Morris Dancing Quotes

My father moved through theys of we, singing each new leaf out of each tree, (and every child was sure that spring danced when she heard my father sing)...

In the Ramtop village where they dance the real Morris dance, for example, they believe that no one is finally dead until the ripples they cause in the world die away—until the clock he wound up winds down, until the wine she made has finished its ferment, until the crop they planted is harvested. The span of someone’s life, they say, is only the core of their actual existence.

The year is round! The wheel of the world must spin! That is why up here they dance the Dark Morris, to balance it. They welcome the winter because of the new summer deep inside it!

I remembered what Morrie said during our visit: “The culture we have does not make people feel good about themselves. And you have to be strong enough to say if the culture doesn’t work, don’t buy it.” "Morrie true to these words, had developed his own culture – long before he got sick. Discussion groups, walks with friends, dancing to his music in the Harvard Square church. He started a project called Greenhouse, where poor people could receive mental health services. He read books to find new ideas for his classes, visited with colleagues, kept up with old students, wrote letters to distant friends. He took more time eating and looking at nature and wasted not time in front of TV sitcoms or “Movies of the Week.” He had created a cocoon of human activities– conversations, interaction, affection–and it filled his life like an overflowing soup bowl.

But she pursued them through their tangled lair And caught them, and put fire-flies in their hair; And then they all joined hands, and round and round They danced a morris on the moonlit ground.

Aye well – what is it that they say? – try everything once, except incest and morris dancing. Maybe we should add death metal to the list, eh?

Rock and roll, big band, the blues. He loved them all. He would close his eyes and with a blissful smile begin to move to his own sense of rhythm. It wasn't always pretty.

Whats the name you Poms have for that thing where you jump up and down and hit each other with sticks?" "Sex?" "Gardening?" He snapped his fingers. "Morris dancing.

He would close his eyes and with a blissful smile begin to move to his own sense of rhythm. It wasn’t always pretty. But then, he didn’t worry about a partner. Morrie danced by himself.

Innocence, a fleeting thing Like the blossoms of the spring Like the pretty butterfly Dancing now, but soon to die. Not for long that wondering gaze All too soon those baby days— Are gone.

Later he wrote to Lodge: "I don't grudge the broken arm a bit...I'm always ready to pay the piper when I've had a good dance; and every now and then I like to drink the wine of life with brandy in it.

Morrie closed his eyes to absorb the notes. As my wife’s loving voice filled the room, a crescent smile appeared 0n his face. And while his body was stiff as a sandbag, you could almost see him dancing inside it.

When he walked in her dreams moths rose from the earth where his paws touched the ground, as if born from his footfall. They followed him, a cloud of moths of all colours. And the music of moth wings followed him. And the dancing lights of the northern sky hung in his breath. In his eyes, a world of wild. On his coat, the colours of snow. In his voice, the wisdom of untamed things.

Is it really ten ladies dancing?" Lillian asked him, and Swift grinned. "My lady, I've never been able to remember any part of that song." "You know," Annabelle said contemplatively, "I've always understood why the swans are swimming and the geese are a-laying. But why in heaven's name are the lords a-leaping?" "They're chasing after the ladies," Swift said reasonably. "Actually I believe the song was referring to Morris dancers, who used to entertain between courses at long medieval feasts," Daisy informed them. "And it was a leaping sort of dance?" Lillian asked, intrigued. "Yes, with longswords, after the manner of primitive fertility rites." "A well-read woman is a dangerous creature," Swift commented with a grin, leaning down to press his lips against Daisy's dark hair.

She is wonderful,” Cheney said a little breathlessly. “But I can see that long rides on her would be tiring. She doesn’t just walk along, does she?” “No,” Shiloh said in a low tone, his eyes alight. “She dances.” He was staring directly at Cheney, and she lowered her eyes and blushed.

Well, fuck a duck,” comes Morris’s delighted voice. I jerk in surprise, then spin around to glare at him for sneaking up on me from behind. Judging by the amusement dancing in his eyes, it’s obvious he peeked over my shoulder and caught a glimpse of the photo I’d been drooling over. “I was wondering how he’d pull that one off,” Morris remarks, still grinning like a fool. “Shouldn’t have doubted him, though. That dude is an unstoppable force of nature.” I narrow my eyes. “He told you about the picture?” “About the whole list, actually. We hung out last night—Lorris is close to taking over Brooklyn, by the way—and he was moaning and groaning about not being able to track down a red velvet couch.” Morris shrugs. “I offered to throw a red blanket on the sofa in my common room and take some pictures, but he said you’d consider that cheating and deprive him of your love.” Stifling a sigh, I shove the phone in my purse, then walk over to the mini-fridge across the room and grab a bottle of water. I twist off the cap, doing my best to ignore the sheer enjoyment Morris is getting out of this. “I wish I was gay,” he says ruefully. A snicker pops out. “Uh-huh. Go on. I’m willing to follow you down this rabbit hole and see where it leads.” “Seriously, Gretch, I love him. I have a boner for him.” Morris sighs. “If I’d known he existed, I wouldn’t have asked you out in the first place.” “Gee, thanks.” “Oh, shut up. You’re awesome, and I’d tap that in a second. But I can’t compete with this guy. He’s operating on a whole other level when it comes to you.

Then he commandeered the floor, shooting back and forth like some hot Latin lover. When he finished, everyone applauded. He could have stayed in that moment forever.

AUTHOR’S NOTE The Morris dance . . . . . . is traditionally danced on May 1, to welcome in the summer. Its history is a bit confused, possibly because it’s often danced near pubs, but it is now the English folk dance. The dancers usually wear white, and have bells sewn on their clothes. It is danced by both men and women, and is certainly now danced in the United States too. I know this because I saw the Dark Morris danced in a bookshop in Chicago some years ago. I’d invented the Dark Morris for another book called Reaper Man (at least I think I invented it), and a Morris team (officially known as a side) turned up in all black, just for me. They danced it in silence and perfect time, without the music and bells of the “summer” dance. It was beautifully done. But it was also a bit creepy. So it might not be a good idea to try it at home. .

My father moved through theys of we, singing each new leaf out of each tree (and every child was sure that spring danced when she heard my father sing) …” —A POEM BY E. E. CUMMINGS, READ BY MORRIE’S SON, ROB, AT THE MEMORIAL SERVICE

And so it seemed to her that he had always been a part of the landscape of her life, this great white bear. She brought him rosehips to sweeten his days, tried to explain how, once they had been flowers, but now were seeds. He had never seen a rose. He told her stories, coloured with every shade of white, and spoke of a sky that danced with lights. She felt that he understood how the world began, how it might end. And, even before they met, he walked in her dreams.

I was astonished by his complete lack of self-pity. Morrie, who could no longer dance, swim, bathe, or walk; Morrie, who could no longer answer his own door, dry himself after a shower, or even roll over in bed. How could he be so accepting? I watched him struggle with a fork, picking at a piece of tomato, missing it the first two times - a pathetic scene, and yet I could not deny that sitting in his presence was almost magically serene, the same calm breeze that soothed me back in college.

You done decided you want to go to the dance yet Brenda?” “Didn’t I tell you that dances was lame?” “What’s lame about them?” “I like mature niggas.” “I’m not a nigga.” “What are you?” “An African American.” “Well I don’t like African Americans. I like niggas.

I envy them being able to go to the health club, or go for a swim. Or dance. Mostly for dancing. But envy comes to me, I feel it, and then I let it go. Remember what I said about detachment? Let it go. Tell yourself, ‘That’s envy, I’m going to separate from it now.’ And walk away.

In the evening, we’d all go together to a restaurant with some great pasta, maybe some duck—I love duck—and then we’d dance the rest of the night. I’d dance with all the wonderful dance partners out there, until I was exhausted. And then I’d go home and have a deep, wonderful sleep.

Nikhilananda’s birthday. Maybe we’d Morris dance, naked, around the base of an old-growth California redwood, its branches lavishly festooned with the soiled hammocks and poop buckets of crunchy-granola tree sitters mentoring spotted owls in passive-resistance protest techniques. You get the picture. In place of Santa Claus, my mom and dad said Maya Angelou kept tabs on whether little children were naughty or nice. Dr. Angelou, they warned me, did her accounting on a long hemp scroll of names, and if I failed to turn my compost I’d be sent to bed with no algae. Me, I just wanted to know that someone wise and carbon neutral—Dr. Maya or Shirley Chisholm or Sean Penn—was paying attention. But none of that was really Christmas. And none of that Earth First! baloney helps out once you’re dead and you discover that the snake-handling,

Good girl. Test passed. I think I love you, Janie. Let’s get married and not have children.” My eyes widened for a brief moment; I felt sure he was teasing me but, looking into his dancing grey eyes, I knew he meant it as a compliment. I returned his smile. I liked Steven. Carlos broke the silence, “Ms. Morris, the job is yours if you’d like it.” “Oh, please say yes.” Steven’s smile widened. “To the proposal or the job?

Her husband, the sole other passenger, keeps his eyes closed and grips the handrail. His head droops, long spine curving. She could hardly stir him from bed. It’s the weekend and she’d hoped to spend her day in the studio, but the terse five a.m. phone call put a stop to that. ‘There’s been a break-in,’ her mother’s neighbour informed her. ‘Criminals, hooligans, God knows what. Dancing and drinking all night. Whooping and shouting. The police don’t want to know.

Morrie, true to these words, had developed his own culture—long before he got sick. Discussion groups, walks with friends, dancing to his music in the Harvard Square church. He started a project called Greenhouse, where poor people could receive mental health services. He read books to find new ideas for his classes, visited with colleagues, kept up with old students, wrote letters to distant friends. He took more time eating and looking at nature and wasted no time in front of TV sitcoms or “Movies of the Week.

What if you had one day perfectly healthy, I asked? What would you do? “Twenty-four hours?” Twenty-four hours. “Let’s see…I’d get up in the morning, do my exercises, have a lovely breakfast of sweet rolls and tea, go for a swim, then have my friends come over for a nice lunch. I’d have them come one or two at a time so we could talk about their families, their issues, talk about how much we mean to each other.“Then I’d like to go for a walk, in a garden with some trees, watch their colors, watch the birds, take in the nature that I haven’t seen in so long now. “In the evening, we’d all go together to a restaurant with some great pasta, maybe some duck—I love duck—and then we’d dance the rest of the night. I’d dance with all the wonderful dance partners out there, until I was exhausted. And then I’d go home and have a deep, wonderful sleep.” That’s it? “That’s it.” It was so simple. So average. I was actually a little disappointed. I figured he’d fly to Italy or have lunch with the President or romp on the seashore or try every exotic thing he could think of. After all these months, lying there, unable to move a leg or a foot—how could he find perfection in such an average day? Then I realized this was the whole point.

The culture we have does not make people feel good about themselves. And you have to be strong enough to say if the culture doesn’t work, don’t buy it.” Morrie, true to these words, had developed his own culture—long before he got sick. Discussion groups, walks with friends, dancing to his music in the Harvard Square church. He started a project called Greenhouse, where poor people could receive mental health services. He read books to find new ideas for his classes, visited with colleagues, kept up with old students, wrote letters to distant friends. He took more time eating and looking at nature and wasted no time in front of TV sitcoms or “Movies of the Week.” He had created a cocoon of human activities—conversation, interaction, affection—and it filled his life like an overflowing soup bowl.I had also developed my own culture. Work. I did four or five media jobs in England, juggling them like a clown. I spent eight hours a day on a computer, feeding my stories back to the States. Then I did TV pieces, traveling with a crew throughout parts of London. I also phoned in radio reports every morning and afternoon. This was not an abnormal load. Over the years, I had taken labor as my companion and had moved everything else to the side.

These are the forgeries of jealousy; And never, since the middle summer’s spring, Met we on hill, in dale, forest, or mead, By pavèd fountain or by rushy brook, Or in the beachèd margent of the sea, To dance our ringlets to the whistling wind, But with thy brawls thou hast disturbed our sport. Therefore the winds, piping to us in vain, As in revenge have sucked up from the sea Contagious fogs, which, falling in the land, Hath every pelting river made so proud That they have overborne their continents. The ox hath therefore stretched his yoke in vain, The plowman lost his sweat, and the green corn Hath rotted ere his youth attained a beard. The fold stands empty in the drownèd field, And crows are fatted with the murrain flock. The nine-men’s-morris is filled up with mud, And the quaint mazes in the wanton green, For lack of tread, are undistinguishable. The human mortals want their winter here. No night is now with hymn or carol blessed. Therefore the moon, the governess of floods, Pale in her anger, washes all the air, That rheumatic diseases do abound. And thorough this distemperature we see The seasons alter: hoary-headed frosts Fall in the fresh lap of the crimson rose, And on old Hiems’ thin and icy crown An odorous chaplet of sweet summer buds Is, as in mockery, set. The spring, the summer, The childing autumn, angry winter, change Their wonted liveries, and the mazèd world By their increase now knows not which is which. And this same progeny of evils comes From our debate, from our dissension; We are their parents and original.

Suddenly he thought he had lived over stores long enough, he wanted someplace to stretch his long limbs, someplace where he belonged, where he wasn't always ducking to keep out of peoples' way. Gardens, chateaux- Morry saw them laid out like spangled Christmas cards- vividly colored invitations to a fairytale world. He felt homesick for spacious houses set in spreading lawns fringed with great calm shade trees-he was homesick for things he had never known, for families he had only read about, he missed people-old friends that had lived only in the novels he had read. Homesick... for a Lamptown that Hogan has just created out of six beers.

Morris being an old word for dance, by the way—it’s amazing what you pick up on the job.

To those who actually practise it, morris dance has an elemental quality, an ancient ritual magic comparable to the whirling dervish dance of Sufism, the Native American ghost dance or the spiritual movements developed by G. I. Gurdjieff. Its gestures are designed to act as a lightning conductor for spiritual energies to unite the universe with the earth and replicate the seasonal cycles of growth, death and rebirth. Morris dancers’ tatter jackets act as symbolic antennae; clogs dash against the ground, awakening slumbering earth gods. The EFDSS had gentrified the dance in the 1930s and 40s, slowing the pace and draining its erotic vigour. More recently, morris has become the anvil round the revival’s neck, its boisterous moves, outlandish costumes and trite musical accompaniment treated as a national joke. To dive into the music of this much-ridiculed custom shows how giddily Ashley Hutchings had fallen under the spell of English traditional music. Morris was the last locked cupboard of the entire post-war folk revival. By unsealing it, he was prepared to stake a hard-won reputation and credibility on a music that appeared to be unredeemable.

The intellectual, emotional, and psychological safety of girls of color in schools also includes teaching curricula and creating classroom conditions that are free from racism, sexism, homophobia, transphobia, and other forms of bias. A violent curriculum—one that triggers historical trauma by carelessly handling academic content—can be just as disruptive to learning as physical violence.

The first single was tracked at Media Arts Studio in Hermosa Beach, south of L.A.; the label copy helpfully dates the session—October 9, 1980. The producer is identified as “Screwy Louie.” The A side is a cover of “Under the Boardwalk,” the Drifters’ 1964 R&B ballad. David Hidalgo takes the soaring lead (his first solo vocal on record), effortlessly duplicating the tug of Johnny Moore’s original performance. But the number receives a twist in the band’s hands: in place of the lush string instrumental break on the Bert Berns–produced original, one hears a Tex–Mex button accordion solo. The flip was a rendering of “Volver, Volver,” a bolero penned by Fernando Z. Maldonado that had been an enormous hit for the Mexican ranchera superstar Vicente Fernández in 1976. Returning to his original role as the group’s ballad specialist, Cesar Rosas takes the lead vocal. Here the band offers an old-school East Side spin on the swaying, lushly romantic number, bringing some unidentified friends into the studio to scream and howl in the background, in the manner of the “live” supporting casts on Cannibal and the Headhunters’ “Land of 1000 Dances” or the Premiers’ “Farmer John.

They danced. For three long winter nights. They slept through the short times of light, curled in each other's company. She gave him gifts: a lapwing wrapped in feathers, beaded with frost, a bowl of bright rosehips.

I remembered what Morrie said during our visit: "The culture we have does not make people feel good about themselves. And you have to be strong enough to say if the culture doesn't work, don't buy it." Morrie, true to these words, had developed his own culture — long before he got sick. Discussion groups, walks with friends, dancing to his music in the Harvard Square church. He started a project called Greenhouse, where poor people could receive mental health services. He read books to find new ideas for his classes, visited with colleagues, kept up with old students, wrote letters to distant friends. He took more time eating and looking at nature and wasted no time in front of TV sitcoms or "Movies of the Week." He had created a cocoon of human activities conversation, interaction, affection-and it filled his life like an overflowing soup bowl.

Are you an infant?” said Miss Treason. “The year is round! The wheel of the world must spin! That is why up here they dance the Dark Morris, to balance it. They welcome the winter because of the new summer deep inside it!

Fred can record every single detail, as and when it happens. ​[Mr Magenta dances around excitedly from foot to foot. Now he looks at me. He looks irritated] ​Alright Fred. Not every detail.

troubled, Alfred Allsworth (Fred) Thorp, Sheriff of Okanogan County approached the Lute Morris Saloon in Conconully Monday morning, November 9, 1909. Inside, a hard-looking stranger of medium height, with black hair and a mustache, who gave his name as Frank LeRoy, was playing cards at a table. Sheriff Thorp intended to question LeRoy regarding a safe blown in the A.C. Gillespie & Son store in Brewster a few days earlier and two residential burglaries in Brewster. A mild mannered Iowa farmer, Thorp came to the Okanogan in 1900, carried mail between Chesaw and Loomis, ran for sheriff. Armed with a six-shooter, Thorp feared only that some day, he might have to kill someone, which would compel him to resign, and this might be the day. LeRoy sat very still, watching the frontier sheriff approach the card table. “I’ll have to take you in, partner.” said Thorp. There must have been an unearthly silence in the saloon as LeRoy rose. Thorp drew his revolver, “I’m going to search you.” LeRoy turned as if to throw off his coat, and then jerked a pistol from a shoulder holster. The two opened fire simultaneously LeRoy dancing about to present an elusive target. LeRoy got off four shots. Thorp emptied his revolver, striking LeRoy’s right hand, causing him to drop his gun, and hitting the suspect in the shoulder as he bolted out a rear door. LeRoy staggered a few yards up Salmon Creek before hiding in some brush. “Look out, he’s got another gun” someone yelled from across the creek. Having borrowed a second revolver, the sheriff pounced, kicking LeRoy’s gun from his hand. LeRoy was rolled onto a piece of barn board and carried into the Elliot Hotel. There his wounds, including a punctured lung were treated. In LeRoy’s hotel room Thorp found two more guns, wedges and drills, and a supply of nitroglycerine. Two days later, LeRoy broke out of the county jail. Wearing only his nightshirt, a blanket for trousers, shoes and an old mackinaw taken from an elderly trusty who served as jailer, the desperado flew through chilling weather to Okanogan. Three days later, Thorp caught up with him in a fleld of sagebrush below Malott. LeRoy came out with his hands up commenting mildly he wished he had a gun so the two could shoot it out again. In January, 1910, at Conconully LeRoy was convicted of burglarizing the William Plemmon’s home at Brewster. Since this was his third burglary conviction, he was sentenced to life imprisonment in the state penitentiary at Walla Walla as a habitual criminal. After serving nine years, LeRoy, in ill health, was released in 1919. He once met Fred Thorp on a street in Spokane. They chatted for a few minutes. While there were, in pioneer times, numerous other confrontations between armed men, the Thorp-LeRoy gun flght probably was the closest Okanogan County ever came to a HIGH NOON shootout.

Down a winding cobbled street from the church trips the Abbots Bromley Horn Dance, the most evocative and strangely dramatic of all morris dances, performed for perhaps hundreds of years, conceivably for thousands. They are led by a single fiddler, dressed in a rag coat, playing a tune that is childlike and simple, but also full of sadness and an ethereal, mordant power, like the soundtrack of a dream. Behind him come men carrying antlered fallow deer heads in front of their faces. Behind them, a man-woman, a hunter and a hobbyhorse. They dance in silence, slowly. The hunt turns and turns, casting patterns in the moonlight. You feel its mossy, shadowed meaning beyond understanding. A ghost dance, a silently keening sadness. The things we misplace always bear a heavier loss than the things we choose to grasp with white knuckles. And in the darkness, quite unexpectedly, I feel tears of mourning on my cheek.

Super toad!” Carol said. “What?” “I was trying out another expression. Instead of ‘holy cow,’ maybe you can just pick any adjective and any animal and it would work.” “No, I don’t think so.” “Dancing piglet!” Carol whispered a little louder. “Oh, it totally works. Bloated antelope! Ugly barn owl! Hippie hedgehog! I’m going to have to write these down.” “Shhhh,

Morris wondered what domestic catastrophe would make a man sell even the plaster gnomes from his garden.It was a horrid piece of evidence for mutability; Mutability, goddess of the auction room, dusty-fingered Mutability, the old-age pensioner goddess. And she ruled over the casserole containing the half-empty packet of sugar no one would ever finish, now; and the dropsical white tea-pot with the brown tidemark left in by years of the-making by dead women in flowered aprons ( withered and dead, all the chintz flowers); over all the odd, disjointed fragments of other people's lives.

He didn't consider himself prescient or anything; the skill was something he'd developed over time in the field, the ability to interpolate among thousands of seemingly arbitrary microevents and anticipate the narrative, to see the dance in the data. Scientists who study this sort of phenomenon refer to it as apophenia.

Sir Krinkle may as well say Herobrine himself came skipping down the main staircase dancing the fandango. Don’t be silly Fred, of course Herobrine isn’t real. He’s a myth, just like The Far Lands and chocolate milk. Well even if he is real, it’s not likely he’d dance the fandango is it? We all know that the waltz is the dance of choice for nefarious creature of the night.