4 – industrial revolution
Paragraph 4 states ‘Morris dancing continued in popularity until the industrial revolution and its accompanying social changes’. The summary uses the phrase ‘social upheaval’ rather than ‘social changes’.
5 – (local) memory
Again in paragraph 4, we see ‘by the late 19th century Morris dancing was fast becoming more a local memory than an activity.’ Remember that ‘the late 1800s’ in the summary is the same as ‘the late 19th century’.
(2) Almost nothing is known about the folk dances of England prior to the mid-17th century. While it is possible to speculate on the transition of “Morris dancing” from the courtly to a rural setting, it may have acquired elements of medieval folk dance, such proposals will always be based on an argument from silence as there is no direct record of what such elements would have looked like. In the Elizabethan period, there was significant cultural contact between Italy and England, and it has been suggested that much of what is now considered traditional English folk dance, and especially English country dance, is descended from Italian dances imported in the 16th century.
(3) By the mid-17th century, the working peasantry took part in Morris dances, especially at Whitsun. The Puritan government of Oliver Cromwell, however, suppressed Whitsun Ales and other such festivities. When the crown was restored by Charles II, the springtime festivals were restored. In particular, Whitsun Ales came to be celebrated on Whitsunday, as the date was close to the birthday of king Charles II.
(4) Morris dancing continued in popularity until the industrial revolution and its accompanying social changes. However, by the late 19th century Morris dancing was fast becoming more a local memory than an activity. D’Arcy Ferris, a Cheltenham based singer, music teacher and organiser of pageants, became interested in the tradition and sought to revive it. He first encountered Morris dancing in Bidford and organised its revival. Over the following years he took the side (Morris dancing group) to several places in the West Country, from Malvern to Bicester and from Redditch to Moreton in Marsh. By 1910, he and Cecil Sharp, the famous revivalist of English folk music and dance, were in correspondence on the subject.
(5) Several English folklorists were responsible for recording and reviving the tradition in the early 20th century, often from a bare handful of surviving members of mid-19th-century village sides. Among these, the most notable are Cecil Sharp, Maud Karpeles, and Mary Neal.
(6) Boxing Day 1899 is widely regarded as the starting point for the Morris revival. Cecil Sharp was visiting at a friend’s house in Headington, near Oxford, when the Headington Quarry Morris side arrived to perform. Sharp was intrigued by the music and collected several tunes from the side’s musician, William Kimber; not until about a decade later, however, did he begin collecting the dances, spurred and at first assisted by Mary Neal, a founder of the Espérance Club (a dressmaking co-operative and club for young working women in London), and Herbert MacIlwaine, musical director of the Espérance Club. Neal was looking for dances for her girls to perform, and so the first revival performance was by young women in London.
(7) In the first few decades of the 20th century, several men’s sides were formed, and in 1934 the Morris Ring was founded by six revival sides. In the 1950s and especially the 1960s, there was an explosion of new dance teams, some of them women’s or mixed sides. At the time, there was often heated debate over the propriety and even legitimacy of women dancing the Morris, even though there is evidence as far back as the 16th century that there were female Morris dancers. There are now male, female and mixed sides to be found.
(8) Partly because women’s and mixed sides are not eligible for full membership of the Morris Ring, two other national (and international) bodies were formed, the Morris Federation and Open Morris. All three bodies provide communication, advice, insurance, instructionals (teaching sessions) and social and dancing opportunities to their members. The three bodies co-operate on some issues, while maintaining their distinct identities.
“Morris Dance” wikipedia, https://en.wikipedia.org/wiki/Morris_dance, Accessed 14.8.2017
If a statement is true select True
If a statement is false select False
If the information is not given in the passage select Not Given
8 – Sharp began to collect Morris dances in 1899.
False: Sharp collect tunes in 1899 (paragraph 6), but only started collecting the dances ‘about a decade later’.
9 – May Neal encouraged the collection of the dances by Sharp.
True: Paragraph 6 informs us that Sharp was ‘spurred and at first assisted by Mary Neal’. ‘Spurred’ (verb) is a synonym of ‘encouraged’. Remember to write new vocabulary down and practice it!
10 – In the 20th Century there were more male Morris dancers than female dancers.
Not Given: Although paragraph 7 says that ‘several men’s sides were formed’ and that ‘there was often heated debate over the propriety and even legitimacy of women dancing the Morris’, the text does not say if there were more male than female Morris dancers. If you answered True here, be careful of making assumptions about the information in the text.
15 – The three main bodies in the world of Morris dancing provide instructionals in which members can receive expert tuition and choreography.
The text says ‘All three bodies provide communication, advice, insurance, instructionals (teaching sessions) and social and dancing opportunities to their members.’ ‘Teaching sessions’ include ‘tuition’ and ‘choreography’. Remember that ‘teaching sessions’ cannot be an answer since the instructions tells us to use 1 word only.
We hope as you practice these question types that you begin to see similarties in the strategies, such as skimming, scanning and identifying key words. Up next we will have more matching headings practice (a question type that students often find difficult) and we will spend more time studying vocabulary.