An Artist’s Journey Through The British Ritual Year.
Ben Edge is one of the country’s most compelling contemporary artists, offering viewers a window into the traditions, rituals, and ceremonies that have shaped Britain’s cultural identity for centuries. His fascination and deep respect for the country’s ritualistic traditions and their role in connecting communities to their history has culminated in Folklore Rising, a landmark project that brings together Edge’s paintings and years of field research into Britain’s ritual calendar. The book is a visual and narrative exploration of the country’s folkloric practices, from Maypole dancing to Guy Fawkes Night. Each page features Edge’s intricate paintings, accompanied by insights into the origins, meanings, and ongoing relevance of these traditions.
The scope and dedication of the book is remarkable. To create Folklore Rising, he travelled across the UK, immersing himself in the festivals, gatherings, and rituals that define the British year, documenting everything from the Abbots Bromley Horn Dance to the Burry Man of South Queensferry, Summer Solstice at Stonehenge to the Obby Oss of Padstow, the Hallaton Hare Pie Scramble to the Flaming Tar Barrels of Ottery St Mary. Folklore Rising brings these traditions to life with breathtaking detail and emotional depth, transporting viewers to the heart of these rituals, capturing the intensity of burning flames, the weight of ancient costumes, and the joy and solemnity etched into the faces of those who keep these customs alive, evoking the spirit of a nation holding tight to its roots.
The Abbots Bromley Horn Dance, with origins believed to date back over 800 years, features a group of local men carrying reindeer antlers that have been confirmed to be over 1,000 years old, with modern scientific methods validating the old legend that the horns were brought to Britain by Vikings. While the origins of the dance remain debated what is certain is its enduring role in the life of the small village of Abbots Bromley, bringing the community together and connecting them to the rhythms of their ancestors and the land they inhabit.
Every August, in the coastal town of South Queensferry near Edinburgh, the Burry Man shuffles through the streets, his entire body covered in burs and burdock plants, leaving only his eyes and mouth visible. The layers of burrs are meticulously painted, transforming the man into a creature that seems half-natural, half-mythological. Edge’s work captures both the physical toll of the role, and also the pride and reverence of those who uphold this centuries old-custom.
Every year, thousands flock to Stonehenge to celebrate the Summer Solstice, a ritual that links the modern world with a history stretching back over 4,500 years. Chants, music, and offerings welcome the longest day of the year and pagans, seekers, and tourists alike gather in a shared moment of wonder as the sun aligns perfectly with the stones’ ancient configuration. Edge’s artwork captures the golden light of dawn spilling over the stones, illuminating the vibrant figures of those gathered in communion with the past.
On May Day, the narrow streets of Padstow in Cornwall are transformed into a whirlwind of music, dancing, and the unmistakable presence of the Obby Oss, an ancient celebration, thought to date back centuries, which welcomes the arrival of spring with a uniquely Cornish blend of tradition and chaos. Decorated hobby horses parade through the town, their rivalry playing out in a spectacle of dance, song, and mock chases. Alongside his paintings, Edge includes a wealth of photographs in Folklore Rising that showcase the vibrant celebrations in striking detail. It’s impossible not to want to experience the festival firsthand after reading Edge’s account.
In the quiet village of Hallaton in Leicestershire, Easter Monday begins with a blessing of the hare pie at St. Michael’s Church, a peculiar ritual thought to date back to medieval times. The pie is then carried to Hare Pie Bank where it’s sliced and tossed into the air, sparking a mad scramble as villagers and visitors dive for the pieces. But the Hare Pie Scramble is only the prelude to the main event: the Bottle Kicking. With few rules beyond “no unnecessary violence”, two teams battle to move a heavy barrel to their respective village boundaries, descending into a thrilling spectacle of strength, strategy, and determination.
And on 5th of November, as the skies light up with fireworks across Britain, the streets of Ottery St Mary in Devon burn with a different fire. The Flaming Tar Barrels, a tradition that stretches back centuries, is one of the country’s most daring celebrations. Locals hoist flaming barrels of tar onto their shoulders and run through the street, with each barrel weighing up to 30kg. Many of the “barrel rollers” have been participating in the dangerous and mesmerizing spectacle for generations.
Whether it’s the solemn reverence of carrying on an ancient ritual, or the raw, electrifying excitement of something as dangerous as the Flaming Tar Barells, Edge’s art doesn’t just depict these events - it immerses us in their spirit. His journey also explores the ancient stones, burial mounds, and weathered monuments that have stood for millenia as timeless markers connecting us far beyond our written history. Through his art and photographs, Ben Edge weaves a tapestry of Britain’s folklore, traditions, and landscapes, showing us that these are not relics of the past, but living, breathing elements of our cultural identity in 2025. He’s not only preserved these traditions in vivid detail, but is encouraging us all to engage with the stories and rituals that define Britain’s cultural landscape in new and extraordinary ways.
We spoke to Ben Edge about the reception of Folklore Rising, and the figures and moments that have shaped his journey:
Thanks for joining us today ben, Folklore Rising is both spellbinding and inspirational. how has the book been received since its release?
Thank you for the kind words, it’s been going great and its already about to go back into print for the second edition.
Did your approach to painting evolve as you captured more of these traditions each year?
Yes it definitely has, but that’s been part of an ongoing process in other series of works before, where with each painting and especially the larger works, I like to push the boundaries of what I know I can do. So for example I’m now working on a painting that measures 300 X 200 cms, and this is very much new ground for me. Regarding the works that are in the book, I think the sense of magic and mystery has really crept in. Trying to express the incredible experiences, rituals, sunsets and all round awe and wander has definitely taken my work into new realms.
Have you seen any increase in interest in folklore and traditions since you began the project?
Yes, hugely so. When I was first starting out, there was no scene around it apart from the participants and communities themselves (who are at the beating heart of it all). There was the Museum of British Folklore, who produce nomadic folklore inspired exhibitions, the Folklore Society, as well as great books on the subject available, but apart from that just a handful of individuals travelling to communities and immersing themselves in the folk culture of Britain. What has been really interesting though in recent years is seeing lots of people start their own traditions, and seeing how quickly they become important to the people and communities in which they have sprung up.
What do you think are the greatest threats to britain’s folkloric traditions?
From what I can see there aren’t any threats. The culture is thriving and has always been to some degree. I think theres a myth around British Folk Culture that its under threat, if anything it’s rising.
Your book incorporates art, photography, and writing, but do you think art has a particularly unique role to play in preserving these traditions compared with other mediums?
Yes I think with my art, they really reflect the awe and mystery that I experienced on a personal level when witnessing the Folk Customs, that beyond that speaks of the collective human phenomenon that is folk culture, and how in contemporary times enacting rituals is as important now, as it has ever been, as it allows us to understand our place within nature and reconnects us to something much larger than ourselves, the universe, the cosmos and beyond. Theres alot of unconscious stuff that comes out as well when I’m painting, added layers of meaning that seem to reveal themself to me as I go along. It’s a way of processing it all I think, the act of painting is a procession in itself.
Can you tell us about why Doc Rowe is such an important figure in this field?
Yes, Doc Rowe is completely unique in the sense that he has been photographing and documenting the same Folk Traditions year in year out since the 1960’s, he is very much at the heart of British folklore, and certainly blurs the line between spectator and participant. For example he is now one of the dressers of the Burryman: a tradition that involves a locally elected man, to be covered from head to toe in sticky burdock seeds that scratch and irritate the skin, who must make a gruelling nine mile walk to drive away all the bad luck of the town.
In many places I’ve visited it’s like Doc is part of the tradition and very close to many of the participants and locals. His body of work I have no doubt will be celebrated for generations to come and a documentary film about his life is currently being made by directors Rob Curry and Tim Plester due for release this year.
Were there any traditions or rituals you didn’t get to include in the book that you wish you had?
Yes I’d love to have been able to include Jack in the Green, in Hastings and also the Minehead May Day celebrations but unfortunately May Day is a very busy time of year and more often than not I found myself in Padstow, Cornwall witnessing the Obby Oss dance through the streets welcoming in the Spring, and I got somewhat addicted to it.
How do you think modern communities benefit from keeping these traditions alive?
There is a pride and togetherness within the communities that is really moving to witness, it also allows people to tune into their own inner creativity through the costumes and props that are all lovingly handmade by locals. It also reminds us of the awe and wander of the natural world and plugs us into the wheel of the year, the seasons, nature and helps us to care about in the environments in which we live, which in the face of climate change is very important indeed.
What role do you think technology and social media play in helping or harming the presevation of folklore?
So when I first started uploading videos of the traditions that I was visiting, there was a mixed response, there were alot of people that seemed to think it was all a bit of a joke, laughing at the Morris Men in the comments, but I think what happened eventually, was that when people saw them en masse and started seeing them as interconnected human cultures that highlight the diversity and creativity of regional identities, it started to resonate with people. I was kind of in the right place at the right time with this, where it was all quite new to see such images on platforms like Instagram, so I got to be part of the first wave of people sharing it. I remember at first worrying about sharing it as I didn’t want anyone to steal my idea of painting a full series of them, so that really demonstrates how it has grown since, where every time I pick up my phone I see some kind of folk tradition or artefact (but then again that may just be my algorithm). Luckily I made the right choice sharing them and built up a good following along the way and still remained alone as the painter of folk traditions, right up until I had the chance to exhibit my folklore inspired paintings for the first time which was a relief. So for me the internet has been extremely positive in providing me with a platform and creating an online community of people engaging in folk culture and allowing new generations to engage, and creativity to flourish. You could say a whole new movement has been born out of it. Although it’s always important to remember that the ones keeping the traditions alive will be doing it anyway, regardless of whether I’m there or not, so they are preserved by the communities themselves not by the likes of me.
What drew you to include ancient stones and monuments alongside the festivals and rituals?
This naturally grew as when I was visiting different parts of the country I became interested in stone monuments and started visiting them and discovering the local folklore tales surrounding them, Just like with visiting the Folk Traditions, Imagery started to swirl around in my head, and as the images became more and more vivid In my mind it felt necessary to paint them. I seem to be attracted to anything that has mystery surrounding it, in the not knowing, my creativity really flourishes.
Do you think folklore becomes more relevant the more disconnected we become from the past?
I think that it now has a new relevance, as it’s something that has always been there for past generations, but now in instances such as in my own life, you have to actively seek it out as it may not be immediately on your doorstep. So it’s become something that you cant take for granted. The world has moved so quickly that for many of us our local folklore and mythologies that were once common to us have been left behind, so for me it’s all about actively reclaiming them and allowing your own creativity to be absorbed into the living evolving collective entity that is folk culture.
Have you investigated the folklore of other countries at all? Does Britain differ from other countries in any significant ways?
So I’ve begun researching traditions around the world and travelled to Bulgaria and Switzerland, in both instances the folklore and superstitions surrounding them are incredibly similar and I see so many different overlapping narratives. The big difference is the size of the bells, our Morris Bells are tiny in comparison to the giant Cow Bells that you see across Europe used in Folk Traditions. What makes it special, just as when you travel from region to region in Britain, is the shared qualities but also the differences. It’s both a celebration of our similarities but also the individualism and creativity at the heart of the human spirit.
Do you have any advice for anyone wishing to explore these traditions for the first time?
I suppose my best advice is start where you are. Look at what’s around you and find out what’s happening locally, I am sure you will be pleasantly surprised by what you will discover. I began researching the folklore of my home town of London, and from there, one thing just seemed to lead to the next.
Are there any upcoming projects or events you’re excited about?
Yes lots, I have a new album coming out on Glass modern records on June 7th, titled ‘Children of Albion’ that will also be the title of my next solo show taking place at The Fitzrovia Chapel in November this year. I have also guest curated an exhibition opening on February 21st at the Wilson Collection, in Cheltenham, titled Common Ground, that explores themes of land rights where the work of a number contemporary artists selected by myself will go on display alongside historical artefacts from the permanent collection.
If you had to pick just one tradition from the book for our readers to experience, which one would you recommend and why?
This may sound like a cop out but I feel like different people seem to resonate with different traditions so I would recommend getting out and experiencing different ones for yourself and seeing which one is the one that really excites you. For me it’s so hard to pick one, as I love so many for different reasons. We could be here all day.
Folklore Rising (hardback, 257 pages, published by Watkins Books) gathers together over 200 of Ben’s artworks, placing them alongside writings on his personal journey and inspiration, including:
• The solstices at Stonehenge, the Padstow ‘Obby ‘Oss parade, the Burry Man’s Day and the Straw Bear of Whittlesea.
• The turning wheel of the year, from wassailing to May Day fertility rites to fire festivals to Mumming Plays.
• The progressive all-female Morris dancing side Boss Morris.
• The Green Man – how this has become an icon of modern spirituality and eco-consciousness and a personal symbol of mental health recovery to Ben.
• Standing stones and the mythology surrounding them.
The book explores the psyche of British folklore, and what this means in the context of contemporary life, as well as a reconnection with nature, each other and the past through art and folklore.