Wendland costume
The Wendland costume describes the historical clothing of the rural population, described here in more detail from 1850, in the Hanoverian Wendland in the northeastern part of Lower Saxony . Older forms of costume go back to the 18th century.
General
The standard of the costume lay primarily with the influential families of a parish . There are several gradations in the quality of the material and the variety of complete sets for different occasions. A further distinction is made here according to social stratification within the community (farmers, day laborers, cultivators and farmers, etc.). Tracht was not a “rigid” clothing. The rules for color and occasion were the most consistent, the influence that the dealers had for the most part was variable due to the goods on offer, which were strongly oriented towards fashion. The cut and combination remain regionally specific.
In the clothing regulations for the individual occasions there are further distinctions according to joy and sorrow, age and marital status.
From 1850 onwards, the clothing behavior of men had hardly any meaningful regulations and so did not differ that much from contemporary urban fashion. Only a few accessories for certain occasions will later become the personal expression of the wearer (e.g. handkerchiefs and shawls; high cylinders with a wider top , Söbendolersmütz).
With regard to clothing behavior, it can be assumed that the once Wendish culture only had a limited influence. In general, it can be seen that the Wendland costume followed the usual rules of the Lower Saxon costume landscape.
There is an exhibition of Wendland costumes in the Rundlingsmuseum in a specially designed costume house.
Hat shapes
The best sign of a traditional costume landscape is usually the woman's hat. Tying hats under the chin is documented in the literature from 1720 onwards. There are few early parts of the document, more are only available from around 1800. In Wendland, in addition to the headscarves (also known as “Flünck”), we find two hat shapes, each representing a type of 3-piece hat. The substructure is made of cardboard, lined with hede on both sides and covered with linen and quilted.
There is the "Runn hat" - the older form, as well as the "Timp hat", which was developed from around 1810 until the 1840s.
- up to approx. 1800: Runn hat covered with silk or patterned rep , partly also embroidered with gold wire
- 1790-1820: silk brocade
- 1820–1840: velvet , also embroidered . The seams are trimmed with gold brocade and the outer edge is edged with piping
- no fundamental change after 1840. The Runn hat is covered on the outside all around with a corresponding band so that only a wide triangle is uncovered on top, which is decorated with pearls and sequins or a corresponding band .
The Timp hat has also completed its development, but is now divided into old glass ribbon , taffeta ribbon , plain ribbon , damask ribbon and gold ribbon.
The added line of interwoven tulle or batiste for certain occasions is the only visible remnant of an original under-cap, which was no longer used by 1850 at the latest.
Parishes in which both hat shapes were present followed color rules:
- Red Runn hat from school enrollment to confirmation
- red Timp hat from confirmation to engagement
- Golden Timp hat from engagement to wedding, then only to the high festive costume until daughter is confirmed
- black Timp hat for married couples or by the age of 35 at the latest, then this hat is graded from taffeta and plain band.
Work costume
The parts of everyday clothing that can be found in the museum collections reveal the actual characteristics of a region, because this always consisted of the worn textiles of better sets. Cuts and types of fabric from older times have changed more slowly.
Almost all of the clothing for work was made in-house. While only plain weave fabrics were made in the heath , fabrics in Wendland were made in twill weave , which are stronger and more durable. The fabric for skirts, trousers, waistcoats and bodices is woven up to 5 layers .
A linen- wool mix, also known as a two- walled wall or a three- comb, was often used as the material . The colors were achieved by dyeing the yarns or fabrics at the town's rag dyers. This is how the most diverse stripe patterns in combinations of red-green-dark-red, green-black-blue, blue-red-black emerged in the local weaving mills . The colors red and blue were considered the national colors of the Wendland region. Also, the blueprint was operated here.
This color was also found in the festive costumes up to around 1840, but the fashionable influences changed the image into increasingly muted shades, until finally the dark colors dominated the skirts and jackets of women and men. The remaining parts were applied, but still produced for the work.
The quality of the fabrics is mediocre, because coarse fabrics were used for work, some of which were unbleached. Only on the way to work and back home was e.g. B. an ornate fine linen apron pre-tied to create a clean impression at any encounters.
While ankle-length skirts were worn for all traditional costumes in the Hanoverian Wendland, those of the working costume are well calf-length and the aprons can also be shorter than the hem. And the man, too, often wore an apron when he was working; even earlier he had what was known as the vestibule, a white linen smock that, like many parts of the work costume, could be cooked. Particular care was taken to protect the pale complexion. a. Gauntlets for the arms and the Flünck hood, as well as the straw hat for men.
Footwear was sparse in use. In the house and in the yard one wore wooden clogs , but in the fields people mostly worked "flat barft" (barefoot). Stockings were only worn on very cold days.
We see a special feature in the women's headscarves . Up until the end of the costume, the shawls, which were suspended on cardboard, were still worn here, tied with ribbons under the neck and at the back of the neck. They are also known as "Flünck". This shape is the oldest headgear because it has no cut, there are no seams. Although the shape of the scarf itself became more pleasing, it was not until around 1930 that it was replaced by the widespread “whisper or veil hats” with sewn-in rattan.
Dance costumes
There were different dress codes for different dance events.
The village jug held the afternoon dance on Sunday a few days a year. Usually people went to church in the “Sunday State”, that is, in the usual Sunday church attire. Then you changed. The type of clothing was the same, but at least one changed apron and cloth. It was a special occasion when people played to dance. So one dressed in the better set, but not in the festive costume in the high state.
Festivals of the village community, organized by the youth (the unmarried), had their own style of dress. Here the picture was even more colorful. The Buerbeertracht is one of the most beautiful dance costumes and was worn to various celebrations (Buerbier, Kranzjagen, and some more). The “Knechen un Deerns”, who were not represented at balls, also joined these celebrations. Neighboring villages were also guests. Characteristic here are brightly colored skirts, bodices, mainly red Timp hats, as well as the tulle collar, the fraise with the attached collar loops.
But there were also events that were only held in one's own village community (e.g. at the name beer that a married-in had to give to the community, which often resulted in feasts). For this purpose one dressed in the usual dance costume. It was very similar to the working costume, but the linen is decorated and the timp hat is compulsory.
Church attire
On ordinary Sundays, the Sunday church attire is worn, also known as the “Sunday best”. In addition to the Christian prayer, a “catwalk” was also held here. From many sources it has been passed down orally that one liked to evaluate there, sometimes also had to admit to having to turn around to one or the other because she was “well off”.
At high church festivals, however, the Lord's Supper was worn on the first holiday. It contains the oldest elements that have been handed down, which have undergone almost no change, even over many epochs.
On the second holidays, the festive costume in the high state, for brides and married couples with a golden cap, was worn. Long gloves were also included. This costume developed from around 1840 and is indicative of the last phase of active costume wear. In most of the areas where costume survived until after 1820, jewelry, ornaments and clothing became increasingly valuable. This is not least due to the increasing prosperity. Perhaps this may also have been a sign of new self-confidence after the peasants had bought themselves free from the feudal lordship and were now their own master on their own clod.
During the high holidays it is also transmitted verbally several times that on the 1st holiday the "old people" went from the courtyards to church, on the 2nd holiday the younger generation went to church.
Wedding costumes
Undoubtedly, only the most splendid "Zeuch" was worn at the wedding. It was the high point in village life and work. The Wendlanders celebrated up to 10 days, which is why bans against it were pronounced early on.
During these days people changed their clothes frequently, sometimes several times a day, and showed what the trousseau was for. All in all, all guests and villagers were granted free access, especially to view the linen cupboard and the other trousseau.
As usual, the bride wears the colorful sacrament costume for the wedding, supplemented by the bridal crown, which was reserved only for virgins. The shape of the wreaths, open at the top, is called Wendish. The bridal wreath consists of the flower crown open at the top, the töhm (ribbons that are passed over the shoulder and chest) and the ankle-length wreath ribbons, which ideally surround the bride like a tent, but are at least 2 in number. Further accessories are the "Borstbloom", the chest ruffle, waist band and chest bands, long gloves and up to 4 decorative handkerchiefs.
The “Kranzdeerns” (bridesmaids), all confirmed unmarried girls, were also allowed to wear wreaths on this day, even if the ribbons on them were only knee-length. The custom was widespread that the bridesmaids also wear the sacrament costume for the wedding ceremony. However, when the large silk trimmings appeared around 1840 and with them the high festive costumes, this custom changed and the “more modern” clothing was typical.
The bride in Wendland also stands out from those in neighboring regions. After the wedding she changes her clothes for the high festive costume, which is not available in many regions. There she “had” to wear the best church attire. The bridal wreath is only "danced off" on the evening of the 2nd wedding anniversary.
Communion costumes
The sacrament garb is at the top of the hierarchy of dress code in every region. For every girl this set was an obligatory gift for confirmation. It usually contains the oldest traditional rules that have been respected the longest. With one exception, the bride is permitted to perform the dances of honor in it.
Mourning costumes
There are known different levels of mourning, which on the one hand refer to the church attire, on the other hand also have radiated on the everyday costumes. Only in the case of a wedding during the mourning period was the bride “wedding lifts the mourning” valid and she may wear the costume of the joyous time with few restrictions. The same was true of the next of kin. These cases were more common in the past because it was also a. unwritten law to remarry within 9 months, e.g. B. to escape an interim economy (guardianship), which in part meant the loss of control over the farm for the family.
Traditional costume for deep mourning (1st stage of mourning)
2nd level of mourning
Half mourning costumes in the Hanoverian Wendland
Mourning costumes in the Hanoverian Wendland
Strictly traditionally, the mourning phase lasts almost two years. The family goes first in deep mourning, then in mourning, then in half mourning, in which the black gradually gives way before color again finds its way into the costume with the mourning. The transition to the time of joy begins in this mourning costume. In historical images, it often happens that younger people can be seen in “simpler” clothing. This is mostly due to the prevailing suffering time in which they had to adhere to the grief levels. For many women, multiple family deaths have meant they may lose their lives. Even in middle age, you were no longer allowed to put on the "red costume" of the time of joy.
Other relatives usually have 1 mourning level in front of them, so they start with the 2nd mourning costume after the funeral.
The deceased were buried in their sacrament garb in the ground of God. However, the latest evidence from around 1900 suggests that church attire was also chosen. For unmarried people the burial with the addition of the death's crown was also valid here.
Customs / superstitions
In particular, the protective magic is reflected in the costume for a long time: tinsel and cantilles (bouillon wire and sequins), which reflect as strongly as possible; Most of the time it is put on with needles (basic rule: always away from the heart).
Maintaining tradition today
After the first generations were born in the Hanoverian Wendland from around 1880, who were no longer equipped with traditional costumes, but received fashionable clothing, the characteristic of the "figurehead" in traditional costumes also disappeared. An assignment of class, parish and social position was broken.
In general, it can be said that women who were born up to around 1875 at least grew up wearing traditional costumes. However, this is more likely to apply to socially weaker families or those who were rather closed to the new.
The homeland movement, for which "Müller-Brauel" was a pioneer in Lower Saxony, took its course. More and more local festivals were held in memory of the old days. Mente was also very involved here at the time. The founding of the antiquity club in 1905 was the motor for many members and well-meaning people to maintain this new type of “traditional costume presence” until the “Hitler era”. In the 1920s, the “social association” was also founded, which represented similar tasks.
When, after the end of the war, many young people were left without a "task" or having to spend their free time, the first youth dance groups were formed all over the district.
In 1955, at the 1000-year celebration in Jeetzel near Lüchow, the traditional costumes came to the fore again and found their way into the dance circles.
Today there are 2 folk dance and costume groups that have made the maintenance of customs their task. However, the representation of traditional costume in an authentic form has changed significantly.
Many other associations (harvest festival association, Buerbeerverein, Pfingstbierverein) also wear traditional costumes according to their own statements, but an authentic assignment is no longer possible.
Most of the activities in this area, unfortunately, have to be described as folkloric.
literature
- Gravenhorst: About the manners and customs of today's Wends in Lüneburg . Hann. Magazine, 1817.
- Niemeyer: A few comments about the so-called Wendland in the offices of Dannenberg, Lüchow and Wustrow . Hann. Magazine 1840.
- AL Pockwitz: The Kingdom of Hanover . 1852.
- Franz Tetzner: The Slavs in Germany . 1902.
- Wilhelm Peßler: Handbook of German Folklore . Vol. III, 1921 - Lower Saxony costume book, Hanover 1922.
- E. Mucke: The Lüneburg Wends in history, ethnicity and language . Hanover Land 1908.
- Willi Schulz: Contributions to the description of the Lüchow-Dannenberg district . Lüchow 1971.
- Eduard Draw: Stories and pictures from Wendish folk life . Vol. I + II, Hanover 1874.
- Friedrich Bohlmann: Supplement to the costume exhibition at Wendlandhof Lübeln, 1983.
- Karl Kowalewski: Lüchow - From the Middle Ages to the present. Stade 1980, ISBN 3-921942-01-2 .
- Dieter Brosius: Wendland regests 1298–1528 . (Series of publications by the Lüchow-Dannenberg Local History Working Group, issue 7). Lüchow 1988, ISBN 3-926322-08-X .
- E. Kück: Lüneburg Dictionary ., Vol. I + II, 1942.
- From Linnenmanufactur in the county of Dannenberg. Report of the Legge-Inspector Mummethey. Goettingen 1789.
- Albrecht Lange: The costume of the Hanoverian Wendland . Domowina-Verlag, Bautzen 2006, ISBN 3-7420-2037-4 .
- Wolfgang Jürries: Wendland Lexicon. Volume 2, Local History Working Group Lüchow-Dannenberg, 2008, ISBN 978-3-926322-45-6 .
Individual evidence
- ^ Annals of the Braunschweig-Lüneburgischen Churlande ; here: Excerpts from the farmer Joh. Parum Schulze zu Süthen
- ^ Wilhelm Bomann : Rural housekeeping and daily work in old Lower Saxony . Reprint 1992, Hanover
- ^ Bernhard Kraul: Handwritten Ortschronik von Jameln . 1895, JHAM Kablitz private archive, Jameln
- ↑ Otto Lehmann: Our German land and people. Vol. X, 1885.
- ^ A b Hermann Mente: The Hanoverian Wendland . In: Lüneburger Heimatbuch. Part 1 + 2, 1914.
- ^ Rose Julien: The German national costumes at the beginning of the 20th century. Munich 1912.
- ^ Karl Hennings: The Hanoverian Wendland. Festschrift, 1862 - Legends and stories from the Hanoverian Wendland . Lüchow 1864. (1906 in a new edition by his son, Carl Th. Hennings)
- ↑ Jürgen Sturma: Information on traditional costumes from the section on traditional costumes and customs of the German Heimatbund. Booklet 1: Bridal Crowns . Bonn 1997, OCLC 638196652 .
- ^ Joachim Schwebe: Popular belief and custom in the Hanoverian Wendland . In: Central German Research . Marburg / Cologne 1960.