SING – FOLK – SPEAK

Talking about dialect, place and identity in folk song

Listen to Sing-Folk-Speak 2012 April 15, 2013

Here are a series of recordings made at Sing-Folk-Speak 2012, which took place at the Rude Shipyard, Sheffield. Sing-Folk-Speak 2012 focused on the theme of dialect in folk song. Dr Fay Hield and Dave Burland were on hand to provide songs and insights into their thoughts on the role of regional language in traditional music. They were joined in conversation by Professor Joan Beal, Dr Rod Hermeston, Dr Barbara McMahon and myself, as well as those Sheffield folk fans who turned up on the day and were eager to get involved. The recordings, made in June of last year by Joe Glentworth, feature all of Fay’s and Dave’s performances as well as a good deal of the discussion.

I would like to thank Fay and Dave as well as the other participants, who kindly permitted these recordings to be made freely available via this blog. I would also like to thank Joe, who did a tremendous job of recording the event and mastering the audio files. If anyone knows of any reason why any specific recording should be removed, please get in touch with me at the following address: alexbroadhead@gmail.com.

In the case of each recording, I’ve added a few introductory notes. If you have any further questions or thoughts on the subject, please share them via the comments section below.

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Here Fay and Dave explain how they got involved in the world of folk music.

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In this recording, Dave sets the lyrics of this widely-loved Yorkshire folk song to the melody of an American traditional song: namely ‘The Lakes of Ponchartrain.’ This adaptation, I think, offsets the themes of displacement and migration explored by the lyrics in a highly compelling way. For more information about this song, have a look here.

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Here Dave discusses his first encounter with the song and explains his choice of melody. Joan Beal reflects on alternative versions by other performers, including the Irish singer, Christie Moore.

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Here, and not for the first time, the dominating presence of Ewan Maccoll on British folk song is considered. Dave, Fay and other participants discuss whether performers should attempt to sing in their own accents or replicate the dialects of songs from other places, and consider the comedic possibilities of this sort of mimickry.

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In this version of a Scottish song, Fay discusses the differences between songs of Scottish and Yorkshire origin, and explains her decision not to adopt the Scots dialectal elements of the source text from which it was drawn.

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Fay gives a wonderful unaccompanied performance of Kemp Owen, a track that also appears on her debut album, Looking Glass.

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Here Dave performs Ewan Maccoll’s The Manchester Rambler. Following the performance, he reflects on his experience of recording an album of Maccoll’s songs with Dick Gaughan and Tony Capstick in the 1970s, and the ways in which their different accents and voices complemented one another.

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In this recording, Fay reveals the nineteenth-century American origins of this song, and explores the issues that arise when songs from one country are adapted for the voice and accent of a singer who hails from another.

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Here the audience and the performers ruminate on a veritable cornucopia of questions, including the following : how consciously do folk singers use dialect? How and why do singers change the ways in which they sing songs over time? How have recording and mass media affected the way that we absorb and learn folk songs? Do audiences at folk clubs change their voice to match the accent of the singer? Do we acquire our singing accents and our speaking accents in different ways?

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Dave performs the Geordie song ‘Rap ‘er t’ bank’. This is not the only Geordie song in Dave’s repertoire (see The Tender Comin on his debut album, The Dalesman’s Litany).

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Fay discusses the history of this Irish tune and explains some of the editorial decisions she made in adapting it.

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Here Joan discusses the relationship between globalisation, nostalgia and folk revivals.

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Dave recounts how he discovered The Barnsley Anthem, a song much loved by the natives of the eponymous town. Those seeking to learn more about the life of the song might be interested to know that Dave’s granddaughter, Christie Burland-Upton has produced a series of graphic works based on The Barnsley Anthem which can be found via this link.

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Joan Beal and Rod Hermeston discuss the relationship between community and dialect, and consider the following questions: why did a boom in folk song and dialectology occur in the nineteenth century? Why do some places (for instance, Yorkshire, Tyneside and the Black Country) have a stronger regional identity than others? Why do some singers and speakers switch their dialects on and off to include (as well as exclude) other people?

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Fay Hield and others consider the definition of folk music, and ask: at what point do songs become traditional folk songs? Who decides?

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Joan Beal discusses the difference between dialect and slang. An audience member unfondly remembers a teacher who dismissed Barnsley dialect as slang.

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Joan Beal explores the ways in which songs help to bring the idea of a dialect into being, citing the example of the Arctic Monkeys whose music has raised global awareness of the Sheffield dialect.

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Here Fay discusses and sings a Derbyshire folk song she first heard performed by Keith Hendrick. Fay’s partner, Jon Boden, has also recorded this number as part of his ‘A Folk Song in a Day’ project. His thoughts on the song can be found via this link.

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Dave describes how he first encountered this tune through the Elliots of Birtley, a family of folk singers and miners based in the North-East. For more information about the family, follow this link.

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Fay sings a comedic Yorkshire song and recounts how she discovered it in the Huddleston collection.

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I hope you’ve enjoyed these performances and discussions as much as I enjoyed experiencing them first-hand. I’ll shortly be releasing the details of Sing-Folk-Speak 2013, which will also take place in Sheffield. Thanks again to all who participated.

Alex Broadhead

 

Teachers, Ramblers and Spectres – a brief note of thanks June 28, 2012

A massive thanks to everyone who came to the Rude Shipyard on Sunday and helped to make Sing-Folk-Speak a success. Dr Fay Hield and Dave Burland were on brilliant form – both in their singing and in the insights they shared into the world of folk clubs and the role of dialect in folksong. It was clear from the start that the folkies who turned up on the day had a deep love of the music and had fascinating dialect-related observations and memories to share. One folk fan from Barnsley remembered a schoolteacher with a strong Ilkley accent informing him that Barnsley dialect wasn’t proper dialect, but slang. I suspect the same schoolteacher would have struggled to stick to that position after hearing Dave’s rendition of ‘The Barnsley Anthem’.  Professor Joan Beal, Dr Rod Hermeston and Dr Barbara MacMahon were also present to offer an academic perspective on some of the issues. Joan reflected on the appeal of local ways of speaking and songs about specific regions in an increasingly homogenised world, while Rod shed light on the relationship between music hall and folk songs in Tyneside. Regular folk-club goers will be unsurprised to learn that no one missed an opportunity to join Fay and Dave in singing the choruses of the better-known tunes. I’m sure I wasn’t the only person present who was delighted to hear the good people of South Yorkshire trying on the Lancastrian vowels and consonants of ‘The Manchester Rambler’.

In due course I’ll upload a more detailed account of the event, along with selected audio excerpts (courtesy of Joe, who did a fine job of recording it) and photographs. Suffice it to say at this stage that the highlights for me were Fay singing a ‘Tha’ Lowks a Proper Swell Lass’, a song based on a Derbyshire dialect poem, and Dave performing a new version of ‘The Dalesman’s Litany’, set to the melody of ‘The Lakes of Pontchartrain’, a number thought to have originated in America. Indeed, the theme of cross-cultural meetings was a recurring topic of discussion. On more than one occasion the spectre of the great Salfordian Ewan MacColl passed through the room, as people recalled his infamous edict to the turns at his 1960s Singers Club that they only perform songs from their native regions, as well the numerous occasions on which he chose not to heed his own advice, by singing American and Scottish songs. Due to the efforts of everyone there, I’m glad to say that it was not the spirit of MacColl the inward-looking traditionalist that prevailed on Sunday, but rather MacColl the enthusiastic explorer of dialect songs from around the world. Thanks again to everyone who participated.

 

Dialect in Folk Song June 21, 2012

Sing-Folk-Speak is partly a gig and partly a conversation. Dr Fay Hield and Dave Burland will provide the music, in the form of dialect songs from the British Isles and beyond. The conversation will be supplied by you: that is, the public, alongside Fay, Dave and academics from the University of Sheffield, including Professor Joan Beal. The event itself has been funded by the University of Sheffield.

Folk music and dialect have always gone hand in hand, like Ilkley Moor and hatlessness. Eighteenth-century anthologies featuring folk ballads, such as Thomas Percy’s Reliques of Ancient English Poetry (1765) and the Scots Musical Museum (1788-1803), edited by James Johnson and Robert Burns, are some of the best repositories we currently have of dialect words, idioms and grammar from before the dawn of recording and broadcasting. Take the following passage from the Scottish song ‘Waly, Waly’, for instance, versions of which have been recorded by folk artists including June Tabor and John Jacob Niles:

Now Arthur-seat sall be my bed,                                                              [shall]

The seats sall neir be fyl’d by me:                             [shall never be defiled]

Saint Anton’s well sall be my drink,

Since my true love has forsaken me.

Marti’mas wind, when wilt thou blaw,                                                [blow]

And shake the green leaves aff the tree?                                                [off]

O gentle death, whan wilt thou cum?                                                  [when]

For of my life I am wearìe.

(Percy’s Reliques, 1765, vol. II, p.114)

Here, in what Percy describes somewhat vaguely as an ’ancient song’, we find a combination of Scots terms, such as sall and blaw, and Scottish points of reference, such as ‘Arthur-seat’. Of the latter, Percy elaborates: ‘Arthur’s-seat… is a hill near Edinburgh; at the bottom of which is St. Anthony’s well’ (p.114). The song offers a record of the features that made up the topographical and linguistic landscape of a particular time and place.

But folk song isn’t just a museum for old and obsolete ways of talking. As far as many of the folk revivalists of the 1950s and 1960s were concerned, folk song was part of a rich and vital working-class culture. For those who were sympathetic to the radical left, it provided an alternative to the perceived elitism of classical music and the profit-oriented mass entertainment of the hit parade. From this point of view, dialect words and expressions in song can be seen as a celebration of working-class ways of speaking that in other contexts (high culture and the mass media) might be stigmatised or suppressed.

Sometimes folk performers sing dialect songs as an expression of their own regional identity. At the Sing-Folk-Speak event on Sunday 24th, Dave Burland, a native of South Yorkshire, will play ‘The Barnsley Anthem’, a song that he discovered in a chapbook and set to music. But some folk singers also perform songs featuring dialect from regions besides their own, as a way of playing around with persona and voice. In fact, the motivations for folk performers to sing dialect songs are too numerous to list in a single blog entry, which is all the more reason why an afternoon should be dedicated to the exploration of this topic!

Although there is no way of wholly predicting which direction the conversation will take on Sunday, it is likely that the following four questions will rear their heads:

(1) What makes a folk performer sing in their own dialect?

(2) What makes a folk performer sing in the dialect of a region besides their own?

(3) If you take the Yorkshire dialect (for instance) out of a Yorkshire song, in what ways can it still be described as a Yorkshire song? Is there such a thing as a Yorkshire melody or typically Yorkshire subject matter? (Dr Fay Hield will explore some of these issues through her adaptation of the Scottish song, ‘Kemp Owen’).

(4) What is the relationship between American dialect songs and British dialect songs? Is the use of British dialect in song a reaction against Americanisation? Or has the use of dialect in American folk song historically provided a precedent for British singers to use their own accents and dialects?

Over the course of the next few weeks, I’ll upload further information about some of the topics discussed in this entry, as well as biographical information regarding Fay Hield and Dave Burland. In the meantime, we look forward to seeing you on Sunday 24th (see About Sing-Folk-Speak for details of the event).

 

Sing-Folk-Speak 2012 – where, when and who? May 23, 2012

This is the website for Sing-Folk-Speak, a folk music and dialect event funded by the University of Sheffield.

PERFORMERS: Fay Hield and Dave Burland

ACADEMICS (besides Dr Hield): Professor Joan Beal,

DATE: 24th June 2012

TIME: 1pm-3pm

PLACE: The Rude Shipyard, 89 Abbeydale Road, Sheffield, UK

FREE ADMISSION

More details to follow.

 

‘The Dalesman’s Litany’ and Joan Beal on the Urban Context of Folk Song June 22, 2012

Filed under: Songs and Texts — alexbroadhead @ 3:24 pm

On Sunday, Dave Burland will play ‘The Dalesman’s Litany’. This song has long been a favourite at folk clubs and has been recorded by Christy Moore and Tim Hart and Maddy Prior, among others. Dave has hinted, however, that on Sunday he will put a new spin on the song by setting it to a different melody.

The song seems to have been first published in F. W. Moorman’s collection, Songs of the Ridings (first published in 1918), although Moorman includes no notes regarding its authorship. The text of the first stanza of Moorman’s version is as follows:

It’s hard when fowks can’t finnd their wark

Wheer they’ve bin bred an’ born;

When I were young I awlus thowt

I’d bide ‘mong t’ roots an’ corn.

But I’ve bin forced to work i’ towns,

So here’s my litany:

Frae Hull, an’ Halifax, an’ Hell,

Gooid Lord, deliver me!

Compare the above with Dave Burland’s version, which reflects more faithfully his own accent:

It’s hard when folks can’t find their work

Where they was bred and born;

When I was young I allus thought

I’d bide midst rooits and corn.

But I’ve been forced to work in towns

So here’s me litany:

From Hull and Halifax and Hell,

Good Lord deliver me!

In English in Modern Times (2004), Joan Beal suggests that it was precisely the urbanisation against which ‘The Dalesman’s Litany’ protested that, paradoxically, created a demand for songs such as this:

This song […] is typical of a genre of popular writing in urban dialect which emerged from the late eighteenth century. The growth of the urban population in towns and cities such as Newcastle, Manchester, and indeed Halifax, led to the creation of a market for popular forms of literature in dialect. This took forms such as almanacs, columns in local newspapers, and songs and “recitations” in the mechanics’ institutes and music halls that were opened for the entertainment of the urban populations. (p.204)

If anyone has any further information concerning the authorship of this song or versions by other performers, I’d like to hear about them (in the comments section below).

 

 
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