleveland locks – basically, you're forming the lock over your head, while facing away from the other dancers.)
CONCLUSION OR “KILL”: Leader holds up the rose as usual, but this time he leaves the ring and goes the opposite way, while the rest continue round leaving a space to maintain their leader's position.
Sometimes, the circle is turned inside-out by the leader who lowers the rose while inside-out and then raises it again when the circle is reformed.
The Farmer's wife comes into the circle while it is broken and swords are placed round the neck. When they draw swords at the end, the Farmer's wife falls dead.
