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ABSTRACT Origins of Morris Dance. The question of the origins of the Morris dance and of its name is once more raised by Mr. Rodney Gallop (J. English Folk-dance and Song Soc., 1, No. 3). The belief generally held that ‘Morris’ was a corruption of ‘Morisco’ and the dance itself of Moorish origin was doubted so long ago as the time of Strutt, who in his “Sports and Pastimes of the People of England” suggested that it was derived from a part of the ceremony of the Feast of Fools; but Francis Douce in 1839 tried to justify the traditional view, while recognising that the European Morris differed widely from the true Moorish dances. Cecil Sharp at first (1906) adopted Douce's view, but later (1912) held that it was a development of a pan-European, or even more widely, distributed custom. He held, however, that the name might still be derived from ‘Morisco’, but without any implication of origin. It was a popular ‘explanation’ of the blackened faces of the dancers. It is now pointed out that ‘Morisco’ is applied to a wide diversity of dances, first appearing in the fifteenth century in France, Burgundy and Italy. In England, from the sixteenth century onward, it is both a court dance and a folk-dance. No single feature is common to all, the two widespread elements, the blackening of the face and the use of bells, to which attention mainly has been directed, being by no means universal. In numerous ceremonial combats, the opponents are ‘Christians’ and ‘Moors’. These combats were of wide distribution and still survive in Portugal and on the east side of the Adriatic, and they have been carried to Panama and Mexico. The Morisco of the Hispanic peninsula does not always involve two sides and a combat. Some are purely processional, though in origin obviously a survival of the pagan ceremonial combat. One side has tended to disappear, and the survivors have retained the name of ‘Moor’, possibly as the equivalent of ‘pagan’ and as applied to a ‘pagan’ dance. Access through your institution Buy or subscribe This is a preview of subscription content, access via your institution ACCESS OPTIONS Access through your institution Subscribe to this journal Receive 51 print issues and online access $199.00 per year only $3.90 per issue Learn more Buy this article * Purchase on SpringerLink * Instant access to full article PDF Buy now Prices may be subject to local taxes which are calculated during checkout ADDITIONAL ACCESS OPTIONS: * Log in * Learn about institutional subscriptions * Read our FAQs * Contact customer support RIGHTS AND PERMISSIONS Reprints and permissions ABOUT THIS ARTICLE CITE THIS ARTICLE Research Items. _Nature_ 135, 154–155 (1935). https://doi.org/10.1038/135154a0 Download citation * Issue Date: 26 January 1935 * DOI: https://doi.org/10.1038/135154a0 SHARE THIS ARTICLE Anyone you share the following link with will be able to read this content: Get shareable link Sorry, a shareable link is not currently available for this article. Copy to clipboard Provided by the Springer Nature SharedIt content-sharing initiative

ABSTRACT Origins of Morris Dance. The question of the origins of the Morris dance and of its name is once more raised by Mr. Rodney Gallop (J. English Folk-dance and Song Soc., 1, No. 3).


The belief generally held that ‘Morris’ was a corruption of ‘Morisco’ and the dance itself of Moorish origin was doubted so long ago as the time of Strutt, who in his “Sports and Pastimes of


the People of England” suggested that it was derived from a part of the ceremony of the Feast of Fools; but Francis Douce in 1839 tried to justify the traditional view, while recognising


that the European Morris differed widely from the true Moorish dances. Cecil Sharp at first (1906) adopted Douce's view, but later (1912) held that it was a development of a


pan-European, or even more widely, distributed custom. He held, however, that the name might still be derived from ‘Morisco’, but without any implication of origin. It was a popular


‘explanation’ of the blackened faces of the dancers. It is now pointed out that ‘Morisco’ is applied to a wide diversity of dances, first appearing in the fifteenth century in France,


Burgundy and Italy. In England, from the sixteenth century onward, it is both a court dance and a folk-dance. No single feature is common to all, the two widespread elements, the blackening


of the face and the use of bells, to which attention mainly has been directed, being by no means universal. In numerous ceremonial combats, the opponents are ‘Christians’ and ‘Moors’. These


combats were of wide distribution and still survive in Portugal and on the east side of the Adriatic, and they have been carried to Panama and Mexico. The Morisco of the Hispanic peninsula


does not always involve two sides and a combat. Some are purely processional, though in origin obviously a survival of the pagan ceremonial combat. One side has tended to disappear, and the


survivors have retained the name of ‘Moor’, possibly as the equivalent of ‘pagan’ and as applied to a ‘pagan’ dance. Access through your institution Buy or subscribe This is a preview of


subscription content, access via your institution ACCESS OPTIONS Access through your institution Subscribe to this journal Receive 51 print issues and online access $199.00 per year only


$3.90 per issue Learn more Buy this article * Purchase on SpringerLink * Instant access to full article PDF Buy now Prices may be subject to local taxes which are calculated during checkout


ADDITIONAL ACCESS OPTIONS: * Log in * Learn about institutional subscriptions * Read our FAQs * Contact customer support RIGHTS AND PERMISSIONS Reprints and permissions ABOUT THIS ARTICLE


CITE THIS ARTICLE Research Items. _Nature_ 135, 154–155 (1935). https://doi.org/10.1038/135154a0 Download citation * Issue Date: 26 January 1935 * DOI: https://doi.org/10.1038/135154a0 SHARE


THIS ARTICLE Anyone you share the following link with will be able to read this content: Get shareable link Sorry, a shareable link is not currently available for this article. Copy to


clipboard Provided by the Springer Nature SharedIt content-sharing initiative