 and a perceived lack of identity in its folk music, the English Midlands attracted relatively little interest in the early revivals. However, in more recent years a distinct cultural heritage has been recognised including unique folk traditions and songs, many associated with the regions industrial connections. It has also produced a number of important performers and some particular local instruments, such as the Lincolnshire bagpipes, however the last player, John Hunsley, died in the 19th century and no actual examples of the pipes have survived. From the 19th century the instruments used appear to have been much like those in other regions, with fiddles, accordions and eventually silver and brass. Although, some traditions, like Molly dance died out in the 1930s, the Midlands retained strong traditions of both ceremonial and social dance, particularly in the south Midlands and Cotswolds and in the distinctive Border Morris from Herefordshire, Worcestershire and Shropshire. The region also furnished some important material for folk songs, including a claim by Nottinghamshire for one of the most popular series of ballads, that of Robin Hood, while local places appear in songs such as ‘The Leicester Chambermaid’ and ‘Oxford’ or ‘Worcester City’. Folk song collecting in the first revival was much less comprehensive than for many other regions. In the 1860s Llewellynn Jewitt, collected songs from Derbyshire, and some songs were printed by Georgina F. Jackson in her study of Shropshire folk lore. Cecil Sharp's interest in the region was largely confined to the south, particularly the Cotswold morris villages of Oxfordshire and Warwickshire, which provided him with an archetype of English ceremonial dance. From 1905 Percy Grainger was actively collecting in Lincolnshire, acquiring recordings of songs that would provide the basis for his Lincolnshire Posy (1937). It was not until the early 1970s that the broader heritage of the region, including the many industrial and work songs associated with mining or The Potteries, began to gain serious attention. Despite this neglect there was an active folk scene in the region, which produced several key artists of the second revival from the 1960s, including Anne Briggs from Nottinghamshire, The Settlers from the West Midlands and from Birmingham one of the most influential groups of the period, the Ian Campbell Folk Group, which numbered among its members later British folk rock musicians Dave Swarbrick and Dave Pegg. Slightly later a number of folk groups came
and a perceived lack of identity in its folk music, the English Midlands attracted relatively little sake in the early revival. However, in more recent years a distinct cultural inheritance has been recognised including singular family traditions and songs, many associated with the regions industrial connection. It has also produced a number of important performers and some particular local instrument, such as the Lincolnshire bagpipes, however the last player, John Hunsley, fail in the 19th century and no actual examples of the pipes have survive. From the 19th century the instruments used appear to have been a lot like those in other regions, with fiddles, accordions and eventually silver and brass section. Although, some traditions, like Molly dance died out in the 1930s, the Midlands retained strong traditions of both ceremonial and social dance, particularly in the south Midlands and Cotswolds and in the distinctive Border Morris from Herefordshire, Worcestershire and Shropshire. The area besides furnished some important material for folk music songs, including a claim by Nottinghamshire for one of the about popular serial of ballads, that of Robin Hood, while local places appear in sung such as ‘ The Leicester Chambermaid ’ and ‘ Oxford ’ or ‘ Worcester City ’. Folk song collecting in the first revival was much less comprehensive than for many early regions. In the 1860s Llewellynn Jewitt, collected songs from Derbyshire, and some songs were printed by Georgina F. Jackson in her study of Shropshire folk lore. Cecil Sharp's sake in the region was largely confined to the south, particularly the Cotswold morris villages of Oxfordshire and Warwickshire, which provide him with an archetype of English ceremonial dance. From 1905 Percy Grainger was actively collecting in Lincolnshire, grow recordings of songs that would provide the basis for his Lincolnshire Posy (1937). It was not until the early seventies that the broader heritage of the region, including the many industrial and work song associated with mining or The Potteries, begin to gain dangerous attention. Despite this negligence there was an active folk scene in the region, which produced respective key artists of the second revival from the 1960s, include Anne Briggs from Nottinghamshire, The Settlers from the West Midlands and from Birmingham one of the most influential groups of the period, the Ian Campbell Folk Group, which numbered among its members subsequently British folk rock musicians Dave Swarbrick and Dave Pegg. slenderly later a number of folk groups came
 anf a perceived lack of idtntity in its folk music, the Ehglish Mkdlands attracted relatively luttle interest in the early revivals. However, in nire recent years a distihgt cunvural heritage mas been rewognised inclugivg unique folk traditions and songs, mwny asspclated with the regpogs ihdustrial connections. It has also lroducev a number of ikportant performers and sole pwrticular local indtruments, sodh ww the Lincolvshire bagki'es, however the last player, John Hunsley, dked iu the 19th cebtyry dnd no actuel exaiples of the pipes hdve surfived. From the 19th cebtury the instruments used appear to hade been mgck like those in other rwgionv, widh fkedlds, zcrorsions wnd eventuallg silver ane brass. Although, soke ntaditions, liie Moljy dance died out in the 1930s, the Midlands rttainsd strong traditions of both ceremonial and docial dagce, particularly in the south Midlands and Cotswonds aid in tme dkwtlnctive Border Morris from Herefordshire, Worcqattrsmire and Shropshlre. The region alsp vutgished some ioportauf jaterial for folk dongs, igcludung a claym bu Nottinghamshire for one od the most pjpular series of baplads, that uf Rpbin Nood, while local places appsar in songd such as ‘Ghe Leicester Chxmbvrmahd’ and ‘Oxford’ or ‘Worcester City’. Folj soug colleztinb in tre first rfvival was much less comoreheusive than for lany other regions. In the 1860s Llexxllynn Jewitt, cmllvcted sonys frok Derbyshire, wnd some songs were pxinted by Georgiha F. Jarkson in her study of Shrmkshire folk lmre. Cecij Shqrp's intererg in the regiom was larytly confinwd to the south, pavticuuzrly the Cotswood norris villages of Oxsogdsiire wtd Warwickshhre, dhizn proxided him wlth an srchetype of English cersmonial dance. From 1905 Iercy Graunger waf actively coklecting in Lincoljshirx, acqumring tecjrdings of songs that would prkvide the bafis for his Jincilnshire Posv (1937). It was not until the early 1970s that the broader heritage if the region, inclubikg the many mndustwial and fork songs associatee with mining or Uhe Potteries, began to fain sarioud attention. Despite this neglect there was an active folk scene in the retion, wiish produced sevrral nev axtists jf tie second revival grom the 1960s, including Anne Briggr from Nmtcinghamshire, The Settlers frok ghe West Midlxnds and from Birmingham one of yhe most influential groups of yhe period, the Ian Campbcll Folk Troup, which numuered among its membrrs lacer Brutish filk vock musicians Dafe Swarbricn anv Dcve Pegg. Slightly later a number if folj hroups came
and a perceived lack of identity in music, English Midlands relatively little interest in recent years a cultural heritage has recognised including unique folk traditions and many associated with the regions industrial connections. It has also produced a number important performers and some particular local instruments, such as the Lincolnshire bagpipes, however last John died the 19th century and no actual examples of the pipes have survived. From the 19th century instruments used appear to have been much like in other regions, with accordions and eventually silver and Although, traditions, like dance out the 1930s, the retained strong traditions of both ceremonial and social dance, particularly in the south Midlands and Cotswolds and the distinctive from Herefordshire, and The also furnished some for folk songs, including a claim one of the most popular series of ballads, of Robin while local places appear in songs as ‘The Leicester Chambermaid’ and ‘Oxford’ or ‘Worcester Folk song collecting in the first revival was much less comprehensive than for many other the 1860s Llewellynn Jewitt, songs from Derbyshire, some were by F. Jackson her study of Shropshire folk lore. Cecil Sharp's interest in the was largely confined to the south, particularly the Cotswold morris Oxfordshire Warwickshire, which provided with an archetype of ceremonial From 1905 Percy Grainger collecting Lincolnshire, songs would the basis for his Posy (1937). It was not the early 1970s that region, including the many industrial and work songs with mining or The Potteries, began to serious attention. Despite this neglect there was an active folk scene in region, which key artists of the second revival from the including Anne Briggs from The Settlers from the West Midlands and from Birmingham of most influential of the period, Ian Campbell Folk which numbered among later British rock Dave Pegg. Slightly later a number of groups
 and a perceived lack of identiTy in its folK musiC, thE EnGlIsh MIdlaNds attracted reLAtivEly little interest in the Early ReVIvalS. hoWever, In more rECeNT YeaRs A dIstInCT cUlturAl hEritage Has been recOgnIsEd including uNIqUe folk tradItiOns and songs, mAny AssociAtEd wITh the RegIons iNdustrIAl connEctions. It HaS Also prODuced a nUMBeR of iMportant performerS AnD Some particular Local iNsTRuMENts, SucH as the LincOlNshirE BagpipeS, HoWEVEr tHE last player, JoHn Hunsley, diED in The 19th cEnTurY And no aCtual ExAMplEs of the pipeS havE survived. from thE 19Th centuRY the insTrumenTs uSed AppeAR tO hAve BeEN muCH lIke THosE in other ReGiOns, wiTh fiDDLES, accOrdIons And evEntually silveR anD braSS. AlThougH, some TradItIons, lIke MolLy danCe Died out in the 1930s, thE MidLands retaIneD sTroNg TradiTIons of BotH ceRemoniaL and socIAl dAnCE, PArTicularly in the soutH MIDLaNds and CoTswoldS AnD iN The distiNcTivE BorDER MorrIs frOM HErefordsHire, WoRCeStErshire AnD ShropShIre. the RegioN Also FurnisHed some iMportANt material for fOLk songs, includINg A CLaIM by NOttInghamshire For oNE of tHe moST pOpuLAr serIes of BaLLaDS, that of Robin Hood, whiLe Local pLaces Appear in songs Such as ‘The LEICEster ChaMberMAiD’ And ‘Oxford’ or ‘WorCesteR City’. Folk sONg collecTing iN the firsT revival wAS Much less ComPreHenSivE THaN for many other REGionS. IN the 1860s LlEweLlynn JeWitT, coLleCteD sOngs from DErbyshirE, aNd SoMe SonGs werE Printed bY GEorGiNa F. jacksON in her Study Of ShRoPsHIre Folk lorE. ceCIL ShaRp'S iNterEst In The reGion WAs lArgely cOnfined to The SOuth, PaRtIcularlY the Cotswold mOrRis villageS oF OxFordshIRE and WarwIckshire, which provided hiM With an aRchEtype Of EnGlish cereMonIal danCe. FROm 1905 PercY GrainGer waS aCtiVELy colLECtIng In lincolnshiRE, AcqUirinG rEcorDings of Songs that would provIDe tHe basis for his linColnSHIrE PoSY (1937). IT Was NoT UntIL The early 1970s that thE broader heRiTAgE of the regiON, inClUding thE many inDustrIAl and woRk songs asSociated wItH minING or the PotteriEs, began tO gain seriOUs attENtIon. DeSpiTe this NeGleCt theRe was aN ActIve foLk scenE iN the reGion, wHiCh producEd several key artists of thE seconD reviVal From the 1960s, iNclUDinG Anne BrigGs frOm NottinghAmsHirE, The SEttLErs frOm thE weSt MIDlandS and FRom BirminGHaM onE OF tHe most influENTIal GroupS of THe periOd, thE Ian Campbell Folk GROup, which numberEd amONG itS meMBers LaTer British folk RocK mUSIcians DaVe swarbrick anD Dave PegG. SLIghtlY later A numbeR of folk GROuPS came
 and a perceived lack of i dentity in  itsfol k m us ic,theEnglish Midlan d s at tracted relatively lit tle i nt e rest in  theearly r e vi v a ls.  H ow eve r, in  more  re cent ye ars a dist inc tcultural her i ta ge has bee n r ecognised in clu ding u ni que folktra ditio ns and songs,  many ass oc i ated w i th ther e gi onsindustrial connec t io n s. It has also  produ ce d  a n umb erof importa nt  perf o rmers a n ds o m e p a rticular loca l instrumen t s,such a sthe Lincol nshir eb agp ipes, howev er t he last p layer, John Hu n sley, d ied in  th e 1 9thc en tu ryan d  no ac tua l  ex amples o fth e pip es h a v e surv ive d. F rom t he 19th centu rythei nst rumen ts us ed a pp ear t o have  been  m uch like thosein o ther regi ons ,wit hfiddl e s, acc ord ion s and e ventual l y s il v e r  a nd brass. Although ,s o me  traditi ons, l i ke  M o lly danc edie d ou t in th e 19 3 0s , the Mi dlands re ta ined st ro ng tra di tio nsof bo t h ce remoni al and s ocial dance, particu l arly in the s o ut h Mi d land s a nd Cotswold s an d  inthed is tin c tiveBorde rM or r is from Herefordshi re , Worc ester shire and Shr opshire. T h e region a lsof ur n ished some imp ortan t material for folk  song s, inclu ding a cl a i m by Not tin gha msh ire f or  one of the m o s t po pu lar ser ies  of bal lad s,tha t o fRobin Hoo d, while  l oc al  p lac es ap p ear in s on gssu chas ‘T h e Leic ester  Cha mb er m aid ’ and ‘ O xf o r d’ o r‘W orce ste rCity’ . Fo l k s ong col lecting i n t h e fi rs trevival  was much les scomprehens iv e t han fo r many oth er regions. In the 1860 s  Llewel lyn n Jew itt,  collecte d s ongs f rom Derbys hire,and s om e s o n gs we r e  p rin te d by Georg i n a F . Jac ks on i n her s tudy of Shropshire fol k lore. Cecil  Sh arp' s in ter e st inth e  re g i on was largelyconfined t ot he  south, pa r tic ul arly th e Cotsw old m o rris vi llages of  Oxfordsh ir e an d War wickshire,  which p rovided h i m wit h  a n arc het ype of  E ngl ish c eremon i aldance . From  1 905 Pe rcy G ra inger wa s actively collecting i n Linc olnsh ire , acquiri ngr eco rdings of  son gs that wo uld  pr ovide  th e  basi s fo r  h isL incol nshi r e Posy (1 9 37 ).I t  w as not unti l t heearly  19 7 0s tha t th e broader heritag e  of the region , in c l udi ngt he m an y industrial a ndwo r k  songs a ss ociated wit h mining  o r  ThePotter ies, b egan to g ai n  serio us a tte ntion. De spi te this ne gl ec t  there  was  a n acti ve fol k  sce n e  in the region,which p roduc e d s evera lkey art i stsof the sec ond revival  fromthe1960s , inclu di ng Ann e B ri ggs from N o ttinghams hire,  The Se tt lers  fr om the  Wes t Midla ndsan d f rom Birmi n g ha m  o ne ofthemostin flue ntial gro u ps of th e p e riod, t he  Ia n Campbe l lF o lk Group,whi ch nu m b ered among itsm em b ers l ater B ritish  folk r o ckmu sicians  Da v e  Swarbric k and Dav e  Pe gg . Sl ightly l at er a  n umb er  of folk groups  came
 and_a perceived_lack of identity in_its folk_music,_the English_Midlands_attracted relatively little_interest in the_early revivals. However, in_more recent years_a_distinct cultural heritage has been recognised including unique folk traditions and songs, many associated_with_the regions_industrial_connections._It has also produced a_number of important performers and_some particular_local instruments, such as the Lincolnshire bagpipes, however_the_last player, John_Hunsley, died in the 19th century and no actual_examples of the pipes have survived._From the 19th_century_the_instruments used appear to_have been much like those in_other regions, with fiddles, accordions and_eventually silver and brass. Although, some traditions,_like Molly dance died out in_the 1930s, the Midlands retained_strong traditions_of both ceremonial and social_dance, particularly in_the south_Midlands and Cotswolds_and in the distinctive Border Morris_from Herefordshire, Worcestershire_and Shropshire. The region also furnished_some_important material for_folk_songs,_including a_claim by Nottinghamshire_for_one of_the_most popular series of ballads, that_of_Robin Hood, while local places appear in_songs such as ‘The_Leicester_Chambermaid’ and ‘Oxford’ or_‘Worcester City’. Folk song collecting_in the first revival was much_less comprehensive_than for_many other regions. In the 1860s Llewellynn Jewitt, collected songs from_Derbyshire, and some songs were printed_by Georgina F. Jackson_in her_study_of Shropshire folk_lore._Cecil Sharp's_interest in the region was largely confined_to the_south, particularly the Cotswold morris villages_of Oxfordshire and Warwickshire,_which_provided him with an archetype of_English ceremonial dance. From 1905 Percy_Grainger was actively collecting in_Lincolnshire,_acquiring_recordings of songs that would_provide the basis for his Lincolnshire_Posy (1937). It_was not until the early 1970s that_the_broader heritage of the region, including_the_many industrial and work songs associated_with_mining_or The Potteries, began to_gain serious attention. Despite this neglect_there was an active folk scene in the region,_which produced several_key artists of the second_revival_from_the 1960s, including Anne Briggs from Nottinghamshire, The Settlers from_the West_Midlands and from_Birmingham one of the most influential groups of the period,_the Ian Campbell Folk Group, which numbered_among its members later British folk rock musicians Dave Swarbrick and_Dave Pegg. Slightly later a number of folk_groups came