giant gwendol makes the wrekin

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As hills go, The Wrekin (pronounced REE-kin) in my home county of Shropshire is not very high – just over 400 metres (1300 feet) . But then, as estate agents say, location is all, and this is the only big hill for miles around. It rises over a county of farm fields and the flatness of the Shropshire Plain beyond, and thus is a useful landmark when navigating the county’s ancient network of sunken rural roads. It has also long loomed large in local imagination. As with significant natural features the world over, it gives people something to think by, prompting many a tale and joke.

For instance, we have a saying whose usage extends into neighbouring  counties. To go all round The Wrekin means to ramble on for hours before arriving at the point. Hopefully not exemplified in this post. Because yes, I will get around to Giant Gwendol before too much longer. But first some geology. Please don’t groan. I’ll make it snappy.

Looking at the photograph above, the first thing that strikes you is that the hill looks like an old volcano, and I seem to remember being told that it was in year 3 geography at secondary school. This apparently is not the case, although it is composed of volcanic rock. The vent that spewed it out is no longer around or visible. This is perhaps worrying. One has to put faith in notions of volcanic dormancy and, since the spewing forth of rhyolites, tuffs and agglomerates took place in the Precambrian some 680 million years ago, we can perhaps rest easy in our beds: Shropshire has had long enough to get over its hot phase. 

This is also good because as you can see from the second photo, the place where I live, Much Wenlock, is rather close to The Wrekin. The yellow wheat field in the middle ground is behind my house.

But now for the Gwendol story.

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There once was a Welsh giant called Gwendol. For reasons unknown he had conceived a grudge against the mayor and townsfolk of Shrewsbury, in the neighbouring county of Shropshire. Since the town lay within a nearly closed loop of the River Severn, Gwendol came up with a dastardly plan. He would dam the river and so drown the town and all who lived there.

He set off from Wales with a great spadeful of earth to do the deed, and headed for Shrewsbury. He tramped for mile after mile, but somehow lost his way, ending up instead near the town of Wellington. Weary with the search, and from carrying a heavy load, he sat down to rest.

After a time, an itinerant cobbler came walking by. He had walked from Shrewsbury and was heading for Wellington. Over his shoulder he carried a big sack of used shoes for mending.

Gwendol stopped the man and asked for directions. He even told the cobbler his plan to fill in the River Severn and so drown Shrewsbury and all who lived there.

The cobbler was horrified, and especially appalled at the prospect of losing so much trade.

He thought fast.

“Oh dear me,” he told the giant, “that town is so far away. Many days’ walk.” Then he opened his sack of  old shoes. “See,” he said. “I have worn out all these shoes and boots walking from Shrewsbury.”

At this, the giant groaned. “I am too tired,” he said, “to carry my load of dirt that far. I had better leave it here.” And so he emptied it out there and then and, as a parting shot, before setting off back to Wales, he cleaned the mud from his own boots, and so left behind little Ercall, the small hill that stands nearby.

And so now you have the true story of how The Wrekin was born. In fact, for a not very bright giant, I think Gwendol did a pretty good job, landscaping-wise. Also the damming plan would never have worked. Old Shrewsbury town may sit inside the loop of the River Severn, but it is also on a very steep hill. Just as well, though, that Giant Gwendol trudged back into Wales and was never heard of more in Shropshire.

 

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copyright 2014 Tish Farrell

SOURCE: This tale appears in Charlotte Burne’s Shropshire Folklore 1883. In other versions the Devil is the hill-builder.

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Transported on Lamu

 

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There came a time when Sendibada signed on with a strange sea captain. The next day, as dawn was breaking, the ship cast off, a strong breeze filling the lateen sails, and bearing them swiftly out to sea. But towards noon the wind died, and the boat drifted, becalmed, on still waters.

At this the captain strode out on the bridge, and began to utter words that Sendibada could not fathom. He stared and stared for, to his astonishment, the ship began to rise, graceful as an egret taking flight. Sendibada grinned. He liked a good adventure, and now it seemed this strange captain of his was none other than the most powerful magician.

Up into the clouds they soared, flying, flying until at last they saw a faraway red spot. But little by little the spot grew, until at last Sendibada saw it was a city in the sky, and that every house there was made of copper. Soon they set down in the harbour and, as the crew made to go ashore, from every quarter, lovely girls came out to greet them, bearing on their heads copper trays laden with the most delicious fruits and sweetmeats and tender roasted morsels.

And so it was that much time passed, the ship’s crew enjoying month after month of this most gracious hospitality. Sendibada, though, was growing homesick, and said as much. Now the magician gave him a round mat and told him how to use it.

Sendibada followed the instructions, placing the mat on the ground and seating himself upon it so that he faced the direction of his home town. Then he spoke the foreign words that meant: Behold! We shall all return to it . And at once the mat rose into the clouds, and faster than a diving hawk, set Sendibada back on the beach just outside his home town.

 copyright 2014 Tish Farrell

The Copper City  retold from a translated text in Jan Knappert’s Myths and Legends of the Swahili

 

P.S. In case you hadn’t guessed, Sendibada is the Swahili version of Sinbad.

 

A Word A Week challenge: transport

Anthology Baobab: African Story Tree

 

 

 

“Knowledge is like a baobab tree; one person’s arms cannot encompass it.”

Ghanaian proverb

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This baobab in Zambia’s South Luangwa was used as a poachers’ look-out

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At the moment I’m working on a short story that includes a large and very ancient Adansonia digitata – in other words, a mighty baobab tree. These extraordinary trees have a way of finding their way into my stories (Mantrap, A Hare Who Would Not Be King amongst others). In fact, with so many legends about them, baobabs are nothing if not arboreal storybooks.

They are also like no other tree I can think of, although they are related to kapok trees. They grow in the hot lowlands of Africa and Madagascar and also in Vietnam and Australia. Their capacity to store vast quantities of water in their trunks has earned them the name Tree of Life.  A single tree can hold up to 4,500 litres /1,189 gallons.

In my story, however, the baobab has no such mundane function. It is a place of ritual – a spirit home on the Swahili coast, for here, as in other parts of Africa, it is believed that baobabs harbour the souls of the dead. And that is all I am revealing of my story  except to say that it also involves murder, unquiet spirits and unrequited love.

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As for the trees, in real life they have a mass of practical, medicinal and nutritional uses – for humans and wildlife alike. It all begins with the pollination of these oddly striking flowers.

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For nine months of the year, the baobab has no foliage. When the leaves come they are eaten like spinach by humans and browsed by both domestic and wild animals. The flowers, too, are short-lived. The bloom first at night, their pungent smelling nectar attracting bush babies and fruit bats which then pollinate the flowers. Bees also feed on the nectar, and farmers often hang their barrel beehives up in the branches of a baobab. Photo: Tuli Lodge, Botswana

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The resulting woody capsules enclose many seeds within an edible pulp. Both seeds and pulp are high in potassium, calcium and magnesium and are ideal foods for pregnant and breast-feeding women. The pulp is also rich in vitamin C, thiamine and antioxidants. Being high in pectin, it is useful for jam making and creating refreshing drinks. The seeds produce a fine oil that is used by the cosmetics industry. They can also be ground to make a coffee substitute. And so with all these attributes, the baobab has been classified as a superfood. Its many by-products are now sold worldwide. Photo: http://www.ifood.tv/blog/the-latest-superfood-from-africa-baobab

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http://www.ifood.tv/blog/the-latest-superfood-from-africa-baobab

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The growing world-wide demand for the baobab’s phyto-nutrients mean that seed harvesting has become a valuable source of income for many African families. This is one man’s story:

“My name is Andrew Mbaimbai and I am 63 years old. I live in Mtimbuka, a village in southern Malawi, with my wife, four daughters and eight grandchildren. In 2005, I heard that a new company was buying baobab and I knew this was a good opportunity for me.

“I collect and process baobab in my spare time because I also have a job as a cook. After gathering the fruit, I go to the processing centre, crack the shells and separate the fruit powder from the seeds. Then I sell it.

“I use the money to pay for my grandchildren’s school fees and to buy clothes for my family. Sometimes if a family member falls ill, I use the money to pay hospital bills. Without the money from selling baobab, I would not be able to meet all my family’s needs.”

http://baobabsuperfruit.com/andrew-mbaimbai/

As a consequence of ethically managed initiatives like the Eden Project’s programme in Malawi you will now find many baobab-derived products on line and in your local health food shops. Here is one of them. It can be added to anything and everything, creating, apparently, a  zesty flavour.

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The Eden Project’s baobab powder.

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Then there are the baobab bark products. The trunk of the baobab is very fibrous and can be processed into cloth, twine and ropes. Kenyan women are famous for their kiondo bags which they make both from baobab and (increasingly) sisal string. You will see women walking along the road weaving these lovely baskets, and I can attest that they last for decades. I have at least four. In time the leather handles might need replacing,  but the baskets endure, becoming more beautiful as their pigment dyes fade.

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Photos: africablogs

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A Kenyan kiondo woven from baobab fibre.

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Baobabs can of course grow to massive proportions  and into the oddest shapes. They may be thousands of years old.

The Legend of the Upside-down Tree

Photo: Eco Products

With age, many become hollow, creating large spaces within that are variously used as barns, churches, places to give birth, and for the burial of griots as in West Africa. In Botswana one was once used as a jail, the adjoining trunks for male and female prisoners.

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Kasane, Botswana, now has a new prison but the architect ensured that the original one was preserved: http://www.ofm.co.za/article/67788/Voices

Big Baobab

Sunland Baobab

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At Sunland Farm, Limpopo, South Africa, this baobab is used as a bar and wine cellar. It is believed to be the largest example in the world. It is 47 metres around (154 feet) and has a carbon date of around 6,000 years.  Below  are four of us trying to surround a much younger Kenyan baobab. This one is at Maweni on Tiwi Beach, South Mombasa.

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And now for some of those baobab legends I mentioned. There are many variations of these tales throughout Africa.

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When Creator was busy creating the world, the animals came to him and asked if they could help him finish his work. Creator was doubtful and said there were only the trees left to make. But the animals persisted, so Creator handed out specific seed types to each animal species, and they went away and planted them. Finally, only the baobab seeds remained, and these Creator handed to the hyenas. The outcome, of course, was to be expected, given the stupidity of hyenas. They planted the seeds upside down, and that is why the baobab always looks as if it has its roots in the air.

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Long, long ago the very first baobab sprouted up beside a small lake. When it saw the other trees with their tall, smooth trunks and bright flowers and large leaves, it thought how beautiful they were. Then one day, when the lake surface was smooth as glass, the baobab caught sight of itself, and oh, what a shock. Its flowers were so pale, and its leaves so small. But worst of all, it was appallingly fat, and its skin looked like the wrinkling hide of an old elephant.

The baobab cried out to Creator, complaining of its lot. Creator in turn was huffy. Many things had been made that were not quite perfect, he said. He retreated behind a cloud. But the baobab did not stop whining and whingeing. Finally, Creator grew so cross that he leaned out of the sky, and yanking the baobab from the ground, replanted the tree upside down. And so ever since, the baobab has lived on in silence, unable to see its reflection in the lake, but making up for its transgression by doing many good deeds for humankind.

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And if these baobab tales have not quite cheered you up, here are some clips from the life-enhancing Orchestra Baobab. This band from Senegal has had two lives, one back in the ‘70s, and now the current reprise which includes many of the original line-up, among them the Togolese guitarist, Barthélémy Attisso, who in the interim went away to become a lawyer. If you get the chance to see them live, go for  it.

© 2014 Tish Farrell

Frizztext’s ‘A’ Challenge

Rain Dance: all together now – let’s sing!

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There are some African wise words that say: if you can walk, you can dance; if you can talk you can sing. And this is what the children’s opera, Rain Dance is all about, giving young people the chance to perform and tell stories through song and dance (emphasis on the singing).

The opera was created by librettist Donald Sturrock and composer, Stuart Hancock, and my own small contribution is the fact that my retelling of an African story, The Hare Who Would Not Be King, was the starting point for the project.  Sometime back in 2007, Donald Sturrock  wrote to me asking if he and Stuart Hancock could adapt my story for a children’s opera. Their intention was submit the work to the London-based WW11 Opera in hopes of winning a commission for one of the Opera’s annual productions.

Time passed, and more time passed, but win they did, and Rain Dance was performed at the Riverside Studios, Hammersmith, London in December 2010 to a packed house. I was there with G of course, sitting amongst throngs of excited children. By the time we came to the finale with its rousing Rain Dance theme, I was pretty much as excited as my junior neighbours. I might even have been jumping up and down in my seat: to think that my story had been the very small spark for this wonderful new work, and its exuberant performance.

The finale of Rain Dance. Photo: WW11 Opera

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Of course this splendid show with 85 young performers (9-18 years) was only made possible under the auspices of the  W11 Opera for Young People. This is a London-based charitable trust, founded in 1971, to give young people from all backgrounds the chance to sing and perform. Every year a  new opera is commissioned with the aim of creating a repertoire of song-based works that can be staged by schools and community groups. W11 Opera also showcases the work of new and established composers, and its productions have seen the launching of star performers such as Sophie Ellis-Bextor.

And so, as may be imagined, I am incredibly pleased to find that the opera, which began life with the W11 Opera, will be performed once  more. In March 2014 Rain Dance will have its North American premier at the North Cambridge Family Opera Company, Cambridge, Massachusetts. The NCFOC has a slightly different approach to the W11 Opera: the cast includes both young people and adults, and thus is a chance for family members to perform together. That there are people who put their time, enthusiasm and creativity into making such things happen makes me want to burst into song as I write this.

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Performances March 29 & 30, April 5 & 6, 2014

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As to my story, that had its own sources. It tells how the plains animals vote for a bullying lion to be their king and of the dire consequences of their actions. Hare, the familiar trickster of many African tales, is the reluctant hero of the piece, and nearly ends up as lion food. The plot is based on a story once told by the Akamba people of  Kenya.  I was living in Kenya at the time of writing, when the country was struggling towards a western-style democracy after years of one-party rule. This situation very much influenced the retelling. My version of the story was first published in the United States in Spider Magazine February 1999, accompanied by some fine illustrations by US writer and illustrator, Brian Lies. You can read an extract and see some of the original illustrations HERE.

In the meantime it is good to know that, in the last week of October, eager performers (young and older) will have been showing up for the Rain Dance auditions at the North Cambridge Family Opera.  The story that Donald Sturrock has created is far more complex than mine. It draws on another African story besides, creating a updated version of the race between Tortoise and Hare. The animal election has all the razzmatazz of a human election with full media coverage. There is also the theme of climate change and its effect on the water-hole, to say nothing of hilarious interludes with Hare’s family and four shopaholic lionesses. Throughout, Stuart Hancock’s musical score is utterly original and captivating with no hint of ‘African’ pastiche in his lovely melodies.

The NCFOC performances are scheduled for March 29 & 30, April 5 & 6, 2014. Go, if you have the chance. You won’t regret it. You’ll come away singing and dancing too.

© 2013 Tish Farrell

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