The Routledge Companion to English Folk Performance

Peter Harrop is Professor Emeritus of Drama at the University of Chester, formerly Senior Pro-Vice-Chancellor. His 2019 monograph Mummers’ Plays Revisited is published by Routledge as part of their series Advances in Theatre and Performance. In 2013 he edited Performance Ethnography: Dance, Drama, Music (with Dunja Njaradi). Steve Roud is a freelance writer, researcher and consultant, formerly Head of Local Studies Library and Archives, London Borough of Croydon and the Honorary Librarian of the Folklore Society. His most recent works include the widely reviewed and critically acclaimed Folk Song in England (2017) as well as The New Penguin Book of English Folk Songs (2012) (with Julia Bishop).

Introduction. - Peter Harrop & Steve Roud; Part l: Folk Drama, Theatre and Performance.; Part l Introduction. - Peter Harrop; Chapter 1: Towards an anatomy of English customary drama: theatre, stage, play. - Thomas Pettitt.; Chapter 2: Performing calendrical pressures: Shrovetide processions and shroving perambulations in premodern England. - Taylor Aucoin.; Chapter 3: Robin Hood folk-performance in fifteenth and sixteenth-century England. - John Marshall.; Chapter 4: Alongside the mummers’ plays: customary elements in amateur and semi-professional theatre 1730 – 1850. - Peter Harrop.; Chapter 5: The Alderley Mummers’ Play: A story of longevity. - Duncan Broomhead; Chapter 6: A performance bestiary. - Mike Pearson.; Chapter 7: Performing community: village life and the spectacle of worship in the work of Charles Marson. - Katie Palmer Heathman.; Chapter 8: Boxing Day Fancy Dress in Wigan. - Anna F C Smith; Part ll: Folk Dance.; Part ll Introduction. - Peter Harrop; Chapter 9: Merry Neets and Bridewains: contemporary commentaries on folk music, dance, and song in the Lake Counties during the Romantic period. - Sue Allan; Chapter 10: Sword Dancing in England: Texts and sources from the Eighteenth and Nineteenth Centuries. - Stephen D Corrsin; Chapter 11: From Country Gardens to British Festivals: The Morris Dance Revival, 1886 – 1951. - Matt Simons; Chapter 12: The English Country Dance, Cecil Sharp and Authenticity. - Derek Schofield; Chapter 13: Douglas Kennedy and Folk Dance in English Schools. - Chloe Middleton-Metcalfe.; Chapter 14: Fancy Footwork: Reviewing the English Clog and Step Dance Revival. - Alex Fisher.; Chapter 15: Expanding a Repertoire: Leicester Morrismen and the Border Morris. - John Swift.; Chapter 16: Dancing with tradition: clog, step and short sword rapper in the twenty first century. - Libby Worth; Chapter 17: ‘Sequins, bows and pointed toes’: Girls' carnival morris – the ‘other’ morris dancing community. - Lucy Wright; Part lll: Folk Song and Music.; Part lll Introduction. - Steve Roud; Chapter 18: Recrafting Love and Murder: Print and Memory in the Mediation of a Murdered Sweetheart Ballad. - Thomas Pettitt; Chapter 19: Burlesquing the Ballad. - Steve Gardham; Chapter 20: The Rise and Fall of the West Gallery: popular religious music in the eighteenth and nineteenth centuries. - Vic Gammon; Chapter 21: The Drive for English Identity in Music and the Foundation of the Folk-Song Society. - Arthur Knevett; Chapter 22: ‘No Art More Dangerous’ – Eve Maxwell-Lyte and Folk Song. - Martin Graebe; Chapter 23: Creativity versus Authenticity in the English folksong revival. - Brian Peters; Chapter 24: Folk Choirs: Their Origins and Contribution to the Living Tradition. - Paul Wilson & Marilyn Tucker; Chapter 25: ‘Past Performances on Paper’ – A Case Study of The Manuscript Tunebook of Thomas Hampton - Rebecca Dellow; Chapter 26: The Performers in the Playground: Children’s Musical Practices in Play. - Julia Bishop