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Happy Midwinter Solstice

This heading may not roll off the tongue as readily as “Happy Christmas”, but celebrations of the solstice at the sunset on 20-22 December predated Christmas by some 4,500 years. Solstice celebrations have been found by archaeologists to have included considerable eating of fattened pigs and drinking of ale or mead. Not so different from our present-day Christmas festivities!

Readers of this column may have noted I have a keen interest with the times before the Romans arrived: the Iron, Bronze and Neolithic ages. As a small boy I passed through Avebury en route to Swindon to visit one of my aunts and I saw the stone circle there for the first time. I asked my father what it was and his reply was “Thats Avebury, thats all”. Neither Avebury or Stonehenge were mentioned to us at school, although we were within about 25 miles of these great monuments. So a friend and I cycled to Stonehenge, when we were about 13 or so and found it open and free to roam around and touch the stones. We were in awe of the size of the stones, how and who moved them and why? How times have changed. In the last few years archaeologists have made great strides in investigating the great henge monuments and explaining them to us.

Time Team has shown us the largest henge in the country, Durrington Walls, the largest stone age settlement in Europe, near Stonehenge. Durrington is not as well known as Stonehenge as it has no obvious stones and has now been crossed by a road. It had two huge circles of oak pillars, each weighing about 5 tons and over ten feet tall. These have decayed leaving only traces of their footings in the soil, radio carbon-dated to about 2,500 BC. It was built on sloping land so its southern circle faces only the midwinter sunrise, unlike Stonehenge which is of similar date. Archaeologist Professor Mike Parker-Pearson has said that Durrington must have been the largest Neolithic settlement in Europe and was probably the construction camp for Stonehenge, maybe only for some months of each year. It probably closed around 2,500 BC, after some 40 to 50 years, according to the dating of animal bones. Nine houses have been excavated, the best having been decorated with chalk slurry. Many more houses must have been on-site to accommodate the required builders. Large amounts of pottery have been found there. Also 80,000 animal bones, especially pig, originating from all over the country as far as Scotland. The pigs were 9 months old and surprisingly had caries, tooth decay, possibly they had been fed on a diet of honey for the midwinter festivities. No doubt ale was drunk in quantity to wash down the pork! Cattle were also butchered on the site. This would have been the greatest event in peoples’ calendar, when they came together to celebrate the Solstice with a huge midwinter feast.

Parker-Pearson excavated a road 10 m wide from Durrington Henge to the River Avon. This is the first Neolithic road to have been found. It had a platform near the river with possibly 4 standing stones and stones forming the base. His theory is that people brought ashes of their deceased to Durrington and went along this road at the midwinter sunrise to the River Avon, where the river would take them to Stonehenge. There they could process along the Avenue to Stonehenge itself, for burial at midwinter sunset, said to be the largest cremation cemetery in Britain. A circle of holes, named after their finder, John Aubrey,  has been found to contain evidence of numerous cremation remains. (Aubrey wrote a review of Stonehenge in 1663 for Charles II). The Stonehenge Avenue is now said to have been created by the action of glaciers creating grooves, long before the henges or the Neolithic people were conceived. The grooves coincidentally line up with the midsummer sunrise and in recognition of this Stonehenge may have been created.

Parker-Pearson also suggests that the timber circles of “living” wood where so many people lived during the construction of Stonehenge compares with the permanent “dead” stone circle. Finds at Durrington have included polished pig bone clothespins, a clay oil lamp, a 4,500 year old cooking pot and hundreds of flint arrowheads for hunting pigs. It was not just a local community effort, but people came from all across southern Britain and may have formed the largest congregation in Europe. Jane Evans of Nottingham University believes that strontium isotopes in cattle teeth provide land signatures which show that only one was local, with a large number from 50 miles distant, a few from Wales, Cornwall and possibly Scotland.

Moving onto Stonehenge it has been suggested that this monument must have been the talk of Europe once it was complete. Few other countries have stone circles. Europe generally had rows of standing stones one of the best known being at Carnac in France. Bones excavated at Stonehenge ave been found to have been from people across the Channel, some showing signs of illness or injury which had  occurred sometime before death. It has been suggested that Stonehenge was a healing centre. However before the stone circle was erected it was a burial centre for cremation remains, covering a wide area of the locality. This obviously continued after Stonehenge was complete.

Professor Mike Pitts believes the Aubrey Holes originally contained the Blue Stones from the Presili Mountains of Wales which were moved to their present positions later in the development. Recent analysis of human bones has shown high readings of strontium in some which suggests they originated in Wales, so perhaps they brought the Blue Stones and erected them. Most of the larger Sarsen stones were worked, or dressed. After a few more changes we are left with the Stonehenge we now see and love. Luckily it was built on Salisbury Plain which was largely undisturbed.

Avebury is larger than Stonehenge but its Sarsens were not worked. It has the long Kennet Avenue of alternately tall and wide stones which leads down to the so called “Sanctuary” across the road and is denoted by concrete “stones”, as the originals have been robbed. There are two other ancient monuments nearby, Silbury Hill about half a mile away and the West Kennet burial mound a little further away and which predated Avebury by several hundred years. Avebury suffered by having a  village built close to it, with some of its houses using stones robbed from the monument. In the middle ages some priests preached that stone monuments were the work of the Devil. Recently Professor Alice Roberts reported on TV that an excavation at the centre of one of its circles found the remains of a square wooden dwelling surrounded by a square of stones, now represented by post holes. It has been suggested that this square predates the stone circles by around 2,000 years.

We look forward to further work at Avebury to match that at Durrington.

I wish you a “Happy Mid Winter Solstice”. Just imagine walking along the Avenue towards Stonehenge into the midwinter sunset viewed through the Great Trilithon and then feasting on a Solstice supper of fattened sweet cured hog roast, swilled down with copious flagons of grog!

Bridport History Society meets well before the Solstice on 10th December at 2.30 pm in the Main Hall of Bridport United Church, when “Tinkers Cus and friends” will present Light to the darkness: from war to a new start, local history and stories from the First World War and the Peace in 1919. All welcome, visitors fee £3. To be followed by tea and mince pies.

 

Cecil Amor, Hon President,

Bridport History Society.

Christmas Cards

Any day now, they’re going to start arriving. It’s a widely recognised signal and a warning icon. It is just like the first cuckoo in Spring (although I haven’t heard any cuckoo in Dorset over the last ten years) or perhaps the appearance of the first Easter egg on a supermarket shelf (nowadays that’s early January). The arrival of the first Christmas card is a reliable indicator of the onrush of festivities and an outbreak of Reindeer fever. In our house, it’s become a contest—a race to see who will send us the first card. I wonder, this year will it be my faithful sister Penny, my old doddery uncle Len or it might even be Chris—my nice new neighbour at number 36?

It’ll probably be my sister who is so organised about Christmas that by now she will have already done all her Christmas shopping and wrapped everything up. I HATE the way she does this—it is just too structured, too super sensible. Is there no room for last minute improvisation, no room for a bit of dash, panic or (dare I say it) even ‘fun’? She almost certainly ordered her turkey back in March to make sure she wasn’t left out.

It’s unlikely to be my old uncle Len as I haven’t seen him since 1987. His last known address was an old rectory somewhere in Northumberland and I would have thought him deceased long ago were it not for the reliable arrival of his annual card that both reminds me of his continued existence and stokes my guilt at not having made more of an effort to see him!

As he doesn’t possess a computer, at least he won’t be sending me a digital E Card by email. That’s the worst form of card as it shows you whoever sent it really doesn’t give a fig about you. Rather than spending hours scribbling them by hand (and spending a Prince Andrew’s ransom in stamps) they just clicked on ‘send’ and you got included in a bulk despatch of 500 so-called electronic greetings. If you are going to send out cards, please send out the real thing—in an envelope. Otherwise, better not to bother at all and you’ll please Miss Greta Thunberg who probably wouldn’t approve cutting down all those trees to manufacture Christmas cards. However, I’m a traditionalist and I like cards but I don’t have her address. I’m sure she’d get my card if I addressed it to Greta, Planet Earth (care of Sweden) or something… This year she might get even more cards than Father Christmas.

And now for the most popular image on the card… yes, you can play this game too! Every December, my wife and I hold a sort of seasonal art contest. Each Christmas we make a list of the leading contenders and then categorise them as they plop through our letter box. Last year I can reveal that all traditional Nativity scenes came fifth. This included any shepherds and wise men plus Mary and a baby Jesus—whether in a manger or crib-less. Extra points are gained by adding up other animals gathered around the main event such as oxen, sheep (one point each) or a camel (2 points). Points are deducted for reindeer (historical inaccuracy—no reindeer in the Bible). Anyone including a dinosaur round the manger because of our proximity to the Jurassic Coast is barred from entry as it would have eaten up all the shepherds and probably Joseph too. Not very Christmassy really…

Fourth prize went to Victorian village scenes, often with added snow, coach and horses. In an attempt to stay local, some pictures had images of Exeter cathedral or Olde Crewkerne in the background. Please note the ‘e’ at the end of ‘Olde’. It’s important. A view of the Waitrose car park in Crewkerne would not have qualified as a traditional Christmas card—even if it had a sprig of holly in the top right-hand corner!

Third prize goes to any number of reindeer on a card. Sometimes these have an added sleigh or a Santa Claus but they’re not essential. No matter how many reindeer, just one puts the card into this third category. Sometimes the reindeer can be standing quietly on a roof while Santa’s legs can be seen disappearing down a chimney to do his business. I never knew he went down head first.

Second prize goes to Angels—our runner up is nearly always an Angel. Please note this includes any sort of Angel or Cherub or Cupid or even the Angel Gabriel (the boss Angel). You lose five points if there’s a fairy or a unicorn. It has to a real ethereal presence, not some plastic pink gossamer apparition. It has to be a true Angel. With wings. And please make it a suitably adoring one to satisfy traditionalists.

All of which leads me to reveal last year’s winner which was… a robin. Yes really. Every year our most popular Christmas card is always a red robin. Robins are universally popular and safe – either sitting on a garden spade or cocking its head sideways at you in a jaunty “Hi there, it’s Christmas!” sort of way. They are chirpy comforting little birds and can never offend different religious or political views. Although perhaps this year, with a looming Brexit and a General Election to help confuse the Christmas message, perhaps a picture of a pterodactyl swallowing a Santa Claus might be more appropriate. You could always try putting a robin perched on a reindeer with an adoring camel in the bottom corner—just to try and earn a few extra points.

 

Burning the Ashen Faggot

Midwinter fire ceremonies were once very popular in the UK, especially in rural communities. People gathered around the hearth in a noisy, joyous celebration, with the fire bringing light into the darkness of winter. These ceremonies probably have a pagan origin and one which used to be widespread in the UK was Burning the Yule Log. Less well known but quite common in Devon and neighbouring parts of Dorset and Somerset was Burning the Ashen Faggot. Although it has now largely disappeared as a household custom, it is still celebrated in a handful of local pubs to the accompaniment of hearty singing and copious drinking.

The ashen faggot was a large bundle of ash sticks or an ash log surrounded by smaller sticks, all bound together by thin bands of willow or hazel (withies). The ashen faggot was cut and constructed on Christmas Eve and placed on a fire kindled with remnants of last year’s faggot. Ash burns well, even when green and as the fire caught and each of the withies broke, tradition demanded that a new jug of cider be brought out to quench the thirst of the assembled company.

The scene around the hearth as the Faggot burned is vividly brought to life in this extract from Festivities and Superstitions of Devonshire in Bentley’s Miscellany 1847:

“On Christmas Eve it is the custom in all the farm houses of this neighbourhood to “burn the ashen faggot”. All the labourers and servants are invited, and a huge fire is heaped up on the wide hearth.  We all sat round the hearth in a circle; the firelight deepening the shadows on the hard-featured mahogany countenances around, and setting off the peculiarities of each form. The ashen faggot which lay on the hearth consists of a long immense log of ash, surrounded with smaller branches bound to it with many withies, forming one large bundle; it filled the whole hearth and as it burned the roaring in the large chimney was tremendous.  As the fire slowly catches and consumes the withies, the sticks fly off and kindle into a sudden blaze and as each one after the other gives way, all present stand up and shout with might and main; the “loving cup” of cider is handed round and each drinks his fill. They then resume their seats, sing songs, crack jokes until the bursting of another band and the kindling of a fresh blaze demands renewed shouts and another pull at the cider flagon. The merriment is allowed to go on till nearly midnight, before which hour the worthy giver of the feast likes to have her house clear, that the “Holy Day” may begin in peace. This custom is kept up religiously in all the farmhouses around, and is one of the principal festivals of the year.”

Burning the Ashen Faggot was a very popular west country custom and Amery, writing in the Transactions of the Devonshire Association (1879), reported that in the Ashburton postal district alone 32 farms and cottages burnt the Ashen Faggot on Christmas Eve 1878. There were various superstitions and beliefs associated with the event and an old man present at one of the 1878 ceremonies told how the custom “commemorated the first dressing of our Saviour in swaddling clothes, because Joseph cut a faggot of ash, which is well known to burn green and lighted a fire by which the child was first dressed”. The custom was also widespread in 19th and early 20th century Somerset where it was often combined with apple tree wassailing and held on old Christmas Eve (January 5th ). There is one 19th century record of burning the Ashen Faggot in East Devon for Christmas Eve 1839 at Bindon Farm about 4 miles from the Devon/Dorset Border.

In the 19th century, the Ashen Faggot was a household custom bringing working people together at Christmas. Servants and farm labourers and their families were all invited to the farmhouse with its huge hearth and the celebration was provided by the farmer and his wife in thanks for the year’s work. For one evening at least, people put aside divisions and squabbles.  The custom began to die out as work patterns changed, as the railways enabled people to move about and as artificial light banished winter darkness.

It seems likely that the custom would have disappeared altogether had it not been taken on by local pubs where it still survives despite recent closures and more stringent insurance requirements.   One pub where it flourishes is the 800-year-old Harbour Inn at Axmouth in East Devon and I spoke to one of the villagers, Nigel Daniel, who helps organise the annual ceremony.    He told me that on Christmas Eve morning a group of villagers cut the ash and make the faggot which measures about six feet in length and five feet in circumference, filling the expanse of the old inglenook fireplace.  Seven bindings each made from hazel are used to secure the faggot which is traditionally taken to the Harbour Inn at lunchtime where a few early Christmas drinks are enjoyed.

The ceremony itself starts late Christmas Eve with the reading of the following lines taken from Christmas by RJ Thorn 1795:

Thy welcome eve, loved Christmas now arrived,

The parish bells, their tuneful peals resound,

And mirth and gladness every breast pervade,

The ponderous Ashen Faggot, from the yard,

The jolly farmer to his crowded hall conveys with speed;

 where, on the rising flames, it blazes soon.

Seven bandages it bears,

and as they each disjoin, a mighty jug of sparkling cider’s brought

with brandy mixed to elevate the guests!

The Ashen Faggot is placed upon the open hearth where it soon lights with its distinctive orange and purple flames.  As each binding “disjoins” revellers are urged to recharge their glasses accompanied with seasonal toasts.  Local singers Ian Hunt and Phil Gamble perform three Seasonal songs:  The King, Christmas Song (from the Copper family) and Stormy Winds.  Communal carol singing follows continuing well into the night.

The ceremony at the Harbour Inn was revived more than 70 years ago by the landlord Ludovic Grant who used to present a roasted boar’s head as part of the celebrations.  The BBC showed interest in the ceremony in the 1950s, broadcasting it on radio and television, but when Ludovic Grant retired in the late 1950s it sadly lapsed.   Fortunately, Axmouth thatcher, David Trezise and local gardener, Ned Spiller got together in the early 1970s to restart the ceremony and, led for many years by David Trezise, and with the enthusiastic support of subsequent landlords the event has flourished at the Harbour Inn offering a truly traditional start to a modern Christmas.

The ceremony will be held again this Christmas Eve at the Harbour Inn, Axmouth, but you can also step back in time and participate in this ancient west country custom at the Luttrell Arms in Dunster on December 24th and at the Squirrel Inn at Laymore near Chard and the Digby Tap in Sherborne on January 6th, but please check the timing.

 

I should like to thank Nigel Daniel for generous help in preparing this article and for providing a photograph, also Kristy of the Harbour Inn and Tiffany Hyde for generously providing photos.

 

Philip Strange is Emeritus Professor of Pharmacology at the University of Reading. 

He writes about science and about nature with a particular focus on how science fits in to society. His work may be read at http://philipstrange.wordpress.com/

 

People in Food Jonathan Hoskyns

From the end of June to the middle of November if you need to find Jonathan Hoskyns he will most likely be out in the orchards harvesting apples, or pears, and maybe some plums too. Owner of North Perrott Fruit Farm, Jonathan starts the season by hand picking the eating apples, pears and plums, finishing with the cider apples using his machines. They shake the cider apple trees, raining fruit to the ground, for it to be gathered by the harvester. Since 1740 Jonathan’s family have owned the land he farms and it was his grandfather who planted the first orchards after WWI. When Jonathan left home after studying horticulture at Writtle Agricultural College, he continued honing his knowledge for a few years working on fruit farms in Kent. Or, according to Jonathan’s father “sent away to make his mistakes elsewhere,” as he often used to joke.

Jonathan and his wife Anwen work hard to keep the family business going. Jonathan manages the farm and Anwen looks after the farm shop. They work six or seven days a week, often passing during lunch, which Jonathan pops into the farm shop café for, (grateful for the warmth at this time of year), as well as the homemade quiches, sandwiches and soups on offer. There are 45 varieties of apples grown on the farm, producing 30 different types of apple juice. Jonathan also presses apples for others, whether it be to make cider with or for personal consumption. Some of the eating apples can be found in Tescos and Aldi, in the English Apple section. Jonathan’s favourite variety is Kidds Orange Red, although all the apple varieties can be discovered and tasted at the farm shop during harvest season, celebrated on their annual Apple Day.

A self-confessed Bridge addict, Jonathan plays two to three times a week. He finds it a relaxing hobby, “cheaper than golf” he grins, and is a member of both Crewkerne and Bridport Bridge Club. When he’s not on the farm or at the bridge table, Jonathan attends local meetings and societies as a member of the Parish Council, NFU, Bath and West Show and various local fundraising committees. However, Jonathan uses his trump card to ensure a rare Sunday afternoon off at the same time as Anwen, spending time at the pub, or the cinema, or simply, just together.

Vegetables in December

December is a great month to treat yourself by sitting in your comfiest chair with a cup of tea and sifting through the pages of seed catalogues to give you some inspiration for next year. It is the time that we like to finish up all of our crop planning for next season, tweaking this year’s plans with the notes that we have made throughout the year. By having a solid plan and following a good rotation we can make sure that we can produce as much as possible from a small space. As with all good plans we often have to change things around a bit throughout the year, but at least we have a rough idea of what should be going where and how much of each crop we intend to grow. This then feeds into our sowing plan for the year and gives us a list of what seeds we need to order.

Some seeds last a fairly long time if stored well (cool, dry conditions – ideally in an airtight container) such as beans, peas, tomatoes and brassicas, whilst the longevity of others such as parsnips, parsley (in fact most of the umbellifer family) along with many of the alliums like spring onions and shallots, is far shorter. With this in mind you can order more than you need of certain vegetable seeds, and make sure that you only order enough for one season of others.

We have a few favourites that we grow each year, but we always like to try out different varieties to add diversity to what we grow and to keep it interesting. It is well worth looking at seed catalogues that you have never tried before rather than just relying on the ones that you have been using for years. This will not only highlight varieties that you may not have otherwise tried, but also if you select small independent seed companies that produce seed in the UK you will be choosing varieties that grow especially well in our climate. Some seed catalogues that I strongly recommend are Real Seeds, The Seed Cooperative, Vital Seeds and Beans & Herbs. All of these seed companies sell only open pollinated seed varieties so that you can save the seed yourself once you have tried it out (they even give you details of how to save the seed!). They also sell lots of varieties that you won’t find in the normal seed catalogues and in buying from them – you are supporting the really important work that they are doing to preserve some of the older varieties that would otherwise be lost. This means that more diversity is maintained (by growing more varieties we are keeping a wider gene pool), which then gives us more resilience to everything that climate change presents to us. Just 10 companies own around two thirds of the seed that is available across the world. We are in a pretty dire state when it comes to the decline in biodiversity, and anything to support businesses that are doing what they can to maintain some of the more unusual and older varieties is really helpful.

 

WHAT TO SOW THIS MONTH: Best to wait until next year now!

WHAT TO PLANT THIS MONTH:

OUTSIDE: Garlic (if not planted already)

INSIDE: peashoots, sugarsnap and early pea varieties, spring onions, broad beans, garlic (for extra early garlic). Try and plant all of this early in the month.

OTHER IMPORTANT TASKS THIS MONTH: If the weather dries, continue preparing beds for the winter by mulching with compost, but otherwise take the opportunity to take it a bit easier.

 

 

December in the Garden

It certainly seems as if it’s done nothing but rain, for most of the autumn, which may have delayed some of the gardening activities which you’d like to have completed by now. While the ground is waterlogged, it does more harm than good to trample all over flower beds but, as soon as there is a break in the weather, without it being frozen solid, then completing digging and tidying tasks can go ahead.

Once we start getting frosts then lifting and dividing herbaceous perennials becomes a little more dicey and moving evergreen specimens really should be halted. In mild spells it’s worth getting on with planting bare-rooted trees, shrubs and hedging plants but, frustrating though it is, even this cannot be attempted during the wettest weather.

I am not generally in a rush to apply organic mulches in the garden because I like the, old-fashioned, idea that it’s a good idea to let the cold and the frost get to the soil. The expanding action of freezing water, inside clods of earth, has the ability to break up the lumps, thus saving you some effort. Also, so the theory goes, a decent spell of freezing temperatures will kill off a proportion of the pests which overwinter at the soil surface.

Logic tells me that it will similarly kill off a fair proportion of the beneficial insects as well, so whether a cold winter actually reduces the degree of pest damage, in the subsequent growing year, is a moot point. Gardening is all about maintaining a balance between untamed nature and the degree of human intervention required to achieve the (unnatural) effects that a cultivated garden demands; the balance between pests and diseases is something which it is often best left to natural control.

With the leaves now off the trees, the deciduous ones at least, the risk of high winds bringing them down is reduced. Having said that, if you’ve not done it already, it’s a good idea to check tree stakes and ties. They should be tight enough to hold the tree firmly, without chafing, but not so tight as to constrict the growth of the trunk. There should be a rubber block, located between the stake (always placed on the side of the tree from which the prevailing wind comes) and the trunk, through which the tie passes. The stake should be cut off an inch or so above the tie so that if the tree does sway towards the stake it cannot rub against the length stake protruding above the attachment point. To stop the tie from moving down the stake, during the inevitable flexing, I find a flat-headed roofing nail, hammered though the tie and into the stake, holds it nicely at the correct height on the stake.

The subject of tree staking brings me neatly to my annual reminder that the dormant season is the horticultural window of opportunity for buying and planting bare-rooted material. As mentioned in previous articles, the advantages of obtaining garden plants in their bare-root form is their comparative cheapness, compared to pot grown examples, and the fact that they are able to be sent from far-flung nurseries, a real boon now that so much is acquired via the ‘www’.

The major caveat, when ordering plants bare-root, is that you have to be prepared to deal with them as soon as they are delivered. Make sure you make a note of the advised delivery date and check with the supplier if you are in any doubt. They should be sent in protective packaging designed to keep them alive for the time that they are ‘in transit’ but they cannot be left in an outbuilding, or with a neighbour, once delivered, for more than a day or so. Even if weather conditions do not allow them to be planted immediately they will still need to be removed from their packaging and either heeled in, in a vacant bed, or temporarily potted up, crammed into a large pot of compost, until you can plant them in their permanent positions.

This being the ‘festive season’, you might have other things on your mind rather than going outdoors and getting muddy. If you are considering gifts for gardeners then bare-rooted plants might be a bit of a risk but other horticultural goodies will fit into a Christmas stocking.

Gardening consumables always come in handy and, unlike a glut of scented pressies, will always get used eventually. Decent, three-ply, twine is an essential that it’s impossible to have too much of. If your budget cannot stretch to the tool itself, Japanese secateurs and pruning tools being all the rage, then a sharpening stone or steel is a useful bit of kit. They are essential for getting the most out of your existing bladed tools so having a spare one, or three, is not excessive considering how easy they are to mislay.

Apart from impulse type buys from garden centres, an array of hellebores, snowdrops in pots and the like, a more longterm option could be a topiary evergreen which, like dahlias, seem to be having something of a renaissance due to their Instagram appeal. Large specimens will be expensive, due to the time it takes to grow them, but smaller examples, especially if untrained, might suit a smaller budget. Of course, it’s no coincidence that niche pruning tools are gaining in popularity at the same time that photogenic topiary is having a resurgence…

 

Merry Christmas!

 

100 Years of Folk Dancing in Bridport

This year, Bridport Folk Dance Club celebrated its one-hundredth birthday. Monty Crook and Gwenda Selley take Margery Hookings through the minute books from the club’s formation to the thriving group it is today.

 

It was Sir Thomas Beecham who apparently said you should try everything once except incest and folk dancing. An objection to the first activity is completely understandable but what the British conductor and impresario had against the second, I really don’t know.

Beecham is also credited with saying ‘everything in music has its place; even a brass band, but its place is in the open air and twenty miles away.’

As someone who breaks out in goosebumps when I hear a good brass band, I’m happy to dismiss Beecham’s putdowns as the product of a witty if curmudgeonly mind.

My own experience of country dancing is—just like thousands of others in Somerset and Dorset—I learned it at primary school. More recently, I’ve enjoyed village ceilidhs and watching with great admiration the energy of morris dancers on the seafront at Sidmouth Folk Festival.

This year, Bridport Folk Dance Club celebrated its one-hundredth birthday.

On Monday 19 September 1919, a group of women met in the Congregational Schoolroom at Bridport. Miss H D Kennedy, of the English Folk Dance Society, took the chair for what was to be the formal beginning of the Bridport Folk Dance Club. Previously, the Women’s Institute had taught country dancing in the town. There is still a relationship between the club and the WI, with folk dancing going on every Monday night in the WI Hall.

Though the club started meeting in the WI Hall in 1925, it relocated in 1960 following a fall-out over double bookings and hall fees. It took 37 years to move back there. Minutes from meetings over the century reflect changing times and world events.

One of the founding members was Miss Margaret Cox, a music teacher from the then Bridge House boarding school. In October 1920, it was decided to form The English Folk Dance Society, West Dorset Branch.

Cecil Sharp, the founding father of the English folk song revival, visited in January 1921 and established a local, officially approved teacher for classes in morris, sword and country dancing, with Miss Cox as one of the musicians. The subscriptions were 7s 6d per annum, amounting to £10.05 today. These days, annual fees have gone down to £2, although there is a £3 per session charge.

One hundred years ago, the MC was responsible for the programme and also for arranging teaching of new dances. This club now has a rota of several club callers which does this. One activity which has disappeared is a short time to be set apart at each meeting for folk songs.

The death of Cecil Sharp on 23 June 1924 was minuted the next day. In December 1924, a Dorset branch of the English Folk Dance Society was established, with strong representation from the Bridport club. Throughout the 1920s and 30s, club members performed at local and the All England festivals at The Royal Albert Hall.

Three hundred children attended the July 1927 festival of the Bridport branch and two members represented the county at the opening of Cecil Sharp House in 1930. A week-long festival of dance was held in Bridport in 1937.

Club records show a poignant break after the 22 September 1939 meeting, when a letter from a Colonel Deacon was read describing ‘steps… found necessary to take owing to the state of war which existed’ – and dance classes were ‘suspended until spring, when the situation should be reviewed …

Club minutes did not resume until 20 October 1947.

After the Second World War, square dancing became popular and the use of a caller became the norm, which made the dancing more accessible for everyone. The club was now using gramophone records.

From the 1950s until the 1970s, Miss Marjorie Mayne, who had been taught to dance by Cecil Sharp, held an annual folk dance to celebrate her birthday. She had helped found the Chideock Morris Men in the 1920s, after having taught morris to the troops during the First World War. At her parties, young dancers were asked to perform. Locals, including club members, were invited. In March 1968, Bourne River Morris, sponsored by Miss Mayne, gave their first public performance on her 90th birthday and this became a tradition. She died, aged 98, in April 1976.

Local group The Yetties, who went on to worldwide fame, attended the parties in 1970 and 1973. Later, the club adopted the event as its annual dance with the participation of Bourne River Morris—until no one on the side remembered Miss Mayne. Miss Mayne’s Party is now held during April and continues to feature a ‘dance spot‘.

Back in 1919, the club had 44 members, but over the years the numbers have waxed and waned. In 2018-19, there are 33 members and regular attendances of more than 20. The club enjoys local bands and guest callers once a month and, in between, club callers entertain with CDs and a laptop.

For its centenary, the club commissioned a dance from international caller/choreographer/music writer Colin Hume, intended to acknowledge the rope-making history of Bridport. The dance is called Money for Old Rope, subtitled The Bridport Dagger—the well-known local nickname for the hangman’s noose, which by tradition was made from Bridport rope.

Having already had an outing at the last Eastbourne International Folk Dance Festival in May (as well as in America), it was performed in the packed Church House Hall on 5 October at the club’s party dance. Some 21 club members were among 70 dancing to the music of multi-instrumentalist Chris Jewell, with Ted Farmer calling. In the interval, the club enjoyed an Appalachian dance display from a new troupe, Aurora, whilst enjoying supper, a glass of bubbly and birthday cake.

So why do they still do it?

Monty Crook and Gwenda Selley say: ‘Club members invariably say the club is fun, sociable and keeps you fit. And would that small group of enthusiastic founding members recognise the club today? We’d like to think they would be pleased, if not a little surprised, that we are still here, keeping the tradition alive 100 years on.’

 

Alive & Kicking

Despite a general lack of noise about the arts in the run up to the next general election, internationally renowned ceramicist Kate Malone, one of the selectors for this year’s Marshwood Arts Awards, made a powerful statement when describing the exhibition currently showing at Bridport Arts Centre. ‘For me community is everything’ she said. ‘And this illustrates that the creative community is alive and kicking.’

The exhibition, chosen by Kate, along with John Makepeace, Dave White, Tania Kovats and Brian Griffin certainly illustrates the breadth of talent that exists within the local and wider art world, but it also highlights why arts and culture strengthens communities.

Exhibitions such as this bring a diverse range of people together. Artists, makers, art lovers and those simply seeking an extra dimension to their lives, come together to see, feel, experience and enhance their world. They also gather to celebrate and support a shared need to explore and innovate. Without that compelling, dynamic force the world may be a bland and robotic place.

When choosing the artists that she wanted to include in this years show, Kate Malone explained that she had chosen ‘traditional craft, emotional expression, art into interior design, beautiful restrained intelligence, fun and energetic assemblages and expression of wondrous technical skills.’ Such a powerful comment on what the human race can achieve.

Dave White, who chose exhibitors for the painting and drawing category, highlighted the ‘unique distinctive style’ of the work he viewed. He, like all of the selectors, strives to push forward with his own work and the diversity of his selections highlights yet again how potent simple brush strokes can be in mirroring our innermost thoughts and feelings. His choice of Gary Goodman’s ‘At the Zoo’ painting was also chosen by Jasper Conran as his favourite piece in the show.

John Makepeace chose Nesta Davies’ beautiful book-binding work and stressed the value of traditional crafts. Nesta’s work features textures using silks, suedes, woven fabrics and fine Japanese paper. The tactile nature of her work begs to be touched and handled, something Nesta encourages.

Brian Griffin, whose iconic photographs are often an unconscious backdrop to many generations chose Charmouth based photographer Cate Field as the winner in his category. Cate uses multiple layers to create collages that, as she explained ‘become metaphors for the paradox of urban living.’ Ordinary people, doing ordinary things become a kaleidoscope of colour.

Tania Kovats, who chose work for the Sculpture category expressed how sculpture challenges how we occupy space, and asks what are we made of. She described work by her winner, Barbara Ash as: ‘Stunning work, perplexing, awkward, confrontational sculptures to dream about as well as stand beside. This work wrestles with all the right questions a sculpture should.’

Kate Hubbard, who presented this year’s John Hubbard Prize to ceramic artist Björk Haraldsdóttir echoed the thoughts of the other selectors about the diversity and quality of work on display. She said her late father would have been tremendously enthused by the exhibition and the range of art available to enjoy.

Sibyl King, founder of the Fine Family Foundation, which has been hugely supportive of creative and environmental projects all along the Jurassic Coast, chose the work of Alexandra Pullen as her Collector’s Choice. Alexandra cites ‘the great and irresistible capacity of the natural world and the tangled threads that connect humankind’ as her inspiration for what are intriguing, beautiful and delicate works.

With over 200 people attending the launch of this year’s exhibition there are signs that indeed, the creative world is definitely alive and kicking.

The Marshwood Arts Awards and John Hubbard Prize exhibition is open at the Allsop Gallery, Bridport Arts Centre until December 7.

Visit www.bridport-arts.com for opening times.

 

For more information about the Marshwood Arts Awards and John Hubbard Prize visit www.marshwoodawards.com

UpFront 11/19

Many years ago, whilst living in Seattle, I joined a boat trip around Lake Washington. A vast lake with a channel out to sea and the San Juan Islands beyond, it also hosted the home of Microsoft boss Bill Gates. Inevitably, the tour highlighted Bill’s house on the water’s edge. The guide excitedly related the story of how guests to Bill’s house were introduced to a piece of technology that would ensure that lights; heating and music in their rooms were programmed to their taste. I never visited the house so wasn’t able to verify the story. However, the anecdote came to mind many times over the following twenty years as I tracked news about smart homes and the devices that were designed to make our lives easier. A few years ago I purchased an ‘Alexa’ device and amused friends with requests for music, the weather or answers to historical questions. Guests joined in too and enjoyed hearing answers to their requests through the speaker, (men, for some reason, seemed to enjoy asking ridiculous questions that they knew couldn’t be answered). However, despite our enjoyment of the ease with which we were able to listen to music or the radio, we soon agreed that there was something slightly uncomfortable about having a microphone listening to every conversation in the room. So it wasn’t long before we unplugged ‘Alexa’ and banished her to a drawer where she still lives. Considering it had been a few years earlier that a tech friend had confided in me that it was possible to hack into a mobile phone and listen to conversations in the room around where it was placed, I should have realised ‘Alexa’ would have the same ability. But now that Google boss, Rick Osterloh, has suggested that we should alert visitors if we have a smart listening devise fitted in our homes, I’m glad ‘that woman’ (as ‘Alexa’ was referred to when we didn’t want her to answer), has been unplugged. Of course, the problem doesn’t necessarily go away. Most smartphones these days are capable of listening to vocal commands. But there are beneficial uses of ‘snooping’ technology, not least the recent discovery of a cancer tumour by a tourist visiting the thermal imaging room at a tourist spot in Edinburgh. Although that particular camera wasn’t purposely set up for cancer screening, there are a range of screening techniques currently being investigated that include a nasal swab, a breathalyser that can detect hallmarks of stomach or oesophageal cancer, and lavatories that test urine for signs of bowel cancer. Who wouldn’t applaud early detection advances, but a smart toilet? Will we be advised to warn guests about the loo?

People at Work – Naomi Eden

The handsome seasonal window displays are often what first draws in passing customers to Collate, an independent shop that sits proudly on Trinity Square in Axminster. Naomi Eden carefully selects a range of new, vintage and second-hand homewares as well as art, craft and sometimes the odd antique, which she displays beautifully on the shop floor. Opened in late May 2018, friends and family had encouraged Naomi to do her own special thing, after years of figuring out what she wanted to do while working for others.

Loving the shop’s location, Naomi was over the moon when she discovered the original black and white chequered floor underneath the old layers of carpet. It is now proudly polished and sets off Naomi’s wares elegantly. She tries to source handmade craft items solely from Dorset and Devon and is particular as to which artists are on display. She has a relationship with every supplier and is proud to be showcasing hand-made local items. Naomi also trawls around local antique auctions and flea markets looking for the perfect pieces to bring back to their original splendour. The stock in the shop is a mix of old and new, artfully put together so perusers imagine the items were always made to sit together. Naomi feels lucky to be a shopkeeper and part of Axminster’s unique and ever-growing independent shop scene—something she is passionate about.

As Naomi says, “The shop is an extension of me, I really care about it. When I lock the door at the end of the day I don’t mentally walk away. The shop is my life. It’s hard work, but I love it, so I don’t mind”. Opening up at 10am and then locking up between 4pm and 5pm Naomi’s first priority is to take her dogs out when she closes up shop. With three spaniels, one of which is Hatty, who sits under the counter and is very much a part of the shop’s furniture, Naomi loves taking the dogs out for walks at the beginning and end of the day. She lives in Lyme Regis and enjoys strolling along Monmouth Beach and up through Langmoor. And as Naomi’s mum’s artist studio is above the shop, if for any reason she needs to pop out, she has the perfect stand-in. A perfect set up, in more ways than one.