You’ve heard it. You’ve probably sung it. If you grew up attending school assemblies in the UK, Australia, or the US, or if you’ve spent any time in a Methodist or Episcopalian pew, those opening bars are burned into your brain. I danced in the morning song, officially titled "Lord of the Dance," is one of those rare pieces of music that managed to jump the fence from strictly religious hymn to genuine folk-pop phenomenon. It’s infectious. It’s simple. And honestly, it’s a bit weird if you actually stop to look at the lyrics.
Sydney Carter wrote it in 1963. He wasn’t trying to write a chart-topper. He was an English poet and songwriter who had a knack for taking complex spiritual ideas and stripping them down to their bare bones. He took a melody from an old Shaker tune called "Simple Gifts" and draped a story over it that spans from the creation of the world to the resurrection.
But why does it work? Why do kids who don't know a thing about theology still scream-sing the chorus at the top of their lungs? It’s the rhythm. It’s the stomp. It’s the fact that it feels less like a prayer and more like an invitation to a party.
The Shaker Roots and the Simple Gifts Theft (Sort Of)
Carter didn't pull the tune out of thin air. He borrowed—or "adapted"—the melody from the American Shaker song "Simple Gifts," which was composed by Joseph Brackett in 1848. The Shakers were a radical sect known for their ecstatic worship, which often involved, you guessed it, dancing.
It’s kind of ironic. The Shakers were celibate and lived incredibly disciplined lives, yet their music provides the backbone for a song that feels incredibly loose and joyful. When Carter sat down to write I danced in the morning song, he was looking for a way to express the "spirit of the dance" that he felt was missing from a lot of stiff, traditional church music. He wanted something that moved.
He wasn't the first to use the tune, though. Aaron Copland famously used it in his 1944 ballet Appalachian Spring. By the time Carter got his hands on it, the melody was already a part of the cultural zeitgeist, but his lyrics gave it a whole new life. He turned the abstract "gift to be simple" into a first-person narrative where Jesus (the "Lord of the Dance") describes his life as a series of dance steps.
Breaking Down the Lyrics: What’s Actually Happening?
If you listen closely, the song is a biography. It starts at the beginning of time. "I danced in the morning when the world was begun." That's a bold opening. It suggests that the act of creation wasn't a somber, silent event, but a rhythmic, energetic movement.
Then it moves through the hits of the New Testament. You’ve got the birth in Bethlehem, the calling of the disciples (James and John), and the conflict with the religious establishment. Carter uses the word "Pharisees" in a way that makes them sound like the ultimate party-poopers. They stand on the sidelines while the Lord of the Dance is spinning around.
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The darkness hits in the later verses. The crucifixion is described not just as a death, but as a moment where the dance seemingly stops. "It's hard to dance with the devil on your back," the lyric says. It’s a gritty line for a song often sung by seven-year-olds. But the "twist" in the final verse—the resurrection—is framed as the ultimate comeback tour. The dance goes on.
Why Some People Actually Disliked It
You’d think a catchy song about joy would be universally loved, but that wasn't the case. When I danced in the morning song first started appearing in hymn books, some traditionalists were genuinely offended.
They thought it was irreverent. The idea of portraying a divine figure as a "Lord of the Dance" felt too pagan or too lighthearted for some. In certain circles, dancing was still viewed as a "sinful" activity, so bringing it into the sanctuary via a folk song was a bridge too far.
Carter himself was a bit of an outlier. He wasn't a traditional "churchy" guy. He was interested in folk music, social justice, and the ways that different faiths overlapped. He once said that he didn't necessarily see the "Lord of the Dance" as exclusively Jesus; he saw it as a universal figure of spiritual energy. That nuance is probably why the song has such broad appeal—it taps into something primal.
The Michael Flatley Effect
We can't talk about this song without mentioning the massive shadow cast by Lord of the Dance, the Irish dance stage show. Michael Flatley took the title and the central theme and turned it into a global touring juggernaut in the 1990s.
Even though the stage show is more about Celtic mythology and "good vs. evil" than the specific biblical narrative of Carter’s song, the two are forever linked in the public mind. The show used a variation of the "Simple Gifts" melody, reinforcing the connection. Suddenly, the I danced in the morning song wasn't just a school assembly staple; it was associated with pyrotechnics, leather vests, and incredibly fast footwork.
This crossover is a big part of why the song remains relevant. It exists in multiple worlds at once:
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- The world of folk music.
- The world of elementary education.
- The world of high-production theater.
- The world of Sunday morning worship.
A Technical Look at the Music
Musically, the song is a masterpiece of simplicity. It stays within a comfortable vocal range for the average person. You don't need to be an opera singer to hit the notes.
The structure is a standard verse-chorus-verse-chorus. This "call and response" feel makes it perfect for communal singing. The chorus is a literal command: "Dance, then, wherever you may be." It’s hard to stay still when a room full of people is shouting that at you.
The rhythm is a 2/4 or 4/4 time signature, which mimics a walking or marching pace—or, more accurately, a folk dance. It’s a "steady state" song. It doesn't speed up or slow down much; it just keeps chugging along like a train, which builds a sense of inevitable momentum.
Why It Persists in Schools
In the UK particularly, this song is the king of the "School Assembly." Why? Because it’s easy to teach and impossible to forget. Teachers love it because it’s high-energy.
Kids love it because they get to be loud. There’s something about the way the words "I am the Lord of the Dance, said he" hit that just feels good to say. It’s a song that feels old, even though it’s only sixty years old. It has that "timeless" quality that usually takes centuries to develop.
The Cultural Impact of Sydney Carter
Sydney Carter passed away in 2004, but his influence on modern hymnody is massive. He paved the way for other songwriters to use contemporary folk styles in a religious context. Before him, church music was often stuck in the 19th century. Carter brought the 1960s folk revival into the pews.
He wasn't a one-hit wonder, either. He wrote "One More Step Along the World I Go" and "When I Needed a Neighbor," both of which are also staples of the school assembly circuit. But I danced in the morning song remains his definitive work. It’s his "Yesterday."
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Common Misconceptions
People often think this is a centuries-old folk song. It isn't. It was written during the same decade as the Beatles' "Sgt. Pepper."
Others think it’s a traditional Irish tune because of the Flatley connection. Nope. The melody is American (Shaker), and the lyrics are English. It’s a transatlantic hybrid.
There's also a common belief that the song is purely for children. While it's popular with kids, the lyrics actually deal with some pretty heavy themes: betrayal, social exclusion, and the nature of life and death. It's a "childlike" song, but it isn't "childish."
How to Use the Song Today
If you’re a musician, the song is a great study in "less is more." You can play it with a single acoustic guitar or a full orchestra, and it still works.
If you’re looking for the best versions to listen to, check out:
- The original Sydney Carter recordings for the raw, folk feel.
- The Dubliners' version for a rowdy, pub-style energy.
- The many choral arrangements if you want something more "grand."
Actionable Takeaways for Musicians and Educators
If you’re planning to perform or teach I danced in the morning song, here are a few things to keep in mind to keep it authentic:
- Don't over-complicate the rhythm. The beauty is in the steady, driving beat. If you add too many flourishes, you lose the "dance" aspect.
- Emphasize the storytelling. Each verse is a scene. Try to vary the dynamics—maybe go a bit quieter during the "holy people" verse and build up for the chorus.
- Lean into the folk roots. Use instruments like the tin whistle, fiddle, or even just a simple hand drum (bodhrán) to give it that earthy, "Simple Gifts" vibe.
- Acknowledge the history. Telling the story of the Shakers and Sydney Carter adds a layer of depth that makes the song more than just a catchy tune.
The song is a bridge. It connects the 1800s to the 1960s and the 1960s to today. It’s a reminder that sometimes the most profound things can be expressed in the simplest ways—through a basic melody and the idea of a dance that never ends. Keep the tempo steady, keep the energy high, and remember that it’s meant to be a celebration, not a dirge.