Halloween: The ‘intriguing and unsettling’ Scottish island tradition of skekling

As winter came, the skeklers moved from house to house, dancing around the fire and banging wooden staves on the floor in a celebration of the supernatural.

By Alison Campsie

The tradition of skekling was observed in Shetland for hundreds of years, with its roots in the Norse history of the islands.

Skeklers dressed in a straw skirt – called a gloy – a short, straw cloak and tall pointed straw hat, with the costumes woven together using family crops.

Skekling was a Pagan custom when people hoped their rituals would bring the sun back from the grip of winter and ensure good crops, according to an account of the custom.

For hundreds of years, skeklers went out on Halloween and over Yule, with weddings on Shetland sometimes treated to a visit.

Dr Iain Tait, curator at Shetland Museums and Archives, said: “Visually the skeklers are striking, but when you look into the custom, it is all rather intriguing and unnerving.

“Our cultural link to the skeklers is 100 per cent Scandinavian. It’s very similar to the seasonal masquerade observed in the Faroes.

“The difference is in Shetland, the costumes were made from straw. In the Faroes, it was seaweed.

“The difference is in Shetland, the costumes were made from straw. In the Faroes, it was seaweed.

“The Faroese used a wooden mask, but in Shetland, the face was masked by a cloth.

“Skekling was nothing to do with the Scottish tradition of guising. The tradition was to play out the part of supernatural beings and you didn’t reveal who was in the costumes.

“There was a suspension of disbelief.”

The skekler costumes were made of straw and originally featured a skirt, cape and pointy hat with a piece of cloth sometimes used to cover the face. PIC: Gemma Dagger.

The skekler costumes were made of straw and originally featured a skirt, cape and pointy hat with a piece of cloth sometimes used to cover the face. PIC: Gemma Dagger.

Children aged between eight and 15 would most likely take part in the tradition. The leader was called a skudler with the other main character known as the grølek – a type of fearsome, bogeyman character.

Dr Tait said: “Although the grølek was to be feared, once he appeared in the group, he was not. He was just part of the pantheon of supernatural characters coming into your house.”

“The Faroese used a wooden mask, but in Shetland, the face was masked by a cloth.

“Skekling was nothing to do with the Scottish tradition of guising. The tradition was to play out the part of supernatural beings and you didn’t reveal who was in the costumes.

Skeklers gathered around the fire, which would normally be in the centre of the room, to dance.

Dr Tait said: “Quite often, the skeklers would carry wooden staves, which they would rap on the floor.

“It was so ritualistic.

“When they spoke, they disguised their voice. They spoke while breathing in, so it all added to bringing these non-human elements into the home.”

A major element of the skekler custom was the collection of food.

Traditionally, a sheepskin bag called a buggi, that was originally used to hold grain, would be passed around and food dropped in.

“People knew what the skeklers wanted and what the skeklers wanted was cooked meat,” Dr Tait said.

The tradition faded during the 19th century when islanders became more open to British customs and ways.Dr Tait said: “By the 1920s, it was often the case that the costume would not be made in full.”

People stopped passing around the sheepskin bag and dancing around the fire with the staves.

Skekling was last observed in Shetland on Yell in the 1970s, according to accounts

Meanwhile, photographer Gemma Dagger recreated the skekler costumes for a photo essay after becoming fascinated with the tradition.

A traditional skekler costume held by Shetland Museum will form part of the Between Islands exhibition, which shares objects across Shetland, Orkney and the Western Isles. The exhibition will launch later this month.

Source: Halloween: The ‘intriguing and unsettling’ Scottish island tradition of skekling

Hear Bonnie Prince Billy, Freakons, The Rheingans Sisters on “The Kingston Coffee House”

WRIU Kingston Coffee House 10/28/25

By Mike Stevenson

On tonight’s KINGSTON COFFEE HOUSE, you’ll hear songs about heroic union organizers, deadly mine disasters, wailing orphans, and coal mining’s grim history of economic and ecological devastation in a set we call Dark As a Dungeon. We feature the wonderful collaboration between Freakwater and The Mekons! (“Freakons”, of course!)

In hour two, we will be taking a deep dive into the music of Will Oldham (aka “Bonnie Prince Billy”)

In the third hour, we play a set called Little Devils and Dark Angels – haunting music for the Halloween season provided by Faun Fables, Lankum, The Rheingans Sisters, Josienne Clarke and Róis 

Along the way, you’ll hear some classic Greenwich Village folk music from Fred Neil, Tim Harden and Karen Dalton

PLAYLIST

Ann Sheridan – Coffee shop banter from “They Drive by Night” (1940)
Freakwater – “Waitress Song” (Old Paint, 1995)
Rod Stewart – Tomorrow Is a Long Time (Dylan) Every Picture Tells a Story, 1971

DARK AS A DUNGEON
Merle Travis – Dark as a Dungeon (Folk Songs of the Hills, 1947)
[From the LP Freakons, 2019:]
Freakons – Blackleg Miner (traditional)
Freakons – Abernant 84/85 (The Mekons)
Freakons – Dreadful Memories (Sarah Ogan Gunning)
Freakons – “Corrie Doon”/”A Coal Miner’s Lullaby” (Matt McGinn)
Cowboy Junkies – “Mining for Gold” (traditional)
The Journeymen – “Dark as a Dungeon” (Travis) Coming Attraction: Live! 1962

GREENWICH VILLAGE FAVORITES
Fred Neil – Everybody’s Talkin'(Fred Neil, 1967)
Fred Neil – Ba Di Da (Fred Neil, 1967)
Tim Hardin- “Misty Roses” Tim Hardin #1 (1966)
Karen Dalton – “Something On Your Mind” (Dino Valenti)
Bobby Darin “If I Were a Carpenter” (Hardin)
Rod Stewart “Reason to Believe” (Hardin) Every Picture Tells a Story, 1971

Featured Artist: Will Oldham
Will Oldham/Palace – “New Partner” Viva Las Blues (1995)
Will Oldham/Palace – “Oh Lord, Are you in Need?” (There Is No-One Who Will Take Care of You, 1993)
Bonnie Prince Billy – The Dragon Song (from the film “Pete’s Dragon”, 2016)
Bonnie Prince Billy – “Intentional Injury” (from the film “True Detective”)
Bonnie Prince Billy & Dawn Landes – “Dark Eyes” (Bob Dylan)
Bonnie Prince Billy & Dawn McCarthy -“What Am I Living For” (What the Brothers Sang, 2013)
Joan Shelley “The Fading” (Like the River Loves the Sea, 2019)
Trembling Bells & Bonnie Prince Billy – “I’ll Be Looking Out for Me”
Bonnie Prince Billy “One of These Days” (The Purple Bird)
Johnny Cash “I See a Darkness”(American II; Solitary Man, 2000)

The HOBBLEDEHOY SET: Little Devils and Black Angels
ROIS – “Angelus II” (Mo Léan, 2024)
Jean Ritchie – “The Little Devils” (traditional)
ROIS – “Caoine” (Mo Léan, 2024)
The Rheingans Sisters – “Devils” (Devils, 2025)
ROIS – Oh, Lovely (Mo Léan, 2024)
Lankum – Fugue
Faun Fable “Black Angels” (Counterclockwise, 2024)
Lankum “What Will We Do When We Have No Money?” (Cold Old Fire, 2017)
The Rheingans “The Great Devil / Mr. Turner’s (Devils, 2025)
Josienne Clarke “The Madler Horror Story” (Far From Nowhere)

5 Scottish Halloween Traditions

Scotland has had some peculiar traditions for Halloween! Discover our spooky Scottish Halloween traditions…

Some of these traditions have been lost over the centuries, but some are still around today.

Many on this list were practised long before trick or treating.

Let’s see how many you recognise…


Neep carving 

Before the tradition of pumpkin carving stole across the Atlantic from America, the Scots carved turnips – or neeps – into lanterns and lit them to ward off potentially malevolent entities. A hardy few still carve neeps, and the end result is certainly creepier – although most admit that pumpkins are largely more convenient.


Apple Dookin’ 

Have you ever been dookin’ for apples? The traditional game involves filling a tub with apples and water, then trying to catch floating apples out with your teeth. The game’s origins are uncertain, but it’s thought to be a method of fortune-telling who your true love will be. This is one of the few Scottish Halloween traditions that is still going strong!


Guising  

It’s not trick-or-treating – it’s guising, short for disguising! Long before “trick or treat” Scottish children dressed up as evil spirits and went round the houses. They had to tell a joke or perform a short poem or song before receiving their treat – nuts, apples, sweets or occasionally coins.


Treacle Scones 

A game of apple dookin’ is usually preceded by the messier game of treacle scones, where sticky scones are hung from strings and players try to eat them without their hands – with as little mess as possible. Unfortunately, not many are successful, so dookin’ for apples has the added bonus of washing faces clean!


Kale-pulling 

We’re not joking. Another traditional way of finding out who your true love would be was to go to the vegetable patch and pick the first kale stalk you saw. Its shape told the look of their your spouse, and the taste would tell personality. Unlike the other Scottish Halloween traditions listed here, kale-pulling isn’t practiced by many, if any, Scots today.

The poem Hallowe’en by Burns speaks of the consequences of pulling kale stalks:

“Some merry, friendly, country-folks
Together did convene,
To burn their nits, an’ pou their stocks,
An’ haud their Hallowe’en
Fu’ blythe that night”

Source: 5 Scottish Halloween Traditions

The 1922 silent film Häxan was a horror classic

Referred to in English as The Witches or Witchcraft Through the AgesHäxan is a Swedish-Danish film, a curious and groundbreaking mix of documentary and silent horror cinema, written and directed by Benjamin Christensen. Whereas most films of the period were literary adaptations, Christensen’s take was unique, basing his film upon non-fiction works, mainly the Malleus Maleficarum, a 15th-century treatise on witchcraft he found in a Berlin bookshop, as well as a number of other manuals, illustrations and treatises on witches and witch-hunting (a lengthy bibliography was included in the original playbill at the film’s premiere). On literary adaptations Christensen commented: “In principal [sic] I am against these adaptations… I seek to find the way forward to original films.” Instead Häxan was envisaged, as stated in the opening credits, as a “presentation from a cultural and historical point of view in seven chapters of moving pictures”.

While the bulk of the film’s format, with its dramatic scenes portrayed by actors (including Christensen himself in the role of the devil), would have been familiar enough to cinema-goers at the time (although shocking in content), the first chapter, lasting 13 minutes, is a different story. With its documentary style and scholarly tone — featuring a number of photographs of statuary, paintings, and woodcuts — it would have been entirely novel — a style of screened illustrated lecture which wouldn’t become popular till many years later. Indeed, the film perhaps could make a decent claim to being the first ever documentary (an accolade normally reserved for Robert J. Flaherty’s ethnographic study from 1922 titled Nanook of the North).

Reportedly the most expensive film of the Swedish silent film era, Häxan was actually banned in the United States, and heavily censored in other countries. In 1968, an abbreviated version of the film was released. Titled Witchcraft Through the Ages, it featured an eclectic jazz score by Daniel Humair and dramatic narration by the wonderfully gravel-toned William S. Burroughs.