A History of Mumming – summary

Stephen Rowley began by sharing his personal mumming experience with the Caddington Mummers, a family-oriented group he joined in the 1970s, performing St. George plays. His research into folk traditions deepened in the 1990s, encompassing the pipe and tabor and early Morris dancing. He co-founded the International Mummers Festival and Symposium, aiming to connect practitioners with academics to explore mumming’s diversity and historical context.

Rowley outlined mumming’s origins, starting with medieval traditions. Early mummers, from the 14th century, visited houses during post-Christmas festivities, donning disguises and playing games like weighted dice. Courtly mumming emerged as elaborate Twelfth Night entertainments in royal and aristocratic households, blending masks, mime, and gift-giving. These performances often had political implications, like John of Gaunt’s mumming for Richard II, and evolved into symbolic displays of power.

The arrival of printed chapbooks in the 17th century marked a turning point. The first recorded mummers’ play text, Alexander and the King of Egypt (circa 1746), reflected the influence of heroic drama and parody, integrating themes like St. George’s legendary battles. Characters such as the Turkish Knight and the Doctor were drawn from theatrical traditions, including commedia dell’arte, where slapstick routines survived through physical performance rather than written scripts.

Rowley addressed regional and cultural variations in mumming. The practice spread across Europe and the Atlantic, adapting to local customs. Newfoundland’s non-play mumming and Barbados’ “tuk” dancing illustrate this diversity, combining European influences with African traditions. Meanwhile, urban traditions like the Philadelphia Mummers Parade have transformed mumming into large-scale, competitive spectacles.

The late 19th and early 20th centuries saw mumming’s decline and revival. Antiquarians documented scripts and performances, preserving the tradition for future generations. Contemporary revivals often adapt traditional plays with modern elements, reflecting political or cultural contexts. Rowley noted how current groups balance heritage with inclusivity, addressing sensitivities around race, gender, and colonial histories.

Debunking the myth of mumming as a pagan fertility ritual, Rowley critiqued Sir James Frazer’s The Golden Bough. While influential, Frazer’s theories have been largely discredited by modern scholarship. However, public perception of mumming as a relic of pre-Christian rituals persists, shaping both popular and academic narratives.

Rowley concluded with a call to embrace mumming’s diversity and evolving nature. From traditional village plays to innovative reinterpretations, mumming remains a living tradition, offering both historical insight and contemporary relevance. The talk ended with audience questions, exploring topics like script adaptation, cultural sensitivities, and the interplay between mumming and related traditions like wassailing and sword dancing.

Through this talk, Rowley highlighted mumming’s rich history and adaptability, encouraging further exploration and celebration of this enduring folk tradition.