A selection of images from The 2018 Whitby Krampus Run
organised by Elaine Edmunds and Louse Mitchell of Decadent Drawing
A selection of images from The 2018 Whitby Krampus Run
organised by Elaine Edmunds and Louse Mitchell of Decadent Drawing
Ho Ho Horror …Krampusnacht approaches and Folk Horror Revival were fortunate enough to catch up with Al Ridenour, Xmas-monster hunter extraordinaire the author of
Folk Horror Revival: When did you first become aware of Krampus and what in particular about the tradition appealed to you?
Al Ridenour: In the mid-1980s, after putting in my undergrad years studying Germanic languages and literature, I ended up going to school in Berlin for a year. Berlin is not in a region with a native Krampus culture but there’s some awareness of the figure. I remember suddenly around Christmas, encountering rows of postcard reproductions of this really lovely Edwardian-era lithograph of a devil’s head with lolling tongue. I bought one without really knowing what it was, and it was up on my wall or fridge for years before I really realized what it was. I’d been aware at the time of Knecht Ruprecht, the sort of northern German cousin of the Austro-Bavarian Krampus, but hadn’t really gotten the story on this horned fellow.
Around that same time, I was reading The Golden Bough and found myself particularly fascinated by descriptions of Perchten, another (closer) cousin to the Krampus, but had assumed this was an extinct rather than living tradition. I hadn’t seen the word “Krampus” in Frazier’s writing because around 1890, the word was still gaining currency. The Krampus postcards were just beginning to circulate, and it was these that helped popularize the word, myth, and created a sort of homogenous visual representation. Before that, it was more diverse, loosely related clusters of very regional figures and traditions (like the Perchten) customs
In any case, my really getting into the tradition happened via a second encounter with these postcards around 2004, when digital reproductions began circulating online. At that time, it all clicked, and I realized this was more than a bit of antique art –- that it was a tradition still being enacted by contemporary Austrians and Germans in stunning costumes. I began pining over YouTube videos showing the live events, and eventually began planning a trip to partake in the fun myself. My casual trip research as to the most traditional locations to visit became the basis for my book.
The appeal? Well, they’re monsters! Need I saw more? And as an artist and fabricator myself, the craft of the costumes really appealed to me. There was also such a scarcity at the time of English information on the creature, that it also sparked my more scholastic, puzzle-solving side. And reading up on the topic finally put that relatively useless degree in German to good use!
FHR: On the Folk Horror Revival Facebook group, a video post depicting Krampus and some crying kids, kicked off a kerfuffle with some folk even talking about the children developing Post Traumatic Stress Order as adults. Personally as a kid I loved being scared … monsters, ghosts, UFOs, horror films and comics, dinosaurs – I loved all that, the scarier the better.
What are your thoughts about the issue? Do you think things like the Krampus are too scary or potentially damaging to kids or do you think the wrapping in cotton wool of children is an overreaction?
AR: Well, I couldn’t agree more about a childhood — err, lifelong – passion for frightful s stuff. It’s likely that this proclivity may be a bit stronger in boys, and more still in males who identify as horror fans, but the Krampus is also a creature of fantasy and fairy tale, of the imaginative faculty in general. If you look at our culture’s media output, it’s pretty clear that there’s a universal, thriving market for imaginative extra-mundane tales.
Yes, kids undeniably sometimes cry when they encounter the Krampus, but I feel like I often have to offer a corrective to the view that the whole tradition is primarily about punishing or scaring kids. People outside of Bavaria and Austria tend to miss its playful aspect, not see that it’s really more about play than punishment. While the core myth is that of a punishing figure accompanying St. Nicholas on his annual visits to children’s homes, the practice of enacting this particular story, the private Hausbesuch (“home visit”) is rather uncommon these days. The bulk of the Krampus activity in Europe is a public one, the Krampuslauf or Krampus run, which hardly pretends to be about the figure’s role as punisher. Performers in the Krampus runs typically leave kids alone and instead chase or engage in mock battles young adults of their own age.
I devoted the concluding chapter of my book to this “cotton wool” approach to children in regards to Krampus culture. In the era of trivializing “participation awards” in schools, the house-visits particularly give the child an opportunity to really achieve mastery over his own fear but also mastery of some small task – a performance. In the old days, the child would be called upon to recite for St. Nicholas bible versus or the like, but in more secular times, this is often just the performances of some memorized piece of music or poetry. The whole family, aunts, uncles, grandparents, and even great-grandparents are assembled for this moment of truth where the child can shine, where he becomes a star. That such a drama would be staged in the home, with elaborate, expensive costumes, secret preparations and care to ensure success in every detail—all the trouble, work and love devoted to this child-centered production seems very touching to me. If the goal were merely to scare a kid straight, there would be much simpler, brutish ways to do it.
FHR: Are there any other aspects of folklore or indeed society and culture that also intrigue you?
AR: The word “liminal” seems to be a popular word to throw around in folklore studies, and also seems a pretty good catchall for answering this. When I was a kid that concept would have been embodied by the monsters I adored transgressing the borders of the natural and supernatural. Tten growing up in the punk rock era, the transgression of societal norms became attractive in another way. In the 1990s, I was part of a national (American) group dedicated to this. It was called the Cacophony Society and was a national network of art-provocateurs and urban explorers responsible for founding the Burning Man festival and serving as prototype for “Project Mayhem” in Chuck Palahniuk’s Fight Club. It was started in San Francisco in the late 1980s, and I ran the Los Angeles lodge of the Society throughout the 1990s. We engaged in a lot of pranks and hoaxes, things that would later go on to be called “flash mobs.”
That interest in rather aggressively engaging the public in guerilla street theater ended up spawning an event called “Santacon,” namely, a drunken mob of costumed Santa Clauses that would take to the streets once a year. I met Chuck Palahniuk, who was a member of the Portland Cacophony lodge at one of these when San Francisco, and Los Angeles members gathered with our comrades for a Santacon in that city. Sadly, I don’t remember much of the meeting as I was more than adequately soused for the occasion, though I do have vague recollections of police in tactical gear showing up to prevent out entrance to a local shopping center. Santacon, like the Burning Man festival, went on to establish itself as an annual event outside of the Cacophony Society, and those of us who’d found it thrilling and challenging in the mid-1990s outgrew it. Missing that chaotic annual revel (though not the heavy drinking),led me to start a Krampus run in Los Angeles.
The funny thing is that impulse to occupy liminal spaces has caused me to double back to a more traditionalist mindset. Initially getting behind Santacon’s impulse to mock tradition I ended returning to the traditional via Krampus. (Americans tend to think of the Krampus as a sort of “enemy” of St. Nick, Christmas, and all that is holy, but at home in Europe it’s associated with very traditionalist, religious culture, albeit more of a folk Catholicism than the top-down Vatican business.)
My embracing the traditionalism of the a figure like Krampus is not really that surprising though, given that even in the midst of my subversive Cacophony Society years, I still connected with very traditionalist thinkers like Carl Jung. Early on, I recognized my disposition as more romantic than classical. I’ve always thrived on narratives where rational progressive thought collapses, and only the mythic offers hope. That sort of unexplained, unexplainable liminal experience is something that’s always attracted me. Something like the Krampus tradition or Carnival are traditionalist ways to embrace the subversive, terrifying and absurd.
FHR: You travelled quite extensively researching your book; are there any particular place or places, or experiences from these visits that have really stuck in your mind. If so, where and why?
AR: I wish I could have done more traveling for the book, but it’s not like I had a travel budget from the publisher. I was able to make it to a handful of Krampus runs in Austria and Bavaria, but the bulk of my research was really done after the fact, following up on contacts I had made and through those visits, engaging others in the Krampus network via email and social networking. Over the years there were a couple visits by my Austrian friends, where I got in more first-person interviews, and our Los Angeles Krampus group was also able to host the first costumed Europeans to run along with us in an American Krampus Run in 2014.
As far as memories, one that really struck me, and came to mind answering your question about children’s fears, was an incident I witnessed at a Krampuslauf in Munich. I remember seeing this young, visibly trembling boy near the front of the crowd where the Krampuses were passing. His parents were gently, but insistently nudging him forward toward an encounter. Soon, I noticed, that it wasn’t just me, but others were all sort of breathlessly watching the boy deal with his fears. Eventually he made it to the front of the crowd, and a costumed performer immediately took in the situation, crouched low and extended a claw. By the time the boy stuck out his own hand to meet the monster’s, his parents were patting his back, and all the spectators were beaming — but none more than the kid himself! We could all feel his pride, and it was really touching. And he went on to enjoy the other monsters, getting braver and braver with each encounter. I felt kind of honored, like I’d secretly shared in an important milestone in this kid’s life.
FHR: In your work as an artist on projects such as The Art of Bleeding, The Cacophony Society and The Museum of Mental Decay, there is a clear appreciation of the weird and grotesque. Could you tell us a little more about your art?
AR: I’ve talked a bit already about the Cacophony Society, but the Museum of Mental Decay was one of our Halloween events repeated over a few years. It was a sort of haunt or haunted house experience subversively interpreted – no readymade horrors from films, but stuff from a more dangerously surreal or dangerously real perspective – the latter, for instance represented by an installation with barely human urban panhandlers stationed in a sort of simulated back alley setting complete with stinking dumpster, all aggressively trying to sell visitors handfuls of human hair. Another year, I constructed an immense walk-in womb installation covered in slippery amniotic goo. I was covered in goo myself and trying to engage visitors with a giant man-sized fetus I’d constructed, encouraging them to hold the slimy thing or even spank it. When they tried to escape, my assistant and I would try to lasso them with the 15-foot umbilical cord attached to the fetus.
On and off from 2004-2012, I directed The Art of Bleeding, a rather hard-to-define performance troupe of sorts offering live multi-media shows parodying first-aid and safety education. It was an uncomfortable mix of short original videos and animation I did, repurposed vintage health-and-safety films, puppets, costumed kiddy show characters, and nurses in fetishistic uniform. At the time I owned an ambulance that would also often be featured in the events, including one show about traffic safety staged in a parking lot filled with “crashed” cars (old junked cars I’d bought) with bloodied actors in each telling their accident stories.
Over the last years, I’ve been sculpting and selling Krampus masks as well as costumes. My house is always a sort of evolving series of installations too, much of it with an increasingly folk horror vibe, including now a life-size sculpture of a sort of forest witch sculpted entirely from found woodland materials.
FHR: I am assuming that horror films and possibly comics may have played a part in your childhood? Could you name a few of your favourite movies, books and artists or art-works for us please?
AR: I grew up on horror films, especially the old Universal pictures, which are more nostalgia now, but a couple I still I consider great films, like The Bride of Frankenstein, with all its visionary design, horror, pathos, and wall-to-wall music score. I especially love it for its arch humor. Films that combine the morbid or grotesque and humor will always be near and dear to me– Rosemary’s Baby, The Tenant, The Loved One, The Abominable Dr. Phibes, Evil Dead II and Drag me to Hell, for instance.
My infatuation with Universal films encouraged a passion for Lon Chaney’s films, and silent films in general. I love how they seem to emanate another, less substantial world. Guy Maddin’s art films are both wryly funny and evoke this silent world nicely. His recent Forbidden Room is a truly phantasmagoric wonder!
I’m undeniably something of a Germanophile, and it’s possible that the German influence on those Universal pictures was part of it.
in part because of the influence of Germany’s horror films of the silent era
that trickled into those Universal pictures. Of all the silent German horror classics, Nosferatu was most formative. The original, but also Herzog’s remake, are lifelong favorites. If you’ve not seen it, Herzog’s Heart of Glass is also a hauntingly dreamlike period piece, in which the actors all performed under hypnosis. I also love Scandinavian work like (Häxen, Caligari, The Virgin Spring, The Juniper Tree, The Kingdom) and Eastern European/Russian films like Valerie and her Week of Wonders, Sweet Movie, W.R.: Mysteries of the Organism, and Viy (1967). I worked in the film industry for ten years as an animator partly inspired by Jan Svankmajer’s stop-motion, and that of the Brothers Quay who emulate his style.
Peter Greenaway’s films seem to have something of the same painterly emphasis on formal compositions as the Quay’s, and he has that dry wit balancing all that sumptuous imagery. My taste in art has become a bit more curmudgeonly thanks to Greenaway, and I now feel a strong affinity for the northern Baroque he celebrates, particularly Flemish vanitas paintings, allegorical scenes, and of course Bosch and Bruegel. In my early incarnation with the Cacophony Society, I was more influenced by modern, transgressive art, particularly performance art, but not so much today.
I am not a big reader of fiction, though I have a strange and vociferous appetite for nonfiction about literary movements and authors, naturally the Gothic and Weird Fiction in particular. Flannery O’Connor is one exception, and I’ve read and re-read everything she’s written multiple times.
FHR: What is next on the agenda? Are there any other books in the pipeline?
AR: Yes, absolutely! And very much within the FH wheelhouse. I have not yet signed a contract, so probably should not mention specifics now, but within the year, I should have an announcement about a sort of survey book that I hope will interest the FH community.
As a sort of promotional adjunct to the book, and because it’s something I’ve always wanted to do, I’ve also embarked on a podcast in which I discuss topics somewhat related to the upcoming book as well as my The Krampus and the Old Dark Christmas. It’s called “Bone and Sickle”. The core of the show is me sharing my research on a topic — say, Walpurgis Night or cuckoos — in a very discursive talk mingled with a constant stream of sound clips and quoted passages from 19th and early 20th century texts read by my partner Rick Galiher, who plays my butler. The whole is set in a very M.R. Jamesian study full of these old volumes, and there’s a certain uncomfortable tension between my “character” and the butler throughout. Thus far, I think it’s hitting all the marks FH fans would appreciate, though it’s been a lot of serious production work with original music and effects flowing throughout the entirety of the show. I’m very excited about it and the book!
Check out the Saint, Devil, Sugar-Bread & Whip: Krampus and Nicholas edition of Bone and Sickle here – https://www.boneandsickle.com/2018/11/28/the-krampus-saint-devil-sugar-bread-and-whip/?fbclid=IwAR2NPB5OMZ69xz035pnzWmXlmxvKTiiaewB8z1CCbR2n2rqWf-FYUXZ5WWs
A native of Pasadena, California, Al Ridenour holds BA’s in German and English literature, has worked as an author, journalist, animator, and artist, and has been a fixture in the West Coast underground art community since the mid-1990s. His Krampus research has taken him to the Austrian Alps and Munich, and brought him in contact with cultural anthropologists working in Salzburg and Vienna as well as dozens of members of contemporary European Krampus groups. In 2013, Ridenour co-founded Krampus Los Angeles, an organization that’s made the city ground zero for American Krampusmania. Ridenour has translated and produced the only English-language version of 19th-century Krampus play, written articles, and lectured on the topic at the international Goethe-Institut and elsewhere, and exhibited his Krampus suits at the University of Southern California’s Doheny Museum.
If any UK Revivalists are in the Whitby area on Saturday 5th December pop along to the Krampus Run – more details here – https://spark.adobe.com/page/SabqDn8I1AN4L/?fbclid=IwAR0x4QWgEg12aShz1seqaTmRZeBIvhQcIq7ygZ3F_QB7ArsC5g-xhx0_znY
And read Another great Krampus interview with Decadent Drawing here – https://folkhorrorrevival.com/2018/11/23/the-whitby-krampus-run-an-interview-with-elaine-edmunds-and-laurence-mitchell/
Again to make it VERY VERY CLEAR Folk Horror Revival is against all bigotry and always has been.
Do NOT think for a second that this is virtue signalling- it is NOT! , there are very personal reasons for us taking this stance and recent occurrences have prompted us to speak out loud and clear!
It is clearly stated in our Facebook group rules and description –
“No hate speech or bullying
Make sure everyone feels safe. Bullying of any kind isn’t allowed, and degrading comments about things such as race, religion, culture, sexual orientation, gender or identity will not be tolerated.”
We wanted Folk Horror Revival to be as apolitical as possible, but the recent threats made to a friend and associate of ours by Neo-Nazi Heathens has forced our hand to clearly and undoubtedly state that FOLK HORROR REVIVAL IS AGAINST FASCISM!!
Yet some folk have completely wrongly accused us or implied otherwise.
Our admins work extremely hard to keep posts from fascist factions out of the group and to refuse admittance to people of that ilk who request to join. They are sneaky bastards though and sometimes creep in as wolves in sheep’s clothing. As soon as we are aware they are gone in a cloud of dust.
Other folk without reading our group description or rules have misunderstood some posts. To clarify – “The posting of Tribal, folk custom and / or other cultural items is allowed but not intended to be seen as ‘horror’ but is shared for inspirational and educational purposes. No offense is intended by the sharing of such material and respect should be accordingly granted in response.” We will discuss the matter with members who question the material. However if they do it in a hostile manner, they are also breaking group rules and that must be addressed. We will handle the issue but we will NOT tolerate being abused by anyone.
We reserve the right to censor and delete comments (even those we may agree with). That does not make us a Totalitarian regime, it is us making Our group a safe, pleasant place and not yet another internet battleground that the arrogant think they have a right to soil with their arguments. There are plenty other places to do that, Not FHR.
Any post that a person has issue with can be reported to Admins and we will deal with it. Don’t take matters into your own hands. This provokes fights and it is not what we want for our group.
It is Our group – Our Rules . Break them and your comments and in some cases your membership will be removed. We will not tolerate bullying to the Admins or other Members. If anyone has a problem with that, they are free and welcome to leave the group. We have blocked more people than many other groups will ever have joining them, so numbers matter little to us.
Our rules and stance are not up for debate – abide or leave, either through your own choice or ours.
I also want to push further the point about our stance from my personal perspective.
I – Andy Paciorek – am the creator of Folk Horror Revival – I am of mixed nationality. I am a mongrel, a nomad and as such Nationalism is abhorrent to me and therefore it is frankly very obvious that my creation, my project would not support that. Especially as my father was lucky to survive passing through Auschwitz and being interred in Belsen as a teenager prisoner before being forced into hard labour. He was lined up to be shot until last minute a Nazi said they needed more ditch diggers on the front line, where an SS officer pushed him into the mud and walked across the length of his back. So hardly likely my project would tolerate nazism.
I grew up suffering racism – not ‘is this facebook post a bit appropriated’ racism but spat upon, punched in the face, hearing monkey noises, eggs thrown at windows at three in the morning and so forth racism!! So hardly likely my project would tolerate racism.
So anybody who accuses or implies that Folk Horror Revival has any sympathy towards nazis, neo-nazis, racism and any other bigotry is so far off the mark.
It is not only entirely incorrect to make those accusations or implications against us, it is actually very hurtful and harmful. so I hope this post is read and makes our stance and the truth of the matter very very clear!
While many Neolithic sites have become sterile, their power lost amid roads and modern noise and the footfalls of thousands, Carrowkeel retains it’s depth and energy.
To crawl on your hands and knees through the portal and to sit inside is to understand true liminality. On certain days the energy within has been overwhelming, crawling out dizzy, disoriented to sit in thoughtful recovery for a while.
New from Wyrd Harvest Press ~
Fleet by Jane Burn
“Fleet is a ‘weltersong’ of desire and otherness. An epic saga of shapeshifting enchantment and an all too familiar drama of longing, banishment, abuse, survival and love. Jane Burn brings her unique vision, wild wordplay and stunning image-making to the evocation of the folklore of the Witch-Hare, and the voices of Motherdoe, Fleet and Daughterhare with the full force of mythic tragedy and Ovidian metamorphosis.” – Bob Beagrie, poet
Folk Horror Revival would like to extend sincere condolences on the passing of master film maker Nicholas Roeg, who has died at the fruitful age of 90.
Although of all his films only perhaps Puffball (or The Devil’s Eyeball) based on a Fay Weldon novel is folk horror in a purer sense, some of his other work bears an aesthetic and atmosphere befitting of folk horror and touches on several related fields.
Here we will merely mention a handful of these.
This collaboration with Donald Cammell (Demon Seed. White of the Eye) follows a fugitive who hides up in the mansion of a reclusive rock star. Though not folk horror, the film touches on dark psychedelia, in the form of a hallucinogenic mushroom trip. A theme that was later expanded upon in movies by different directors such as Shrooms (Paddy Breathnach. 2007) and A Field in England (Ben Wheatley. 2013). As such it broached upon themes of Identity, which has been a concept of some horror movies such as Repulsion (Roman Polanski. 1975) and Symptoms (jose Hamon Larraz. 1974).
Loosely based on the 1954 novel by James Vance Marshall, Walkabout clearly displays the Landscape and Isolation links of Scovell’s Folk Horror Chain. A haunting, beautiful yet at times brutal film, it follows a pair of schoolchildren as they are accompanied in the vast merciless wilderness of the Australian Outback following the bizarre suicide of their father.
DON’T LOOK NOW (1973)
Perhaps Roeg’s masterpiece and also a masterpiece of British horror cinema, Don’t Look Now, based upon the short story by Daphne Du Maurier, is a difficult film to categorise. It may to some viewers appear rather slow, but it is not an action horror but a beguiling tale of grief, clairvoyance and murder. After the death of their child a couple visit Venice on a work trip, but their encounter with a pair of sisters, one of whom is psychic, occurring at a time when the city of canals is blighted by a serial killer.
THE MAN WHO FELL TO EARTH (1976)
Based on the novel by Walter Tevis, The Man Who Fell to Earth tells the story of Thomas Jerome Newton, an extraterrestrial who comes to earth from a dying world. In a bid to save his drought -ridden world he patents numerous technologically advanced inventions to fund his rescue mission. This however, unsurprisingly, garners the attention of US governmental agencies whom begin to take a keen interest in Newton. Though ostensibly a science fiction or speculative fiction film, The Man Who Fell to Earth has certain features and elements that should be of interest to folk horror revivalists.
Based on the Fay Weldon novel, Puffball was Roeg’s last feature film and the most purely folk horror of his output. Though not the most atmospheric or beautifully shot of his films, it is worth a watch for its tale of fertility magic and curses, and for its great cast. And again fungus 🍄
Nicholas Roeg (1928 – 2018)
The Whitby Krampus Run is rapidly becoming one of the annual must see events in the Whitby calendar. Organised by a couple of ne’er do wells and mischief makers Elaine Edmunds and Laurence Mitchell of Decadent Drawing, this fabulous event grows year on year, raising much needed funds for the amazing work done by the team at the Whitby Wildlife Sanctuary. We were lucky enough to drag Elaine and Laurence away from their preparation for this year’s event to discuss the event’s history, legacy and what the future holds.
FHR: The Whitby Krampus Run seems to be growing in popularity year on year. How did it all come about? I believe it has something to do with one of your Decadent Drawing art sessions?
We used to put on monthly themed life drawing/performances at La Rosa. The story of Naughty Little Hans was our festive special in 2013 featuring our very first Krampus. The mask was made by Neal Harvey of Rubber Gorilla. The following evening was actually the Eve of the Feast of St Nicholas, it seemed a waste not to use the costume again so we took him for a stroll through Whitby. We started Whitby Krampus Run proper in 2015 with a few friends and it’s developed from here. Once we started getting attention it was time to put it on as a public event with approval of the authorities
FHR: The event raises much needed funds for the The Whitby Wildlife Sanctuary, can you tell us how the connection between you and the sanctuary came about, and could you possibly tell us a little about the amazing work they do?
A local charity dear to our hearts because of the sheer dedication and expertise. It’s not just a rescue but a valued educational resource. Every year the work grows and the need for funding increases. They provide an excellent service not just for Whitby but across the NorthEast. I’m honoured to be one of the Trustees.
FHR: Krampus was a little known folkloric figure hailing from Austria and Germany until the last few years when we have seen a rise in interest in him. I am sure your event along with Al Ridenour’s wonderful book The Krampus and the Old Dark Christmas are among the myriad of reasons for that growth of interest. For those that know little of Krampus, can you give us a brief introduction to his story?
Certainly little known outside the Austrian and German towns and villages that held the events. Which looking back is quite incredible really. A brief history of Krampus? But considering only slight variations in the Alpine folklore there does not appear to be one definitive answer to his origins but it would be reasonable to say he’s pre Christian pagan and a protector. Krampus mythology had persisted enough throughout the Christianising of Germany to become incorporated into the 16th/17th century Christian narrative. St Nicholas was a popular Saint in Germany with his feast day in early December and Krampus became the good saints side kick, the one that dished out the punishment. Krampus’ appearance is generally anthropomorphic goat a horned hairy beast. Chains on one hand to possibly signify the devil bound by Christianity. Sometimes with a long pointy tongue sometimes without. A modern addition of basket on his back to place naughty children and a bundle of birch twigs to smack them with. No Krampus is complete without bells. Loud bells which would alert you to his coming among the alpine villages and towns. The story is now quite set but Krampus’ image develops with the times…but not for traditionalists.
FHR: I believe you make the costumes you use for the run yourselves. Creating such elaborate costumes must involve an enormous amount of work on your part? Can you tell us a little bit about the process, and how the costumes have changed since the event was introduced?
We’ve now got a wooden Austrian mask as well as the latex originals from Neal Harvey. The costumes and props do take a lot of time and effort. The participants put in so much work and enthusiasm into their own costumes and there’s some stunning creations. We are all quite skilled at recycling materials and problem solving. I made a mask last year based on the Star Carr Mesiolithic antler headdress which turned out very well especially as I didn’t know what I was doing. Lisa Eagleton has been very inventive using a horse hoof from a pet shop to put on her prosthetic leg. Interestingly more than half the participants in our group are women. The less ‘traditionalist’ Austrian and German costumes have evolved to become more realistic and orc like…I like them to have more of an older homemade feel…I think it makes for a much odder appearance…much more folk art. We are still to solve the problem of being able to see.
FHR: I have heard that Whitby Krampus Run 2018 promises to be the biggest and best yet. Can you tell us about anything new and exciting you have planned to take place on the day, or any ideas you may be working on?
It’s an interesting year for us in building on the success. We’re clear that we are an interpretation and not a direct copy. This allows us to incorporate ideas specific to the local and ideas that just seem like mad fun. If they work they can stay if not plenty more where they came from. Really happy to have more Krampus involved this year and see them creating their costume/character. Those involved are all enthusiasts, we all have skill sets but this is new to us all. This year we are really delighted to have a troupe of experienced drummers lead the way bringing a small bit of order. We also have the market place throughout the day where you can bag some merch and we can carry out our parade finale as intended. The market place is a great backdrop and would be perfect to use it for a play or film at night in the future….then one day there’ll be Viking ships, submarines, giant snowballs/toboggan down the donkey path, meat raffles…ideas are no problem just the usual limits of finance and or health and safety.
Thank you to Elaine and Laurence for taking time out of their busy schedule to chat to us about The Whitby Krampus Run 2018. The amazing work they do in making people happy and raising money for a cause like the Whitby Wildlife Sanctuary is something that deserves to be applauded.
The Krampus Run takes place on Saturday December 1st around the streets of the beautiful town of Whitby. Several members of the FHR team will be in attendance at this event, and we hope to bring you photographs and reviews of the day for those who are too far away to make it to what will be one of the North of England’s must-see events in the Wyrd calendar for 2018. Hope to see some of you there.
If you would like to find out more about the Krampus Run check out Elaine and Laurence’s Kramus blog here:
Their Decadent Drawing blog is at the link below:
For more information and for details on how to donate to the Whitby Wildlife Sanctuary:
If you’re still craving more information about Krampus Al Ridenour’s excellent book is available from the following Amazon link:
Noh is an intimate form of Japanese traditional theatre that dates back to at least the 14th Century. Though generally light on props, Noh does however utilise masks to a large degree. As many Noh stories deal with supernatural themes, Kishin (demon) and Onryō (ghost) masks are prevalent.
The Hannya mask above represents a woman who turned into a demon. It is a familiar mask to those who have seen Kaneto Shindo’s classic 1964 film Onibaba.
Kitsune are trickster fox spirits that can transform into human form. Though in Japanese lore some foxes were sly goblin figures, others were the messangers of the Shinto spirit Inari.
Tengu are part bird-part human. They generally dwell in mountainous or forested regions where they may be considered protective spirits, but in some lore they are considered warlike beings.
The name Daikijin literally translates as Great Devil God but they may be utilised at village ceremonies as protector spirits.
Wyrd Harvest Press the publishing arm of Folk Horror Revival has over a dozen titles available featuring contributions by talents such as Susan Cooper, Ronald Hutton, Shirley Collins, Robin Hardy, Philip Pullman, Kim Newman, Reece Shearsmith and many more
– visit here for more details
All sales profits from Wyrd Harvest Press / Folk Horror Revival after manufacturing and distribution costs are donated seasonally to The Wildlife Trusts.
£15 + Shipping
Tote bags – £6 + £4 shipping UK.
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Foawr Also known as: Stone-Throwing Giants, Fooar.
Upheavals in and on the earth that led to the creation of many immense and intriguing land formations and features were often accredited to the actions of Giants.
Many Giants in Britain and Ireland displayed a propensity for throwing stones, yet the Manx Foawr were absolutely notorious for heaving boulders around. They would throw rocks at humans, at ships, at each other and they would throw rocks just for the sake of throwing rocks. It seems however that the males of the species were more inclined towards trouble-making and stone-lobbing than the females. The masculine Foawr were despised by human farmers, not only for their rock-hurling but also for their other habit of ravishing cattle. It has been considered that the Foawr may be of the same lineage as the Celtic demonic race the Fomorii and some at least were said to be the children of the haggard storm-goddess, the Cailleach Bheur.
Text and image © Andy Paciorek
abridged and amended from the book
Strange Lands: A Field Guide to the Celtic Otherworld