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

 

Fay Hield June 22, 2012

As a solo performer, Dr Fay Hield has recorded two albums, namely, Looking Glass (2010) and Orfeo (2012), the first of which was nominated for a Horizon Award at the 2010 BBC Radio 2 Folk Awards. In both albums, Hield draws on songs from a dazzling variety of sources, including ‘Kemp Owen’ (on Looking Glass), a Scottish song that she adapted from a text in the Oxford Book of Ballads (1910), ‘Serpent’s Tail’, an eighteenth-century American song (on Orfeo) and ‘The Old ’Arris Mill’, a traditional song in Lancashire dialect (also on Orfeo). Fay has also intimated that, on Sunday the 24th, she will play a comic song in the Yorkshire dialect, entitled ‘The Cat, the Mouse and the Cask of Ale’ , which she has not to date recorded, and which, she has intriguingly suggested, contrasts in an interesting way with her better-known work.

Hield’s work as a professional performer feeds into and is fed by her work as a teacher and researcher in Ethnomusicology at the University of Sheffield. Her research encompasses the ways in which folk clubs and circles define themselves as communities and the formal elements of the folk singing style. She is interested in the points where these two topics meet: namely, the relationship between the style of a singer (including their accent) and the networks to which they belong. One of her areas of specialism lies in the prevalence of regionalism in folk music, and the role that accent plays in this. For that reason, along with the regional eclecticism of her repertoire, it is difficult to think of anyone better suited to shed light on the subject of folk song and dialect.

For more information about Fay Hield, see the link to her homepage in the right-hand column.