If you are unfamiliar with the finer points of Morris Dancing, one of the things to look out for is the precision with which the dancers complete the moves withing each dance.
Straight lines are a sine qua non and, in addition, each stepping movement should result in a foot movement from each dancer in time with, and to roughly the same elevation as, his colleagues.

Here we see Little Egypt demonstrating the art in all its glory.

The White Horse, Edwardstone, was the venue for this latest performance by Little Egypt.
The pub is distinctly difficult to find. It lies in one of those Suffolk warps where the rules of the space-time continuum are set aside, and where it is possible to take three hours to reach seemingly without travelling more than a kilometre.
It was the first time Little Egypt had danced there.

The quiet lanes that lead to this fine hostelry were perfect for Neville to exercise his squirearchical rights to ride an over-powered and under-driven hog to a venue.
Members of the biking fraternity felt badly let down by his decision to wear Cotswold Whites for his ceremonial arrival.

As always, the dancers were supported by members of the Little Egypt Ensemble, including, on this occasion, rock-god Paul "Doo Dah, Doo Dah" Thomson on Banjo.
The sheer quality of musicianship can sometimes make up for other deficiencies, if they exist

Such is Little Egypt's enthusiasm for their art form, they will often continue dancing well after dark ...

This demands even more precision in stepping and moves ...

but it also means that sometimes you can get away with a few faults.

Look carefully and you may just discern a few errors on the foot front.

Nevertheless, an excellent time was had by all, and the new tradition for Going Ahead was maintained with gusto.

I hope.

So: take another look. You may just begin to see what I mean.

Thanks again to the Stephens "Free the Mill Hill 20" family for the photos.