著者

本間 周子

出版者

慶應義塾大学

雑誌

体育研究所紀要 (ISSN:02866951)

巻号頁・発行日

vol.19, no.1, pp.1-10, 1979-12

---

1. はじめ2. メイ・デイについて3. メイ・デイのダンスについて4. メイ・デイのダンスの歴史的考察5. むすび

著者

本間 周子

出版者

慶應義塾大学

雑誌

体育研究所紀要 (ISSN:02866951)

巻号頁・発行日

vol.14, no.1, pp.41-49, 1974-12

---

I have studied Morris Dance described as a centuries-old folk dance in Chapter III of a book, Douglas Kennedy's English Folk Dancing-Today and Yesterday, and I wish to discuss and state my opinions on its historical relationships with the modern dances. Upon referring to the authoritative Oxford English Dictionary, it is found that the words, 'Morris' and 'Morris Dance', were first used about the middle of the 15th century. Although, as to the etymology of the words, it is not clearly shown in the dictionary, it indicates that such words are associated with the Moorish. A further suggestion in the dictionary is that they have an interesting implication of the Robin Hood legend or dramas. It seems that the Morris Dance was most popularly played in the times when the above citation was made, i.e., about the mid-15th century. In those old days festivals took place in mid-winter, in spring or in early summer as symbols of renewal or continuity of life. Morris Dance was played as one of the highlights of the spring festival. Towards the end of the 19th century when people began to direct their interest to the rural districts, Cecil J. Sharp happened to watch Morris Dance at a certain village in Oxfordshire. He, most interested in it, began studying it, his knowledge of it was deepened, and at last he published book in five volumes. His books gave an opportunity, by which people came to know that it had been a folk dance played on a Europe-wide scale and that it had a very long history. Crowds of males were dressed in white, each with white handkerchiefs and wood sticks in their hands and wore bells on their waists and legs. The dance was accompanied by music which was played only by a person presumably in the status of a leader with his flute and small drum, or with his bagpipe or accordion. Those males danced furiously to the music. This is the basic form of Morris Dance. However, detailed studies have made it known that there were delicate differences in the dancing from country to country as well as from area to area, therefore that there were various styles in the dance. As to the relationships between this dance and the sword dance or horn dance, there would be important subjects involving factors for which discussions should be made on a very large scale and based on a long history. The above statements are the summary of my discussion of Morris Dance. Dances are considered to have been born at the same time when human beings began their living on earth. Therefore, Morris Dance, which was born as it were a breath of the British life, is also considered to have taken its shape after a lapse of very many years. In university physical education, I think it meaningful to understand the background under which ancient dances such as Morris Dance were born, and sense Nature and the mental climate which fostered them. In so doing, I think, a deeper approach can be made to the essence of the folk dances. I hope to continue this study of mine in order to know further the genealogy of Morris Dance, and at the same time I wish to deepen my understanding of the present-day meaning these ancient dances gave to us.

著者

本間 周子

出版者

慶應義塾大学

雑誌

体育研究所紀要 (ISSN:02866951)

巻号頁・発行日

vol.16, no.1, pp.29-39, 1976-12

---

The Middle Ages were the ages of Christianity and the way of thinking based on religion prevailed throughout Western Europe. However, a careful observation of data such as literary works and miniatures of manuscripts shows us that there were various secular and popular pleasures even in the society controlled by religion. The church interests condemned amusements and hobbies of the common people through sermons and others according to religious commandments. It may be said, however, this very fact affords a clear proof that the commons at that time took a cheerful view of life from the bottom of their heart. I have investigated of "Carol", one of the dance-songs, dealt with some examples from the noble to the common and explained the popularity among all social classes, especially in England in the late Middle Ages. The word "Carol" was used from about the 12th century in France, but it seems to have originated in the ancient pagan faith in fertility. Carol, which the people of the Middle Ages always danced and in which they took much interest, assumes, viewed at the angle of its form, several characteristics listed below; 1. Male and female dancers join hands forming a ring, and dance to songs and musical instruments. 2. Dancers make three steps in the left direction and mark time then and there. 3. Dancers, while dancing with hands joined with each other, sometimes make gestures. 4. Dancers consist of a leader and a chorus. 5. The leader is also one of the dancers, and the dance is led by him. 6. The song is in four-stressed four-line stanzas with rhyme. 7. The leader sings a lyric poem in stanzas, and when he has finished to sing the song, all the other members respond to it by singing and dancing refrains. 8. At the start of refrain, it is usual to make a sign with words or instruments. Many men and women used to dance a Carol in the churchyard or greens, in spring or summer, especially at the Christmas season. According to The Medieval Lyric (1968) written by P. Dronke, the English people after the 14th century were in particular excited over Carol and they were technically excellent dancers. The word Carol meant at first the dancing song. However, at the beginning of the 15th century, it separated into two meanings - song and dance, Carol remaining as a word meaning a song. Since then, it has been in existence as a holy song for celebrating Christmas - Christmas Carol, as we know very well. As mentioned above, we find that the people of every class, in the ages under Christian control and in various districts of West Europe, were feeling themselves drawn toward the other world -the world of real existence, while they continued singing their joy of the worldly life. Carol is a proof that the dancing song continued to live as poems in praise of a vivid life of the commons even under the religious control of the Middle Ages.

著者

本間 周子

出版者

慶應義塾大学

雑誌

体育研究所紀要 (ISSN:02866951)

巻号頁・発行日

vol.15, no.1, pp.51-62, 1975-12

---

What represents the folk dances in England is the Morris Dance in spring and the Sword Dance in winter. Thanks to the energic work made by Cecil Sharp, both dances were recorded and the records have been still preserved. Alike the Morris Dance, the Sword Dance has a very old tradition; as to the origin of this dance, it is said that it originated with the half-magic religious ceremonies inherent in ancient society. When we analogize this point, the description in Golden Bough written by J. G. Frazer may be much helpful. The Sword Dance has been pervaded since a long, long time ago over a fairly wide areas in farming villages of Northern Europe; this dance also has a religious functional meaning, which implies that it has some relations with Christianity. German archaeologists have long before been interested in this dance. Tacitus of Ancient Rome (55-120?) had described at the beginning of the 24th Chapter of his noted book Germania that the brave Sword Dance had been played as enjoyment at gatherings of Ancient Germanic racial society. Also at the 1040th line of the Old English epic Beowulf (written at the beginning of the 8th century) , the word "Sweorda-gelac" as used as a metaphor for a battle. Even through these fragmentary materials, it may roughly be assumed that the Sword Dance was a folk dance which had a close relationship with one of the ancient Germanic races which lived mainly in Northern Europe. The minstrels of the Middle Ages seem to have included this dance in their repertory. It is known that this dance was played as the most attractive ludus (play) at Nuremberg, Germany, in 1350. In Northern England, especially Yorkshire, Northumberland and Durham, people had traditional plays in which the Sword Dance was played. Before long, the dance was separated from the play; two grotesque figures participated in the dance and songs were also sung as it was played. The dance is divided into two kinds according to the length of the sword used. One is the long sword dance (at Yorkshire), namely, a steel sword of thick blade and longer than one meter is used while it is played; the other is the short sword dance (rapper) (at Northumberland and Durham) which uses a flexible steel sword the blade of which is thin, the length is about 50 centimeters, with a handle at its respective ends. Judging from such swords, it is known that this dance has relations with coal mines, being worthwhile to be paid attention. Walter Scott, the novelist of the 19th century, while travelling Shetland Islands, witnessed this dance, and used it in his novel, The Pirate. He thought that the dance had its origin in Scandinavia, The areas where the Sword Dance is generally played are almost in accord with the areas into which the Viking made their invasions. This is one of the grounds for his assertion. However, it seems that the dance itself had been played before their invasion. The manner by which it was played had no association with a battle, but probably meant a Mock or a symbolic sacrifice. It is considered that the Sword Dance primarily had an agricultural characteristic and was played very popularly at winter festivals in farming villages.

著者

本間 周子

出版者

慶應義塾大学

雑誌

体育研究所紀要 (ISSN:02866951)

巻号頁・発行日

vol.17, no.1, pp.19-28, 1977-12

---

1. はじめ2. 歴史的および宗教的背景3. Whirling Dervishes の犠式・セマ4. むすび.

著者

本間 周子

出版者

社団法人日本体育学会

雑誌

日本体育学会大会号

巻号頁・発行日

no.26, 1975-08-20

著者

本間 周子

出版者

社団法人日本体育学会

雑誌

日本体育学会大会号

巻号頁・発行日

no.27, 1976-08-20