1st February
Bride’s Day
Brigid: A Multi-Faceted Goddess. Source: Celtic Native website
Today is St Bridget’s Day, but it is also the feast of the Celtic goddess Brigid, or Bride. Of the historical Bridget, little is known. She lived in Kildare, where she founded a nunnery and became its Abbess; she died in 525. However, after her subsequent canonisation, a number of miracles were attributed to her, including the ability to make cows produce more milk, and her turning an armful of rushes into fish during a fish scarcity. She was also, illogically, given she lived in the sixth century, also supposedly Jesus’ midwife. Bridget took on a cultish status in Ireland, Wales and the Isle of Man. In central Wales a gathering of twenty nuns fiercely guarded an ever-burning fire dedicated to Bridget, which no man was permitted to approach. If all this sounds rather pagan, it is because it was. The Christian missionaries in the Celtic west encountered strong belief in the goddess Bride, who was associated with fertility, water and the spring. The winter fires set by the pre-Christian Celts in honour of Bride explain the saint’s fire cult, and her association with fertility and child birth, explains the Christian linking of Bridget to the birth of Christ.
A more specific tale concerning Bride and the return of spring was also told in pagan times. Bride was the daughter of the “Good God” Dagda, the god of plenty. In a similar tale to that of Hades and Persephone, Bride was said to have been kidnapped by Cailleach, the goddess of winter, who held her in a mountain fastness, forcing Dagda to withdraw his benevolence from the earth and enabling Cailleach to spread her sheet of ice all over the land for four months. However, the agreement with Dagda was that Bride should be released in early February, and on this, her feast day, the young goddess would emerge from her mountain prison, and the snow would melt as she stepped through it, bringing the light of spring in her wake. The people would set candles in their windows to welcome the waxing sun and placed a bed by their door to encourage Bride to enter their homes, bringing warmth and good fortune with her.
Inevitably, come the end of October Bride had to return to Cailleach and her winter confinement.
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Me to we you say happily
I smile and watch you wave
I hope for a hug and reach for your hand
Before you must walk away
I sit here below watching you go
And wondering what's in store
Because you should see what you do to me
Maybe I believe once more
Life can be short life can be sweet
It can be divided and torn
But if us means us two then I'll say
I'll wave and smile once more
Believing is hard and seeing good is worse
When you don't trust yourself
But if you'll remain safe I'll happily wait
To see what we can put on our shelf
E.A.
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later, winter ❄️
greetings, spring 🌸
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*the sun creeps out behind the clouds one single time* 🔊seasonal depression begone!
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30th March
Easter Eve/Holy Saturday
The Britannia Coconut Dancers performing in 2005. Source: Wikipedia
In 2024, today is Easter Eve, also known as Holy Saturday. It is also the day that the Britannia Coconut Dancers perform on the streets of Bacup, Lancashire. Eight men, dressed in black costumes replete with white-and-red-striped skirts and white hats, with blackened faces, dance the Nutters’ Dance. Although the occasion resembles Morris dancing, the Coconut Dancers are also equipped with wooden “nuts” on their palms, belts and knees, to provide percussive accompaniment on their seven mile dance through the streets of the town, which makes them unique. The origin of the dance is uncertain. It may hark back to Bacup’s industrial past, but given the fact their leader is called the Whipper-In and tasked with whipping away the winter (he really does carry a whip) a pagan origin is likely. It is a common pre-Christian belief that for the magic conjured up by dancing, the dancers should be in disguise. In the case of the Nutters’ Dance, the magic was necessary to welcome in the spring and to ward of the resentful malign spirits of the retreating winter.
In these culturally sensitive times, the blackface of the dancers has been branded as racist by urban liberals whose ignorance of their country’s history is matched only by their lack of knowledge of its traditions and folklore. To date the Dancers have not felt obliged to succumb to such post-modern inaccurate grievances.
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