Gipsy
Having decided that a draw Poussette is a twentieth century invention, I'm wondering the same about a gipsy (or gypsy).
I'm no expert on Morris, but I believe the Morris Book was originally published in 1907 and The Country Dance Book Part 2 (Cecil Sharp's first publication of Playford dances) in 1911. If he'd known about the three Playford introductions in 1907, maybe he would have referred to the first Morris introduction as “Up a double and back” rather than “Foot up”, which suggests to me that the Morris terms were those used by the dancers themselves rather than invented by Sharp. Certainly the tradition has come down to us that the leader calls out the name of the next figure just before it is executed, and if Sharp recorded this from watching and listening, it means that the terms were those used by the dancers themselves. And Derek Schofield has pointed out that in Sharp's handwritten notes here and here he uses the word “gipsies” which again suggests this is the term the dancers used.
I don't believe Sharp ever uses the word in his Country Dance books. He describes “Whole-gip facing centre” and “Whole-gip facing outward”, and in his interpretation of “Hey, Boys, Up go we” he uses these two terms. He repeats these descriptions in the other three volumes which refer to Playford's dances, but the only other dances in these four books which I know use the figure are “Lord of Carnarvon's Jig” and “Saint Martin”, though there may be others I don't know. He might have used it in the second figure of “Chelsea Reach”, but he didn't.
If we look at the original instructions for “Cuckolds all a Row” (the original title of “Hey, Boys, Up Go We” since presumably the word “cuckolds” was too risqué for him to use) we see the move described as “Turn back to back with the Co. We. Faces again, go about the Co. We. not turning your Faces” and then the same with your partner. In “Lord Carnarvon's Jig” the original instructions say “Each man and wo. go about each other, not turning your faces. That again:”. These could just as easily be a back-to-back, but Sharp's interpretation has whole gip facing outward, first clockwise and then counter-clockwise — I don't see any justification for facing outward. See also Mike Barraclough's interpretation of “Cuckolds all a Row” which does indeed use a gypsy for the second half of each move but points out that the first half is something quite different.
The original instructions for “Saint Martin's” describe the move as “men cross about each other, and fall back to your first places, We. doing the like not turn your faces”. Sharp does what we would now call pot-hooks, but he has changed the first figure (by turning 1½ at two points) so that everyone is back home whereas I believe the second and third figures start with the couples in opposite places — that's why Playford says “to your first places” when they do get home. And that means it's a “Hole in the Wall” cross, which you could describe as a half gipsy though I wouldn't — they are crossing over but looking at each other rather than just walking past.
I know one other dance (not interpreted by Sharp) which uses the same words — “The Spanish Jeepsie” (called “The Spanish Gypsie” in some later editions of The Dancing Master) — so maybe that's where the name came from. The original instructions (the version below is from the first edition) say:
Lead up forwards and back . That again : turn all back to back, faces again, go all about your We. not turning your faces. That again the tother way . First and last Cu meet a D. back again, turn all back to back, faces again, go about each other not turning your faces, the other way as much : The other four as much ·:
Sides all . That again : turn back to back, faces again, go about your own as before . First and last Cu. meet and go back, turn back to back, faces again, Take hands and go round, back again : Then the other four as much ·:
Armes all . That again : turn all back to back, faces again, go about your own as before . First and last Cu meet, back again, turn back to back, faces again, right hands a crosse and goe round, then left round : The other four as much ·:
See here an interpretation of the dance (I'm not saying I agree with it) and much background material.
The question is, what does “go about each other, not turning your faces” mean? If Playford meant “do a back-to-back” he would surely have said “back to back”, as he and his successors did in Country Courtship, The Merry Milkmaids in Green, A Trip o'er Tweed, Camberwell, Childgrove, Dick's Maggot, Indian Queen and many other dances. Does it mean “not turning your faces away from each other”? Then that sounds like a gipsy, with eye contact.
So this figure which has been used in many modern “English” dances and imported so enthusiastically into modern contra may or may not be what Playford was describing. As to why the Morris dancers called it “Half-gip” or “Whole gip”, I don't know, but the word “gypsy” seems to be a much more modern invention based on this.
Controversy
In 2015 there was much discussion of the word “gypsy” on the Callers' List after a dancer had objected strongly to the word. Jacob Bloom said:I'll go out on a limb and make some historical pronouncements which cannot be proven, but which seem most probable to me:The dance title The Spanish Gypsy came from the dance being done to a tune associated with the play The Spanish Gypsy.
The dance figure Gypsy got its name from the prevalence of the figure in the dance The Spanish Gypsy.
The Morris dance figures whole-gyp and half-gyp were originally called whole-gypsy and half-gypsy. (Although parts of England had an ancient tradition of seasonal dancing under the name Morris Dance, it seems likely, from the nature of the dances, that the form of the Cotswold dance traditions collected by Cecil Sharp only went back to the Elizabethan period.)
I offer the above hypotheses to counter the claim that the dance term “gypsy” was based on an ethnic stereotype. Of course, even if I'm right about these hypotheses, they have nothing to do with the fact that the term “gypsy” offends some people, which we want to avoid.
Jeff Kaufman also posted a link to his page History of the term “Gypsy”.
Then I heard from Paul Cooper, a researcher into social dancing of the Regency era from Winchester in the south of England. He writes:
I thought I'd write as I know of a Country Dance published in late 1811 that featured a figure called 'Gipsy', albeit with a different interpretation from that used today. It appears in the dance “Clasemont or Miss Caroline Morris”, in W. Burton Hart's “Annual Cambrian Trifles or South Wales Polite Repository of Country Dances for 1812”. Hart lived in Swansea at the time, so his figures may have had a local Welsh influence. The collection was written in English and published in London in late 1811; a Welsh edition/translation was published in the mid 1990s. I've been able to study the original publication at the British Library.Paul has animated an interpretation of the dance at regencydances.org?wL=985 — but what does Hart mean by “pass your Partner back to back”? Does he mean “do a back-to-back”? Or does he mean what we now call a gipsy? The mystery continues.Hart's figures include “The 1st couple cross over one couple and Gipsy”. Hart provided an explanatory footnote: “To gipsy is, after crossing over 1 Cu. to pass your Partner back to back & cast up again turning your Partner with both hands to your own side. N.B. This is a fashionable and pretty Figure.”
In 2017 John Sweeney published a much bigger and clearly well-researched page at contrafusion.co.uk/Gypsy.html
CDSS not tells people not to use the word Gypsy because it is (or is perceived as) a racial slur. After trying out several possiblilties, callers in North America settled on “Right shoulder round”, and this has drifted into England for some young callers. And yet Gypsy is not a dirty word in England — the “Friends, Families and Travellers” website is called gypsy-traveller.org and on page gypsy-traveller.
In June 2025 the controversy was reopened when Gene Murrow wrote to the ECD List:
Last Sunday I attended a performance of the much-admired Brahms G minor Piano Quartet, which I love and have heard a gazillion times. It's beautiful and stunning; it you don't know it, find a performance on YouTube.The last movement is marked “Rondo alla Zingarese: Presto”. If you Google “alla zingarese”, you get:
“Alla zingarese” is a musical term, often used as a subtitle or descriptive term, meaning “in the Gypsy style” or “in the Romani style.” It signifies a musical style characterized by lively, rhythmic, and emotionally expressive music, often influenced by the musical traditions of Romani communities. This style is frequently found in classical compositions, particularly in the 19th century, and is used to evoke the energetic and vibrant spirit of Romani music.
So composers used the concept “to evoke the energetic and vibrant spirit of Romani music”. They're paying tribute and celebrating Romani culture in a wholly respectful way; it's not cultural appropriation or parody. Brahms was a keen and thoughtful student of Gypsy music (and many other genres as well, which most listeners probably wouldn't know about… don't get me started).
Anyway, I see our use of the term “gypsy” as a term of art in the context of our ECD genre of dance in a similarly respectful manner. My two Romani friends in the ECD and early music communities happen to agree (I know, a small sample, but a thoughtful and relevant one). So what's the problem?
Gene
This unleashed a whole storm of messages, some agreeing, some disagreeing, one pointing out that “you will always be able to find a few people who are offended by anything”.
Later Gene wrote,
Many good points made on this topic, which of course will never resolve to everyone's satisfaction…But here are three reasons why keeping the “gypsy” terminology is GOOD for the community:
1. It's the historical/traditional term. One reason we do what we do is to preserve the rich legacy and traditions of our and others' cultures. And, unlike the n-word or analogous slights to the ethnicity of Jews, Chinese, etc., which are universally disliked, it is not inherently offensive. As many have noted, many Romani are fine with its use.
2. “Gypsy right” is a short efficient phrase, which makes it more desirable for prompting than the wordy “ right shoulder around”. All callers know that this matters. [BTW, I use both when calling for a mixed crowd, many of whom may not have heard the term gypsy before]
3. It acknowledges a cultural group that has contributed so much to our culture, in music, dance, stories, and other cultural lore. So many marginalized groups complain about not being “seen” and about being “erased”. Here we have a chance to innocently acknowledge one of those groups, and celebrate what they have contributed to us.
Gene
This didn't go down well with everybody, and the discussion continued. To my mind the most significant posts were from Katy German (Director of the Country Dance and Song Society) and Julian Blechner.
Katy said,
To chime in or not to chime in…that is the question. I think I'll share a little bit about my journey.When I first heard about replacing the word “gypsy,” probably a decade or so ago, I was very resistant. You might even say I was strongly opposed. I'd personally only ever associated positive things with the word (color, art, freedom, adventure, music). It's a lyric in many of my beloved ballads and songs. Plus, it's a one-word instruction and I like those (efficiency at the mic!). It just seemed wholly unnecessary to me. Granted, I knew almost nothing about actual Romani culture at that time.
But as more people were discussing it — as people I respected stopped using it — I got curious. I listened, I read, I engaged in respectful debates, I listened more, and my perspective began to change. Finally, I asked myself some questions:
- Do I have any real personal attachment to the term? — No
- Will I personally lose anything by choosing and alternative? — No
- Does the term actually describe in any way the movement dancers are doing? — No
- Am I capable of using multi-word instructions for other moves? — Yes, quite
- Am I capable of changing habits? — Absolutely
- Is there a consensus among the community in question about using the term? — No
- Do I need consensus from an entire group before I decide to stop using a term? — No
- Have I successfully removed problematic terms from my vocabulary before? — Yes, many times
This term, this one word is just not an essential component of the traditions we love. It's not. Ask 50 people to name the 5 essential things that make English Country Dancing what it is, and I guarantee you that none will say “the term gypsy.” Terms come and go. Language changes. Words change. They always have and always will. And stewarding these traditions we love, preserving what is good about them, is not going to be achieved through loyalty to one single word. Stewardship is about conveying style, form, connection to music, understanding how the figures and forms have changed and evolved, providing context and history while leaving space for creativity and innovation. It's about creating joy (yes, I actually believe in that word), helping more people discover the beauty of good dancing, being patient with the beginners because we know about the transcendent flow that is possible, and committing to making sure it's possible for generations ahead. That is what I think we all need to be about. That is what is needed now because that is what is going to make the younger folks want to take your hand, join your set, be in your dance hall.
See you on the dance floor,
Katy
Julian said,
I see the “I know one person who said …” is continuing with disregard for noting how international groups of Romani have asked to stop using the term.So, here we go, lots and lots of resources that I invite people to consider. I have more on hand, but these are all just about the use of the word itself.
From: the President of Voice of Roma, the international recognized advocacy group:
Using the word “Gypsy” is not only inaccurate but perpetuates the continuation of stereotypes that portray Roma as beggars, swindlers, and thieves; thus the phrase: “I've been gypped”.
voiceofroma.com/culture/gyp_vs_rom.html#:~:text=Rom means a human being,that Roma originated in Egypt An archived article about non-Romani people not using the term, with tons of linked resources, written in response to the Netflix show “Gypsy”:
web.archive.org/web/20220628153624/ https://www.bitchmedia.org/ article/gypsy-slur-netlflix “The Word Gypsy Is Not For You” — written for the (American) National Organization of Women by a Romani woman, with tons of embedded resource links:
now.org/blog/the-g-word-isnt-for-you- how-gypsy-erases-romani-women Links to papers in multiple languages specifically against “antigypsism”, including how “positive stereotypes” are also harmful:
antigypsyism.eu/reference-paper (Yes, “gypsy” is used in “antigypsyism”, but only in the context of centering the word with discrimination.)
People with the ethnic heritage who use the term 'gypsy' for themselves, on why it's not for others to use the term for themselves / why their ethnicity is not a costume:
On the vast appropriation for business:
gypsyindustry.wordpress.comNew Zealand group — identifies as 'Romany Gypsies' and clearly asks people to stop self-identifying as 'g*psy':
stuff.co.nz/national/119760414/stop-stealing-our-culture- romany-gypsy-community-says So, I mean, y'all can do what you want, but, at the end of the day, we have the resources to educate ourselves, and, as stated by others — young people are less and less interested in hearing excuses to this sort of matter. They are the future of folk dance. If for nothing but pragmatic reasons, it's wise to hear them and move forward with our living traditions.
In dance,
Julian Blechner
he/him
Western Massachusetts, USA
And after this, Gene said,
As the author of the original post on this thread (one which could go on forever), I thought I might bring some closure and useful conclusions to it.I have decided to drop the use of the word “gypsy”. Katy's compelling “Q&A” post showed us the way to resolve the conflicts within ourselves, and Julian's thorough documentation gave us the hard evidence (against much speculation) about the harm the word may cause. Alan's and others made good points in that direction as well.
But is is not without some regret that I make this decision. It seems so much of ECD “culture” has been bleached of color and variety. We've lost the whimsical names of two pavilions at Pinewoods acknowledging the man [Cecil Sharp] who, for whatever faults he might have had, revived the English country dance for us to enjoy. The great majority of dancers, of all ages, who identify as male and female find ourselves referred to as birds, or architectural objects (“dancers on the window side…”), or as Rs and Ls. Heck, I used to enjoy progressing down a longways set and catching a whiff of the various perfumes and colognes people used before scent-free events became the norm (for good reason to be sure). Or admiring the cut and swirl of the skirts the women were required to wear in those days, in contrast to the trousers and fine shirts the men wore. So it goes. As a caller of a few decades' experience, I think “shoulder round” is the best replacement. The other words are certainly interesting, but they seem odd to me and not helpful. Many of us have already been using “right shoulder around” anyway, to amplify the simple one-word “gypsy”, so it's not a big deal.
And now I'm about to call a weekend in Lichfield, England. I'll probably make a slow transition, using “gypsy” here and there, or “shoulder around” elsewhere. We'll see what the Brits think.
Thanks to EVERYONE who contributed so much to this discussion. Aren't we a creative and engaged community!
Best wishes,
Gene Murrow, New York
