Bulgarian customs in the Fens

Last weekend I had dinner in a nice bar and restaurant some way outside Cambridge in the Fens. It prided itself on being friendly, international and eclectic, and it was all rather charming. At the end of the meal (while we were listening to a pretty good kora/mandola duo playing live) the owner came over for a chat.
I'm not quite sure how we got on to the subject but seasonal customs and festivities were mentioned. The owner introduced his partner, who is Bulgarian, to tell us about practices there. I'd recently seen a picture of a red and white Bulgarian charm bracelet and asked whether that was a New Year custom.
It isn't, she explained. It's a March 1st custom, dedicated to Baba Marta (Grandmother March). You give a red and white bracelet with the greeting 'Happy Baba Marta'. The charm is worn around the wrist until the first migrating birds appear, and is then tied to a budding fruit tree to ensure a good crop.
She sought to give us some background explanations for this. These sounded suspiciously of the 'ancient origin' type communicated officially and semi-officially to provide evidence of national antiquity, but they were no less interesting for that. In particular she attached the Baba Marta figure to the arrival of the Roman god Mars in the region.
Because we were interested she suddenly announced 'I have a present for you', and brought back the mass-produced Baba Marta bracelets pictured. The picture on the card is wrong, she told us, because the man should be in red and the woman in white, but the gift of the charm was still consistent. (The printed phrase is 'Happy Baba Marta').
We sat the charms on the table while we drank coffee, and a little while later the waitress (her daughter) came past and saw them. 'Who gave you those? My mum?' she asked delightedly, and then told us that not only was it Baba Marta, but the Saturday (3rd March) was also a national holiday of independence. She seemed less concerned in the nuanced details of the custom - possibly because she had not learned them in any structured, official way - but took it more as a general expression of Bulgarian-ness.
A few days later I met a Bulgarian postgraduate student at the Folklore Society's library. She discussed Baba Marta quite enthusiastically, and filled in some of the background detail with the keen eye of a folklore scholar. She wasn't buying the Mars origin, for example, but did add the detail that tying the charms to trees is often associated with the appearance of the White Storks, because these are generally the first migrant birds to arrive in Bulgaria in the spring.
She also said that a tradition of celebration of Baba Marta has begun to establish itself in London more in line with the waitress's discussion of the custom. In South Kensington, apparently, it has become the practice over the last couple of years to attach Baba Marta charms to specific trees en masse. I hope that somebody has some pictures.
Happy Baba Marta!

On cream cakes and the invention of tradition

I recently spent a few days in Stockholm. I've spent a fair bit of time there, and I can work my way round a cake menu with a reasonably adept eye. I'd never been there at this time of year before, so I was delighted to make the acquaintance of a cake new to me, the semla (plur: semlor).
The semla is a hollowed-out bun, filled with a mix of milk, almond paste and breadcrumbs. This is covered with whipped cream, then the top of the bun is replaced, dusted with powdered sugar. The semla is traditionally served in warm milk. Although I didn't try them with warm milk I ate several during my stay, and I can confirm that they are as fantastic as they sound.
But this isn't (just) about my taste in cakes. Semlor are traditionally a cake for Shrovetide, before the Lent fast. ('Semla' comes from the German 'semmel', and is etymologically cognate with the Shrovetide Simnel cake here in Britain). After the Reformation in Sweden semlor became more generally cakes eaten between Shrovetide and Easter.
On returning to London we checked out the availability of semlor in a Scandinavian café here. They had been available, but only until Shrove Tuesday itself. None of this available till Easter stuff here.
This is consistent with the invention and adaptation of traditions to express a national identity away from home. Rather than the constant development of a tradition we begin to see a more rigid codification of one. (In a rather different sphere, one could point too to the strict exclusion of LBGT banners from American St Patrick's Day parades organised by the Ancient Order of Hibernians: such an exclusion took place even as these banners became a more familiar sight in Ireland itself).
This is interesting from a folkloric perspective. Sadly, it's not getting me another semla this year.

Squeaky shoes

Shortly before Christmas my shoes were in a terrible state of disrepair, so my partner bought me a new pair of boots. They are warm, they are comfortable, and they took virtually no breaking in.
The only problem is that they have flexible soles of some man-made substance, and they squeak. Not just a little, but with every step I take. In London crowds that isn't so bad, but in quiet side streets or late at night it can be quite embarrassing, to say the least.
I was suddenly reminded last night, as an otherwise silent street echoed to my squeaking feet, of a comment I heard in the early 1980s from a schoolfriend in south London. When a teacher's shoes creaked he turned to me instantly and said 'He hasn't paid for his shoes'.
I'd never heard this before and didn't understand. He explained that shoes only squeak until they're paid for. I was delighted by this, and had forgotten it completely until last night.
Maybe I should buy my own shoes in future.

Season's greetings

The last month has been spent catching my breath a little. Any PhD was always going to be a marathon with a particularly gruelling last leg: after a serious health interruption to my work in 2010, this year's efforts felt like even more of an uphill struggle.
But that struggle is now over. The viva went well and the examiners demanded only minimal revisions. These were accepted, a hard copy was lodged at the University of Hertfordshire, and an electronic copy is now available online at the University's Research Archive.
So much for catching my breath. I've had the great pleasure of working in the Folklore Society's Library over the last few weeks while I reorient. I've submitted a book chapter on ghosts in white sheets, and I've started to think about future projects. These include turning my thesis into a book: I've begun thinking about proposals, and will get those into better shape early in January. I'm also planning on getting back on the conference trail in 2012, so I'm drafting paper proposals over the next fortnight as well.
Suddenly it doesn't sound quite like a break, but it's certainly the start of something new. Here's to 2012, and the season's best to you.

On Carey Street

The period at the end of a PhD is peculiar. Even though the thesis is completed, and even when the viva is over, there's still a panoply of fiddly (and time-consuming) things to get done. I'm now all done, bar binding the hard copy of the dissertation, but it means I've been rather preoccupied and haven't been able to get back to gainful employment in any meaningful way up till now.
So perhaps it wasn't coincidence that, laying in bed last night, the phrase 'on Carey Street' came back to me. I'd first heard it when giving directions to the Seven Stars, a pub on Carey Street WC2. The person I was telling beamed delightedly and said 'So you really would end up on Carey Street!'
The phrase entered local proverbial usage to mean bankruptcy. Carey Street sits behind the Royal Courts of Justice, and provided one entrance to the bankruptcy court. Later, a drinker in the Seven Stars also explained this to me.
I doubt how widespread the usage is, as both of these informants were over 60. It isn't listed in the Oxford Dictionary of English Proverbs, and it would appear to be a recent coinage, possibly of literary origin. The bankruptcy court only moved to Carey Street in the 1840s, where a new building was erected for it in 1892.
From Carey Street it's still been possible (just) to see the bankruptcy court, which was moved in the 1960s to the Thomas More building (the ill-fitting tower block at the Clement's Inn end of the RCJ). This may eventually change, as four Bankruptcy Registrars will shortly be located at the Rolls Building on Fetter Lane. The Rolls Building is unlikely to be visible from Carey Street. It won't stop people ending up on Carey Street.

Katharine Briggs evening 2011

Before I head off to the South East London Folklore Society for my talk tonight I should mention last night's Katharine Briggs evening at the Folklore Society. I'm a bit thick-voiced after the reception, which is normally an indicator that a jolly time was had: there were a number of comments to the effect that the Briggs evening is acquiring a customary life of its own as a seasonal event, with regular visitors and a formalised tradition of how it all unfolds. It was also a nice chance to meet other scholars I didn't know, authors whose books I'd reviewed but whom I didn't know, and people I'd so far only spoken to on Twitter.
The Briggs lecture was given by Michael Rosen on 'The Folk Tradition: What Do We Do With It?' (The accompanying picture, blagged from his website, shows Mike at the Ledbury Poetry Festival). His engaging performance was really about the folk traditions that play out in his work. He laid particular emphasis on the range of such traditions and the interactions involved in eliciting and documenting them (for example in getting children to collect from each other and from their parents). Much of this isn't overly controversial for contemporary folklorists, but it was refreshing to hear a reasoned and entertaining defence of collecting whole repertoires rather than selective documentation. It was also very nice to hear the audience respond with a realisation of the wealth of folkloric material they have heard throughout their lives.
The Katharine Briggs book award went to Herbert Halpert and J.D.A. Widdowson, Folk Tales, Tall Tales, Trickster Tales and Legends of the Supernatural from the Pinelands of New Jersey: Recorded and Annotated by Herbert Halpert between 1936 and 1951 (The Edwin Mellen Press, 2010). I'm very excited about this book, which sounds remarkable. I've long admired Halpert's fieldwork and his scholarship, and I'm pleased to see recognition given to what, in some ways, was a pinnacle of his work. Receiving the award John Widdowson said the book had become Halpert's 'life work': towards the end of his life he had almost lost sight of publication because of his ongoing research and annotation. Widdowson also paid tribute to their publishers. Where other publishers had wanted to cherry-pick stories and ditch the scholarly apparatus that make the project so valuable, Edwin Mellen took the manuscript on in its entirety. That was almost the most encouraging part of the story. It is still possible to produce books of serious scholarly folklore research. That is also cause for celebration, and is a fitting tribute to Herbert Halpert and his work.

The AFS on proposed changes to research ethics models

The American Folklore Society have recently issued a statement on proposed changes to consent requirements for fieldwork. The AFS's response, with their existing statement of principles on research ethics, can be found here.
Fieldwork ethics is important. It's about how we deal with people as humans, how we document, report and reflect their lives accurately and respectfully. The AFS statement is well worth reading, as it is a sane and humane approach to research ethics in this field.
It also bears reading here in the UK, too, where the marginalised character of Folklore in academia means that university research ethics policies may also be designed primarily with laboratory research models in mind. The absence of legislative guidelines may not mean there isn't a general trend in that direction, particularly in the absence of an authoritative and respected body which represents a recognised field of study. (The Folklore Society here is certainly respected, but is perhaps easier to ignore in the absence of Folklore departments).
When discussing ethics clearance for my recent doctoral fieldwork I initially came up against a number of expectations that clearly derived from scientific research models: some academics seemed baffled when I said that anonymisation might not always be appropriate, and might in fact be insulting depending on the nature of the tradition being examined. I'm happy to say that a school-specific ethics committee (which has been more active since the introduction of oral history modules there) worked with me in a constructive way, helping me to move away from this 'human subjects' laboratory model. Anybody who is undertaking field research needs to think about these questions, and needs to think about the ethical structures they require.

Mummers, Maypoles and Milkmaids

We've lately seen something of an enthusiasm amongst artists for vernacular culture and tradition. The results have been exciting, with the creation of new works going alongside a very broad championing of the folk arts. From his background as Art Director in the fashion world Simon Costin has sought to build a Museum of British Folklore. Grayson Perry is exploring the world of vernacular artefacts. Jeremy Deller and Alan Kane curated the Folk Archive. Whatever their artistic impulses and interpretations, all of these projects have addressed actual folk practice and its artefacts.
They have also, refreshingly, looked at folk practice in a broad way, encompassing existing traditions, revivals and adaptations, and newly developed customs. (In this respect they are building on the work of Doc Rowe, as they acknowledge). More needs to be said about the nuances and differences between these registers of vernacular practice, of course, but they all need documenting and considering as folklore.
Sara Hannant's beautiful new book Mummers, Maypoles and Milkmaids: A Journey through the English Ritual Year (Merrell Publishing) belongs with this same trend. She documents a selection of events across the year, from the Allendale Tar Barrel Parade (1 January) to The (Insert Name Here) Mummers (28 December). For each event a short explanatory text introduces some of Hannant's vibrant and evocative photographs.
It is primarily a photographic book - a snapshot of some parts of the ritual year that have caught Hannant's eye and lens - and it is gorgeous. There are particularly striking shots of processions at night and/or involving fire. You can see some of the pictures in a portfolio on her website (and an exhibition has just opened at the Horniman Museum if you're around south London over the next year), but the Hinton St George Punkie Night procession (below) gives some idea of her best. (For me the outstanding shot is of a burning Lewes bonfire effigy of David Cameron and Nick Clegg). She also captures well the informal solemnity of such seasonal events: members of the Druid Order processing down Primrose Hill at the Autumn Equinox, or a break for a bag of chips at the kerbside during the Sowerby Bridge Rush-Bearing Festival. The qualities are combined in a great shot of the Britannia Coconut Dancers dancing round Bacup in falling snow (further down the page). It's serious, ridiculous and intense, and Hannant has a sympathetic eye for the people who participate in or watch these customs.
She has focused her attention on England in order to 'explore notions of national identity' (p.10). It is unclear whether this actually gets beyond documenting what seasonal customs are currently practised in England (although that in itself would be valuable), but it certainly throws up some interesting questions for future researchers.
What is interesting about the book is its combination of the old, the new, and the thought-to-be-old. Here, certainly, are the older 'star attractions' of the English seasonal year (Padstow, Lewes, Bacup, Abbots Bromley), but Hannant also does a very good job with more recently established and civic events. She notes the involvement of local folklore enthusiasts in the revival or invention of some traditions, many of which have existed in their current form for only 30-40 years. Here, alongside May Day customs and morris dancing, are civic carnivals and trade association events like the Pearly Kings Harvest Festival. There are also some striking sequences on recently established events like the Hastings and Deptford Jacks-in-the-Green.
These pictures point to one of the book's more intriguing features. Hannant is interested in questions of the beliefs embodied in seasonal customs. Some of these are fairly recent developments within Anglican tradition: Painswick's 'Clypping', for example, for all its claims of age, owes much to the Victorian antiquarianism of enthusiastic Church of England pastors. Hannant has documented further many of the emergent traditions around what we might loosely call neo-pagan beliefs. She is particularly good at covering the range of events around specific dates like 31 October (Ottery St Mary's tar barrels, the Antrobus Soulcakers' Play and Glastonbury Samhain events).
To some extent she has thus documented a new ritual year, one which has arisen only in the last two decades, although an ancient heritage is claimed for it. Her text does not deal with this in any great depth, although she is largely sympathetic to its practitioners (and has made much use of Ronald Hutton in her background reading, so her sympathy is well-informed). It may be up to others to tease out the relationship between these events (and between them and their supposed forebears), but that is not really the point of Hannant's glorious book. It would, of course, be nice to hear more about the background to events like the London Beltane revival (and there may be an error in the location here), but the novelty of documenting it so well still justifies its presentation in this way here.
It is a mark of the book's quality that it does point directions for such future consideration, but that should be taken as a bonus to its other, rather more evident, qualities. The book is an attractive celebration of a wide range of seasonal observation. It deserves to be seen widely and enjoyed. It should trigger further interest in seasonal events, drawing attention both to their existence and - hopefully - to their implications and meanings.

Pinch bottom day

I came across the following sentence last night. I find it rather beautiful: it sums up what's interesting and fun about folklore and its research.
'1 May in Fittleworth [Sussex] was once known as "Pinch Bottom Day", although I cannot find out why' (1)
And no, I don't know why, either. Exciting, isn't it?

* * * * *

1: Tony Wales, We Wunt Be Druv: Songs and Stories from Sussex (London: Galliard & EFDSS, 1976), p. 10.

Katharine Briggs Award shortlist 2011

The judges have announced this year's very strong shortlist for the Katharine Briggs Award. The book prize was established to encourage the study of Folklore, to help improve the standard of Folklore publications in Britain, to establish The Folklore Society as an arbiter of excellence and to commemorate the life and work of Katharine M. Briggs. The shortlisted titles (alphabetical by author) are:

Gary Fine and Bill Ellis, The Global Grapevine: Why Rumours of Terrorism, Immigration and Trade Matter (OUP, 2010)
Patricia Fumerton and Anita Guerrini, Ballads and Broadsides in Britain, 1500-1800 (Ashgate, 2010)
Herbert Halpert and JDA Widdowson, Folk Tales, Tall Tales, Trickster Tales and Legends of the Supernatural from the Pinelands of New Jersey: Recorded and Annotated by Herbert Halpert between 1936 and 1951 (The Edwin Mellen Press, 2010)
Alessandro Portelli, They Say in Harlan County: An Oral History (OUP, 2010)
Steve Roud, The Lore of the Playground: One Hundred Years of Children's Games, Rhymes and Traditions (Random House, 2010)
Jay M. Smith, Monsters of the Gévaudan: The Making of a Beast (Harvard UP, 2011)
Alexandra Walsham, The Reformation of the Landscape: Religion, Identity, and Memory in Early Modern Britain and Ireland (OUP, 2011)
Jack Zipes, The Enchanted Screen: The Unknown History of Fairy-tale Films (Taylor and Francis, 2010)

My congratulations to all the authors. The winner will be announced at the Katharine Briggs Evening, 9th November (see the FLS Facebook page or the website for further details). The Briggs lecture will be given by Michael Rosen on 'Folk tradition: What do we do with it?' Alessandro Portelli, one of the shortlisted authors, will also be in London the night before to give the Raphael Samuel Memorial Lecture at the Bishopsgate Institute.