The Britannia Coconut Dancers Stand Firm in Their Heritage

The Britannia Coconut Dancers, known for their unique tradition of painting their faces black, pressed forward with their customary Easter weekend march in Bacup, Lancs, amidst significant criticism. The group, affectionately referred to as 'nutters,' donned outfits embellished with coconuts and performed vibrant dances led by a figure known as the 'whipper in,' who symbolically whips the air to chase away evil spirits. This practice, which dates back to the 19th century, is believed by the dancers to honor the coal mining heritage of their town.

Gavin McNulty, the 40-year-old group secretary who first joined at 26, explained that the purpose of the whipper-in is to ward off malevolent forces during their fertility dances. He elaborated that the face blacking originates from the desire to disguise oneself from evil spirits, linking the practice to pagan traditions. The coconuts, which dancers wear on their knees, also connect to the historical practices of mining, asserting that the tradition plays a vital role in the identity of their tight-knit community of around 15,000 residents. According to McNulty, the event is a significant occasion that attracts an audience from around the globe, despite ongoing debates regarding its alleged 'pagan' roots.

Dance history expert Professor Theresa Buckland noted in her research that the custom of blacking up could be related to 19th-century blackface minstrelsy, a performance style that spread derogatory stereotypes and originated in America in the early 1800s. While some historical accounts have drawn parallels between Bacup’s coconut dancers and minstrel shows, Buckland acknowledged the difficulty in pinpointing the true beginnings of the Bacup tradition. In 2021, the group distanced themselves from the Joint Morris Organisations after it called for an end to the full face blacking practice, although McNulty stated that their collective identity hinges on the continuation of their traditional practice.

Despite considering changes over the years, the dancers unanimously decided to uphold their tradition of blacking up, viewing it as essential to their identity. McNulty emphasized the importance of maintaining the tradition in its original form, standing firm against changes influenced by external narratives. He noted that though the group evolves with societal changes, the core tradition remains a critical part of their bond and history. In his passionate sentiment, he concluded that altering even one aspect of their practice could unravel the entirety of their shared cultural heritage.