Mummers' plays are folk plays performed by troupes of amateur actors, traditionally all male, known as mummers or guisers (also by local names such as rhymers, pace-eggers, soulers, tipteerers, wrenboys, and galoshins). It refers particularly to a play in which a number of characters are called on stage, two of whom engage in a combat, the loser being revived by a doctor character. This play is sometimes found associated with a sword dance though both also exist in Britain independently.
Folk plays such as Hoodening, Guising, Mummers Play and Soul Caking are generally verse sketches performed in countryside pubs in European countries, private houses or the open air, at set times of the year such as the Winter or Summer solstices or Christmas and New Year. Many have long traditions, although they are frequently updated to retain their relevance for modern audiences.
Sword dances are recorded throughout world history. There are various traditions of solo and mock-battle (Pyrrhic) sword dances from Africa, Asia and Europe.
Mumming spread from the British Isles to a number of former British colonies. It is sometimes performed in the street but more usually during visits to houses and pubs. It is generally performed seasonally or annually, often at Christmas, Easter or on Plough Monday, more rarely on Hallowe'en or All Souls' Day, and often with a collection of money, in which the practice may be compared with other customs such as those of Halloween, Bonfire Night, wassailing, pace egging and first-footing at new year.[1]
The United Kingdom of Great Britain and Northern Ireland, commonly known as the United Kingdom (UK) or Britain, is a sovereign country located off the north-western coast of the European mainland. The United Kingdom includes the island of Great Britain, the north-eastern part of the island of Ireland, and many smaller islands. Northern Ireland is the only part of the United Kingdom that shares a land border with another sovereign state, the Republic of Ireland. Apart from this land border, the United Kingdom is surrounded by the Atlantic Ocean, with the North Sea to the east, the English Channel to the south and the Celtic Sea to the south-west, giving it the 12th-longest coastline in the world. The Irish Sea separates Great Britain and Ireland. The United Kingdom's 242,500 square kilometres (93,600 sq mi) were home to an estimated 66.0 million inhabitants in 2017.
A pub, or public house, is an establishment licensed to sell alcoholic drinks, which traditionally include beer and cider. It is a social drinking establishment and a prominent part of British, Irish, Breton, New Zealand, South African and Australian cultures. In many places, especially in villages, a pub is the focal point of the community. In his 17th-century diary Samuel Pepys described the pub as "the heart of England".
Plough Monday is the traditional start of the English agricultural year. While local practices may vary, Plough Monday is generally the first Monday after Twelfth Day (Epiphany), 6 January. References to Plough Monday date back to the late 15th century. The day before Plough Monday is sometimes referred to as Plough Sunday.
Although the term mummers has been in use since the Middle Ages, no scripts or details survive from that era and the term may have been used loosely to describe performers of several different kinds. The earliest evidence of mummers' plays as they are known today is from the mid- to late 18th century. Mummers' plays should not be confused with the earlier mystery plays.
Mystery plays and miracle plays are among the earliest formally developed plays in medieval Europe. Medieval mystery plays focused on the representation of Bible stories in churches as tableaux with accompanying antiphonal song. They told of subjects such as the Creation, Adam and Eve, the murder of Abel, and the Last Judgment. Often they were performed together in cycles which could last for days. The name derives from mystery used in its sense of miracle, but an occasionally quoted derivation is from ministerium, meaning craft, and so the 'mysteries' or plays performed by the craft guilds.
Etymology
The word mummer is sometimes explained to derive from Middle Englishmum ("silent") or Greekmommo ("mask"), but is more likely to be associated with Early New High Germanmummer ("disguised person", attested in Johann Fischart) and vermummen ("to wrap up, to disguise, to mask one's face"),[2] which itself is derived from or came to be associated with mummen (first attested already in Middle High German by a prohibition in Mühlhausen, Thuringia, 1351)[3] and mum(en)schanz, (Hans Sachs, Nuremberg, 16th century), these latter words originally referring to a game or throw (schanz) of dice.[4] Ingrid Brainard argues that the English word "mummer" is ultimately derived from the Greek name Momus, a god of mockery and scoff.[5]
Middle English was a form of the English language spoken after the Norman conquest (1066) until the late 15th century. English underwent distinct variations and developments following the Old English period. Scholarly opinion varies, but the Oxford English Dictionary specifies the period when Middle English was spoken as being from 1150 to 1500. This stage of the development of the English language roughly followed the High to the Late Middle Ages.
Greek is an independent branch of the Indo-European family of languages, native to Greece, Cyprus and other parts of the Eastern Mediterranean and the Black Sea. It has the longest documented history of any living Indo-European language, spanning more than 3000 years of written records. Its writing system has been the Greek alphabet for the major part of its history; other systems, such as Linear B and the Cypriot syllabary, were used previously. The alphabet arose from the Phoenician script and was in turn the basis of the Latin, Cyrillic, Armenian, Coptic, Gothic, and many other writing systems.
Early New High German (ENHG) is a term for the period in the history of the German language, generally defined, following Wilhelm Scherer, as the period 1350 to 1650.
Overview
Mummers performing in Exeter, Devon in 1994
Mummers' and guisers' plays were formerly performed throughout much of English-speaking Great Britain and Ireland, spreading to other English-speaking parts of the world including Newfoundland and Saint Kitts and Nevis. There are a few surviving traditional teams of mummers in England and Ireland, but there have been many revivals of mumming, often associated nowadays with morris and sword dance groups.[6] These performances are comparable in some respects with others throughout Europe.
Great Britain is an island in the North Atlantic Ocean off the northwest coast of continental Europe. With an area of 209,331 km2 (80,823 sq mi), it is the largest of the British Isles, the largest European island, and the ninth-largest island in the world. In 2011, Great Britain had a population of about 61 million people, making it the world's third-most populous island after Java in Indonesia and Honshu in Japan. The island of Ireland is situated to the west of Great Britain, and together these islands, along with over 1,000 smaller surrounding islands, form the British Isles archipelago.
Ireland is an island in the North Atlantic. It is separated from Great Britain to its east by the North Channel, the Irish Sea, and St George's Channel. Ireland is the second-largest island of the British Isles, the third-largest in Europe, and the twentieth-largest on Earth.
Newfoundland and Labrador is the easternmost province of Canada. Situated in the country's Atlantic region, it is composed of the insular region of Newfoundland and the continental region of Labrador to the northwest, with a combined area of 405,212 square kilometres (156,500 sq mi). In 2018, the province's population was estimated at 525,073. About 92% of the province's population lives on the island of Newfoundland, of whom more than half live on the Avalon Peninsula.
On 4 November 2017, following a similar announcement from the Lewes Bonfire Council, the Association of Mummers in England and Wales (AMEW) announced that Mummers would immediately cease the practice of "black-facing" or "blacking-up".
Blackface is a form of theatrical make-up used predominantly by non-black performers to represent a caricature of a black person. The practice gained popularity during the 19th century and contributed to the spread of racial stereotypes such as the "happy-go-lucky darky on the plantation" or the "dandified coon". By the middle of the century, blackface minstrel shows had become a distinctive American artform, translating formal works such as opera into popular terms for a general audience. Early in the 20th century, blackface branched off from the minstrel show and became a form in its own right. In the United States, blackface had largely fallen out of favor by the turn of the 21st century, and is now generally considered offensive and disrespectful, though the practice continues in other countries.
Broadly comic performances, the most common type features a doctor who has a magicpotion able to resuscitate the vanquished character. Early scholars of folk drama, influenced by James Frazer's The Golden Bough, tended to view these plays as descendants of pre-Christian fertility ritual, but modern researchers have subjected this interpretation to criticism.[7]
The Doctor brings St George back to life in a 2015 production by the St Albans Mummers.
The characters may be introduced in a series of short speeches (usually in rhyming couplets) or they may introduce themselves in the course of the play's action. The principal characters, presented in a wide variety of manners, are a hero, most commonly Saint George, King George, or Prince George (but Robin Hood in the Cotswolds and Galoshin in Scotland), and his chief opponent (known as the Turkish Knight in southern England, but named Slasher elsewhere), and a quack Doctor who comes to restore the dead man to life. Other characters include: Old Father Christmas, who introduces some plays, the Fool and Beelzebub or Little Devil Doubt (who demands money from the audience).
In Ynysmeudwy near Swansea groups of four boys dressed as Crwmpyn (hunchback) John, Indian Dark, Robin Hood and Doctor Brown took the play from house to house on Bonfire Night and were rewarded with money.[8]
Despite the frequent presence of Saint George, the Dragon rarely appears although it is often mentioned. A dragon seems to have appeared in the Revesby Ploughboys' Play in 1779, along with a "wild worm" (possibly mechanical), but it had no words. In the few instances where the dragon appears and speaks its words can be traced back to a Cornish script published by William Sandys in 1833.
Mumming groups often wear face-obscuring hats or other kinds of headgear and masks, some mummers' faces are blackened or painted. In 1418 a law was passed forbidding "mumming, plays, interludes or any other disguisings with any feigned beards, painted visors, deformed or coloured visages in any wise, upon pain of imprisonment". Many mummers and guisers, however, have no facial disguise at all.
Mumming was a way of raising money and the play was taken round the big houses. Most Southern English versions end with the entrance of "Little Johnny Jack his wife and family on his back". Johnny, traditionally played by the youngest mummer in the group, first asks for food and then more urgently for money. Johnny Jack's wife and family were either dolls in a model house or sometimes a picture.
Mummers and "guisers" (performers in disguise) can be traced back at least to 1296, when the festivities for the marriage of Edward I's daughter at Christmas included "mummers of the court" along with "fiddlers and minstrels".[9] These "revels" and "guisings" may have been an early form of masque and the early use of the term "mumming" appears to refer specifically to a performance of dicing with the host for costly jewels, after which the mummers would join the guests for dancing, an event recorded in 1377 when 130 men on horseback went "mumming" to the Prince of Wales, later Richard II.[10][11]
According to German and Austrian sources dating from the 16th century, during carnival persons wearing masks used to make house-to-house visits offering a mum(en)schanz, a game of dice. This custom was practised by commoners as well as nobility. On Shrove Tuesday of 1557 Albert V, Duke of Bavaria went to visit the archbishop of Salzburg and played a game of dice with him.[4] A similar incident, involving an Englishman, is attested for the French court by the German count and chronicler Froben Christoph von Zimmern: during carnival 1540, while the French king Francis I was residing at Angers, an Englishman (ain Engellender) wearing a mask and accompanied by other masked persons paid a visit to the king and offered him a momschanz (a game of dice).[12]
While mum(en)schanz was played not only by masked persons, and not only during carnival, the German word mummenschanz nevertheless took on the meaning "costume, masquerade" and, by the 18th century, had lost its association with gambling and dice. Other than this association there is no clear evidence linking these late medieval and early modern customs with English mumming.
Textual evidence
An 1852 depiction of an English mummers play
Although there are earlier hints (such as a fragmentary speech by St George from Exeter, Devon, which may date from 1737, although published in 1770), the earliest complete text of the "Doctor" play appears to be an undated chapbook of Alexander and the King of Egypt, published by John White (d. 1769) in Newcastle upon Tyne between 1746 and 1769. The fullest early version of a mummers' play text is probably the 1779 "Morrice Dancers'" play from Revesby, Lincolnshire. The full text ("A petygree of the Plouboys or modes dancers songs") is available online.[13][14] Although performed at Christmas, this text is a forerunner of the East Midlands Plough Monday (see below) plays. A text from Islip, Oxfordshire, dates back to 1780.[15]
A play text which had, until recently, been attributed to Mylor in Cornwall (much quoted in early studies of folk plays, such as The Mummers Play by R. J. E. Tiddy – published posthumously in 1923 – and The English Folk-Play (1933) by E. K. Chambers) has now been shown, by genealogical and other research, to have originated in Truro, Cornwall, around 1780.[16][17] A play from an unknown locality in Cheshire, close to the border with Wales, dates from before 1788.[18]
Chapbook versions of The Christmas Rhime or The Mummer's Own Book were published in Belfast, c.1803-1818.[19] A mummers' play from Ballybrennan, County Wexford, Ireland, dating from around 1817–18, was published in 1863.[20] It is from the 19th century that the bulk of recorded texts derive.
Mumming, at any rate in the South of England, had its heyday at the end of the 19th century and the earliest years of the 20th century. Most traditional mummers groups (known as "sides") stopped with the onset of the First World War, but not before they had come to the attention of folklorists. In the second half of the 20th century many groups were revived, mostly by folk music and dance enthusiasts. The revived plays are frequently taken around inns and public houses around Christmas time and the begging done for some charity rather than for the mummers themselves.
Local seasonal variants
Antrobus Soul Cakers, in the mid-1970s, gathered round Dick, their Wild Horse
Although the main season for mumming throughout Britain was around Christmas, some parts of England had plays performed around All Souls' Day (known as Souling or soul-caking) or Easter (Pace-egging or Peace-egging). In north-eastern England the plays are traditionally associated with Sword dances or Rapper dances.
In some parts of Britain and Ireland the plays are traditionally performed on or near Plough Monday. These are therefore known as Plough plays and the performers as Plough-jags, Plough-jacks, Plough-bullocks, Plough-stots or Plough witches. The Plough plays of the East Midlands of England (principally Lincolnshire and Nottinghamshire) feature several different stock characters (including a Recruiting Sergeant, Tom Fool, Dame Jane and the "Lady bright and gay"). Tradition has it that ploughboys would take their plays from house to house and perform in exchange for money or gifts, some teams pulling a plough and threatened to plough up people's front gardens or path if they did not pay up. Examples of the play have been found in Denmark since the late 1940s.
England
Around Sheffield and in nearby parts of northern Derbyshire and Nottinghamshire a dramatised version of the well-known Derby Ram folksong, known as the Derby Tup (another word for ram), has been performed, since at least 1895, by teams of boys. The brief play is usually introduced by two characters, an old man and an old woman ("Me and our owd lass"). The Tup was usually represented by a boy, bent over forwards, covered with a sack, and carrying a broomstick with a rough, wooden sheep's head attached. The Tup was killed by a Butcher, and sometimes another boy held a basin to catch the "blood". There is a Sheffield version where the Tup is killed and then brought back to life by the Doctor. This is the main play performed by the Northstow Mummers based in Cambridge.
An 'Owd 'Oss play (Old Horse), another dramatised folksong in Yorkshire, was also known from roughly the same area, in the late 19th[21] and early 20th centuries,[22] around Christmas. The custom persisted until at least 1970, when it was performed in private houses and pubs in Dore on New Year's Day.[23] A group of men accompanied a hobby horse (either a wooden head, with jaws operated by strings, or a real horse's skull, painted black and red, mounted on a wooden pole so that its snapping jaws could be operated by a man stooping under a cloth to represent the horse's body) and sang a version of The Old Horse or Poor Old Horse, which describes a decrepit horse that is close to death.
All known Irish play scripts are in English though Irish custom and tradition have permeated mumming ceremony with famous characters from Irish history – Colmcille, Brian Boru, Art MacMorrough, Owen Roe O'Neill, Sarsfield and Wolfe Tone. The mummers are sometimes referred to as wrenboys. The main characters are usually the Captain, Beelzebub, Saint Patrick, Prince George, Oliver Cromwell, The Doctor and Miss Funny.[7]
Scotland
In 1831 Sir Walter Scott published a rhyme which had been used as a prelude to the sword dance in Papa Stour, Shetland in around 1788.[24] It features seven characters, Saint George, Saint James, Saint Dennis, Saint David, Saint Patrick, Saint Anthony and Saint Andrew, the Seven Champions of Christendom. All the characters are introduced in turn by the Master, St. George. There is no real interplay between the characters and no combat or cure, so it is more of a "calling-on song" than a play. Some of the characters dance solos as they are introduced, then all dance a longsword dance together, which climaxes with their swords being meshed together to form a "shield". They each dance with the shield upon their head, then it is laid on the floor and they withdraw their swords to finish the dance. St. George makes a short speech to end the performance.
Emily Lyle captured the oral history of fourteen people from the lowlands of Scotland recounting their memories of the 'seasonal folk dramas' known as Galoshins.[25]
Building on Emily Lyle's outstanding work, Brian Hayward researched the geographical distribution of the play in Scotland, and published[26] "Galoshins; the Scottish folk play" which includes several maps showing the locations where each version was performed. These are or were largely across the Central Belt of Scotland, with a strange and unexplained "outlier" at Ballater in Aberdeenshire.
Inspired by both these writers, and by folk play workshops at the Scottish Storytelling Centre, the Meadows Mummers are an all-female troupe who perform at local festivals and have recently (September 2019) returned from performing at the Scots Music School in Barga, Italy. Details about this group can be found on (1) the Scottish Museums and Galleries website, under the sub-heading "theatre", as "Galoshins; tradition with a difference", and (2) in an article for Memoria Imateria, (issue 2) on Intangible Cultural Heritage, under the title "Rescuing Galoshins".
Philadelphia
In Philadelphia every New Year's Day there is a Mummers' Day Parade that showcases pageantry and creativity. This grand parade has history in the old world, and performances in Philadelphia began in the year 1900.[27] The parade traces back to mid-17th-century roots, blending elements from Swedish, Finnish, Irish, English, German, and other European heritages, as well as African heritage. The parade is related to the Mummers Play tradition from Britain and Ireland. Revivals of this tradition are still celebrated annually in South Gloucestershire, England on Boxing Day along with other locations in England and in parts of Ireland on St. Stephen's Day and also in the Canadian province of Newfoundland and Labrador around Christmas.
Mumming was used as a means of entertaining at feasts and functions, particular mention is made of one feast where 150 torch bearers lead the same number of mummers in, who would do acrobatics in a variety of costumes, including animal costumes.
Social mumming
At certain feast days (e.g. saint's days), a lot of the populace would put on masks, and in practices that vary with geography, celebrate the day. One practice in example was for a group to visit a local manor, and 'sing out' the lord. If the lord couldn't match verse for verse the singing group (alternating verses), then that lord would have to provide amenities.[citation needed]
The formation of roving mumming groups became a popular practice so common it became associated with criminal or lewd behaviour, as the use of masks allowed anonymity; in the time of Henry VIII, it was banned for a period.[citation needed]
Aristocratic mumming
On documents such as receipts and bills from the late medieval, come details of mumming parties organised by English monarchs, Henry VIII being known for taking his court mumming incognito. Later, Henry would ban social mumming, and bring the 'masque' form of entertainment to England.
Newfoundland mummers
"Mummering" is a Newfoundland custom that dates back to the time of the earliest settlers who came from England and Ireland. It shares common antecedents with the Mummers Play tradition, but in its current form is primarily a house-visiting tradition. Sometime during the Twelve Days of Christmas, usually on the night of the "Old Twelfth" (17 January; equivalent to 6 January in the old Julian calendar), people would disguise themselves with old articles of clothing and visit the homes of their friends and neighbours. They would at times cover their faces with a hood, scarf, mask or pillowcase to keep their identity hidden. In keeping with the theme of an inversion of rules, and of disguise, crossdressing was a common strategy, and men would sometimes dress as women and women as men. Travelling from house to house, some mummers would carry their own musical instruments to play, sing and dance in the houses they visited. The host and hostess of these 'mummers parties' would serve a small lunch which could consist of Christmas cake with a glass of syrup or blueberry or dogberry wine. Some mummers would drink a Christmas "grog" before they leave each house, a drink of an alcoholic beverage such as rum or whiskey. One important part of the custom was a guessing game to determine the identity of the visitors. As each mummer was identified, they would uncover their faces, but if their true identity is not guessed they did not have to unmask. The custom has recently enjoyed a revival, with a Mummers Festival taking place throughout December 2009 which even included workshops on how to make hobby horses and wren sticks.[28][29]
Mummers plays were performed in Philadelphia in the 18th century as part of a wide variety of working-class street celebrations around Christmas. By the early 19th century, it coalesced with two other New Year customs, shooting firearms, and the Pennsylvania German custom of "belsnickling" (adults in masks questioning children about whether they had been good during the previous year). Through the 19th century, large groups of disguised (often in blackface) working class young men roamed the streets on New Year's Day, organizing "riotous" processions, firing weapons into the air, and demanding free drinks in taverns, and generally challenging middle and upper-class notions of order and decorum. Unable to suppress the custom, by the 1880s the city government began to pursue a policy of co-option, requiring participants to join organized groups with designated leaders who had to apply for permits and were responsible for their groups actions. By 1900, these groups formed part of an organized, city-sanctioned parade with cash prizes for the best performances.[30] About 15,000 mummers now perform in the parade each year. They are organized into four distinct types of troupes: Comics, Fancies, String Bands, and Fancy Brigades. All dress in elaborate costumes. There is a Mummers Museum dedicated to the history of Philadelphia Mummers.
Mummers in fiction
Thomas Hardy's novel The Return of the Native (1878) has a fictional depiction of a mummers' play on Edgon Heath. It was based on experience from his childhood.
Leo Tolstoy's novel War and Peace (1869) has a depiction of mummers, including Nikolai Rostov, Natasha Rostova, and Sonya Rostova, making house-to-house visits. They are depicted as a boisterous crowd dancing and laughing in outrageous costumes where men are dressed as women and women are dressed as men.[31]
Ngaio Marsh's detective story Off with His Head (1957) is set around a particular version of the Guiser play / Sword Dance, the fictional "Dance of the Five Sons", performed on the "Sword Wednesday" of the Winter Solistice. The characters used in that dance are describes in great detail, in particular "The Fool", "The Hobbyhorse" and "The teaser" (called "Betty"). [32]
There are several traditional songs associated with mumming plays; the "calling-on" songs of sword dance teams are related:
"The Singing of the Travels" by the Symondsbury Mummers, appears on SayDisc CD-SDL425 English Customs and Traditions (1997) along with an extract from the Antrobus, Cheshire, Soulcakers' Play
It also appears on the World Library of Folk and Primitive Music. Vol 1. England, Rounder 1741, CD (1998/reis), cut#16b
"A Calling-on Song" by Steeleye Span from their first album Hark! The Village Wait is based on a sword-dance or pace-egg play calling-on song, in which the characters are introduced one by one
"England in Ribbons", a song by Hugh Lupton and Chris Wood is based on the characters of a traditional English mummers' play. It gave its name to a two-hour programme of traditional and traditionally-rooted English music, broadcast by BBC Radio 3 as the culmination of a whole day of English music, on St George's Day 2006[35]
"The Mummer's Song", performed by the Canadian folk group Great Big Sea, but originally written by the Newfoundland folk band Simani, is an arrangement of the traditional song "The Mummer's Carol", which details the mummering tradition in Newfoundland and Labrador. A hip-hop version by M.W.A. (Mummers With Attitude) was released in 2014.
Mummer is the title of a 1983 album by the English rock band XTC.
Father Christmas is the traditional English name for the personification of Christmas. Although now known as a Christmas gift-bringer, and normally considered to be synonymous with American culture's Santa Claus which is now known worldwide, he was originally part of an unrelated and much older English folkloric tradition. The recognisably modern figure of the English Father Christmas developed in the late Victorian period, but Christmas had been personified for centuries before then.
Morris dance is a form of English folk dance usually accompanied by music. It is based on rhythmic stepping and the execution of choreographed figures by a group of dancers, usually wearing bell pads on their shins. Implements such as sticks, swords and handkerchiefs may also be wielded by the dancers. In a small number of dances for one or two people, steps are near and across a pair of clay tobacco pipes laid one across the other on the floor. They clap their sticks, swords, or handkerchiefs together to match with the dance.
Saint Stephen's Day, or the Feast of Saint Stephen, is a Christian saint's day to commemorate Saint Stephen, the first Christian martyr or protomartyr, celebrated on 26 December in the Latin Church and 27 December in Eastern Christianity. The Eastern Orthodox Churches that adhere to the Julian calendar mark Saint Stephen's Day on 27 December according to that calendar, which places it on 9 January of the Gregorian calendar used in secular contexts. In Latin Christian denominations, Saint Stephen's Day marks the second day of Christmastide.
Hoodening, also spelled hodening and oodening, is a folk custom found in Kent, a county in south-eastern England. The tradition entails the use of a wooden hobby horse known as a hooden horse that is mounted on a pole and carried by an individual hidden under a sackcloth. Originally, the tradition was restricted to the area of East Kent, although in the twentieth century it spread into neighbouring West Kent. It represents a regional variation of a "hooded animal" tradition that appears in various forms throughout the British Isles.
English folklore is the folk tradition which has developed in England over a number of centuries. Some stories can be traced back to their roots, while the origin of others is uncertain or disputed. England abounds with folklore, in all forms, from such obvious manifestations as the traditional Robin Hood tales, the Brythonic-inspired Arthurian legend, to contemporary urban legends and facets of cryptozoology such as the Beast of Bodmin Moor.
Border Morris is a collection of individual local dances from villages along the English side of the Wales–England border in the counties of Herefordshire, Worcestershire and Shropshire. They are part of the Morris dance tradition.
The Long Sword dance is a hilt-and-point sword dance recorded mainly in Yorkshire, England. The dances are usually performed around Christmas time and were believed to derive from a rite performed to enable a fruitful harvest.
Wren Day, also known as Wren's Day, Day of the Wren, or Hunt the Wren Day, is celebrated on 26 December, St. Stephen's Day in a number of countries across Europe. The tradition consists of "hunting" a fake wren and putting it on top of a decorated pole. Then the crowds of mummers, or strawboys, celebrate the wren by dressing up in masks, straw suits, and colourful motley clothing. They form music bands and parade through towns and villages. These crowds are sometimes called wrenboys.
The Mummers Parade is held each New Year's Day in Philadelphia. It is believed to be the oldest folk festival in the United States.
Cornish dance originates from Cornwall, England, UK. It has largely been shaped by the Cornish people and the industries they worked in. In most cases, particularly with the step dancing, the dances were still being performed across the region when they were collected.
Guise dancing is a form of community mumming practiced during the twelve days of Christmastide, that is, between Christmas Day and Twelfth Night in Cornwall, England, UK.
Mummer's Day, or "Darkie Day" as it is sometimes known, is an ancient Cornish midwinter celebration that occurs every year on Boxing Day and New Year's Day in Padstow, Cornwall. It was originally part of the pagan heritage of midwinter celebrations that were regularly celebrated throughout Cornwall where people would take part in the traditional custom of guise dancing, which involves disguising themselves by painting their faces black or wearing masks.
Star singers also known as Epiphany singers, or Star boys' singing procession (England), are children and young people walking from house to house with a star on a rod and often wearing crowns and dressed in clothes to resemble the Three Magi. The singing processions have their roots in an old medieval ecclesiastical play, centred on the Biblical Magi of the Christmas story in the Gospel of Matthew, appropriate to Epiphany. It is observed usually during the period between 27 December and 6 January.
Mummering is a Christmas-time house-visiting tradition practised in Newfoundland, Ireland and parts of the United Kingdom.
The term hobby horse is used, principally by folklorists, to refer to the costumed characters that feature in some traditional seasonal customs, processions and similar observances around the world. They are particularly associated with May Day celebrations, Mummers plays and the Morris dance in England.
The Winster Guisers are a group who perform a traditional mummers play in and around the village of Winster, Derbyshire, UK, during the Christmas season. Their performance is based on a photograph taken c. 1870 outside Winster Hall showing an unidentified set of performers about whom little is known for certain. The Winster Guisers' play is not local to the area, but is a revival of a Cheshire play, chosen because it features a hobby horse similar to the one in the centre of the old photograph. A "guiser" is someone in disguise, though in the Winster area the term was widely used for the teams of Christmas mummers.
Old Tup, sometimes termed the Derby Tup or the Derby Ram, is a folk custom found in an area of north-eastern England. Geographically, the custom was found on the borders of Derbyshire and Yorkshire and stretched into part of Nottinghamshire. The tradition entails the use of a hobby horse with a goat's head that is mounted on a pole and carried by an individual hidden under a sackcloth. It represents a regional variation of a "hooded animal" tradition that appears in various forms throughout the British Isles. In geographical location and style it displays strong similarities with the Old Horse custom, but in the latter the hobby horse was presented as a horse rather than a goat.
English festivals are the Christian and secular festivals that are traditionally celebrated in England. Most festivals are observed throughout England but some, such as Oak Apple Day, Souling, Rushbearing, Bawming the Thorn and Hocktide are local to certain regions.
References
↑ Peter Thomas Millington, The Origins and Development of English Folk Plays, National Centre for English Cultural Tradition, University of Sheffield, 2002, pp. 22, 139
↑ Ledwith, Jim (30 May 2008). "The Fermanagh Men of Straw". BBC Northern Ireland Homepage, Your place & mine. BBC Northern Ireland. Retrieved 5 August 2014.
↑ Davis, Susan G. (Summer 1982). "Making Night Hideous: Christmas Revelry and Public Order in Nineteenth-Century Philadelphia". American Quarterly. 34 (2): 185–199. doi:10.2307/2712609. JSTOR2712609.
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