Folk dancing, English; Folk music -- England -- History and criticism; Folk songs, English -- England -- History and criticism
The following description of the Salii from _The Golden Bough_ will
illustrate this point:—“As priests of Mars, the god of Agriculture,
the Salii probably had also certain agricultural functions. They were
named from the remarkable leaps which they made. Now we have seen that
dancing and leaping high are common sympathetic charms to make the
crops grow high. Was it one of the functions of the Salii to dance and
leap on the fields at the spring or autumn sowing, or at both?
“The dancing procession of the Salii took place in October as well as
in March, and the Romans sowed both in spring and autumn. The weapons
borne by the Salii, while effective against demons in general, may have
been especially directed against the demons who steal the seed corn
in the ripe grain. In Western Africa the field labours of tilling and
sowing are sometimes accompanied by dances of armed men in the fields.”
In a footnote the author also throws out a suggestion that, as the
Salii were said to have been founded by Morrius, King of Veii, and
this seems to be etymologically the same as Mamurius and Mars, the
word “Morris” may be the same. In answer to a query, however, he does
not appear to take this as a really serious suggestion.[2]
[2] L. von Schrœder in _Mysterium und Mimus im Rigveda_ (p. 113)
suggests, following A. Kuhn, that the root of the word “Morris” is the
same as that of Maruts, the band of dancing warriors attendant upon
Indra.
The following are some of the reasons for connecting the Morris dance
with primitive religious customs:—
(1) The characteristic of the processional form of the
dance as performed by the living dancers to-day is
a slow, dignified rhythmic movement, which is very
marked in the Bampton (Oxon.) dancers, who have an
unbroken tradition going back some hundreds of years.
The set dances display a much more lively character
and are characterised by wild leaps, twirlings
round, hand-clapping, stick clashing, and the
waving of handkerchiefs, so that we can easily
imagine the present Morris as a descendant of the
solemn processional up the mountain-side to greet
the morning sun, and the scenes of wild joy on the
summit at the appearance of the source of light and
life to his waiting worshippers.
Public-domain text, read in full here on John Shaqi.
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