<P>Introduction.
Peter Harrop & Steve Roud; <B>Part l: Folk Drama, Theatre and Performance.; </B><I>Part l Introduction.
</I>Peter Harrop; Chapter 1: <I>Towards an anatomy of English customary drama: theatre, stage, play.</I>
Thomas Pettitt.; Chapter 2: <I>Performing calendrical pressures: Shrovetide processions and shroving perambulations in premodern England.</I>
Taylor Aucoin.; Chapter 3: <I>Robin Hood folk-performance in fifteenth and sixteenth-century England.
</I>John Marshall.; Chapter 4: <I>Alongside the mummers' plays: customary elements in amateur and semi-professional theatre 1730
1850.</I>
Peter Harrop.; Chapter 5: <I>The Alderley Mummers' Play: A story of longevity.</I>
Duncan Broomhead; Chapter 6: <I>A performance bestiary.
</I>Mike Pearson.; Chapter 7: <I>Performing community: village life and the spectacle of worship in the work of Charles Marson.</I>
Katie Palmer Heathman.; Chapter 8: <I>Boxing Day Fancy Dress in Wigan.</I>
Anna F C Smith; <B>Part ll: Folk Dance.; </B><I>Part ll Introduction.
</I>Peter Harrop; Chapter 9: <I>Merry Neets and Bridewains: contemporary commentaries on folk music, dance, and song in the Lake Counties during the Romantic period.</I>
Sue Allan; Chapter 10: <I>Sword Dancing in England: Texts and sources from the Eighteenth and Nineteenth Centuries.
</I>Stephen D Corrsin; Chapter 11: <I>From Country Gardens to British Festivals: The Morris Dance Revival, 1886
1951.</I>
Matt Simons; Chapter 12: <I>The English Country Dance, Cecil Sharp and Authenticity.
</I>Derek Schofield; Chapter 13: <I>Douglas Kennedy and Folk Dance in English Schools.
</I>Chloe Middleton-Metcalfe.; Chapter 14: <I>Fancy Footwork: Reviewing the English Clog and Step Dance Revival.</I>
Alex Fisher.; Chapter 15: <I>Expanding a Repertoire: Leicester Morrismen and the Border Morris.</I>
John Swift.; Chapter 16: <I>Dancing with tradition: clog, step and short sword rapper in the twenty first century.
</I>Libby Worth; Chapter 17: <I>'Sequins, bows and pointed toes': Girls' carnival morris
the 'other' morris dancing community.
</I>Lucy Wright; <B>Part lll: Folk Song and Music.; </B><I>Part lll Introduction.
</I>Steve Roud; Chapter 18: <I>Recrafting Love and Murder: Print and Memory in the Mediation of a Murdered Sweetheart Ballad.
</I>Thomas Pettitt; Chapter 19: <I>Burlesquing the Ballad.
</I>Steve Gardham; Chapter 20: <I>The Rise and Fall of the West Gallery: popular religious music in the eighteenth and nineteenth centuries.
</I>Vic Gammon; Chapter 21: <I>The Drive for English Identity in Music and the Foundation of the Folk-Song Society.
</I>Arthur Knevett; Chapter 22: <I>'No Art More Dangerous'
Eve Maxwell-Lyte and Folk Song.
</I>Martin Graebe; Chapter 23: <I>Creativity versus Authenticity in the English folksong revival.</I>
Brian Peters; Chapter 24: <I>Folk Choirs: Their Origins and Contribution to the Living Tradition.
</I>Paul Wilson & Marilyn Tucker; Chapter 25: <EM>'Past Performances on Paper'
A Case Study of The Manuscript Tunebook of Thomas Hampton
</EM>Rebecca Dellow; Chapter 26: <I>The Performers in the Playground: Children's Musical Practices in Play</I>.
Julia Bishop</P>