Sword Dancing, a captivating and historically rich performance art, might conjure images of clashing blades and dramatic duels. However, the reality of traditional English sword dancing, particularly longsword dancing, is a far more intricate and communal affair. Originating from the heart of Yorkshire and other regions of Northern England, this unique dance form involves teams of performers wielding rigid swords in complex, flowing movements, culminating in the creation of a ‘lock’ – a visually stunning and symbolic knot of steel.
While perhaps less widely known than Morris dancing, longsword dancing boasts a deep heritage, predating even its close cousin, rapper sword dancing. For centuries, it has been woven into the cultural fabric of local communities, evolving distinctive styles, music, and costumes in villages and towns across Yorkshire. Despite its emblem status within the English Folk Dance and Song Society (EFDSS), sword dancing remains an enigma to many, both within and beyond its native county. This article aims to shed light on the fascinating world of sword dancing, exploring its history, traditions, and the dedicated communities keeping this vibrant art form alive.
Envision this scene, but replace the everyday office setting with the dynamic energy of sword dancers. This image evokes the unexpected locations where folk traditions thrive, much like how sword dancing groups in Sheffield often practice in the very space once used for filming the dole office scenes in the movie “The Full Monty.”
Delving into the Essence of Longsword Dancing
Longsword dancing, frequently referred to as Yorkshire Longsword, is a traditional dance form deeply rooted in various villages and towns throughout Yorkshire, extending from Redcar in the north to Sheffield in the south. Similar to the geographically diverse styles of Cotswold Morris dancing, each village cultivated its own unique interpretation of longsword, expressed through distinct steps, musical arrangements, and traditional costumes. These variations contributed to a rich tapestry of localized sword dance traditions.
Historically, longsword dancing served as a mid-winter tradition, performed during periods of reduced agricultural work. This seasonal performance not only provided entertainment but also served as a means for supplementing the income of the participating dancers. The tradition’s deep roots extend back centuries, making it significantly older than rapper sword dancing, another Northern English sword dance tradition believed to have evolved from longsword in the North East. The earliest documented mention of longsword dancing dates back to 1789, highlighting its long and enduring history within English folk culture.
Unlike rapper dancing, which utilizes flexible, double-handled swords, longsword dancing employs rigid steel or wooden swords, typically around one meter in length and featuring a single handle. These ‘swords’ are not intended for combat but rather function more like elongated palette knives in their handling and purpose – though, as noted, “long-palette-knife dancing” lacks the same dramatic appeal. The dance is characterized as a ‘hilt and point’ tradition, where each dancer holds the hilt of their own sword in one hand and the point of their neighbor’s sword in the other, creating interconnected movements and formations.
While distinct from Scottish Highland dances, which involve dancers stepping around swords placed on the floor, longsword dancing shares similarities with hilt and point-style dances found across various European cultures. For a comprehensive historical exploration of this tradition, Trevor Stone’s 1980 booklet, Rattle Up My Boys: the story of Longsword dancing — a very old and fascinating Yorkshire tradition, remains a seminal and insightful resource.
The Gold Badge of the EFDSS (English Folk Dance and Song Society) symbolizes significant contributions to English cultural heritage. Longsword dancing, despite being represented by this emblem, often remains less recognized compared to other English folk traditions, highlighting the ongoing efforts to promote and preserve this art form.
Dance formations in longsword typically involve larger groups than rapper dancing, often comprising at least six dancers, compared to the typical five in rapper teams. Although variations exist, such as Handsworth Sword Dancers’ five-person dance and the revived Northumbrian longsword tradition also performed by five, the larger team size is a common characteristic. Dances are characterized by a continuous, flowing motion, performed at a brisk walking pace or a run, and feature a sequence of intricate figures. These figures culminate in the creation of a ‘lock,’ where the swords are skillfully interlinked to form a visually striking and structurally sound shape.
Sword Dancing Communities: Preserving Tradition and Fostering Revival
Today, the legacy of longsword dancing is upheld by a mix of ‘traditional’ teams with unbroken lineages stretching back centuries, and ‘revival’ teams dedicated to re-interpreting and innovating within the tradition. Traditional teams, deeply rooted in their local areas, have maintained continuous practice and performance of dances passed down through generations. Notable examples include the Goathland Plough Stots from North Yorkshire, Flamborough Longsword from the East Yorkshire coast, and Grenoside and Handsworth Sword Dancers from Sheffield, each carrying unique local variations of the dance. Even the Papa Stour Sword Dance from the Shetland Islands, geographically distant from Yorkshire, exhibits clear stylistic and historical connections to the Yorkshire longsword tradition, showcasing the broader reach of this dance form.
These traditional teams are identifiable not only by their dances but also by their distinctive kits, which have evolved organically over time and reflect their local heritage. Flamborough Longsword dancers, for instance, don ganseys (thick knitted jumpers), white trousers, and knitted hats, evoking the attire of 1900s fishermen. Goathland Plough Stots sport pink and blue tunics, a historically informed choice designed to be politically neutral in the 19th century. Other teams, like Handsworth, adopted quasi-military uniforms, reflecting period trends and potentially utilizing army surplus or military-inspired designs.
In addition to these enduring traditional teams, a vibrant scene of ‘revival’ teams has emerged, dedicated to both performing traditional dances and choreographing new pieces that expand the boundaries of the art form. These revival teams are geographically dispersed, primarily across the north of England and extending into North America, indicating a growing global interest in longsword dancing. Examples include Sullivan’s Sword in Nottingham, Southport Swords in the northwest, Sallyport Sword Dancers from the northeast, and numerous North American teams actively engaging with and reinterpreting the tradition.
While records exist for 26 distinct longsword dances with sufficient notation for performance, historical sources suggest a far richer repertoire, with many dances and teams unfortunately lost to time. Trevor Stone noted in 1980 that Yorkshire alone boasted “12 teams who specialise in Longsword dances, plus at least six other sides who mix Longsword with other dance forms.” Today, the global community of longsword dancers comprises approximately 30 teams, encompassing both dedicated longsword groups and those incorporating it into a broader repertoire of folk dance forms.
A performance by Cutting Edge Sword of Washington DC, showcasing their “Clockwork” dance. This image exemplifies the global reach and innovative spirit within the sword dancing community, with teams worldwide creating unique interpretations and contributing to the evolution of the tradition.
Appreciating the Nuances and Challenges of Longsword Dancing
Despite its historical significance and artistic merit, longsword dancing often occupies a less prominent position compared to other English folk dance traditions. While dedicated teams thrive, it is sometimes perceived as the ‘poor relation’ within the broader folk dance and Morris dancing world. Longsword dancers are often observed to be older on average, and the formation of new longsword teams has been infrequent in recent years. It is also common for Morris dance teams to include longsword in their repertoire, but often as a less frequently performed winter offering.
One factor contributing to this perception might be the perceived length and pace of longsword dances. Performances can extend up to ten minutes, which, humorously noted, is ample time for audience members to visit the bar or restroom and return without missing their team’s Morris dance performance. This longer duration, however, belies the considerable skill, stamina, and mental focus demanded by longsword dancing.
A full performance of the Handsworth dance, for example, can last around ten minutes, requiring dancers to maintain a constant run for a significant portion of the piece. Rough estimations based on dance rhythms suggest dancers cover approximately a third of a mile during each performance. Coupled with the need to memorize ten separate, intricate figures, longsword dancing presents a rigorous physical and cognitive challenge.
The unforgiving nature of longsword is another aspect that distinguishes it. Unlike Cotswold Morris, where dancers can recover from minor errors discreetly, or rapper dancing, where swords can be momentarily unravelled to regroup, longsword offers no such safety net. Mistakes in longsword, particularly in running dances, can cascade through the entire set, leading to a visibly and comprehensively disrupted performance. This ‘all or nothing’ quality underscores the precision and concentration required of longsword dancers.
The Sword Dance Union Longsword Competition: Cultivating Excellence and Community
The annual Sword Dance Union (SDU) Longsword Competition serves as a pivotal event in the sword dancing calendar, aiming to elevate performance standards and foster a sense of community among teams. Organized by the Sword Dance Union, an organization dedicated to supporting sword dance teams and promoting public understanding of sword dance traditions, the competition rotates its location each year, hosted by different teams in various cities.
The SDU competition features several categories, recognizing excellence in different aspects of longsword performance:
- Best Traditional Dance
- Best Own / Non-Traditional Dance
- Longsword as a Second Language (encouraging newer teams or teams less experienced in longsword)
- Best Overall Performance
- Best Music
- Audience Reaction
The 2023 competition, hosted by Handsworth Sword Dancers in Sheffield, marked a significant resurgence after pandemic-related disruptions, attracting a large number of teams and signaling a potential revitalization of the tradition. Notably, the Twin Sword team featured three sets of under-10 twins performing together, a remarkable and inspiring display of intergenerational participation and future talent within sword dancing.
A snapshot from the Sword Dance Union Longsword Competition, capturing the dynamic energy and competitive spirit of the event. Competitions like this play a crucial role in maintaining standards, encouraging innovation, and fostering a sense of community among sword dancing teams.
Experiencing Sword Dancing Firsthand
For those seeking to witness the captivating spectacle of sword dancing, opportunities abound. Events like the annual Sword Dance Union Longsword Competition offer an ideal setting to see multiple teams perform in one location. Many sword dancing teams also perform at local festivals, folk events, and community gatherings throughout the year.
To find local teams and performance schedules, resources such as the Sword Dance Union website and individual team websites provide valuable information. Attending a live sword dance performance offers a unique opportunity to appreciate the skill, athleticism, and artistry of this living tradition.
Related posts:
- Morris Dancing
- ‘WE WOZ ROBBED!’: competitive folk dance and DERT revealed
