2. Brighton Morris Men:
Entropic Morris
• Spotted outside the Hartington Pub
• 1967, all male Cotswold Morris side, one
of the largest in the country
• Range of characters: HR department
Sussex University, fathers and sons,
’Shiny Sean’, ‘Fat Bastard’ etc.
• Mostly elderly men, impressive due to the
intense athletic strength necessary for the
dances
• “Dance from St George’s Day (23 April) to
early October each year, and practice
from October to April, new members are
always welcome at any time.”
3. Self and Other
“In what ways do people live / perform their sense of national, ethnic, religious, sexual, class or
gendered identity? (e.g. explored though an ethnography of aspects of British society looking at what
might seem strange to people coming from elsewhere). How is our sense of self defined in relation to
what we think we are not?”
• Perform their sense of English pride (national identity) through folk dance and music, dating back to 1448
• Originally performed in Parishes (religious identity)
• From courtly settings to the dance of the working class, evolves through society and its various stratums
(class identity)
• Traditional yet subverts stereotypes of masculinity (gendered identity)
• Ideas of nationalism and patriotism…
• …However; 150 Morris sides outside of England. United States, Australia, Canada, New Zealand and Hong
Kong. Cultural links throughout the world (might not seem strange to people coming from elsewhere)
• May seem irrelevant in the expanse of current, diverse subcultures yet a rise of Neopaganism (religious
identity) has been identified as well as the reinterpretation of the original Morris dances in order to fit modern
culture (British society)
• Surprisingly widespread online presence
• The music and dances performed by the group or originally written in their own Lewes tradition, giving an
additional sense of regional pride.
5. Mode
• Bill Nichols’ Representing Reality: Issues and
Concepts in Documentary 1991
• “Expository Mode”- addresses viewer directly,
imagery and commentary compliment one another
• Avoid the negative exhibition and portrayal of voice
overs as discussed in Stella Bruzzi’s “New
Documentary” (chapter 2)
6. Vital questions
(module guide)
What potential is there for dramatic tension, curiosity, contradiction or surprise?
• Emotional ties between family members within the group
• Sense of patriotism amongst modern culture
• Gender roles
• Investigate personal stories, why Morris dancing?
What is it about the subject which lends itself to a visual/aural presentation?
• The essential beauty of dance and music
• Traditional kit, recognisable by few
• Small but unique details, St. George’s crosses, Sussex Loops, Bronze Age bands
Who is your audience, your approach/style should be geared towards them? How will you reveal something to
your audience that they don’t already know?
• Educate the young, nostalgic for the old, intrigue alternative cultures and subgroups
• Reveal the personal aspects of the well known group at various times throughout the documentary to excite and
fascinate audiences
• Research and meetings may divulge new information and create further tension and unexpected perspectives
