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Norfolk Folk Tales : Hugh Lupton :
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Delightful - just absolutely delightful. For anyone who loves fairy stories, whether to do with Shropshire or otherwise And: vv many thanks to the friend who gave me this - excellent Boxing Day reading! I am going to lend it to another friend, who is not going to be allowed to return it unread - with one problem - I have to have this book on my shelves!
Oct 07, Caitlin rated it really liked it Shelves: short-stories.
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I think this was an interesting short read. It compromises of several tales, from the very short to then not quite so short, which start to feel incredibly long after whizzing through the other stories. Some feel ageless, and others have dates and really aren't from that long ago. I also liked the little sketches that were dotted throughout the book. Most useful, perhaps, to thos I think this was an interesting short read.
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Most useful, perhaps, to those who want to find out more is the list of sources in the back, organised by the tale they refer to, which can also include a short paragraph giving some background into why the author chose to include exactly what she did. Jan 16, Lili rated it liked it Shelves: a , history , kindle , mysteries , folk-tales. A collection of old folk tales from the County of Shropshire, of interest to those who are interested in that county either through local history or genealogy.
Jan 03, Alice rated it really liked it. There are also numerous separate collections of Welsh, English and Scottish tales. The whole campaign began with a nephew. My brothers moved to Yorkshire and Dorset, and so when I became an uncle, I liked the idea of giving the baby a storybook to remind him of his Shropshire roots, and found a fun website with a few very briefly related Shropshire folktales. I found great pleasure in perfecting my own, more detailed, occasionally silly way of telling the stories, and in time, as friends began creating tiny humans too, there were tales to be rewritten in all areas of the country.
As this interest grew, I tried to locate an affordable British folktale collection to read for my own pleasure, something unpretentious, not too dark or crusty… but I was out of luck. The challenge was to sift through and find the real gold — particularly tales, like Molly Whuppie or the Knucker, which deserve to be as well-known as any fairy tale in the world.
Regionally of course, we all have local tales which most of us are brought up to treasure, but what if someone on the Isle of Mull would love a story set on Sark, and vice versa? Where was the sense in leaving these stories as regional lore, only?
Shropshire Folk Tales for Children
And equally, although I have a straggly beard and like nothing more than lighting an incense stick now and then, why were we allowing our British folktale treasury to become ghettoised as the sole territory of mystics and folkies? And, for that matter, academics? It became crucial to try and make this collection appeal to the widest audience possible, mixing humour with magic in totally fresh retellings aimed at a Pixar-loving audience, or The Simpsons , or Harry Potter, or Horrible Histories — creations which can appeal to all ages.
And of course, Harry Potter was entirely built on this mythology, as was The Hobbit and others, but is it not time to allow the source material used by Rowling and Tolkien to stand alone, and be celebrated in its own right?
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It should go without saying that many of these tales are gory, or bawdy, or generally horrifying, and we have no interest in whitewashing or bowdlerising. It also became clear that centuries of puritanism and misogyny had distorted many tales, and it became our job to go right back to the root of each story, and see what made it tick for a modern audience, while keeping the ancient spirit of every yarn alive.
These are usually separated into two folk revivals. The first, in the later 19th and early 20th centuries, involved figures including collectors Sabine Baring-Gould — , Frank Kidson — , Lucy Broadwood — , and Anne Gilchrist — , centred around the Folk Song Society, founded in The second revival gained momentum after the Second World War , following on from the American folk music revival as new forms of media and American commercial music appeared to pose another threat to traditional music.
The second revival was generally left wing in politics and emphasised the work music of the 19th century and previously neglected forms like erotic folk songs. The process of fusion between American musical styles and English folk can also be seen as the origin of British progressive folk music, which attempted to elevate folk music through greater musicianship, or compositional and arrangement skills. Some of this, particularly the Incredible String Band, has been seen as developing into the further subgenre of psych or psychedelic folk and had a considerable impact on progressive and psychedelic rock.
There was a brief flowering of English progressive folk in the late s and early s, with groups like the Third Ear Band and Quintessence following the eastern Indian musical and more abstract work by group such as Comus , Dando Shaft , The Trees , Spirogyra , Forest , and Jan Dukes De Grey , but commercial success was elusive for these bands and most had broken up or moved in very different directions by about British folk rock developed in Britain during the mid to late s by the bands Fairport Convention , and Pentangle which built on elements of American folk rock , and on the second British folk revival.
In the mids a new rebirth of English folk began, this time fusing folk with energy and political aggression derived from punk rock.
In a process strikingly similar to the origins of British folk rock in the s, the English thrash metal band Skyclad added violins from a session musician on several tracks for their debut album The Wayward Sons of Mother Earth. The peak of traditional English folk, like progressive and electric folk, was the mid- to lates, when, for a time it threatened to break through into the mainstream. By the end of the decade, however, it was in decline. This began to change with a new generation in the s. The arrival and sometimes mainstream success of acts like Kate Rusby , Bellowhead , Nancy Kerr , Kathryn Tickell , Jim Moray , Spiers and Boden , Seth Lakeman , Frank Turner , Laura Marling and Eliza Carthy , all largely concerned with acoustic performance of traditional material, marked a radical turn around in the fortunes of the tradition.
Although there were a handful of clubs that allowed space for the performance of traditional folk music by the early s, its major boost came from the short-lived British skiffle craze, from about Lloyd , Martin Carthy , and Shirley Collins. But the decline began to stabilize in the mids with the resurgence of interest in folk music and there are now over folk clubs in the United Kingdom, including many that can trace their origins back to the s.
The difficulty of gaining regular appearances on television in England has long meant that radio has remained the major popular medium for increasing awareness of the genre. In "My Kind of folk" was broadcast on Wednesdays. In "Folk on Friday" began, presented by Jim Lloyd. In it became "Folk on Sunday". In Jim Lloyd retired from the programme and was replaced by Mike Harding. In October it was announced that Mike Harding would be leaving the programme to be replaced by Mark Radcliffe.
Anderson , editor of "fRoots", also presented the occasional series for Radio Two. He currently hosts "fRoots Radio" on the web. Folk festivals began to be organised by the EFDSS from about , usually as local or regional event with an emphasis on dance, like the Sidmouth Festival from and the Keele Festival , which was abandoned in but reinstituted three years later as the National Folk Festival.
The EFDSS gave up its organizing role in these festivals in the s and most are locally run and financed. A ballad is a form of verse, often a narrative story and set to music. Many ballads were written and sold as single sheet broadsides. They are usually narrative in structure and make considerable use of repetition. A carol is a festive song, in modern times recognised as being exclusively associated with Christmas, but in reality there are carols celebrating all festivals and seasons of the year and not necessarily Christian festivals.
They were derived from a form of circle dance accompanied by singers, which was popular from the midth century. The earliest vernacular children's songs in Europe are lullabies from the later medieval period. It has been noted by most recent commentators on English folk song, that love, the erotic and even the pornographic, were major traditional themes and, if more than ballads are considered, may have been the largest groups of printed songs.
Lloyd was the key figure in introducing erotic songs to the canon, lecturing and publishing on the subject. Although erotic songs became part of the standard fare in folk clubs and among folk rock musicians, relatively few of the more explicit songs have been placed on record. The hornpipe is a style of dance music thought to have taken its name from an English reed instrument by at least the 17th century.
Jigs are a style of dance music developed in England to accompany a lively dance with steps, turns and leaps. The term jig was derived from the French 'giguer', meaning 'to jump'. A morris dance is a type of English folk dance, usually accompanied by music, and based on rhythmic stepping and the execution of choreographed figures by a group of dancers, often using implements such as sticks, swords, and handkerchiefs.
The name is thought to derive from the term 'moorish dance', for Spanish Muslim styles of dance and may derive from English court dances of the period. Morris dance survives in the distinct local traditions of Cotswold morris, north-west morris, Border Morris , rapper dance and Long Sword dance. Lloyd on albums such as The Iron Muse Sea shanties are a type of work song traditionally sung by sailors. Derived from the French word 'chanter', meaning 'to sing', they may date from as early as the 15th century, but most recorded examples derive from the 19th century.
Many were call and response songs, with one voice the shantyman singing a lead line and the rest of the sailors giving a response together.
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They were derived from varied sources, including dances, folk songs, polkas , waltzes and even West African work-songs. There was some interest in sea shanties in the first revival from figures like Percy Grainger. Lloyd attempted to popularise them, recording several albums of sea songs from Work songs include music sung while conducting a task often to coordinate timing or a song linked to a task or trade which might be a connected narrative , description, or protest song.