The Witch of Edmonton

Young Banks dresses up as the hobby horse for the Morris dance. Variations of this figure appeared in folk festivals throughout Europe. It probably derived from pre-Christian traditions of wearing animal skins for communal rites; it would have involved a costume and possibly a wooden or wicker frame to straddle or carry.

This motif encapsulates the flow of community traditions through the centuries, as Morris dancing (a relatively new activity for the time) incorporated and adapted older practices. The figure of the hobby horse rounds out the picture of The Role of The Witch in the Community by showing how the idea of the witch is part of a complex, shifting tapestry of folklore and religion: The Morris dancers discuss whether or not to include the hobby horse just like they argue about whether to include a witch in their dance.

The motif of the hobby horse encapsulates the social importance of village traditions. The dancers all teasingly chip in to tell Young Banks how they will redecorate the horse for him, building their presentation as a humorous ensemble to show the communal, celebratory nature of these kinds of festivities. Young Banks’s eagerness for Katherine to see him play the role reflects that these activities allow the community to interact and build relationships.