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CEREMONIAL AND RITUAL DRUMMING contd.
MUMMER DRUMMING AND STREET PERFORMANCE
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Ethnologists tell us that in ancient times magical dances were performed to honour or pacify the gods or spirits, or to promote fertility or tribe security, and it is probably from these rituals that Mumming developed.
Mumming or Masking, (so that the performers cannot be recognised), is a ritual public performance of traditional tales, many of which have long since defied any rational interpretation. Mumming is distinguished from Morris or Moorish dancing by the telling of stories rather than just performing intricate dances. Faced with these ancient pagan rites featuring such unsavoury |
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characters the Bold Slasher, and the Turkish Knight, and George and the Dragon, the Christian church developed its own brand of street theatre based on the life if Christ. These became known as the Mystery Plays. The Bodhrán or some other hand drum is invariably used in both Mumming and Mystery plays.
The rhythms vary considerably depending on the experience of the drummer. Most have no particular professional skill above booming out to attract a crowd or to punctuate the dramatic or comic elements of the story. Some however incorporate special beats to signify characters and events in the story, usually the arrival of the Devil and his downfall. The group I drum for, plays out the story of Ceridwen’s Cauldron and other Welsh tales.
Before arriving at the appointed venue to perform, many mumming troops will parade through the streets to drum up support, or as part of a larger carnival. This will involve an element of parade drumming which usually takes the form of two or three simple marching rhythms strung back to back. (The reason there only needs to be a few rhythms is that by the time you repeat yourself you have marched a long way past those who heard you last). Parading is also a chance for everyone in the troop to bang a drum in unison, which is a very effective crowd puller as well as bonding the group before the performance.
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A singularly interesting pagan variation between these two, mumming and street performance, is the Wren Boys’ parade which continues in parts of Britain right down to the present day. One explanation of this strange ritual, where a wren is captured and paraded round the town, is that it represents the king of birds, (and hence the lord of all creatures). It became king by flying the highest of any bird in the world, (actually it sat on the back of the eagle and flew an extra foot higher when the eagle was exhausted). Again the bodhrán plays a part in this ritual although I know of no specific cultural rhythms being used.
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Mumming and street performance are therefore two of the many examples of the use of the Bodhrán in surviving cultural traditions. However little is known of the contemporary rhythms used.
Any reader who would like to contribute is more than welcome to add to the material on this site. email here alan@bodhranwisdom.co.uk
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A WELSH TALE |
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