Corn dolly


Corn dollies or corn mothers are a form of straw work made as part of harvest customs of Europe before mechanisation.
Scholars of the 18th and 19th centuries theorized that before Christianisation, in traditional pagan European culture it was believed that the spirit of the corn lived amongst the crop, and that the harvest made it effectively homeless. James Frazer devotes chapters in The Golden Bough to "Corn-Mother and Corn-Maiden in Northern Europe" and adduces European folkloric examples collected in great abundance by the folklorist Wilhelm Mannhardt. Among the customs attached to the last sheaf of the harvest were hollow shapes fashioned from the last sheaf of wheat or other cereal crops. The corn spirit would then spend the winter in this home until the "corn dolly" was ploughed into the first furrow of the new season.

Background

discusses the Corn-mother and the Corn-maiden in Northern Europe, and the harvest rituals that were being practised at the beginning of the 20th century:
Many more customs are instanced by Frazer. For example, the term "Old Woman" was in use for such "corn dolls" among the Germanic pagans of Flanders in the 7th century, where Saint Eligius discouraged them from their old practices: " make vetulas,, little deer or iotticos or set tables at night or exchange New Year gifts or supply superfluous drinks ." Frazer writes: "In East Prussia, at the rye or wheat harvest, the reapers call out to the woman who binds the last sheaf, “You are getting the Old Grandmother.... In Scotland, when the last corn was cut after Hallowmas, the female figure made out of it was sometimes called the Carlin or Carline, that is, the Old Woman."
The mechanisation of harvesting cereal crops probably brought an end to traditional straw dolly and figure making at the beginning of the 20th century. In the UK corn dolly making was revived in the 1950s and 1960s. Farm workers created new creations including replicas of farm implements and models such as windmills and large figures. New shapes and designs with different techniques were being created. In the 1960/70s several books were published on the subject. The simple origins of the craft had been lost and new folk lore stories were added to the original ideas.
The Pitt Rivers Museum in Oxford, the Museum of English Rural Life in Reading, and the in Yorkshire have collections of corn dollies from around the world.
The craft of making corn dollies is listed as endangered by the Heritage Crafts Association.

Materials used

With the advent of the combine harvester, the old-fashioned, long-stemmed and hollow-stemmed wheat varieties were replaced with knee-high, pithy varieties. However, a number of English and Scottish farmers are still growing the traditional varieties of wheat, such as Maris Wigeon, Squarehead Master, Elite Le Peuple. mainly because they are in great demand in thatching, a craft which is enjoying a renaissance, with customers facing long waiting lists for having their roofs thatched or repaired.

Types

Corn dollies and other similar harvest straw work can be divided into these groups:

Traditional corn dollies named after counties or place names of England, Scotland and Wales

  • Other corn dollies include Anglesey Rattle, Cambridgeshire Umbrella, Durham Chandelier, Claidheach Herefordshire Fan, Kincardine Maiden, Leominster Maer, Norfolk Lantern, Northamptonshire Horns, Okehampton Mare, Oxford Crown, Suffolk Bell, Suffolk Horseshoe and Whip, Teme Valley Crown, Welsh Border Fan, Welsh Long Fan, Worcester Crown.
  • There are also corn dolly designs from other countries, for example the Kusa Dasi from Turkey, named after the town of Kuşadası.

    Countryman's favours and other harvest designs

A countryman's favour was usually a plait of three straws and tied into a loose knot to represent a heart. It is reputed to have been made by a young man with straws picked up after the harvest and given to his loved one. If she was wearing it next to her heart when he saw her again then he would know that his love was reciprocated. Three straws can be plaited using the hair plait or a cat's foot plait. Favours can be made with two, three, four or more straws.
Other examples include:
  • Bride of the Corn
  • Devonshire Cross, a harvest cross from Topsham, Devon
  • Dedham Cross
  • St Brigid's Cross; the National Museum of Ireland has many examples of harvest crosses.

    Fringes

  • Larnaca Fringe
  • Montenegrin Fringe
  • Lancashire Fringe

    Large straw figures

These are representations of animals or humanoid beings made from an entire sheaf. They are known by a variety of names, depending on location and also the time of harvesting:
  • The Goddess Ceres
  • Maiden or Bride :
  • Kirn Dolly
  • Kirn Baby
  • Kern Baby
  • Hay Jude
  • The Neck
  • Hare
  • Lame Goat, Scottish Gaelic: gobhar bacach
  • Straw dog - strae bikko
  • Cailleach Gaelic: Old Woman or The Hag
  • Caseg Fedi or harvest mare in Wales.
  • 'Y Wrach' or 'The Hag' in Caernarvonshire, Wales
  • Whittlesey Straw Bear, the centre of a ceremony in Whittlesey, Cambridgeshire, every January. Its origins are obscure.

    Tied straw work

Here the straw is not plaited, but tied with yarn, wool, raffia or similar. This type of straw work is particularly popular in Scandinavia and German-speaking countries. Examples of these are the Oro ; the Tomte or Nisse; and smaller versions of the Yule Goat.

Ridge finials

  • These are straw sculptures which are placed on the ridge of the thatched roof. They are sometimes purely for decoration, but can be the signature of a particular thatcher. Animal shapes are the most common. In days gone by, hay-ricks would also be thatched, and topped with a straw decoration.