INTRODUCTION

 

As far as Nottinghamshire is concerned Morris Dancing as we know it began in 1952 when the Foresters Morris and Sword Dancing Club were formed. For many years they were the only side of men dancing the Cotswold Morris in Nottinghamshire.

 

The truth is that with a little research it is possible to find reference to Morris Dancing in the 16th and 17th centuries, as long as you know where to look. Bob Hine knew where to look and as a result the Gate to Southwell came back into being after a break of a few hundred years. Bob was also responsible for the discovery of references to the Morris Dancers of Bradmore who in 1618 were caught dancing on the Sabbath during the time of divine service. Bob's discovery led to the production, and siting, of a plaque in Bradmore to remember those men.

 

In 1968 a new Morris force sprung onto the local scene when the Dolphin Morris Men were formed.

A letter dated 30th August 1969 sent by Roy Dyson (Bagman of Dolphin) to Ewart Russell (Bagman of the Morris Ring) explains ...

 

‘In January 1967 the NTMC [Nottingham Traditional Music club] came into being. At the helm of the club was one Roy Harris whose aim it was to widen the horizons of the NTMC into a club embracing all aspects of our folk heritage. This was to include dancing and especially Morris, both to be an integral part of the clubs activities’.

 

Before the NTMC commenced operating as a Folk Club, a policy document was drawn up by the Committee outlining the raison d’etre of the new club:

 

NOTTINGHAM TRADITIONAL MUSIC CLUB

“THE NEWS HOUSE”, ST. JAMES’ STREET,

Every Friday

 

Committee and Resident Singers

C. Cater         (Treasurer) 
P. Goulding
G. Harper 
P. Harper
R. Harris        (Secretary)

Members        2/6d

Guests            3/6d

Membership    5/-

 

            The Nottingham Traditional Music Club opens at ‘The News House’, St. James Street; on the 27th January 1967.The Club committee would like to make clear from the outset the policy upon which the club will be based, thereby avoiding any possible chance of misconceptions amongst intending members.

            The Club exists to promote, and further interest and participation in, the traditional music and song of the British Isles and in contemporary music and song composed within the framework of that tradition. Performance of music from foreign traditions will be welcomed, but only when performed by natives of the particular country. All the club’s activities will proceed under the above terms of reference.

            The Committee feels sure that a statement of policy of such a definite nature as ours will bring in its wake a stream of accusations of “narrow-mindedness” and “anti-Americanism”. We must firmly refute any such allegation. In the first case (narrow-mindedness) we feel that the breadth, scope, and variety contained within British traditional music, is so wide and far reaching as to make this jibe sheer nonsense. We do not desire to ban the guitar or the banjo. Conversely, we wish to encourage all forms of musicianship both upon the modern instruments, and also those of greater antiquity such as the melodeon, fiddle, whistle, pipe and tabor, and concertina. Nor do we feel that our insistence upon British singers performing British material can be construed as narrow-mindedness. A performance of music in an alien style and tradition by British singers, however facile, can only have the effect of stripping the songs of the basic integrity, dignity, and vigour, of the original culture from which they sprang. On hearing such a performer, an audience received a debased and debilitated product better suited to the cabaret floor, or one of the lesser pop shows.

            If we are at all “narrow-minded”, it is because our narrow-mindedness consists of not allowing dishonest representations of folksongs to be foisted upon our members. At no time will we book guests who perform in this manner. The charge of anti-Americanism is also untenable. On the contrary, we have enough love and respect for American traditional music to want to hear it performed by those who can best do it – i.e. native Americans. This club will book top quality American performers whenever available, but will at no time countenance imitators.

            The post-war revival of interest in folk music and song has seen the number of clubs grow from a handful to many hundreds; commercially orientated folky-pops have appeared in the charts and there has been (still is?) a folk boom. The Committee feel when this boom subsides, the clubs that will remain, will be those who have built their house firmly upon the solid rock of tradition. We are building ours upon this rock, for we wish not only to survive but to thrive and to grow. To this end the Committee is drawing up a long term programme which includes lectures, film shows, concerts, outdoor events, news-letters, folk dancing, collecting, workshops, record/tape/book libraries, as well as the normal Friday club night. These things won’t happen all at once of course, this is a long term plan and we first have to build up our membership and finances.

            Having read this statement, you will realize that we do not intend to pander to fashion or trend, but will firmly pursue the policies we have decided upon, and in which we believe. We want as many as possible of you to sing and/or play. We want our Friday club night to be crammed with the enjoyment, excitement, and artistry that is inherent in our traditional music.

            We invite you to join.

Signed:   R. Harris      
R. Harris   (Secretary)     

On behalf of the committee     

 

The NTMC was a successful folk club and immediately started to organize regular ceilidhs. These were popular and the price was deliberately kept low to encourage people to attend. It worked. The club went from strength to strength and attendances were good. Often the ‘full’ sign would go at the door and regular attendees were encouraged to get their seat early for as soon as the limit was reached no one else got in. That was not strictly true for Laurence Platt recalls ...


‘It must have been in late 1967 and I was looking after the door. In those days once 120 people had crammed into the upstairs room we were under firm instructions to let no one else in. Who should arrive at about 9.0pm but Ian Stewart who at that time was unknown to me? I told him that we were full and that if he came earlier next week then he could come in. But for the fact that Roy Harris, who had asked Ian to come, to be one of the resident singers, was standing near and intervened  the whole course of world history could well have been different!’

 

Roy’s desire to have a Club Morris side was taken a step nearer when in October 1967 Colin Shaw moved to Nottingham. Colin had been a member of the Wessex Morris Men and although not vastly experienced himself, he did have the basic knowledge of Morris, and the ability to impart that knowledge to others.

 

Colin was aware of The Foresters Morris Men and that they were the only side in Nottingham and so it was his intention to attend their practices and join them at his earliest convenience. Fortunately Colin also knew about the NTMC and attended the Folk Club before he had chance to contact the Foresters. Colin got talking to Roy Harris at the Folk Club and fell immediately into Roy’s persuasive trap. Colin agreed, with Roy Harris, to try to get a Morris side together from the membership of the Folk Club. The very next week an advert appeared in the Club newsletter:

 

‘WANTED!!!

A number of sturdy males

To form N.T.M.C. Morris

Team

No experience necessary,

- But strong legs and

lungs are vital. It’s not

so “pansy” as most people

seem to think. Have a go!

Let’s get our own club

team into action’.

 

As a result of the advert a group of interested men was assembled. The NTMC Morris team was on its way and the first practice was organized for the following January.

 

Thus began a story that would span the next forty years and beyond.

 

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