Hello! I’m Louise a long serving volunteer at the History Centre in Chippenham. I have worked on and off in a voluntary capacity since 2005. I first discovered the Wiltshire Buildings Record (WBR) when it was located within the Wiltshire Record Office at Trowbridge. Dorothy Treasure, who is responsible for the day to day running of the charity, recognised my real passion for old houses and recruited me to her keen band of volunteers. Over the years my contribution has varied due to the needs of my family but I have always been encouraged to continue. Dorothy is also our Principal Building Historian; she is a real expert in her field and I feel very fortunate to be able to work with her.
Volunteers at the History Centre come from all walks of life and work the hours of their choosing. In my case I had worked as an HR professional prior to having a family rather late. Some volunteers are still in paid employment and join us when they can. This is the case with some of our committee members. Some volunteers work with the WBR for a while in order to gain experience to advance their careers in the heritage sector. What we all have in common is an interest in our country’s heritage and a wish to rub shoulders with like-minded people and those working in professional roles. There are four strands to my voluntary work - documentary research into the history of individual buildings, building recording, data entry into the Historic Environment Record (HER) and committee work.
Typically I begin the week with the Archaeology Service, entering data from the WBR archive records onto the HER database. With 18,000 buildings records to work through, I think I’ve gained a job for life! Tom, the HER Manager is always nearby to guide me through the more complex aspects of the system. I am one of four volunteers he manages each week. We all do different things based on our interests and skill sets. I love the challenge of locating buildings particularly when building names have changed, buildings have been altered and only sketchy address details are given!
Tom the HER Manager and I at the History Centre and Martin one of the archaeologists in action at Avebury (photo taken by Terry Waldron)
Working alongside the Archaeology Service has given me a real insight into the challenging work the team undertakes, the county of Wiltshire not only has an important World Heritage Site, Stonehenge and Avebury, but also many other important historic assets to protect. I always enjoy listening to the office banter, the team are a lively and adventurous bunch. The team even has its own Morris dancer!
On a Tuesday, I work with Dorothy and spend my time researching the history of individual buildings. It is a day when I am able to catch up with other office-based volunteers over coffee or lunch. As a charity we need to generate an income and we do this mainly through commission work for individual house owners. Each report we produce includes a comprehensive recording of a building and some documentary history. Documentary research is my main area of expertise, built up over a number of years. It did help studying for an Undergraduate Advanced Diploma in Local History from Oxford University. All the study was done via the internet which was fantastic. The Archives team has always provided me with great support when I needed it, along with the WBR.
Studying maps in the Archive room to locate a particular cottage in the village of Netheravon. The building I am looking at is identified by No.90 on the 1790 Enclosure Award map for the parish
Here at the History Centre, we’re no stranger to Morris Dancers. We’ve had dancers on the staff, while each May Bank Holiday Chippenham hosts its popular Folk Festival. It’s great fun watching the street theatrics, but there was once a darker side to Morris Dancing that led to the following stories being recorded by the Wiltshire Magistrates (and now appear in Records of Wiltshire).
What happened at Woodborough in May 1652 caused official concern, but how was it that Morris Dancing threatened the pillars of the state?
Capers against the Commonwealth On the evening of Sunday, May 16th 1652, Edward Smyth and Edward Hawking left their homes in Woodborough and went to All Cannings, where they met and conspired with about a dozen people. That same Sunday, Robert Golfe went from Woodborough into Marlborough “to get a drummer”, while Thomas Beasant went to Ram Alley in Easton and “there invited and procured a fiddler”.
The following day, their plans were revealed when a crowd gathered from the surrounding countryside; according to the records, “three hundred persons, or thereabouts … gathered together in a Riotous, Routous, Warlike and very disorderly manner’.” If anyone thought about stopping them, they were armed “with muskets, pistols, bills, swords drawn and other unlawful weapons”.
The musicians led the crowd from Woodborough to Pewsey where they “very disorderly, danced the Morris Dance”, and committed other misdemeanours, including “drinking and tippling in the inn and Alehouse”. While the prevalence of weapons may, happily, be less, it’s reassuring to see that the drinking still continues in and around Morris circles to this day (and sometimes, people still disapprove).
Public nuisance, party, or Sedition? In 1652, England was a republic, following the execution of Charles I. The Commonwealth kept a close eye on signs of dissent, looking for evidence of Royalist insurgency: traditional sports and pastimes were suspect. Ales, Morris and other customs had been the target of religious reformers since before the Civil War. The opposition from these authorities meant that Morris and other customs now symbolised the old order prior to the Civil War, when license and liberty were, supposedly, more freely allowed; as such, Morris dancing and the open drinking of ale was as much an open challenge to the authorities as the bearing of arms. Although the weapons offered a challenge to the authorities, the Morris spoke of tradition, culture, custom and a perceived stability before the upheavals of the 1640s. The new rulers of England were right to view the emotional power of such demonstrations with suspicion.
While the Morris at Pewsey may not be as famous as folksinger Pete Seeger, who was blacklisted by McCarthy in Cold War America, or Victor Jara, the Chilean musician executed during the 1973 coup, the Wiltshire boys used their folk art and their rootedness in the traditions of their place to show dissent toward the Authorities. Were the ringleaders seeking to incite rebellion, or just standing up for traditional fun? No doubt motives were mixed and shifting, including a mass of local and national grievances, as well as people being there for the fun, the beer and the free entertainment. What also seems remarkably modern was the casting of The Commonwealth as an alien, faceless Authority that stopped fun and meddled in the lives of “ordinary folk” (“Bonkers Conkers” anyone?).
However, as our next story shows, the dancers in Pewsey were evoking an idealised past in an “imagined village” …1
With the final of this year’s Strictly Come Dancing approaching, it seemed a good chance to explore the history of dancing in Wiltshire and the archival documents and historic photographs we have in our collections… there are some gems!
The English country dance was an ordinary, everyday dance, danced for pleasure, without ceremony and relatively easy to learn. Many people are familiar with country dancing from their school days, and it was an integral part of the social life of many English villages for several centuries.
Dancing often formed the focus of a community festival or celebration. A spring time festival known as ‘clipping the church’ involved parishioners assembling in the church yard, holding hands and enclosing the church before performing a short dance. This was sometimes performed by school children, including in Warminster, Trowbridge and in Bradford-in-Avon, where the Shrove Tuesday tradition continued until the mid-19th century.
Morris dancing was more ceremonial, spectacular and only performed by men. The first reference to Morris dancing dates back to 15th century, and by the end of the 16th century it had become particularly associated with May Day and village fairs and fetes.
Although Morris Dancing declined during the 19th century, this 1856 broadside advertising ‘Celebration of Peace’ in Salisbury, celebrating the end of the Crimean War included ‘Morrice Dancers’ as part of the procession.