Showing posts with label folklore. Show all posts
Showing posts with label folklore. Show all posts

Tuesday, 14 October 2025

Halloween Part Two: The Ghosts of Halloween Past

 When I was a kid, Halloween in Ireland was Halloweve, or indeed, Hallows 'Eve, if you listened to my third class teacher. Halloween was an "Americanism" and before the deluge of seasonally themed horror movies and spooky family films, it was rarely used. Hallow'eve was the norm. 

Costumes consisted of black bin liners, with shop bought or homemade masks. In school, if you were lucky to have a teacher willing to enter into the spirit of the occasion, we painted cardboard masks, begged a length of knicker elastic from our parents and ventured forth into the night proudly sporting our creations. If there was no mask making in school, you were given a plastic mask from the local shop - it was too big, sweaty, hard sharp edges that cut into the side of your cheeks, and the elastic had to be tied tightly at the back to stop it slipping off. But they came in Witch, Frankenstein, Vampire and Generic Monster, and were highly prized.





Unlike my children, who received obscenely large hauls of sweets and treats every year, we counted ourselves fortunate to get a couple of packets of unbranded crisps and a packet or two of smarties. In the country, kids asked for "A penny for the Pookie" whereas in Dublin, we usually asked, "A penny for the Party." You might actually get a penny, or a bottle of TK minerals, or some small token towards the festivities. But the main treats to be had were fruit and nuts; apples and pears and monkey nuts, with a bag of hard shelled mixed nuts. We had a huge brass nutcracker that was pressed into service once a year, and which was reputed to have belonged to my maternal great grandmother. 






 But if our parties were simple, 1970s Dublin played host to some excellent bonfires, back in the days when health and safety took a backseat to "Arrah, be grand." I have vivid memories of standing close enough to be scorched, and my parents were the seventies' equivalent of helicopter parents. My husband had far more exciting experiences, in Newbridge Co. Kildare. His favourite is of the Halloweve when a giant bonfire was built in his housing estate, on a pile of spoil left over from the construction of the new neighbouring estate. Twenty feet high, this abandoned "hill" provided the perfect place to build a bonfire, visible for miles around. As was common then (and probably still is now) tyres, pallets, wood and debris were collected for weeks beforehand. The local kids dragged it all to the top of the mound, and piled it high.

Then some mischievous soul decided that a really fun prank would be to place a gas canister at its heart. The evening wore on, the flames burnt high, the canister heated up. At last, when only the "hardshaws" - the tough young fellas of the area - were left, drinking and messing, luckily around the lower slopes of the hill, the gas cannister exploded with spectacular results. It blew the stragglers down the hill, knocking some out, and lit up the sky like a war zone. If it had been on level ground, both housing estates might have needed reconstruction.

You can see why the eighties and nineties saw a crackdown on these traditional amusements...but it was far from a modern development. Pranks, some with unintended consequences, were an age old part of the night as we can see from the following report from 1900. An alarming report of a hanging body turned out to be nothing more than an effigy, left behind after the festivities.




We carved turnips rather than pumpkins, which were definitely a import from the USA. I was well into adulthood before I saw a pumpkin in the flesh, as it were. While some decry the modernity of this
 imported orange vegetable, they are exponentially easier to carve and less bloodcurdlingly horrifying than the turnip. 

However the turnip could be carried from house to house, adding a truly terrifying dimension to the parade of binbag clad youngsters.


Once safely home, we had traditional games, including apple bobbing and divination. I remember peeling apples, despairing of ever managing to get one continuous peel so I could throw it over my shoulder and see the initial of my future husband.  Barm Brack (Breac) was eaten, with much competition to receive the hidden ring. My mother always tried to give me, the youngest, the slice containing either the ring or the coin but my sister's were vigilant and uncompromising and often the lucky slice was lifted off my plate under threat of future violence, when parental backs were turned. Other little tricks of future telling abounded, from placing nuts in the fire to combing hair by candlelight while looking in a mirror. My dad only let us try that one once though, as it resulted in hysterics when one sister claimed to have in fact seen a ghostly apparition and the rest howled with terror. 

Of course, for the older people, the grandparents when we were young, had even more vivid memories of these folk practices. My friend's granddad regaled us with stories of his youth in Clare, and of the long night of Samhain spent in each other's houses, enjoying the fun. He put nuts in the fireplace and if they jumped, it was a sign (what of, depended on many factors.) My Dad had similar stories of his boyhood both in Dublin and Wicklow, of cream left out with tots of whiskey for the Good Neighbours and of the poignant empty seats left at the table, and by the hearth, so the visiting spirits would feel welcome. The next day, they would go to Mass and to the graveyard and tend the graves, but on Halloweve, on Oiche Shamhna, the loved ones came home to their own places.

 My mother told us of the famous Lyon's Bracks, the barmbracks with "real gold rings" inside, with lucky winners writing to the newspapers to express their joy at finding one.


Colcannon is another tradition, and whether it was a truly traditional dish or a USA invention has been hotly debated in recent times. I grew up with this dish, curly kale and mashed potatoes with diced onion and a pound of butter. My mother grew up with it too and she is 93 now. There are references to it from as early as 1735, by a welsh traveller, who attempted to render the  Irish (Gaeilge) name as Coel Callen, but it was almost certainly "Cal Ceannann" a reference to the white headed cabbage originally used before Kale became popular.

One of my favourite old songs is he Old Skillet Pot:



Ghost stories featured in our childhood celebrations but my dad could recall professional seanchaí, local celebrities, who were invited to tell tales of otherworldly apparitions and phantasms. The older generation believed without any irony; they lived in a world where these things existed, and should be respected, and they were neither dismissive nor overly squeamish about them. 

A report from the Saturday Herald October 30th 1909 by Nora Tynan O'Mahony, shows the affection and importance that Halloweve held in the public imagination. Despite the decline of other traditional celebrations like Michealmas, Candlemas, and St. John's Eve, Hallow-Eve remained a cherished occasion, particularly for children with the report praising its ability, like Christmas, to bring families together, as parents set aside worries to create a festive atmosphere. It was credited with a unique ability to unite communities, and bring neighbours together. The love spells and divination aspect was important for young adults and while she concedes that some of the old customs are fading, many retain their popularity. The belief in the Sidhe and all that might walk abroad that night is matter-of-factly recounted. 

An earlier report, this time in the Freeman's Journal, over thirty years earlier, on October 31st 1873, underlines the place Halloweve held in our national psyche. It confirms the widespread belief in the Sidhe, in púca and sprites, in ghosts and other entities. The same divination games are recounted, for the same reasons - to see future lovers, to find out if one was destined to be rich or poor. It highlighted the cultural importance to Ireland, a defiant note considering the politics of the era. Earlier newspaper articles sought to connect Irish traditions to Scotland, and even England, while by the later 19th century, Irish cultural identity was more publicly celebrated. 

We are a little more sophisticated nowadays; pop up costume shops appear in every shopping centre before the last day of Summer has fled. Elaborate disguises, grown-up parties, commercial events have all replaced the more homely, local activities of my childhood. But, the kids still go door to door and the neighbours stand outside to see the costumes. Bonfires still burn, some official and some highly illegal. The magic has changed a little, I concede, but there is a growing resurgence in affection and respect for the older traditions. We are beginning to reevaluate and consequently, re-value, the power and importance of Halloweve. We might call it Halloween now, but it's still the ancient festival our ancestors observed. 

Long may it continue. Oiche Shamhna Shona Daoibh. 


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Monday, 13 October 2025

Ep 29 ~ The Magic in Geraldine Moorkens Byrne (Draoí, poet and author)



Thoroughly enjoyed chatting to Frances Billinghurst, author and Antipodean witch, for her series "The Magic in You" on her YouTube channel. Go follow for this and lots more great content and interviews. 

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Friday, 14 March 2025

Joy and Folkmagic - the missing ingredient

 


Further to some great discussions recently about folk magic traditions and their role in community building (both historically and in this fractured present) I wanted to share a few thoughts on joy and humour in folk magic. And in spirituality, in our relationship with our inner sacred landscapes and our deities.

For many people, trying to reconnect to their indigenous folk traditions, or trying to connect to those of their ancestors/those that call to them from another culture, can be a long and difficult path. If undertaken with respect and commitment this is necessary. Learning history, lore, traditions takes time and study. Without this you're just dressing up UPG in the trappings of a culture.

But it's also important to remember that the real daily practice of these traditions wasn't some dry, academic pursuit. In fact if we examine the many examples of folk magic in Irish folk lore, they often centre on particular liminal days especially the festivals inherited from our pre-Christian and early medieval past. Imbolc, Bealtaine, Lughnasadh and Samhain all have some common traditions and some unique to each, but part of the commonality is the way that magical practices were framed in the context of "play." They are often communal (e.g. building bonfires, telling fortunes by the fireside, Funerary games) and they involve teasing, humour, fun, laughter and joy. They are designed to invoke pleasurably mixed feelings of excitement, embarrassment, happiness. 



With funerary traditions, they were noticeable for bringing laughter into that most serious of events, Death. This was not some kind of disrespect towards the dead but rather a kindness towards the living. It distracted from grief, and at the same time, shielded the private grief of the family under a mask of public raucousness. It was often misunderstood by authorities both clerical and political, and the Irish wake was castigated for its lack of decorum, yet it remains one of the best psychological blueprints for healthy grieving. 




Whether seeking connection to deity, the Ancestors or the archetypes in the Otherworld, it is important to retain a sense of warmth and joy. Our gods, and our ancestors are not dry and intellectual concepts, but full of nuance. Their accessibility to us is something to treasure. They too demonstrate humour, and from the literature we know they took joy in ordinary life, in connections, in love and alleviated times of pain with music and joy.

In Draíocht Ceoil, the very nature of the tradition with its emphasis on music, singing and performance lends itself to joyous practice. Not only that but the legacy of the Filí (poets) with their elaborate word play and use of rich poetic forms for magical and mundane uses is impossible to separate from a joyful, vibrant sense of the power of sound energy. One of the three strains of magical music is Geantraí, the music of joy. 



All the careful study of musicology, of sound, of the affect of music on the brain or of the Old Irish poetic forms becomes mere ashes unless fueled and tempered by a love of music and words, by joy in their power. No great musical talent is necessary - we need to overcome self consciousness and raise our voices with pleasure. We need to let words resonate, roll them off our tongues, savour them. We need to invite joy into our practice.

It's the missing ingredient, and it's pure magic. 


Draíocht Ceoil, The Sound of Magic in Irish Traditions will be published by MOON books, date to be announced.

 TikTok channel 

Irish Pagan School Class on Draíocht Ceoil

Irish Pagan School Class on The Rosc


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Tuesday, 5 June 2007

Pooka in the Summer Sun










A pooka grazes peacefully
where the river
meets the sea
In the ruins of a castle,
watched by me.
A moment of enchantment
where the city meets the green
and I enjoy the magic
as I watch, unseen.

Geraldine Moorkens Byrne

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Tuesday, 23 January 2007

At Cluain Moccu Nois

Inspired by the syncretic process of creating the Celtic Church, the adaptation and adoption of Pagan philosophies into a largely benign and progressive body, until the Roman CHurch suceeded in imposing its power in the Late middle ages. As the Filíocht schools survived til the 17th century the following exchange may well have happened,. as the Celtic CHurch gave way to the Roman and the "common folk" seanachies unprotected by teh institutions of Brehon law or status as a filí were forced to yield their stories.


At Cluain Moccu Nois

On the first attempt by the Monastery of
Cluain Moccu Nois to 'record and correct the stories of the simple
people.'




He questioned me with eyes
burnng with certainty
and a mouth closed tight like a fist
with suspicion, with distaste,
he questions me.
if the word inquisitor
had been invented
he could have worn it like an old coat
settling into the dark corners of its meaning
with comfort.
but his religion is yet young
though he was born old.

I am the old man,
marking time til death.
He has taken to this new religion
fully.
It has no corners only clarity.
Think? there is a formula for thought.
all needs prescribed, proscribed
scribed
this man calls himself a scribe

Like portable dolmens, stone circles of words
he seeks to imprison the knowledge,
my gold, the stories of my race.
he waits with the kind of careful patience
that allows torturers to wait
befre applying a second heated blade
to already burned skin.
In each stoke of quill on vellum
seeks
to pin down with weighty thoughts
the gods
whose blood still flows in these veins
seeks to cleanse them
'if they must be told, let them be told properly
with all due reverence to almighty god'

I think he means it.

Fr my part I am illiterate

92 years and in all that time
I have never yet felt the want of words or knowledge
until they brought me here and told to me that word
illiterate
I turn it over in my mouth
taste it
it is sour
like the bitter herbs my mother used for battle wounds
acrid
like the spring smoke used to clease the calves
what price knowledge for an illiterate?
I am the sacred liar
teller of tall tales
He assures me all wilts
in the glare of his god's truth.

I had thought to have earned my place.
In my youth
a warrior
in my old age
the filí of Eriu have sat at my knee
fuelled their visions
on the back of my words, my stories
my store of treasures
The druids
now turned culdee
wearing their new religion lightly
like to see
chieftain, farmer, warrior
around the fire
like little boys again
reminded of their place in this busy world.

He has no place in that world
removes himself with fastidious care
away from the noisome press of us
his god is deaf i think
he can only hear him in silence.
I shift and sigh buying time
at my age I thought to have done with war
but now like a distant echo
sound of bone on bodhrán
faintest tone of spear on shield
in some long-disused shadow of my soul
I feel the blood stir
rise against the cool smiles and impatient patience
of these neutered men.

I reach out,
half blind, half lame
reach out across decades
I feel my stories,
how they turn in on themselves
fold, unfold, reveal by hiding
mislead and teach a
dozen lessons
I grope through them,
their secrets laid out
waiting for the words to come
words to blind
words to shine

I think suddenly
of my own grandmother
of how she would tell her favourite story
not of men, nor gods
nor heroes
but of how when she was small
she had in this world one treasure
an string of beads, a bracelet
that she found
in the river
a gift from Suir for rescuing a swan
The fear of losing it, or it being stolen
was upon her
it fretted at her
until she knew no peace
she hid it nine times
and nine times changed its place
until at last she hit upon the one
how she laughed to know
her precious gift was safe
under the muck and shite
of the pig-sty, where no sane person
would ever think to look

I face him
his middle-aged youth
with milk-blind eyes
and smile
I begin to speak and he to write
he the erudite... I,
illiterate
I have one more war to fight:
one weapon left
at stake a priceless store.

I'll hide it in the murky depths
in plain view in every twisted phrase
Let him pile on the swill
I'll match him word for word
I will,
My treaure will not tarnish
will not fade.
and someday come the people to their own
and seeking hands will grasp the buried loot
My sacred lie will outshine his tawdry
truth.


Geraldine Moorkens Byrne

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