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One of the most popular classical music concerts in the world, the Last Night of the Proms is watched and listened to by an audience of millions around the globe. Tradition meets high jinks for 2010 as Jiri Belohlavek conducts his second Last Night, while the spirit of Henry Wood presides, as always, over the grand finale of the Proms. Renee Fleming lends her lustrous soprano to music by Strauss, Dvorak and Smetana. A festive new piece by Jonathan Dove opens the evening; a contemporary hornpipe forms an upbeat to anniversary composer Arne's Rule, Britannia! and traces of the season's Wood, Parry, Wagner, Rodgers and Hammerstein and opera themes run throughout the concert.

John Kane, a member of the company, performed a clog hornpipe and jig with admirable skill, and was rewarded with the plaudits of their Graces and their guests.6 The last piece discovered relating to East Holywell dancing at Alnwick Castle comes from the Newcastle Weekly Courant dated 22 December 1888, as follows: A party of nine morris dancers, or 'Tommy and Bessies', from East Holywell, fantastically apparelled, and including J. Tuggins, violinist, and litde Tommy Robson, hornpipe dancer, then defiled through the centre of the hall and took up a position on the open floor space between the Christmas Tree and the gallery.

Laura Scott, a dancer specializing in Scottish Highland dances, discusses the different types of Scottish dancing, of which Highland dancing is one ; Highland dancing competitions ; Scottish dance technique ; costumes ; her blend of traditional and original choreography ; her dance school, Highland Soles, in Portland, Me. In video clips, she performs several Scottish dances, including a traditional sword dance and sailor's hornpipe ; a Scottish version of an Irish jig ; a Cape Breton step dancing solo ; as well as examples of her own choreography. Her husband, fiddler Ed Pearlman, appears in some of the clips.

In the wide-ranging and innovative essays ofCultures in Motion, a dozen distinguished historians offer new conceptual vocabularies for understanding how cultures have trespassed across geography and social space. From the transformations of the meanings and practices of charity during late antiquity and the transit of medical knowledge between early modern China and Europe, to the fusion of Irish and African dance forms in early nineteenth-century New York, these essays follow a wide array of cultural practices through the lens of motion, translation, itinerancy, and exchange, extending the insights of transnational and translocal history. Cultures in Motionchallenges the premise of fixed, stable cultural systems by showing that cultural practices have always been moving, crossing borders and locations with often surprising effect. The essays offer striking examples from early to modern times of intrusion, translation, resistance, and adaptation. These are histories where nothing--dance rhythms, alchemical formulas, musical practices, feminist aspirations, sewing machines, streamlined metals, or labor networks--remains stationary. In addition to the editors, the contributors are Celia Applegate, Peter Brown, Harold Cook, April Masten, Mae Ngai, Jocelyn Olcott, Mimi Sheller, Pamela Smith, and Nira Wickramasinghe. Some images inside the book are unavailable due to digital copyright restrictions.

Henry Cave and his father, Tom, were two of the many fiddlers who provided Cecil Sharp with tunes during the first decade of the twentieth century. Since then, their repertoire has lain largely dormant in Sharp's manuscripts. The scope of similar material that has been collected since that time, and modern ease of access to an extensive range of records and press reports, now make it possible to examine their music and their roles as musicians in a broader context and to modify some current misconceptions about the English fiddler and English fiddling.

For its public premiere at London's Aeolian Hall in 1923, Edith Sitwell's poetry cycle Façade, set to music by William Walton, was advertised as \"A New and Original Musical Entertainment.\" By examining Façade's manifold links with art and popular music, this essay seeks to unearth the implications of that commercial catchphrase.

Sharp's published version of the Grenoside Sword Dance gives only one tune for the five verses of the Calling-on Song. From the start it was remarked that this tune was suitable for the first verse only, and later observers noted that a more suitable tune was used for the other verses. Speculation as to why Sharp may have overlooked this tune has led to an examination of the notes he made during his visit to Grenoside, his subsequent treatment of the material and the circumstances surrounding his visit. The result gives an intriguing, if incomplete, picture of the efficiency and limitations of his investigations.