The first Noel
the angel did say

A1

With 4 waltz steps 1s 2h turn then open out, M relinquishing W's r.h. from his l.h. but retaining her l.h. in his r.h.

Was to certain poor shepherds
in fields as they lay;

1M lead 1W between 2s and around behind then in front of 2M, 1M finishing facing and joining hs with 2W.

In fields where they lay
akeeping their sheep

A2

1s and 2s circle left 3/4; and 1M then lead 1W, 2M & 2W towards 3s.

On a cold winter's night
that was so deep.

1M lead between 3s behind 3M and then back around set towards place.

Noel, Noel,
Noel, Noel,

B

All joining hs circle left 2/3, finishing one place short of original position.

Born is the King

M solo turn over l.sh. in front of W on left to home place.

of Israel.

All bow to new partner, W having progressed one place acw.

This combination of tune and lyrics first appeared in William Sandys' Christmas Carols, Ancient and Modern (London, 1833), but Sandys took it almost verbatim from an 1823 work by Davies Gilbert called Some Ancient Christmas Carols. Davies in turn took it from an 1817 manuscript collection of Cornish carols. The carol may indeed go all the way back to 13thcentury miracle plays ('Noel', the French word for Christmas, coming from the Latin natalis meaning 'pertaining to birth') - but the curious structure of the tune has led some to believe that it is in fact a conflation of a melody of one tune with a harmony of another.

To match the lyric, here is a flowing dance in which you get to play shepherds and sheep. 1M leads three times (each time with different W) then, when all back to original partner, 2M leads three times, then 3M lead. For good male dancers, there is an opportunity towards the end of the sequence to dance like kings, hs in the air (perhaps holding an invisible crown) when the men twirl on to original position and a new partner. If 9 times through the tune and dance is hard to sustain, then you can just do a 3 times through version - either without the M changing partners and each M taking a turn to lead or with the M changing partners but with just the 1M leading each time.

God rest you merry, gentlemen,
Let nothing you dismay,

A1

Long lines go forward

and back.

Remember Christ our Savior
Was born on Christmas day,

A2

With 8 steps circle left below (1s with 2s), finishing pulling corner/neighbour into ballroom hold.

To save us all from Satan's pow'r
When we were gone astray:

B

Swing neighbour, finish W on right of M facing down, sliding out into holding hs.

O tidings of comfort and joy

Comfort and joy,

C

With 4 steps down the hall 4-in-line, then with 4 steps turn as a couple, W under M's r.h.,

O tidings of comfort and joy.

With 4 steps return back up in a line-of-4 then with 4 steps 1s dropping inside hs and wheel back into contrary lines.

In Charles Dickens' A Christmas Carol Ebenezer Scrooge hears this carol being sung outside his door and, shunning all that's cheerful, threatens to hit the singer with a ruler if he does not desist immediately. It is indeed a merry number for a tune in a minor key. There are, however, no 'merry gentlemen' in the song. A comma can be very important. The verse does not exhort 'merry Gentlemen' to rest, but rather reassures ('rest merry') the shepherds (verse 5) who are frightened by the sudden appearance of an angel. There are many versions, including parodies. The one here printed is from William Sandys' 1833 Christmas Carols, Ancient and Modern, though omitting, as is common, Sandys' second verse (not essential to the story). The lyrics probably go back to those sung by the municipal watchmen in Old England, the waits. The tune to which the carol was originally sung is unknown but today it is nearly always sung to one known as the 'London tune', first printed in 1846 and given its present form in Bramley and Stainer's Christmas Carols, New and Old, 1871. This tune to which the carol is sung today had already seen service carrying many other carols and songs in England and North America, and has been traced back to a ballad on the London earthquake of 1580 - and even earlier to a continental European origin.

The dance is in a common 18thcentury form, a longways duple improper - the staple formation of modern New England contra dancing. If you slide smoothly from the swing into holding hands four-in-line you can enjoy an uplifting sense of fellowship as you march down the hall singing the chorus.

N.B. For an easier version, stay in waist-shoulder hold with your neighour as you march down, wheel 1/2; about as a couple, and return in the same hold, only sliding into holding hands when back in long lines on the side. For a slightly more challenging version at the end instead of just facing across after returning back up have the 1s in the centre be assisted by the 2s on the outside into a mirror hand caste up and the long way around into progressed position in line.

Good King Wenceslas looked out
On the Feast of Stephen,

A1

Waves up and down, starting 1s under 5s and into centre, over 3s and out, and continuing with simple solo turning about at ends.

When the snow lay round about,
Deep and crisp and even;

A2

Continue waves till all back in place then 5s and 1s take 4hs at top of set.

Brightly shone the moon that night,
Tho' the frost was cruel,

B

With 8 slip steps, 5s and 1s circle 11/2; to change places and let go of other couples hs, leaving former 1s in the middle.

When a poor man came in sight,
Gath'ring winter fu-u-el.

With 12 slip steps the 4 outside couples grand circle left 11/4; to finish one corner beyond original position.

This carol was written by John Mason Neale (1818-1866). Born in London, Neale studied and became a lecturer at the University in Cambridge. Later he studied for the priesthood but as a result of some radical views was not able to find a job as a priest and took up being a warden in Sackville College in East Grinstead, England. There he wrote many Christian songs, including this famous carol which he set a tune, 'Tempus Adest Floridum', in the then recently discovered 16thcentury Finnish carol book Piae Cantiones. This tune, the title of which translates as 'Spring has unwrapped her flowers' goes back to a 13thCentury spring/Easter carol. The 'Good King Wenceslas' carol was first published in Carols for Christmas Tide, 1853, by John Neale and Thomas Helmore. The narrative may be confused and there may never have been a King Wenceslas, but there was an historic Bohemian Duke Vaclav (925-929), famed for his philanthropy. His father was Christian and mother pagan, and he was brought up by his Christian grandmother. Thought kind, even 'holy', by the people, he was murdered by his jealous pagan brother, Boleslav. Boleslav later repented, became a Christian and had Vaclav's remains enshrined in Prague.

With the good King looking down from his castle wall and with his name being borne by a famous square in Prague, this dance had to be in a quadrille formation. The fifth couple in the middle gives an opportunity for some dancers to look on while others labour up and down in the waves of snow. When it is your turn to enter the waves make sure you are not tempted to add any fancy turns to change side at the ends with your partner as there simply isn't time. 5 times through will get all back to place.

A wassail, a wassail throughout all this town,

A1

Turn out over l.sh., unlooping l.arm, with a l, r, l and point r.heel then turn back in over r.sh., relooping l.arm over with a r, l, r and point l.heel.

Our cup it is white and our ale it is brown.

Turn all the way over l.sh. and finish facing back in, this time r.arm looped over, with a l,r,l  r,l,r  l,r,l point r.heel.

Our Wassail is made of good ale and true,

Some nutmeg and ginger the best we could brew.

A2

Repeat all above until back in starting position, but starting with opposite foot, over opposite shoulder and pointing opposite foot.

Fol the dol, fol the doldy dol, fol the doldy dol, fol the doldy dee,

B

With own l.arm crossed over own r.arm and leaning out take 4 mazurka hobble steps (step onto l.f., bring r.f. up to it and take weight, then hop on r.f.) to turn the basket to left.

Fol dai-rol lol the daddy, Sing too ral aye do!

C

All go in with 2 bourrée steps (6 stomping running steps) and out with 2 bourr1ste steps (6 running steps).

A tune and lyric collected from the singing of Phil Tanner, who died in a workhouse in South Wales in 1947.To help support the overindulging waissailers in this carol, here is a dance which can be performed without ever letting go of the hands of your neighbours in the circle. The same was the case in the dance for 'The Angel Gabriel from Heaven came', but whereas that dance required partners and was gentle and hypnotic, this one does not need a partner and is in a bouncy triple-time. The dance matches the lyric to the extent that the raising of hands to turn this way mimes the carolers raising their mugs to receive, toast or drink, and the basketing left with the 'lopsided' hobble mazurka steps mimes the results of drinking too much.

Hail, Hail,

Hail happy morn thrice happy

__

All forward with 2 slow steps (M l and r, W r and l).

With 6 steps 1s 2h turn each other 1/2; way (finishing facing each other from other side arms wide) while everyone else cast over top shoulder (M's l., W's r.) nearly all the way to back to place.

we/Hail happy morn thrice happy we,

A

As everyone else takes a 7th step (on the final 'we') back into place, 1s begin (on the overlapping 'Hail') to take 4 face-to-face galop steps down then, releasing front hs, swing joined hs (M's r W's l) forward for another 4 galop steps back-to-back to bottom of set.

Who from our bondage are set free.

1M with 7W and 1W with 7M galop back up set but 1s turn in on 5th galop step to face each other and on last 3 steps 1M take hs with 7M over 1W taking hs with 7W.

From Jesse's side doth spring a ray,

B

'Knot-of-4' take 8 slip steps down to bottom of set then release trailing hs so outside dancers can take hs with own side bottom person (7W with 6W, 7M with 6W) and inside people can swing out into line (1W under M's arms then 1M to beside 7M).

And turn our darkesome nights to day.

Lines-of-3 galop back up just past the top of set and collect top person (2M&W) on bottom of line.

Sweet hallelujah let us sing

Sweet hallelujah let us sing

C1

Lines-of-4 galop back down just past bottom of set and collect bottom person (5M&W) on top of line.

To God our Saviour

And our King.

Lines-of-5 galop back up inside just past the top of set and collect top person.

Sweet hallelujah let us sing

Sweet hallelujah let us sing

C2

Lines-of-6 galop down inside just past the bottom of set.

To God our Saviour
And our King.

Lines-of-7 galop back galop back up.

This carol is part of a multiple-part repertoire known as 'West Gallery Music'. After the Restoration, efforts to improve the music of regular church services included the erection of a gallery for singers and musicians at the west end of churches. The choirs and bands which developed soon became central to the social fabric of villages, as described by Thomas Hardy in his Under the Greenwood Tree. Hardy was himself a third generation member of such a choir band and it is from manuscripts formerly belonging to the Hardy family, brought to light by A.D. (Dave) Townsend in The Mellstock Carols (The Serpent Press, Witney, 1989), that this carol comes.

To capture the fugueing of the manuscripts opening bars, number 1 couple must be alert as to when to start their first galop down the centre. So as to not loose time in the middle of the B part between unravelling from the 'Knot-of-4' and returning in 2 facing lines-of-3, outside people should be prepared to promptly release trailing hand and offer it to the same neighbour with whom they had started the sequence, and inside people should be prepared to swing out quickly (first W than M). If necessary, the lines-of-3 can straighten out as they return up the set.

Here we come a-caroling
Among the leaves so green,
Here we come a wand'ring,
So fair to be seen.

A

No 1, following own free l.h., leads others 16 steps off to left, going anywhere on dance floor, including under joined hs of members of other trios.

Love and joy come to you,

B

Step right and kick l.f., step left and kick r.f.

And to your wassail too

Repeat.

And God bless you and send you
a Happy New Year,

C

Lead dancer chain to other end of set by turning 2nd in line by r.h. 11/2; at top of set

And God send you
a Happy New Year.

Lead dancer turns 3rd in line l.h. 11/2; at bottom of set. Finish with a new leader ready to follow their own l.h..

Here is a thoroughly secular traditional English carol, full of Christmas and New Year cheer and with no mention of the birth of Jesus. In medieval times wassailers (from 'waes' well-being and 'hael' greet) would go from door to door singing carols and wishing householders good health. In return they would expect a small gratuity, a penny, a pork pie or a sip from the householders' bowl of spiced ale. In the nineteenth century the term 'wassailer' gave way to the name 'waits', derived from the name of the watchmen who once sounded their horns or played a tune to mark the passing hours of the night, but the custom persisted. Though the text here recorded was first published around 1850, some lines go back at least to the 17th century.

As the song suggests, this is a dance for young and old, children and adults, and no partner is necessary. One way to form the necessary chains is to call on dancers to form random lines of 3 (or a 3 person wide upward-facing column), then ask the middles to about face. However, they form, the lines should be encouraged to begin by go in as many different directions as possible. The wandering around the dance floor in the first part of the dance can involve curling around other lines, even going through arches made by other lines, as long as all are in a clear straight line to start the second part of the dance. The chain in the C part of the dance can be somewhat dizzy and disorienting, but the lead dancer should simply keep focus on getting to the bottom of the set after wishing each of the other dancers well with a r.h. or l.h. turn. A new leader will emerge ready to follow their l.h. and l.sh..

For a fancier version: In the C part of the dance the person who is not being turned, instead of simply remaining still might turn once about with 8 steps. To make this work the turn has to be precisely once about. 3s turn over r.sh. when the others are r.h. turning above, and 2s turn over l.sh. when the others are l.h. turning below.

The holly and the ivy,
When they are both full grown,

A

Not letting go, centre reverses under others' joined arched hs and goes cw round l.h. end while ends turn back-to-back under own hs and then centre turns under own raised r.h. back into place.

Of all the trees that are in the wood,
The holly bears the crown.

Centre person reverses under joined hs and goes acw around r.h. end while ends turn back-to-back, then turns under l.h. into place.

The rising of the sun,

B

Ends go forward, turn in and raise joined hs over centre.

And the running of the deer,

Ends pull centre forward, lower joined hs behind centre's back, continue to pull centre forward while releasing joined hs and turning over outside sh to face back against the l.o.d..

The playing of the merry organ,

Ends give inside hs to new centre, turn in and join hs behind centres' back to form new lines of 3 facing along the l.o.d..

Sweet singing in the choir.

All promenade forward.

This carol was first found in a broadside published in Birmingham around 1710. 151 years later it was included in a Christmas Carols collection by Joshua Sylvester (thought to be a pseudonym used by William Sandys and William Husk). There have been many theories as to why this carol should feature holly and ivy. Some believe they are there to represent good for in medieval times it was mistletoe which was seen to have evil pagan associations and both holly and ivy were regarded as holy and shunned by witches. Some believe their pairing represents the battle of the sexes, for in many medieval lyrics holly stands for maleness and ivy for femaleness. Others suggest that they feature because they were two common Christmas decorations, being green in winter and easily collected from woodlands. Others suggest the holly features simply because its leaf and berry offer so many possibilities for illustrating the life and death of Christ. Whatever the reason, the carol's imagery clearly goes back a long way. The chorus has very medieval imagery, the expression 'merry organ' being found in Chaucer and the 'rising of the sun' having pre-Christian mid-winter solstice overtones.

This dance is ideal for when there is an imbalance between the number of men and women wanting to dance. The figure in the A part is drawn from a German/Austrian dance called the 'Spinnradl' or 'Spinning Wheel' but is used here to represent a holly bush struggling in a tangle of ivy. The B part echos the lyric. The ends raise their joined hs as if the rising sun, the centre is catapulted forward as if a startled deer, you reach out with your hands as if playing an organ and all advance in closely-knit straight line as if a choir singing.

In the bleak mid-winter

A1

All promenade around set with singles left and right

Frosty wind made moan,

and with a double left.

Earth stood hard as iron,
Water like a stone;

A2

With a r.f. sequence M goes cw 3/4; around W while W turns acw under M's raised r.h.11/4; till both facing in.

Snow had fallen, snow on snow

B

Holding hs in circle, all take singles left and right into centre,

Snow on snow,

All retire with l.double.

In the bleak mid-winter,
Long ago.

With a r.f. sequence W goes cw 3/4; around r.side neighbouring M while M turns acw under W's raised r.h. 11/4; finishing M back on inside facing W on outside, changing hs so W's l.h. is in M's r.h. and opening out to face along the l.o.d..

Although Christmas was linked by the 4thcentury church with 25th  December as part of a strategy to Christianise various winter solstice pagan festivals, there is no biblical association of the birth of Jesus with mid-winter. Poetry has, however, been found in the notion that mankind's greatest hope was born in the bleakest hour. This poem appeared, dated 1872, in the posthumous collection of Christina Rossetti, a deeply religious daughter of an Italian emigr1ste academic and English mother (so religious she refused the proposal of marriage from a man she loved deeply and thereafter became prone to melancholy). It was first used as a hymn in the English Hymnal of 1906, where it appeared with a tune composed by Gustav Holst, 'Cranham'. It is this magnificent moving tune which is given here.

Full pavan pattern footwork with final closures seems to not only suit the rhythm of this carol, but also to complement in mood the uplifting solemnity of this almost humanist lyric. At no stage during the dance is there a need to vary from the single-close, single-close, double-close footwork pattern characteristic of a pavan. Be sure to fill out the music fully by concluding each step, be it a single or a double, with a rising onto toes and settling down as you close. A certain balance is achieved in the choreography by having the M go cw around the W in the A2 then the W go cw around the M in the second half of the B part.

I saw three ships come sailing in,

A

In line-of-3, double (or chassée) on left diagonal.

On Christmas Day, on Christmas Day.

Double on right diagonal.

I saw three ships come sailing in,
On Christmas Day in the morning.

B

Repeat above to face another trio and ends can join raised hs to form a circle.

And what was in those ships all three?
On Christmas Day, on Christmas Day,

A

With 2 double steps circle 6 hs 1/2; way around, finishing with the former middles releasing r.h. to create 2 new trios.

And what was in those ships all three?
On Christmas Day in the morning.

B

New middle (formerly on left) twists line about by guiding person on their right (former middle) under the arch they have already raised with person formerly on the r.end of other line.

This carol first appeared in appeared in William Sandys' 1833 Christmas Carols, Ancient and Modern. Its problematic text (you can't sail to Bethlehem) would seem to have its origins in the conflation of two medieval traditions. The first is that of increasingly elaborate stories about how, centuries after their death, the remains of the three wise men who visited the infant Jesus, were taken by boat to Constantinople, then to Milan and finally Cologne. The second is the 14th century German tradition of 'ship carols' in which Jesus' coming is compared in a mystical way to the arrival of a ship (indeed similar imagery has been found in a mid-16th century carol) and the number three was an echo of the Trinity. Less can be said about the tune. A rhythmic similarity has been noted between the text and the song 'There lived a man in Babylon' sung by Sir Toby Belch in Shakespeare's Twelfth Night. The modern day tune is based on that Sandys' published in 1833, and the famous folk collector Cecil Sharp noted that it is not only also the tune of several 20 th century secular folk songs but also of an 18th century song 'As I sat on a sunny bank'.

In the A part of this dance dancers can glide forward like three proud ships first on one tack then on another - following the lead of the left most dancer, who is on the look out for another trio to circle up with (remembering that you increase your chances of randomly meeting another trio by not drifting too far to the outskirts of the dance floor). In the B part of the dance a new trios is created out of the former right end person of one trio and former left and middle person of another.

N.B. A simpler non-progressive version of the dance is possible by having the same middle person in each line doing the guiding and arching to twist the line about and the same left end person doing the leading.

It came upon the midnight clear,

A

1M and 2W change places the long way by taking steps round outside of (passing l.sh. with) neighbour (M down W up).

That glorious song of old,

1M and 2W l.sh. gypsy once around in middle of minor set.

From angels bending near the earth

1M and 2W 2h turn cw (back other way) once round then fall back (in same exchanged places) into hs four (a circle) with neighbours.

To touch their harps of gold:

All circle cw once around.

'Peace on the earth, good will to men,

B

1W and 2M go round neigh. (W down, M up) to change places.

From heaven's all-gracious King!'

1W and 2M r.sh. gypsy once around.

The world in solemn stillness lay

2M and 1W 2h turn acw once around back the other way then (in same exchanged places) slip into hs four.

To hear the angels sing.

All circle acw 1/2; way round to original place then pull past up or down by l.sh, 1M & 2W ready to continue into new sequence.

As mentioned in the previous entry, this hymn was penned in America in the late 1840s by the Edmund Hamilton Sears, and in 1850 a fellow American, Richard Storrs Willis, wrote the triple time tune given on the previous page and to which it is still most commonly set in the U.S. The carol soon found its way to Britain  where, in 1871, Arthur Sullivan gave it a new setting - matching it to the traditional tune given above which he called 'Noel'.

This dance well suits this double time version of this carol, individuals drifting like heavenly bodies in closing orbits towards their opposites, touching each other like angels, then falling back into circles like worshipping mortals. The B part of the dance is the mirror image of the A part, with the exception of the final progression up or down the set. To have the dance work well it is helps if dancers can keep their eyes on their corners for virtually the entire sequence Ô form the long orbit around neighbour into exchanged places through to the pulling of all into a circle (the circles always going the same way as the couple were 2h turning Ô that is to the left in the A part and to the right in the B part). Fixing eyes on each other will not only help synchronise the 'covering' of each other, but also help the first corners know when they stop dancing and the 2nds corners know when they start.  It also helps if dancers appreciate that once they have changed places with their opposite, they keep returning to this exchanged position (facing against their original direction) until the final half circle right sets them facing again in original direction. The final pull through by the l.sh. gives the 1M and 2W the momentum and trajectory to start their orbit with their corners in the next minor set. The dance can be done to any 32 bar walking tune and, if not being done in a Christmas context to this tune, might become a contra called 'Heavenly Bodies' (the name by which I first called the sequence).

Joy to the world! The Lord is come
Let earth receive her King!

A

Give r.hs across and with 8 slow steps star nearly once around with opposites, W letting opposite M (1M 2W, 2M 1W) catch them up into high promenade hold.

Let ev'ry heart
prepare him room,

B

With 8 normal steps couples head up or down (1M promenades 2W down set while 2M promenades 1W up) .

And heaven and nature sing!
And heaven and nature sing!

C

Staying on own side switch direction and with 8 normal steps promenade other way back.

And heaven and heaven
and nature sing!

D

L.hs across with original opposites to star with 8 normal steps nearly once around, then turn out to face original direction to give r.h. up or down to new opposite.

This hymn was written by Isaac Watts, born into an Independent (ie Congregational Church family) in 1674. It is said that at the age of 15 he complained to his father that church hymns were boring and meaningless and, challenged by his father to do better, Watts wrote a new hymn every week for the next two years. By the end of his life he had written more than 600 and is remembered today as 'the father of English hymnody'. As with many of Watts' hymns, this one from 1719 is a Christianised version of a Psalm - in this case Psalm 98, 'The Psalms of David'. The verses were not set to music until nearly 100 years later, when, in the 1830s, the American composer and music educator Lowell Mason put them to a tune he ascribed to 'George Frederick Handel'. Watts and Handel had indeed known each other when they lived in London. For the next 100 years people believed the tune to be Handel's, it certainly having echoes of the Messiah choruses, but it is now thought to be Mason's own Handelian-influenced composition. The tune is named after the city of Antioch, Syria, where believers were, according to Acts 11:26, first called 'Christians'.

To match the triumphant feel of the opening line of each of this carol's verses, beginning the dance sequence each time with a very stately, half-pace 8 step star. Just as the carol then swings into a quicker mode for the remainder of each verse, so does the dance. For novice dancers it may be best to do this dance in Sicilian circle formation so that dancers don't have to change roles at end of a contra set and the 'original direction' in which dancers are facing at the beginning of the dance is the same for every sequence.

Masters in this hall
Hear ye news today,

A1

1M chase 2W cw down round 2M, 1W continuing round 1W to M's place, 1M cutting between 2M and 1W to 2W's place.

Brought from over seas
And ever you I pray.

2W chase 1M cw round 2M, 1M continuing round 1W home, 2W cutting between 2M and 1W to original place.

- Repeat verse -(optional)

A2

Taking r.hs across all set right and left then star cw 1/2; way.

Without relinquishing r.hs across, repeat setting and 1/2; star cw to arrive home.

Noel, Noel, Noel
Noel sing we clear!

B1

2M chase 1W cw up round 1M, 1W continues round 2W to 2M's place, 2M cutting between 1M and 2W to 1W's place.

Holpen all the folk on earth
Born the Son of God so dear!

1W chase 2M cw round 1M, 2M continues round 2W home, 1W cutting between 1M and 2W to original place.

Noel, Noel,
Noel sing we loud

B2

Taking r.hs across all set right then left then star 1/2; way.

God to day hath poor folk raised and cast a-down the proud.

Taking r.hs with partner, set right and left then 1/2; r.h. turn so 1M and 2W end up facing  down and 2M and 1W up.

The tune for this carol has a long association with dance. It was originally French and included in Raoul-Augur Feuillet's 1703 Recueil de contredanse along with a longways proper dance, 'La Matelotte', which Feuillet had himself written to go with the tune. In 1710 John Essex published a translation of this work, For the Further Improvement of Dancing, in which the dance is given as 'The Female Saylor'. It is unclear, however, whether the tune entered English folk tradition at that point, or whether it was reintroduced latter - possibly by a certain Edmund Sedding who is said to have obtained it in the mid-19th century from a French organist. Whatever the case, sometime around 1860 William Morris put his carol 'Master in this Hall' to the tune. A hundred years later Pat Shaw had a look at Feuillet's dance as it appeared in John Essex's book and published a version in his 1965 Six Simple Country Dances.

The dance offered here is different from both Feuillet's original dance and Pat Shaw's revision. The longways improper formation was chosen to give all the men an opportunity to act as 'Masters in this Hall' towards each woman they meet, until the tables are turned on them. The dance is simple if dancers remember that all the action is clockwise, that the man always starts the chasing, that whoever is doing the chasing takes the short cut, and that the right hand needs to come up towards each double chase ready for the balance and star (if doing the full 32-bar version). Indeed, although the tune itself is intrinsically and historically 32 bars, if dancing to choristers singing the 24-bar version (with no repeats of the verse), then you can shorten the dance by omitting the balance and star figure in A2. If the chasing in A1 and B1 looks to challenging, then it can be replaced with a simple 16 step chase all the way around to home.

O come, all ye faithful,
Joyful and triumphant,

A

Facing partner up and down contra lines go forward and, except for top couples who face down and take inside hs, back.

O come ye, O come ye to
Bethlehem;

B

Top couples lead down between lines to bottom. As they pass, others lead up and, starting with new tops, every second couple, turns to face down set.

Come and behold Him,
Born the King of Angels;

C

Taking hs in facing lines running across the set, go forward towards opposite and, except for couples on right (viewed from top), back.

O come, let us adore Him,
O come, let us adore Him,

D

Couples on right lead between lines to other side. As they pass, others lead along and, starting with the new pair on far right, every second couple, turn about to face across set.

O come, let us adore Him,
Christ, the Lord.

E

Takes hs in minor sets of 2 couples and circle once around, finishing opening out into lines up and down, facing new (temporary) partner across column.

This carol is sung in dozens of languages all around the world. The original Latin text, 'Adeste Fideles', was long thought to be the work of the 13th century mystic Bonaventura, but the discovery of a mid-18th century manuscript suggests it was in fact written by John Francis Wade (1711-86), a convert to Roman Catholicism born in Leeds. Whether Wade composed the tune that accompanied the text or borrowed it from another source is not, however, clear (the tune has some similarity with one in a comic opera produced in Paris in 1744). The English version of the text given here is based on a translation of verses 1 to 3 and 6 made by the choral revivalist Frederick Oakeley (1802-80) in 1841 for the use of his London congregation. William Brook (1848-1917), a London hymn enthusiast, later supplied translations for verses 4 and 5.

This dance will have the faithful marching in every direction with constantly changing partners and neighbours. For all to arrive magically back in place after 6 verses, it is best to have 3 adjacent longways sets each with 6 couples - i.e. 36 dancers in grand square. Other size sets are possible, simply requiring less or more concentration and fewer or more verses for all to arrive back home. If danced in a small 2 column wide 8 couple set, the promenades between the lines can be quite leisurely and you end up with 4 circles. In a large 4 column wide 32 couple set the promenade may need to be a brisk face-to-face 2h galop and you end up with a challenging 8 circles at the end. In any case, whether leading down from the top or across the set from the side, the promenade is always performed with the W on the M's r.h. side - the natural side.

The old year now away is fled,
the new year it is entered;

A1

All in with 2 polka steps (or Scottish travelling steps), and retire out with 2 polka steps.

Then let us all our sins down tread,
and joyfully all appear.

A2

With 4 polka steps, releasing corner, M turns to partner and goes cw around her, wrapping her up on his r.arm as she, r.h. raised, turns over l.sh., then joining front hs in sweetheart hold, they wheel cw as a couple, finishing facing along l.o.d.

Let's merry be this holiday,
and let us run with sport and play,

B1

With 2 polka steps M rolls W out and she, again r.arm raised, turns 1 1/2; over her r.sh. till M's r.h. holds her l.h. behind her back, then M's takes her r.h. in his l.h. (elbow extended) and they wheel cw, finishing again facing along l.o.d.

Hang sorrow, let's cast care away

B2

With 2 polka steps M raises and goes under W's r.arm, releasing her l.h. from his r.h. but retaining her r.h. in his l.h. to finish in exchanged positions facing in.

God send us a merry new year!

With 2 polka steps, balance on joined inside hs towards partner (touching free hs palm-to-palm) then (pushing with outside hs) away opening out into circle.

The lyric offered here is from New Christmas Carols, 1642 where it is said to go 'to the tune of Greensleeves'. Though some ascribe authorship of the later  to Henry VIII there is no evidence for this. Greensleeves was first registered in 1580 to a Richard Jones. Shakespeare mentioned it by name twice in The Merry Wives of Windsor - hired bands of musicians being said to play it slowly as traitors were hanged.

With a lyric too wordy to mime, this dance simply attempts to capture the spirit of this carol. The A part opens with a rousing communal figure before the man brings his new partner into a sweet embrace. The B part opens with a merry figure in which the W twirls out of one cosy hold into another (easy if she keeps her r.h. n a plane slightly higher than their l.h.), and ends with a brief greeting and farewell as all sing 'God send us a merry new year!' The dance works best when the carol is interpreted as a lively jig - with 1 skip or 'polka' step for every bar. For a slow interpretation it would be better to switch to the dance offered under What Child is This, and take 2 waltz steps where here you take 1 polka step.

O little town of Bethlehem,

A

Circle left about 1/4; way cw with 2 schottische steps.

How still we see thee lie.

All in with 1 schottische step and out with 1 schottische step.

Above thy deep and dreamless sleep

Circle left again 1/4; way round with 2 schottische steps.

The silent stars go by.

All in and out again, finishing turning to face partner.

Yet in thy dark streets shineth
The everlasting light.

B

Chassée to left (M in W out) and right to face partner, then take hands and 2h turn once cw with 2 schottische steps.

The hopes and fears of all the years
Are met in thee tonight.

C

Chassée on own forward left diagonal (M in W out) to draw level with partner and on right diagonal behind partner, then take 2hs with next, turn once cw with 2 schottische steps and open out into circle.

This hymn by the American Episcopalian priest, reformer and humanitarian, Phillip Brooks, was inspired by a journey he had undertaken from Jerusalem to Bethlehem. Of a midnight service there on Christmas Eve 1865 he wrote:

I remember standing in the old church in Bethlehem, close to the spot where Jesus was born, when the whole church was ringing hour after hour with splendid hymns of praise to God, how again and again it seemed as if I could hear voices I knew well, telling each other of the wonderful night of the savior's birth.

The hymn was written two years later in 1867. It was included in several late-19th century American hymnals and then in the 1906 English Hymnal where it was noted that Brooks 'skilfully brings the reader from the contemplation of the scene itself to an awareness of its meaning for the individual believer'. Four tunes are commonly associated with the carol. The North Americans usual sing the melody of St Louis, written by Brooks' organist, Lewis Redner, to whom the tune came on Christmas Eve, and was first sung the next day or to 'Ephratah', by Uzziah C. Burnap, 1895. In Britain it is to either 'Christmas Carol' by Walford Davies, London, 1905, or to 'Forest Green' (given above) a traditional English folk tune arranged by Vaughan Williams. The dance works equally well to all.

In the dance you trace the old wall and narrow streets of Bethlehem. Each time through the sequence, after reckoning in both circling 1/2; way in the A part and then going 1/10 of the way in opposite directions when performing the progression in the B part, M progress exactly 2/5 of the way cw around set, W 3/5 cw. The 5 'sides' of the circle therefore always remain intact, it is just that the occupants of the sides change. Magically, after 5 times through, you will have danced with all possible partners and finish back close to original position with original partner.

Once in Royal David's city

A1

With 6 steps all 1s and 2s circle 4 hs left once around then with 2 steps release opposites and M leads partner a little to left until 1s of column B can face off with 2s of column A.

Stood a lowly cattle shed,

With 8 steps 1s from B & 2s from A circle once left in middle, release and lead left while 2s from B & 1s from A lead out and trace a wide semi-circle around to face back in opposite direction.

Where a mother laid her baby

A2

With 6 steps 2s circle with each other in the B column while 1s circle in the A column, then with 2 steps M all lead partner to left.

In a manger for his bed.

With 8 steps 2s from B circle with 1s from A in middle release and lead left while others lead out and make a wide loop around.

Mary was that mother mild

B

All 8 dancers in adjacent minor sets take hs (pair of 1s and pair of 2s) and with 8 steps circle left 1/2; way to finish back in place.

Jesus Christ her little child.

With 8 steps lines-of-4 pass through by r.sh., releasing hs to turn single over r.sh. (nose-to-nose with opposite) as you pass through.

This hymn was written by Mrs C.F. Alexander. Born Cecil Frances Humphrey in Dublin in 1818, the daughter of an English army officer, she married the Tractarian clergyman William Alexander in 1850. Although her work invariably goes under her married, she wrote most of her hymns before she was married. This one was first published in 1848 in her Hymns for Little Children. Although some elements seem a bit precious today (and verse 3 is often dropped from modern hymn books), Ian Bradley in The Penguin Book of Carols notes that it goes further to recognising Jesus' humanity ('tears and smiles like us he knew') than does, for example, 'Away in the Manger' ('the little Lord Jesus, no crying he makes'). The tune to which the hymn is set was by Henry Gauntlett (said to have composed more than 10,000 hymn tunes). Gauntlett was born in Shropshire, England, in 1805, become an organist and choirmaster at a young age, practised as a solicitor, retired to devote himself to music, and published his setting for this hymn in 1849.

This dance, like that for 'O Come All Ye Faithful', plays with the possibility of dancing not just up and down a column, but across adjacent ones. If you have 4 rows with 4 dancers in each (a nice square image for an ancient city) and you dance the sequence 7 times (perhaps to all 6 verses then the first again) you will arrive back where you start. Just remember to loop wide on the ends to give the others time to complete their circle and disengage. This is a very dizzy dance, but then so was the one King David was said to have danced on the day of his coronation, when shedding most of his cloths, he whirled half naked and 'with all his might' in front of the Arc of Covenant. To recapture some of this dervish spirit, I suggest following the cw circling with a cw turn single as you pass through (though I'm not insisting you do it naked). If it is too dizzy for your taste you can dance it to a standard 64 beat walking tune and add a forward and back before and after the pass through.

On Christmas night all Christians sing

A1

Dance waves in own half of column, end couple arch in over retiring middles with 4 steps

To hear the news the angels bring.

then reverse roles to place with 4 steps.

On Christmas night all Christians sing
To hear the news the angels bring.

A2

Repeat.

News of great joy news of great mirth,

B

With 4 steps middles lead out opposite away from partner while ends lead in, turn back on partner and take and raise opposite's inside hand.

News of our

merciful King's birth.

With 8 steps dance outward-facing waves-on-the side with rear couple again making arch over retiring front couple and back (not repeated), then, with 4 steps flow into 1/2; 2h turn with person in hand and face in from new position.

Though often called 'Sussex Carol' after the region in which it was collected by Cecil Sharp and Vaughan Williams from Mrs Verrall of Monk's Gate in the early 20 th century, the carol was first published in a work by an Irish bishop, Luke Wadding, Small Garland of Pious and Godly Songs, Ghent, 1684. It is not clear whether Wadding wrote the song or was recording an earlier composition. The tune to which it is sung today is the one Williams took down from Mrs Verrall and published in 1919.

The dance is in the same formation as the beautiful 1651 Playford collection dance 'Lull me Beyond Thee', though the progression used here is unique to this dance. Each time through the sequence dancers will find themselves one quarter of the way around the set, in a new role (if they were a middle/front dancer they become an end/rear dancer) and with a new partner. Though the axis of the dance shifts each time through the sequence by 90 degrees, the dance always starts and finishes with couples facing in toward centre of set, woman on the man's right. Remember, when restarting the sequence, inside people must resist the temptation to dance with the people in front of them and After 4 verses of the carol all will arrive back in their starting position with their partner - so long as dancers have avoided all temptation to hesitate! Don't dally in the waves, don't stop to take hands with opposite before leading them out on the angle (and straight away go shoulder-to-shoulder or make an arch ready for side waves), and don't be put off by the musical phrasing in the B part, just flow through the side arches into the 1/2; 2h turn with a new partner.

Past three o'clock,

On a cold frosty morning.

Past three o'clock:

Good morrow, masters all!

A

Lead dancer brings joined hs onto r.hip, pulls back l.sh. to turn out of set away from others, bends down, turns cw about under own hs, rises, pulls on r.h. then l.h. to unravel back into a circle.

Born is a Baby / Gentle as may be,

Son of th' eternal / Father supernal

B

Circle left with 8 bourrée steps, finishing with new member of trio ready to lead (Option explained below for mixing sets).

The refrain and the tune go back to Renaissance times and both were possibly traditional ones used by the waits. Both are found in 17th century sources. The words of the refrain were used, for example, in the 1665 edition of John Playford's Dancing Master, the 3 rd edition, and were quoted or used in literature and song many times in the 18th and 19th centuries. A volume of Old English Ditties published in 1881 included a non-Christmas song with this refrain complemented by verses composed by John Oxenford. The Christmas verses given here and now most commonly associated with the refrain and the melody were written by George Ratcliff Woodward, who also wrote the words to 'Ding, Dong, Merrily on High', for The Cambridge Carol Book of 1924, which he co-edited.

The A part of this dance, the part to which you return to finish the dance as well, features a 3-person Austrian ländler  figure.

Variants: There are many other knot figures which can also be used in this same space of time as the one give here, so dancers should feel free to vary the figure if they wish.  The dance can be varied by exchanging members with other circles. To achieve this instead of simply circling on the B part, the person who led the knot releases l.h. and following outstretched l.h. leads their line-of-3 off to join with new line of 3 in circle of 6, then releases r.h. so that former middle person in each line leads next 3 into a new circle of 3. If a line-of-3 does not manage to find another line in time to swap leaders, they can simply circle up in same line-of-3 and take a new leader among their own. In either case, as the last note in verse is held new leader prepares to execute the knot in their circle of 3.

Rejoice and be merry in

A

Clap own knees, sh.s, hs, then with opposite's r.hs, l.hs, both.

song and in mirth;

Again knees, shs and hs, then take (with a clap) r.hs with opposite.

O praise our Redeemer,
All mortals on earth!

With 3 waltz steps turn opp. r.h. 11/4; into wave M facing out again then stomp while taking (with a clap) l.hs with neigh.

For this is the birthday of
Jesus our King,

B

With 3 waltz steps turn neighbour l.h. once around then stomp while taking (with a clap) r.hs over the top of l.hs.

Who brought us salvation:
His praises we'll sing.

In cross hand hold, both starting l.f. take 4 waltz steps to turn as a couple, finish M on inside W outside.

This carol is also sometimes called 'The Gallery Carol' because it belongs to the tradition associated with the choirs and bands sited in the west galleries of churches before the advent of organs in the mid-19th century (see entry under 'Hail Happy Morn'). This particular carol was discovered in the early 20 th century in an old Dorset west-gallery songbook and included in the English Carol Book of 1919. The original songbook has been lost but the original carol probably dates back to the early or mid-18th  century.

To fit the jolly mazurka-like rhythm of this carol here is a dance you can do without needing to know any mazurka steps. It is composed simply of clapping, stomping and waltzing, but you can put more style into the clapping by swaying back as you clap your own knees, (then crossing own arms) shoulders and hands and then swaying forward as you clap the opposite's hands - just as German folkloric dancers do when miming hammer-swinging blacksmiths in the dance 'Die Hammerschmiedts-gselln'. Some singers like to repeat the chorus, and if that is planned, simply repeat the B part of the dance each time, before returning to the beginning of the sequence. In either case, try, whenever directed to take hands with someone to do so with a synchronised clapping of palms together. The final 4 waltz step turning-as-a-couple can be on the spot, but if all are experienced dancers the dance leader might consider recommending everyone travel along the l.o.d. as they turn.

Now the holly bears a berry as

A1

With 2 hobble mazurka steps (step, together, hop) or slide with 2 step-draw togethers along l.o.d..

white as the milk,

Turn acw 1/2; way as a couple and both point with the toe of new outside foot.

And Mary bore Jesus who was

A2

Repeat above, travelling over shoulder along l.o.d.

wrapped up in silk:

then turn cw 1/2; way and point  first foot (M's l.f., W's r.f.).

And Mary bore Jesus Christ

B

Turn 1/2; way acw as a couple and point second foot.

our Saviour for to be

Turn back cw and point first foot.

And the first tree of the greenwood

C1

Waltz on with 2 waltz steps.

it was the holly,

Plus a 3 rd waltz step to end up looking over shoulder and point second foot along the l.o.d.

holly, holly!

D

Slide along l.o.d. then against l.o.d.

And the  first tree of the greenwood,

C2

Starting with the 'unnatural foot' (the second foot - M's r.f., W's l.f.) and looking over shoulder rather than joined hs, waltz on with 2 waltz steps

it was the holly.

then take a 3 rd waltz step to end up looking over hs and point first foot along the l.o.d.

This carol was so named because the melody and the first 3 verses were first transcribed in the 19th century from the singing of a villager in St Day (also Sans Day, or St They - named after a Breton saint) in the parish of Gwennap, Cornwall. A 4 stanza version in Cornish was subsequently published ('Ma gron war'n gelinen') and the fourth stanza of this version was soon translated and added to the first 3.

The dance has all the character a 19th century varsovienne. Different combinations of mazurka, pointing and waltz steps were very popular across the 19th century western world - being danced in ballroom, skaters and high promenade hold from Scandinavia to Slovenia, America to Australia. The particular sequence offered here is, however, not only original, but unique in the way it requires the dancers to start the C2 part of the sequence with the M's r.f. W's l.f. and leading with the shoulder rather than the hand. This start flows naturally, however, out of the preceding figure and leads the dancers back onto their natural starting foot in natural starting position to dance the sequence again. For maximum sensation, make sure you are leaning out to share weight, almost swing, with your partner whenever you turn as a couple before each point.

Form a double circle of as many couples as will, M on inside facing W on outside, each presenting l.sh. to the other. Start l.f.. Prepare for bourrée steps and step-draw steps. Finish sequence having made a double progression, M against l.o.d., W along l.o.d. Dance the 24 bourrée sequence as many times as will.

Tomorrow shall be my dancing day

A1

With 2 bourrée steps go toward partner l.sh. leading and turn/wheel/swing oneself acw 1/2; to left to face partner belly-to-belly, then return by same route back to original place.

I would my true love did so chance

A2

Repeat.

To see the legend of my play,

B

Bourrée in to be belly-to-belly, then instead of retiring to own place cross to opposite's place, pulling r.sh. back and turning/twirling cw once about to present l.sh. from opposite side.

To call my true love to my dance.

Go in to face then and cross back to place.

Sing Oh my love,

C

Take l.hs and greet with a l.f. step near and r.f. draw up while raising joined l.hs to eye level.

Oh my love, my love, my love

Step back with r.f. step and l.f. draw then sink into reverance on bended r.knee.

This have I done for my true love

D

Chain on by giving r.h. to r.diagonal neighbour then l.h. to new partner, M again on inside W on outside.

Although this carol has Jesus refer to mankind as 'his love' and to living as 'my dance' - imagery many find very modern - the carol is probably very old. It was first published in Sandys' 1833, Christmas Carols, Ancient and Modern, and probably goes back to medieval times. Indeed, there are many precidents for the use of inter-personal love motifs in spiritual work (see the Song of Songs) and the use of dance as a metaphor for living (see Sir John Davies 16th century poem, Orchestra). This carol has close parallels with a number of 15th century carols in which the infant foretells his future to his mother. The line 'To see the legend of my play' suggests it may have originally been part of a medieval mystery play, in the same way as was the 'Coventry Carol', but perhaps in this case (some suspect), part of one of the three-day religious plays performed in the Cornish language in the 14th and 15th century.

Form a circle of as many couples as will, M facing along l.o.d., W against. Start r.f.. Prepare for setting, walking, clapping, capering and stomping. Dance as a cumulative song, beginning each day with the setting and dancing all the figures up to that point. The figures for the 2nd, 3rd, 4th days involve progressions on to new partners.

On the 1st day of Christmas

Set right and left.

My true love sent to me

Turn single over r.sh. with 4 walking steps.

A partridge in a pear tree

L.sh. gypsy whole way around with 8 steps.

2 turtle doves

Pass r.sh. (with eye contact - no hs) with 4 steps .

3 french hens

Pull l.h. past next with 3 steps.

4 calling birds

Pull r.h. past next with 3 steps.

(slowly) 5 gold rings

Reverance (W courtesy while M bow bending a knee and flourish a hand).

6 geese-a-laying

Clap l.h. with opposite 3 times.

7 swans-a-swimming

Clap r.h. with opposite 3 times.

8 maids a milking

Clap both hs with opposite 3 times.

9 ladies dancing

W caper with 3 (lady-like) kicks.

10 lords a leaping

M caper with 3 (lord-like) kicks.

11 pipers piping

Stamp own feet 3 times (as if a marching in a pipe band).

12 drummers drumming

Clap own hs 3 times.

Some see this carol originating in the coded-check-list of Christian doctrines popular in Renaissance times. As there are, however, many versions of the text (a French one having a gastronomic flavour) and as the tune is a similar to a 12th century French troubadour one, the carol might actually go back to Medieval games in which players have to recite all the items mentioned by others or forfeit. Christmas presents would have been an obvious subject of such a game as in those days celebrations extended from Christmas Day to the Feast of the Epiphany (marking when the Wise Men arrived with their gifts). Those who could afford it would give gifts on each day. Those who couldn't afford the gift giving could at least sing about it.

In writing a cumulative dance to go with this carol I was inspired by William Beck, who wrote one in a Sicilian formation in the 1980s. This single circle version is a lot easier and dancers can learn all the figures in one go upon walking through the 12th day - then dance from the first day. I've tried for figures which echo in some way the present of the day as well as to fit the beats allowed (which though usually 4, is for some gifts 3 and others 8). So turn single in the chorus as if dizzy with love, gypsy on day 1 as if walking around and staring at a partridge in a pair tree, pass r.shs (in what is effectively a 1/2; r.sh. gypsy) on day 2 as if a pair of coo-ing turtle doves, offer a reverance on day 5 worthy of 5 gold rings, caper on days 9 and 10 in the fashion of a lady dancing or lord leaping (perhaps just the W singing as they dance and just the men singing as they leap), stamp on day 11 as if a pipe major marching and clap on day 12 as if playing drummers or cymbals.

Form couples in a circle broken at two opposite points. Start M l.f., W r.f.. Prepare for travelling and turning waltz steps. Finish sequence with 2 couples having left the now reduced-in-size broken circle. Dance the 16-bar brisk waltz until no one is left in the circle and all are waltzing around the outside.

We wish you a merry Christmas,
We wish you a merry Christmas,
We wish you a merry Christmas,
and a happy New Year

A

All circle left with 8 waltz steps, semi-circles following lead of M on far left trace a circle around floor.

Glad tidings we bring

B

While others circle back to right with 8 waltz steps, l.h. end couples, break off, go in with 2 waltz steps

To you and your kin;

take hs as group of 4 dancers and circle left with 2 waltz steps.

Glad tidings for Christmas

1/2; 2h turn opp. to exchange places with 2 waltz steps and1st

And a happy New Year!

with W now on her partner's left, circle left again with 2 waltz steps.

Oh, bring us a figgy pudding,
Oh, bring us a figgy pudding,
Oh, bring us a figgy pudding,
and a cup of good cheer.

A

While others repeat semi-circles following each other going left (cw) around floor, those now in the centre pull their partner into a ballroom hold and waltz acw round the inside of the circling dances and out through the first gap they find.

- Chorus -

B

Repeat above B part - sending new l.h. end couple in for circle, swap with opposite, circle and ballroom hold with partner.

As mentioned earlier, the heirs to the wassailers were the waits, singers licensed to announce the hours of day or night, to greet visiting dignitaries, to enliven weddings for the well-off and, at Christmas time, to make the holiday merrier by serenading citizens on frosty nights - hoping, like their wassailing forbears, to receive a coin, a bit of fig pudding, a sip of ale or some other treat, in return. This carol is one of theirs.

This dance has the rare character of being a reverse snowball Ô everyone starts dancing together but slowly all leave the formation. It is a wonderful way to end an evening - combining the sense of community offered by holding hands in a circle with the civility of interacting with opposites. It combines the game quality of trying to escape from the centre with the romance of a waltz with your partner. If there is a large crowd and you don't want to have to repeat verses too many times, start with several circles of 20 or so couples. Once you have waltzed out of your circle, go on to waltz the hall. As others join so the radius of each broken circle (or pair of semi-circles, depending how you want to think of it) will shrink - thus allowing more room for the free waltzing.  Return to 'We wish you' verse for all to waltz the hall together, open out facing in and take hs in a grand circle, then sing the verse again so all (while holding hs in circle) can go into the centre with 4 waltz steps and retire with 3 waltz steps and a bow.

Form a circle of as many couples as will, M facing along W against l.o.d.. Start either foot. Prepare for quick waltz travelling steps. Finish sequence either with same partner or having progressed on to new partner (M along l.o.d, W against). Dance this 32-bar waltz like sequence as many times as will.

What Child is this who, laid to rest

A1

With 4 brisk waltz steps release r.hs to sweep them up, out and around in wide arc and rejoin below l.hs, release l.hs in a wide arc and rejoin below r.hs.

On Mary's lap is sleeping?

Repeat arcs.

Whom angels greet with anthems sweet

A2

Taking r.h. in r.h over l.h. in l.h, M turns W once over her r.sh. with another 4 waltz steps to peek-a-boo then back over her l.sh.

While shepherds watch are keeping?

M raises joined hs, turns W twice over her r.sh. to finish r.sh. to r.sh, and lowers l.hs to spy partner through a r.sh. window.

This, this is Christ the King,

B1

In this window hold turn as a couple cw once around.

Whom shepherds guard and angels sing;

M raises joined hs again, turn W thrice over her l.sh. to finish l.sh. to l.sh., and then lowers r.hs to make a l.sh. window.

Haste, haste, to bring him laud,

B2

In this window hold turn as a couple acw once around.

The Babe, the Son of Mary.

M raises joined hs and turns W twice over l.sh. to finish facing partner l.hs joined over r.hs, then release r.hs, pull past l.sh. and reach out with r.h. to go palm to palm with new partner.

The words of this carol were written in 1865 by William Chatterton Dix, whose father had so loved poetry that he gave his son a middle name in honour of poet Thomas Chatterton. William himself, though a manager of a marine insurance company in Glasgow, so loved poetry that he wrote 40 hymns. He set this one, 'The Manger Throne', to the 16th century tune Greensleeves. Other seasonal lyrics have also been set to this tune - including an old English song which begins 'The old year now has fled' and for which there is a dance in this collection under that heading. The original text to the melody goes:

Alas my love, ye do me wrong
to cast me off discurteously:
And I have loved you so long,
Delighting in your companie.

Greensleeves was all my joy
Greensleeves was my delight:
Greensleees was my heart of gold,
And who but my Ladie Greensleeves.

This dance, replete as it is with romance and entwined arms, probably echos less the words of Dix' 19th century hymn and more those which originally went to the 16th century tune. Indeed, if you sing the original song while doing the dance you end up singing about being wronged and casting off discourteously when pushing off each others hands, about the love borne while viewing each other under the peek-a-boo arches, and 'Greensleeves' as you intertwined raised arms, dangling sleeves before each others eyes.

Form a circle of any number of couples holding hs, though 6 couples is ideal. Start l.f.. Prepare to use a slow, slow, quick, quick, quick pattern on alternate feet (like a pavan but with no closure) throughout the dance. Finish sequence having completed a double progression, M acw W cw. Dance the 16-bar pavan-like sequence as many times as will, but if a circle of 6 couples, dance sequence 6 times (once for each verse) to enable all to arrive back with original partner in original place.

While Shepherds watch their flocks by night

A

All circle left with a slow left, right and then a quick double or chassée starting with l.f.

All seated on the ground,

Continue circling with a slow right, left and then a quick double or chassée starting with r.f.

The angel of the

B

All go in with slow left and right, then release neighbour.

Lord came down

With double step, M swap partner under his raised r.h.

And glory

Out with slow right and left, then release partner and take near hs with neighbour.

shone around.

With double M swap new W under his raised l.h.

This carol was published in 1696 by Nahum Tate, a distinguished Irish writer and poet who lived in England in the late 17th early 18th century (co-authored a metrical version of the Psalms and re-wrote Shakespeare's King Lear to give it a happy ending). The text is so close to the scriptural Christmas story that it became the first carol to gain official approval in the Church of England - being included in the 1700 Supplement to the New Version of the Psalms. The tune to which it is most often sung is 'Winchester Old', a psalm tune that goes back at least as far as Este's Psalter of 1592. Richard Storrs Willis set the text to an aria from George F. Handel's 'Cyrus', 1728. The dance works to either melody, so long as the tune is not rushed.

This dance features 16th-century pavan footwork sequence without closing after each step (as was common in the Italian dance of earlier centuries). Rather than taking a full single left (rising and falling as feet come together), single right and close, then double left, right, left, and close, this dance uses a simple step left, step right, and 3 quick steps left, right, left - essential the same pattern but in half the time. This step is used whether circling left (miming the shepherd watching over the sheep), or chaining. Although the dance can work for any number of couples in a circle, 6 times through the dance affords 6 couples the opportunity to dance with all possible partners twice, the first time while progressing to the other side of the circle, the second time on the homeward half of the circle.