Examining the dance element of the exhibition, by Laurel Swift.
My role was, as a morris dancer, to be a subject for Rosie to use to make the work. For the slow-capture pieces, I wore costume, did some jumps, waved my hankies. For the praxinoscope we looked at traditional arm movements on a "backstep, backstep, feet together jump" morris sequence, and broke it down into ten distinct arm positions, each of which were photographed. Finally, Rosie put a massive sheet of paper on the floor, mixed up some ink, and I danced backsteps, single steps, galleys and capers on the paper.
Recounting the conception and creation of the exhibition, by Rosie Reed Gold.
Hallo! I'm Rosie, a photographer who has worked in-house for Cecil Sharp House for a number of years now. During that time I have been privileged enough to see many of the gigs and social events that the English Folk Dance and Song Society (EFDSS) put on. As an artist, I was very excited at the prospect of creating a location-specific exhibition for the foyer of Cecil Sharp House, based on research from the vast wealth of information held within the Vaughan Williams Memorial Library.
A reflection on the musical element of the exhibition, by Owen Ralph
Murmuration of Folk, the new exhibition from Rosie Reed Gold at Cecil Sharp House, was inspired in part by the discovery of the dance tune Song for the Starling in the Vaughan Williams Memorial Library. Found in Marshall Barron’s book of ‘Birds, Fancies and Delights’, the tune was first printed in the 18th edition of the English Dancing Master under the title Joy After Sorrow.