Nantgarw tradition

Catherine Margretta Thomas (1880–1972). Her memories of Welsh folk dance helped keep alive a tradition

Catherine Margretta Thomas was born in 1880[4]^:31 in the village of Nantgarw. Her parents were Daniel and Hannah Davies.[5] As a child she enjoyed watching the local dances[6] as they were performed in an open space below Twyn Chapel in Caerphilly[4]^:32 and at Nantgarw and Y Groes Wen.[6] Due to the hostility of the local churches to folk dancing, Catherine Margretta Thomas' own mother was not keen on her daughter going to see these dances, but Catherine was able to convince her father to take her along to witness the displays. The rise of Nonconformism in Wales meant that by the time Catherine Margretta Thomas was in her teens folk dancing had practically been eradicated in Nantgarw.[6]

Dancing had died hard if inconsistently[6] by 1911 when Catherine Margretta Thomas' daughter, Ceinwen Thomas (later Dr. Ceinwen Thomas[7]), was born. But the influence of Nonconformism waned and by the time Ceinwen Thomas was attending school she was discussing the tradition of dancing in Nantgarw with her mother.[6] After Ceinwen Thomas had left college she met Walter Dowding of the Welsh National Folk Dance Society. She told him about her mother's recollections of folk dancing in Nantgarw. He put her in touch with Doris Freeman. Together Catherine Margretta Thomas, Ceinwen Thomas and Doris Freeman worked to notate the dance steps from the traditional dances that Catherine Margretta Thomas could remember.[6] These notes were then passed on to the Welsh National Folk Dance Society by Ceinwen Thomas.[8] A complete set of the dance notation for Y Gaseg Eira was published, alongside the tune Ymdeithgan Gwŷr Penllyn (March of the Men of Penllyn), in the 1959/60 Welsh Folk Dance Magazine.

The United Kingdom experienced a revival in folk dancing and Morris dancing in the 1960s.[9] In Wales this meant, in part, a resurgence in interest in the Nantgarw tradition from sides who were looking for Welsh dances to add to their English ones.[10] Cardiff Morris Men began piecing together a Morris dance from the notes that had been written down by Ceinwen Thomas on one particular dance that she called Y Gaseg Eira .[11]^:5[6] After this 'original' dance had been pieced back together sides began to create more dances that were 'in the style of' this traditional Nantgarw Morris dance.[12] Many of these new creations, such as Y Derwydd, are now held to be just as much a part of the Nantgarw tradition as the original dance.[13] Today there are five Morris dances that are commonly recognised as being a part of the Nantgarw tradition.[13]

The figures can be summarised as Foot Up, Corners Change, Top Hey, Bottom Hey and Circular Hey, with usually a distinctive verse figure unique to each dance.[11]^:24[13]

There is double step throughout, except when 'chipping' (hopping in one spot whilst simultaneously rotating). The basic pattern is two double steps followed by four capers. There had been a tendency to truncate the second double step and leap straight into the capers, leading to a loss of balance and poise. The hand movements are straight up-and-down, with Adderbury-style circular movements at waist level for the capers. In the 'chipping' sequences in Y Gaseg Eira and Hunting the Hare the arms are raised in turn and in time with the single stepping which accompanies it.[11]^:28[13]

Cardiff Morris in Carmarthen finish a Nantgarw stick dance in distinctive style, by surrounding the mascot, Idris.

This handkerchief dance has a pattern entirely peculiar to itself and was the first Nantgarw dance to see the light of day with the Cardiff Morris. The name of the dance is a Welsh idiom for a very large snowball, and it is so named because at one point in the dance the hand waving movements resemble the movements of somebody rolling a large snowball.[13] This is the original Nantgarw dance and was being danced by Cardiff Morris by 1974.[2] An article in the Welsh Folk Dance Magazine published in 1959 featured an article on this dance along with a photograph of a side performing it.

This is the first of three dances which conform to a standard pattern; which can, with a little care, be memorised and need, therefore, no calling. Like Y Gaseg Eira it is a handkerchief dance. The current practise with the music is to use hornpipe time, which lends a lilt to the dance that some people find attractive.[13] It had been added to the Nantgarw repertoire by 1984.[2]

Sixteen sticks lend a certain weight to the stick bag, if not the proceedings. The sticks are held skiing-fashion (as in downhill, not slalom or cross-country) and are brought up in front of the face to clash.[13] It was being danced by 1984.[2]

Previously known as Y Gamel (The Camel) until it was renamed after the tune it is danced to. There are only eight sticks in this dance and no clashing except in the chorus. The dance pattern is identical to that of Hunting the Hare, even down to the half-heys in the chorus, except that the corner figures are completely replaced with Stars.[13] It was put together in 1991.[2]

This is a stick dance based around circular hays.

This is a processional dance. Unlike the other dances which take place in one location this dance takes the dancers from one place to another.[13] It takes its name from an old Welsh carol, the tune for which was used for the melody of "Deck the Halls".