Despite a recent revival in folk dance traditions in the UK,
the views towards folk dance from the general public are often expressed in
comments such as “I think it’s a strange and peculiar hobby … preserving a
strange historic custom.” “The overall image is of twee old men, beer
bellies, ye olde England,” offering us a glimpse into the complex
attitudes towards traditions of folk dance that have existed for centuries in
Britain. Even though the dance has a
wide variety of forms that I go onto discuss, and growing interest from younger
generations, British folk dance often remains the butt of jokes and derogatory
remarks, as indicated. What creates this tension about traditional forms of
dance? It is the amateur nature of practice? Or the British embarrassment about
seeing men dressed up and dancing? Or the misunderstanding of the place of
tradition and its importance socially, culturally and historically? Or even a
conflict about national ideals and Britishness? This paper takes a brief look
at the variety of different English folk dance traditions, and examines the
more progressive place they have created in recent years, where inclusivity of
gender, dance forms, music and themes have brought innovation and new energy
into this field. It examines too concepts of Britishness, political aspects
involved in folk dance and music and its place as part of English sub-culture.
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