Cock fighting 14 August 2009 Introduction Cockfighting featured prominently on the rural calendar, and was popular with all sections of society throughout Wales until the early 19th century. Originally introduced to Britain by the Romans, cockfighting was popular among all social classes in Wales from the Middle Ages until the mid nineteenth century. Cockpits were common in most villages and spectators travelled from near and far to attend the fights. Cocks would be trained for many months before fighting, and were looked after by men called 'feeders'. Birds practised sparring every day and after exercise were fed and watered. The correct diet was extremely important, and each feeder followed his own secret feeding programme: brandy, raw steak, maggots and even urine were just some of the varied ingredients used. The fight Spurs worn by fighting gamecocks. Before a fight the cock was fitted with sharp steel or silver spurs (which could fatally wound an opponent in a single strike) and then brought to the middle of the pit. Here it stood, facing its opponent, only inches apart. At a signal from the master of the match, the battle began, and continued until one bird was killed or badly injured. Charms thought to protect and safeguard fighting cocks were sometimes used. These included biblical verses or cryptic words and signs, which were written on pieces of paper small enough to be slotted into the spurs. Superstitious owners also believed that birds fed with soil from under the church altar would become unbeatable and capable of killing all opponents. Such spells and charms were annulled, however, if the fight took place on the hallowed ground of a churchyard, where it was thought that bouts could not be affected by external forces. The Welsh Main Glass rummer from Pontypridd, inscribed with an image of fighting cocks, with the name J. Lewis. 1850. A great number of cockfighting bouts were held during Easter. One of the severest tests on the cockfighting calendar was the Welsh Main, practised both in England and Wales, when only the best birds competed and large amounts of money were laid on the outcome. The Main usually featured over thirty birds, which fought each other head to head until only one was left standing. Other variants of cock fighting included 'shying at cocks', when spectators hurled pieces of wood at a bird in the pit, attempting to knock it over. 'Throwing at cocks' was particularly cruel and involved tying birds to a stake and shooting at them with staves. The popularity of cock-fighting in Wales peaked during the eighteenth and early nineteenth centuries, at a time when a series of religious revivals nationwide condemned sports and pastimes as sinful activities which guaranteed hell and damnation for all involved. The Prevention of Cruelty to Animals Act in 1849 made cock-fighting illegal, both to protect the birds' welfare and to stop the gathering of frequently unruly spectators who so enjoyed the gambling and heavy drinking usually associated with the contests. We can be sure, however, that cock fights continued to be held illegally long afterwards, and as late as 1952 a cockfighting act was passed making it an offence to possess any instruments associated with the sport. Cockpits Both covered and open air pits were used for cockfights. The circular indoor cockpit re-erected at St Fagans National History Museum stood originally in the yard of the Hawk and Buckle Inn, Denbigh, and although its exact date is uncertain, may well have been built during the late seventeenth century. Since none of the cockpit's original indoor fixtures remained when it was acquired by the Museum in 1965, the centre stage, surrounding gangway and two-tiered seating accommodation are all modern constructions. Further reading Owen, Elias, 'Churchyard Games in Wales', The Reliquary and Illustrated Archaeologist, vol 2 (1896), 154-161. Peate, Iorwerth C., 'The Denbigh Cockpit and Cockfighting in Wales', Denbighshire Historical Society Transactions, vol.19 (1970), 125-132. Author: Emma Lile, Curator: Traditional Music, Sports & Customs. Amgueddfa Cymru
Traditional fishing practices on the Severn Estuary 25 September 2007 The lave net. Blackrock Lave Net Fishermen, beside the Second Severn Crossing. From left to right: Bob Leonard, Richard Morgan a Martin Morgan. The centuries-old fishing method of 'Lave Net fishing' continues along the banks of the River Severn. The waters of the Severn Estuary are among the most dangerous in Wales but this has not deterred generations of fishermen from fishing its rich waters for salmon. Traditional Welsh methods of catching salmon survived particularly strongly in the area. Within living memory a range of methods were used, including putcher ranks, stopping boats, putts, drift nets and lave netting. Lave Net fishing is the only traditional method to have survived into the 21st century. Unique historic significance The number of lave netsmen has declined over the years and now can only be seen in the area of the Second Severn Crossing close to the villages of Sudbrook and Portskewett in Monmouthshire. The Blackrock Lave Net Fishermen Association, carry on a tradition that has a unique cultural and historical significance. Fish are caught at low tides, known as spring tides, using a hand-held net. At one time fishermen were allowed to fish from February to August but this has since been restricted from June to August. At most, they can fish for an hour and a half at a time depending on weather conditions. Fishing commences as it always has with the fishermen going down to the shore at Black Rock standing where their grandfathers and great-grandfathers once stood. The basic technique for lave fishing is simple, the hand-staff is held in one hand and the headboard with the other, whilst the fingers are entwined in the bottom of the mesh feeling for the fish. The net is positioned in front of the fisherman, to face the run of the water. The fishermen consider wind direction and the height of the tide, with the optimum conditions being flat and calm. At one time there was no need to divide the catch as there was sufficient salmon for everyone. Times have changed and commercial fishing using the lave net has not been viable on the estuary since before the Second World War. Prior to 1939 the fish were sent to Billingsgate Market in London. The lave netsmen are as skilled as their forefathers but due to the diminishing fish stocks they are lucky if they catch more than a dozen fish for the season. They fish to keep their centuries old craft alive as Martin Morgan, Secretary of the Association explains "Lave fishing has a tradition going back a thousand years in Wales. My great-grandfather was a fisherman and passed his skills on through the family". Background Reading Severn Tide by Brian Waters. Published by J.M. & Sons Ltd (1947). Nets and Coracles by J. Geraint Jenkins. Published by David and Charles (1974).
The forgotten festivals of Wales 11 September 2007 Gŵyl mabsant The game of 'fives', rather like a primitive form of squash, often took place against the church walls. Image from The Cambrian Popular Antiquities, Peter Roberts (1815). The gŵyl mabsant was one of the most popular rural festivals in Wales. Commemorating the local parish saint, this annual celebration developed from a dedication through prayer to a programme of recreational activities, enjoyed by all. Gŵylmabsantau was mentioned in writing as early as 1470, and the festival was common throughout Wales up until the end of the 19th century. From cockfighting to grinning matches Competitions at the festivals ranged from running races to old women's grinning matches and blindfolded wheelbarrow-driving. At the three day sports event held in Llangyfelach near Swansea in 1780, competitions and prizes included a women's race for a smock and petticoat and eating a hot pudding for a silver table spoon. Animal sports were a familiar scene, particularly cockfights, on which large amounts of money were wagered. Birds were specially trained for the contest, and the owner of a victorious cockerel was held in high esteem. Early versions of Association Football were often played over Christmas, New Year and at Shrovetide. Large crowds of spectators gathered to witness the matches, which, owing to a lack of pre-determined rules, tended to degenerate into chaos, with injuries being common. Bando Bando was another favoured team sport and continued in some areas until the late 19th century. Particularly popular in Glamorgan, bando was similar to the modern game of hockey and teams used clubs to strike the ball towards a goal. A rowdy reputation Cockfighting featured prominently on the rural calendar, and was popular with all sections of society throughout Wales until the early 19th century. Owing to the combination of betting, feasting and alcohol consumption, it was not surprising that parish festivals built-up a reputation for their rowdiness. Publicans often played a significant role in organising and promoting sports events, many being arranged over the bar. The games contested were high-spirited and unwritten rules were often decided informally before the start of a match. As many sports were localised activities, rules usually differed from place to place, leading to disagreements between parishes. Concern regarding the unlicensed revelry and alcoholic over-indulgence commonly occurring at the festivals, as well as the doubtful benefits of the games themselves, was increasingly voiced from the 18th century onwards, most noticeably by religious leaders. Worthless and sinful The Methodist and other religious revivals which swept across Wales from the mid 18th century until the turn of the 20th century, attacked sporting activities indiscriminately as worthless and sinful. Physical recreation was viewed by some as a great threat to the morals of the population. Eminent religious figures, such as Thomas Charles, tried to suppress impious fairs and festivals, in 1799 he described Wales as "sunk in superstition and vice". Consequently, parishioners turned increasingly to churches and chapels for release and salvation, and as prayer meetings were sometimes purposely arranged to clash with sports days, religion became a potent force in the eventual decline of the Gŵyl Mabsant. Background Reading "Gŵyl Mabsant" by T.Llew Jones. In Llafar Gwlad p10-11 (Winter, 1997), p8-9 (Spring, 1998). "Festivals and social structure in early modern Wales" by Richard Suggett. In Past and Present, vol. 152, p79-112 (August, 1996).
Inns and hostelries of 18th-century Wales 5 July 2007 'Nauseating ales' and 'filthy inns' A view of Llangollen from Pugh's Cambria Depicta, a town where the growth of the tourist industry led to improvements in inns such as The Hand. The accounts of tours of Wales undertaken by well-to-do Englishmen in the late 18th and early 19th centuries have always been a major source of information for studying early modern Wales. The descriptions of towns and antiquities, regional costumes, customs, industries and the state of communications can prove very helpful and informative. The nature of the inns and hostelries encountered on the travels is yet another aspect full of interesting detail. A warm Welsh welcome When J.T. Barber published details of his tour of south Wales in 1803, among the inns at which he and his friend stayed was the Green Dragon at Carmarthen. It was described as 'comfortable', as was the Bridgewater Arms at Pontypridd and the Red Lion at Llanrhystud, which was a 'tolerably decent alehouse'. However, not all the inns encountered by Barber and his companion provided pleasant memories. On reaching Carew, having got lost, the first inn he tried had no decent accommodation, nor stable for the horses. The second inn had even less, so the travellers returned to the first inn where at least a bed could be had. 'Nauseating ale' The interior was discoloured, the landlord and his wife looked care-worn, and the meal consisted of hard barley bread and salt butter with 'nauseating ale'. The bed consisted of a bag of straw in a recess in a room the travellers shared with two of the landlord's children. The sheets were very damp, and the exhausted travellers found they were also sharing the room with fleas and rats. Some of the inns on the main routes taken by the English tourist were excellent, particularly the one at Pile built by the Talbots of Margam. Barber's opinion of this inn was that it 'might be mistaken for a nobleman's seat', and that it catered well for all tourists. Henry Skrine's account of his tours in Wales, published in 1798, also mentions the inn at Pile, stating that it 'rather resembles a palace than an inn'. North Wales The Reverend W. Bingley's account of his 1798 tour of north Wales mentions the inn at Caernarfon built by the Earl of Uxbridge, stating that it had good views from its premises and excellent accommodation, and that few establishments in England could rival it. A guide to the area published in 1827 confirms that this inn, the Uxbridge Arms, was 'large, handsome, and commodious', meeting all the needs of travellers at a reasonable cost. Bingley also refers to the Eagles Inn at Llanrwst as being comfortable and the only place there where post horses were kept. The disadvantage of the inn was that it was too popular, summer tourists making the atmosphere crowded and unpleasant. It is apparent that the main hostelries on the tourist routes in Wales were, or had become out of necessity, suitable places to stay, notably those on the roads used by travellers heading for Ireland, such as The Hand in Llangollen, described by Bingley as tolerable, but too crowded and with an uncivil landlord. The Reverend G. J. Freeman who toured in the 1820s noticed the considerable changes The Hand had undergone since he had first visited Llangollen a year before Bingley. Exceptions, such as the inn at Carew, were usually those where the tourist would not be expected to stop; for instance, the town of Tenby would have had the necessary hotels for this area of south-west Wales. However, there were occasions when travellers visiting towns were disappointed in the accommodation that they found. Filthy Inns E. D. Clarke visited Haverfordwest in 1791 and commented that he had 'never felt more disposed to quit any place than Haverford', a feeling exacerbated by the filthy state of the inn. He compared his room to a sty. The sheets were damp, and as the bed had not been changed since the last visitors it was full of sand from people's feet! Worse was to follow, for in the morning Clarke found that his carriage had four horses attached to it, not the two he had requested. He had no alternative but to take all four — 'Any inconvenience was better than staying with Pharaoh and all his host'. Clarke was not alone in his experience of Haverfordwest, for Henry Penruddocke Wyndham tells a similar tale in his account of his travels made in the 1770s.
The wandering ballad singers of Wales 23 April 2007 Bertie Stephens Bertie Stephens, Carmarthenshire ballad singer (1900-1978) Wandering singers, or balladeers were once an important source of storytelling and entertainment in Wales before the rise of the music hall and cinema. 'Y Baledwr Pen Ffair 'Rwy'n cofio ers dyddiau am hen gymeriadau Yn canu baledi mewn marchnad a ffair, Hwy ganent mor ddoniol, mewn gair mor gartrefol, Nes twyllo o'r bobl eu harian a'u haur...' Dafydd Jones ('Isfoel'), 1881-1968 'The Balladeer at the Fair Oh, how I recall the old balladeers Singing their stories with sadness or mirth, From market to fair, they'd go a tramping, Taking your money for all they were worth...' The 19th century marked the golden age of ballad singers in Wales, when songs were composed and performed in fairs, markets and taverns. Of the several hundred archive recordings relating to folk song held at the National History Museum; St Fagans, many references are made by interviewees to these nomadic balladeers. Bertie Stephens was one such interviewee. Born in Abergorlech, Carmarthenshire in 1900, he was influenced by the balladeers from an early age. In total he recorded an astonishing 80 or so songs for the Museum. With his amazing memory he often remembered in detail where and by who the particular songs were sung, most being performed at the local fairs he visited as a boy. Stories told through song Designed to entertain, ballads were sung in plain, uncomplicated language, and usually covered a specific occasion or experience. Daily newspapers were not yet generally available, and many of the older generation at the turn of the 20th century were illiterate, and dependent on balladeers for the latest news. The lyrics were, therefore, paramount, for each composition was primarily a story narrated through song. Bertie Stephens began visiting fairs at five or six years old, and most of the songs he heard were sung by tramps, who often used their hats to collect money from spectators. Their ballads created such an impression on the youngster that he memorised them instantly. Hen Feible Annwyl Mam Hen Feibl Annwyl Mam Bertie Stephens vividly recalled his childhood songs when interviewed by the Museum. Religious pieces were his favourites: he considered them more substantial than comic ditties. Songs like Beibl Mam (Mother's Bible) could take hold of a performer, and he stressed how placing one's whole personality into a piece was essential. Another Bible-linked song, Hen Feibl Mawr y Teulu, (The Great Old Family Bible) he heard during a trip to Mumbles, from a shabbily dressed man with a collecting cap, carrying a Bible under his arm. Coming from a religious family, Bertie Stephens felt saddened that the singer used the Bible to raise money for beer. Balladeers often had dubious reputations, and the police were known to arrest scruffily attired, drunken tramps, for disturbing the peace. Bertie Stephens told how his family gave food and shelter one evening to two of these tramps, who in return taught him C'ân yr Asyn (Song of the Donkey). Bertie's father soon discovered that they had stolen some of his newly shorn wool. His son's rendition to the police of C'ân yr Asyn enabled them to catch the villains near Carmarthen, on account of their singing the same ballad in that area. New forms of entertainment With the rise of industry and the creation of cinemas and music halls, wandering balladeers gradually lost their appeal. By the early 20th century they had virtually disappeared. Fortunately, as these old customs disappeared, there began an interest in collecting melodies and related information. The Welsh Folk Song Society was formed in 1908. There is no doubting the value of ballads as important social comments and our knowledge of these historical customs is due to individuals like Bertie Stephens. Background Reading Ballads in Wales / Baledi yng Nghymru by Mary-Ann Constantine. Published by FLS Books (1999). I Fyd y Faled by Dafydd Owen. Published by Gwasg Gee, (1986).
