Wednesday, April 29, 2015

I Am Sending My Mom Flours Ask The Basic It's A Clam For A Pearls Sake ~ Shropshire Pie Memories Served

Gallop the thunder a Swatch to the Tree is a Fantastic clock on the Medal of guide,
to be thought often to have the skipping stones in the joy of the rivers stop,
the best of the days on My Grandfathers teach to the greatest of Memory in made,
a birch foundation by the porch of the garden that Tomato supply,
cucumbers for the summer of my grandest remind that My Grandmother was a ticket to spied,
the Hunt is On as Papa enveloped the Song owe for My Mother and the leap to the Hops.

The laughter I here is the Trips to KFC on the banks of A&W fountain Cokes that ice Creamery of lots,
to be of the Oak as a reason to sweep the drive Ways measure its the Blackberries heat,
to the field for the collection as to the kitchen of learn,
the Canning on pickles and breeze,
these are the Wonders that cycle My Continue to be From on the Love of the cools of the brass,
so polished in their delivery I math the day to the best count on this gift of believe,
a Chorus of a Choir that I sing to the delivery as I envelope the Sound,
a complete to the charge of a conductor on the Half Century charters,
the Congratulations often tend to Sign the flowers yet Today I send the ribbon to spoke.

Thanks to My Mother for while the Quest has been It is the daisy on the Ivory of sheets Musical,
to turn the Page as My Mother played so Naturally to the balance,
as I rode The Chapters of the Horse to a Compass she Trumpeted the Blast as a Sunshines star!!

Beauty on the letter to Creative Design an Ever lasting rein in the seat of a Twilights eye,
as that is the grace on the dinner to the laughter of romance In the Midst of it All its the dance,
a waltz on the foundation of the strength that listed A Way to provide this brave as a Photo graph to grip,
the stitch that perfects the Father I know My Mother loved and the Winter chills that may have been,
I simply say that My Grandmother was a treat to Know the value of the Song,
an Island of aim to Ankle the answer as the Plausible to value that Incredible line of lathe.

It truly has been My Enjoy meant to bring the Faces a smile not dodge the reality of brae,
but for the Mule a donkey on the As Tech sents to an Opera of a life that Symphony powers,
the Folks that drove to cuddle the hurt And the dear as even The Uncles would rib to sped,
the Atlas of a map on the Decor of My Mother oh for the Said it is the reality of a bring,
nothing is Old that still birthed a dream to the great fortune of hugging life itself for Sublime!!

A Hell of Ride butter on the Storms the Waters of living to the Stream as the Creek wades a Mountain,
from the ladder of the stare I constant the treasures of the Learn and the pull,
as the addition to the embrace I speak you a delight on the Hug,
it's a May Pole that dances A Start to dutch the formal rank a grade,

Maypole dance

Maypole dance,  ceremonial folk dance performed around a tall pole garlanded with greenery or flowers and often hung with ribbons that are woven into complex patterns by the dancers. Such dances are survivals of ancient dances around a living tree as part of spring rites to ensure fertility. Typically performed on May Day (May 1), they also occur at midsummer in Scandinavia and at other festivals elsewhere. They are widely distributed through Europe—e.g., “Sellenger’s Round” in England, the baile del cordón of Spain—and also are found in India. Similar ribbon dances were performed in pre-Columbian Latin America and were later integrated into ritual dances of Hispanic origin. Maypoles may also appear in other ritual dances, as in the Basque ezpata dantza, or sword dance.

Sword dance,  folk dance by men, with swords or swordlike objects, displaying themes such as human and animal sacrifice for fertility, battle mime, and defense against evil spirits. There are several types. In linked-sword, or hilt-and-point, dances, each performer holds the hilt of his own sword and the point of that of the dancer behind him, the group forming intricate, usually circular, patterns. Combat dances for one or more performers emphasize battle mime and originally served as military training. Crossed-sword dances are performed over two swords or a sword and scabbard crossed on the ground. Finally, guerrilla dances in circular formation are often performed with swords.
Hilt-and-point dances are widely distributed through Europe—e.g., in northernEngland, Basque territory, and Spain. They are often performed as part of a folk play. The plays are closely related to the English mummers plays and parallel the Greek folk play in Thrace. In the dance the swords are interlocked at one point, forming a “rose,” or “lock,” that is held aloft and placed around the neck of a performer in mock decapitation. Often the “beheaded” falls “dead,” to be revived by a “doctor,” a fool, a man-woman, or other subsidiary character. The roots of these dances are in ancient vegetation rites of death and renewal, possibly in sacrifice of a leader to ensure fertility. Even today they are believed to bring luck or well-being.
Dances of stylized battle mime survive in modern Turkey (some with rifles replacing swords), in the dirk dance of Scottish Canada, in Borneo, and elsewhere. The pyrrhic dance of ancient Greece served as an exercise of military training until late antiquity, when it degenerated into popular professional entertainment. Thehassapikos, or butchers’ dance, of Turkey and ancient and modern Greece—now a communal social dance—was in the Middle Ages a battle mime with swords performed by the butchers’ guild, which adopted it from the military.
Crossed-sword dances are common in Europe (e.g., Scotland, the Balkans) and also appear in India, Borneo, and other areas. Characteristically, one or more dancers execute precise, complicated steps over and between the swords. The famed Scottish solo dance Gillie Callum, which is danced to a folk melody of the same name, is first mentioned only in the early 19th century. In its close relative, the English solo Bacca pipes jig, crossed clay pipes replace the swords. There are evidences that such dances formerly included swordplay. In the Scottish Argyllbroadsword dance, the four performers flourish their swords before laying them on the ground, points touching, to form a cross. Possible ancient ritual meaning is suggested by the frequent belief that if a sword is touched, even lightly, the dance must be stopped.
Guerrilla dances survive particularly in the Balkans and Turkey, long afflicted by invading armies. Typically, they are in circular formation, beginning with the leaders whirling and making whiffling sounds with their swords. Improvised dance, often with battle mime, follows. The whiffling of swords also occurs in the Balkanrusalia, a ritual dance for healing and fertility. It also precedes several English hilt-and-point dances and possibly derives from ancient whiffling to clear the dance area of evil spirits.
Many European sword dances were taken over by trade guilds, trade implements often replacing swords. Dances with sticks are related both to sword dances and to Morris dances and moriscas, ritual dances usually for a double file of men. Many dances of the Morris–morisca family employ swords.