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The Abbots Bromley Horn Dance is a folk dance which takes place each September in the village of Abbots Bromley in Staffordshire, England. It is performed by ten dancers, accompanied by a musician playing an accordion and a youth with a triangle. Six of the dancers carry reindeer horns; the remaining four take the roles of a hobby horse, Maid Marian, a fool, and a youth with a bow and arrow. On Wakes Monday the performers dance around the parish all day, beginning early in the morning at the parish church where the horns are stored.

The origin of the dance is unknown. The earliest written record of a hobby-horse performance at Abbots Bromley dates to 1532 and the first mention of the reindeer horns is from 1686. Radiocarbon dating has shown that at least one of the horns dates to the eleventh century, though it is unknown how or when they came to Staffordshire or became associated with the dance. Many explanations of the meaning of the dance have been proposed, and it is commonly interpreted as a pagan ritual, but there is no evidence for any of them.

History

The earliest written mention of the Abbots Bromley Horn Dance is in Robert Plot's Natural History of Staffordshire, published in 1686. According to an annotation by Sir Simon Degge in his copy of Plot's book, he had seen the dance being performed before the English Civil War (1642–1651). An earlier mention of the hobby horse at Abbots Bromley from 1532 describes it as an ancient custom, but does not mention the horns. In 1976, one of the reindeer horns was radiocarbon dated to 1065 ± 80 years. It is unknown when the horns were brought to Abbots Bromley and when they began to be used in the dance. Though many sources claim that the dance was first performed at the St Bartholomew's Day fair in 1226, there is no evidence for this supposition.

Many explanations for the origin of the dance have been proposed, though there is no concrete evidence for any of them. It has often been interpreted as the remnant of a pagan ritual. Violet Alford believed that the dance was originally a winter solstice fertility rite. Alternatively it has been suggested that it originally was connected to hunting, either as a ritual to encourage or celebrate a successful hunt, or to celebrate the villagers' hunting rights. Parallels have been drawn to the prehistoric deer skull headdresses from Star Carr in Yorkshire, or the "Sorcerer" cave-painting from Trois-Frères in southern France, as well as references in William Shakespeare's As You Like It to a deer-hunter being awarded the deer's "leather skin and horns to wear", and in Anthony Munday's The Death of Robert Earl of Huntingdon to Friar Tuck "carrying a stag's head dauncing", both from the end of the sixteenth century.

In the seventeenth century, the dance was performed in the Christmas period – according to Robert Plot, "on New Year, and Twelfth-day" – but it now takes place on the Monday following the first Sunday after September 4. Plot reports that the dancers collected money for church repairs and to support the parish poor. In the Tudor period, the use of hobby horses to raise money for the parish at Christmastime seems to have been widespread in the north Midlands. Along with Abbots Bromley, it is attested at Stafford and at Culworth in Northamptonshire; a hobby-horse performance at Holme Pierrepoint in Nottinghamshire also probably took place in the winter.

The horn dance apparently stopped being performed around the time of the English Civil War, before being re-established in the eighteenth century; this is probably when the date of the dance changed from Christmas to September time. According to local tradition, the dance has been led by the same family since the eighteenth century.

Event

Schedule

The Horn Dance takes place on Wakes Monday, the day following the first Sunday after 4 September. It previously took place at the beginning of January, on New Year and Twelfth Night.

The dance starts at 8 a.m. at St Nicholas's Church in Abbots Bromley and travels around the parish before returning to the village at the end of the day. The first dance is outside the vicarage; the dancers subsequently perform in the marketplace and various houses and farms around the parish. About midday they dance at Blithfield Hall and have lunch there. Afterwards, the dancers return to the village, with the final dance around 8 p.m. In the Victorian period, the dancers went out for several days, visiting nearby towns and villages such as Colton and Rugeley.

Dancers

Twelve people perform in the dance: six dancers carrying reindeer horns, a fool, Maid Marian (played by a man wearing women's clothes), a hobby horse, a child with a bow and arrow, a musician, and a child with a triangle. The triangle player is a relatively recent addition to the side, only having been introduced at the beginning of the twentieth century. Of these, the two musicians do not dance; their role is only to accompany the dancers. The dancers use the hobby horse's jaw and the bow and arrow as percussion instruments to keep time with the music. The Maid Marian carries a ladle used to collect money; the fool has a bladder on a stick. According to Robert Plot's account, in his day the dancer with the hobby horse also held the bow and arrow; Violet Alford doubts that it was possible for one person to do both. Plot does not mention either the fool or the Maid Marian; Ronald Hutton suggests that the Maid Marian was a nineteenth-century addition to the dance.

Costume

Until the 1880s, dancers wore their ordinary clothes decorated with ribbons. At this time, the vicar's wife designed costumes for the dancers in a mock-medieval style, originally made from old curtains and perhaps inspired by the sixteenth-century painted Betley window; these costumes were replaced in 1904 and again in 1951. The dancers wear either green or red jackets, with green breeches with an oak leaf pattern. The 1904 version of the costume introduced jester's motley for the fool. The hobby horse is of the tourney style, in which a horse's head and tail are fixed to the performer's body by a frame, which is then covered by a cloth, giving the appearance of a person riding a horse.

Antlers

The antlers used in the dance are from reindeer, and date to the 11th century. As there were no reindeer in Britain at this point, they must have been imported, most likely from Scandinavia. The largest measures 101 cm (40 in) across and weighs 25.5 lb (11.6 kg); the smallest measures 77 cm (30 in) across and the lightest weighs 16.25 lb (7.37 kg). Three of the sets of antlers are painted white and three are painted brown; historically the brown antlers have instead been painted blue and red at different times. In the seventeenth century they had the coats of arms of important local families painted on them, but these are no longer visible. The antlers are set into wooden heads, thought to date from the sixteenth century, which are mounted on wooden poles. The heads are painted brown with features drawn on in red and black.

The eighteenth-century Staffordshire antiquarian Richard Wilkes claimed that the Abbots Bromley horns were brought by William Paget, the ambassador to the Ottoman Empire. However, Paget's return from Turkey postdates the accounts of Plot and Degge which mention the horns.

Wilkes also reports that the antlers were stored in Abbots Bromley's town hall. In 1820 Thomas Harwood was the first to report that they were stored in the church, first in the church tower and subsequently in the Hurst Chapel.

According to tradition, the horns must not leave the parish. A different set of horns, acquired in the 1950s, is used for performances outside Abbots Bromley.

Dance

In 1911, Cecil Sharp described the dance as being made up of two main figures. In the first, the dancers process around in a circle before turning and circling back. In the second, the dancers face off in two rows, dancing together and apart before crossing over, turning around, and repeating the process to return to their original place. It is performed without any special footwork: Alford describes the dance as a "steady rhythmical plod".

There is no specific tune associated with the dance. In 1898, the vicar of Abbots Bromley recalled that there had previously been a special tune for the dance but that it had been lost. In 1912, Sharp published a tune sent to him by a J. Buckley which Buckley said he had collected in the 1850s from a fiddler from Abbots Bromley. According to Andrew Bullen, "this is the tune most often associated with the horn dance and it is probably the oldest"; however, there is some dispute as to whether the tune did in fact accompany the dance.

Other tunes associated with the dance have been collected from William Adey, a dancer who in 1924 recalled a tune which he remembered being used in the 1870s and 1880s, and Edie Sammons, whose brother played for the dance. When Sharp collected the dance, "any country-dance air" was used; more recently modern tunes are also played.

In culture

Shortly after Sharp recorded the Abbots Bromley horn dance in Sword Dances of Northern England, versions of it began to be performed outside of the village by members of the English Folk Dance Society (now the English Folk Dance and Song Society). Since 1947, a version of the dance has been performed by Thaxted Morris Men at the Thaxted meetings of the Morris Ring. In 1951 they also performed the dance to celebrate the Festival of Britain. Ivon Hitchens' Mural, in the Kennedy Hall of Cecil Sharp House, the headquarters of the English Folk Dance and Song Society, depicts English folk-dances and traditions. The horn dancers shown on the right of the mural are probably based on those at Abbots Bromley. A series of pencil drawings by Dave Pearson, In the Seven Woods, also depict the Abbots Bromley dance.

In 2019, Royal Mail issued a set of stamps depicting unusual British customs and festivals which included the Abbots Bromley horn dance. The dance was one of three traditional dances which inspired Hanna Tuulikki's "Deer Dancer". The dance has been featured in exhibitions including Mummers, Maypoles, and Milkmaids: A Journey Through the English Ritual Year at the Horniman Museum in 2012, and Making Michief: Folk Costume in Britain at Compton Verney in 2023.

Notes

1. The Star Carr frontlets are from the mesolithic period, and have been dated to the 10th millennium Before Present; the "Sorcerer" cave painting is paleolithic, dating to about 13,000 BC.
2. The music was reportedly played by a fiddler in the 1870s; from the 1880s the musician has played a concertina, accordion, or melodeon.
3. Cecil Sharp says that the replacement costumes made in 1904 were "more or less exact" copies of the originals. However, Marcia Rice describes the original costumes as green tunics and blue trousers, both with brown spots or flowers; she quotes a Mrs. Simpson, one of the contributors to the 1904 replacement, as saying that the new costumes were "the same in general effect ... we followed our own fancy, and were not bothered by any antiquarian scruples".

References

1. ^ Buckland 1980, p. 1.
2. Heaney 1987, p. 359.
3. Buckland 1980, pp. 5–6.
4. Roud 2006, p. 397.
5. ^ Roud 2006, p. 396.
6. ^ Hutton 1996, p. 91.
7. ^ Buckland 1980, p. 6.
8. Lyon 1981, p. 136.
9. Bayless 2017, p. 208.
10. Conneller 2004, p. 37.
11. Maryanski 2018, p. 213.
12. ^ Hutton 1996, p. 90.
13. ^ Buckland 2001, p. 2.
14. Buckland 2001, p. 3.
15. Roud 2006, pp. 394–395.
16. Kightly 1986, p. 41.
17. ^ Roud 2006, p. 395.
18. Rice 1939, p. 77.
19. ^ Bullen 1987, p. 10.
20. ^ Alford 1933, p. 206.
21. ^ Bullen 1987, p. 6.
22. ^ Sharp 1911, p. 105.
23. Rice 1939, p. 83.
24. Buckland 2001, p. 5.
25. Rice 1939, pp. 73–74.
26. Rice 1939, p. 74.
27. Roud 2006, pp. 226–227.
28. Buckland 1980, p. 2.
29. ^ Buckland 1980, p. 5.
30. ^ Buckland 1980, p. 3.
31. ^ Buckland 1980, p. 4.
32. Buckland 1980, pp. 3–4.
33. Buckland 1980, pp. 1–2.
34. Buckland 1980, pp. 2–3.
35. Bullen 1987, pp. 4–5.
36. Sharp 1911, pp. 108–111.
37. Alford 1933, p. 205.
38. ^ Bullen 1987, p. 9.
39. Sharp 1911, p. 106.
40. Sharp 1912, p. 1.
41. Kennedy 1939, p. 281.
42. Simons 2019, pp. 162, 164.
43. Ellis, Lucy (15 February 2012). "Ivon Hitchens' 'Mural'". ArtUK. Retrieved 2 February 2024.
44. "Six works from the series 'Under the Seven Trees'". Art Fund. Retrieved 7 February 2024.
45. "Stamps: Cheese rolling, gurning and bog snorkelling on new UK stamps". BBC. 9 July 2019.
46. Durrant, Nancy (17 August 2019). "Hanna Tuulikki: Deer Dancer — absurd, hyper-masculine stag do". The Times.
47. White, Ethan Doyle (2012). "Mummers, Maypoles, and Milkmaids: A Journey Through the English Ritual Year". The Pomegranate. 14 (2).
48. Howse, Christopher (25 February 2023). "The Mysterious World of British Folk Costume". Spectator.

Works cited

• Alford, Violet (1933). "The Abbots Bromley Horn Dance". Antiquity. 7 (26): 203–209. doi:10.1017/S0003598X00007948.
• Bayless, Martha (2017). "The Fuller Brooch and Anglo-Saxon Depictions of Dance". Anglo-Saxon England. 45: 183–212. JSTOR 26332316.
• Buckland, Theresa (1980). "The Reindeer Antlers of the Abbots Bromley Horn Dance: A Re-examination" (PDF). Lore and Language. 3 (2A): 1–8.
• Buckland, Theresa (2001). "Dance, Authenticity and Cultural Memory: The Politics of Embodiment". Yearbook for Traditional Music. 33: 1–16. JSTOR 1519626.
• Bullen, Andrew (1987). "The Abbots Bromley Horn Dance" (PDF). Country Dance & Song. 17: 2–15.
• Conneller, Chantal (2004). "Becoming deer. Corporeal transformations at Star Carr". Archaeological Dialogues. 11: 37–56. doi:10.1017/S1380203804001357.
• Heaney, Michael (1987). "New Evidence for the Abbots Bromley Hobby-Horse". Folk Music Journal. 5 (3): 359–30. JSTOR 4522242.
• Hutton, Ronald (1996). The Stations of the Sun: A History of the Ritual Year in England. Oxford University Press.
• Kennedy, Douglas N. (1939). "Review: Abbots Bromley by Marcia Rice". Journal of the English Folk Dance and Song Society. 3 (4): 281–283. JSTOR 4521160.
• Kightly, Charles (1986). The Customs and Ceremonies of Britain: An Encyclopedia of Living Traditions. Thames and Hudson.
• Lyon, Luke (1981). "Hobby-Horse Ceremonies in New Mexico and Great Britain". Folk Music Journal. 4 (2): 117–145. JSTOR 4522083.
• Maryanski, Alexandra (2018). "The Origin of Religion: Recent Scientific Findings". In Petersen, Anders Klostergaard; Sælid, Gilhus Ingvild; Jensen, Jeppe Sinding; Sørensen, Jesper; Martin, Luther H. (eds.). Evolution, Cognition, and the History of Religion: A New Synthesis. Brill. ISBN 9789004385375.
• Rice, Marcia (1939). Abbots Bromley. Shrewsbury: Wilding and Son.
• Roud, Stephen (2006). The English Year: A Month-by-Month Guide to the Nation's Customs and Festivals, from May Day to Mischief Night. Penguin.
• Sharp, Cecil J. (1911). The Sword Dances of Northern England, Together with the Horn Dance of Abbots Bromley. London: Novello & Co.
• Sharp, Cecil J. (1912). The Sword Dances of Northern England: Songs and Dance Airs, Book II. London: Novello and Co.
• Simons, Matthew (2019). Morris Men: Dancing Englishness, c. 1905–1951 (PDF) (Thesis). De Montfort University.

External links

• Information about the Horn Dance from the Abbots Bromley web site
• Burne, Charlotte S. (1896). "Staffordshire Folk and their Lore" . Folk-Lore. 7.
• Abbot's Bromley traditional dance tune
• Video of Abbots Bromley Horn Dance on Central News, 12 September 1983. British Film Institute.

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