History of Black Pete

Important Note before reading: 

On October 26th, 2016 the Saint and Petes guild released an article that proves beyond doubt that the origin of the figure Black Pete can be traced back to the black and masked noble clauses that were found in the Netherlands well before 1850. Please read, before you proceed, the article “Black Claus is Black Pete”.

History of Black Pete

There is a widespread myth that before the year 1850, so just over 150 years ago, Black Pete did not exist in the Netherlands. However, there are a multitude of sources, that describe black or masked Clauses and other devilish creatures with masks or black faces well before this date.  Primary source of this misconception seems to be the release of a book titled “Saint Nicholas and his servant” by Jan Schenkman in Amsterdam around 1850. Schenkman was a teacher and it is assumed he adapted the age-old Saint Nicolas story to make it more suitable for small children. In his book a nameless servant is introduced, a dark (Indian, African or even Oriental) youngster. Like the Saint himself this servant rides a steed in the book. Some critics suggest a relation between this figure and dark pages and interpret it as the origin of Black Pete. However, in addition to the historical evidence on pre Schenkman Black Petes, there are many photos from across the Netherlands featuring Black Petes with a clearly different attire than the one described by Schenkman. An overview of these can be found here. Also, until the 50’s of last century Black Pete was known under many old names that varied regionally, although, the name “Pieterbaas” or short Pete has also been in use for a very long time. 

pastedGraphic.png

 It is important to not only consider literature but also take masquerades in parades on the streets into the equation. In these parades, older versions of Black Pete alongside Black Noble Clauses, Popanz and other devilish creatures survived for a long time. 

From an historical view, the current Black Pete can simply not be dated back to the Schenkman book, as is illustrated in great detail in the article referred above: “Black Claus is Black Pete”. Research points to a development of Black Pete into a dark servant originating from the figures historically known as black and masked Clauses. This heritage has greatly influenced Black Pete’s attire and appearance. A comparison to or worse assuming a relation with the US blackface tradition is out of scope, as Black Pete is much older and does not even represent a real person.  Interpreting ancient European traditions in the context of recent blackface habits and debate in the US does not lead to a sensible discussion.

Please follow this link for a picture of Black Pete (locally known as Sjaak Sjoer) dated 1900-1910 from Brabant.

pastedGraphic_1.png

The dead horse from W.Mets “Saint Nicolas tales”, 1895

The text of the famous Song “Zie ginds komt de stoomboot” is from “Saint-Nicolas and his servant”of which two versions are known.

Follow this link to the version of “Saint Nicolas and his servant” in the royal library

Follow this link for the 1850 version of Bom of “Saint-Nicolas and his servant”

Follow this link for the SlideShare of the 1850 version of Bom of “Saint-Nicolas and his servant”

In view of all, sometimes recently recovered, evidence, the conclusion that Black Pete is not an invention of Schenkman is unavoidable. The figure we know today is an evolution of a far older tradition, of which important characteristics have been maintained even in the current day Pete.  Many of his features can verifiable not be dated back to Schenkman’s book. A simple example of this is that the book does not mention at all the use of multiple Petes which was widespread even around 1850. Also, the chain carried by Black Pete and his hunting for naughty children, so characteristic in the figures of old and last but not least his name Black Pete do not appear in the book of Schenkman. Also the use of a chimney is nowhere mentioned in the book. Yet, as commonly known, Black Petes throws peppernuts in there and make a lot of noise (geraas) in the chimney.  What applies to Pete also applies to the Saint, in real life the bishop was not always clad in the red robe described in the book, but often dressed completely in white.

All studies of the figure Black Pete point in the same direction; Black Pete is not a creation of Schenkman. Claims that the servant from Schenkmans book is the original Black Pete are delusional. There is overwhelming evidence that Black Pete descends directly from ancient black predecessors that did not suddenly disappear at the issue of this work in 1850. Documents show that the tradition even hardly changed under influence of the book. So, we can safely state that Black Pete, including his clothing, is based on traditional black figures. For a fair discussion it would be good that one takes notion of this before drawing far fetching and divisive conclusions. The use of the chain, in addition to his black face, the rod and the sack as well as many smaller details like the carrying off, of sinners to hell or Spain, are tangible remains of premodern times. The soul of the old character has been maintained remarkably unscathed, handed down by oral history from generation to generation.

Many more details on this can be found in the document “Black Claus is Black Pete”

The exact motives of Schenkman when writing his book will never be clear. Probably there were educational or even emancipatory thoughts behind this and certainly not any racist motives. In the book the servant is black, but this is completely in line with the traditional figure. The historical view on Black Pete passed down the years plays an important role in the Saint Nicolas tradition for many, a fact completely ignored by some its critics. And when the dark appearance and behaviour of the figure is interpreted in media without any reference to the Dutch and European history and worse, is marked as a racist expression, this blocks any reasonable discussion. Calling him blackface while there is no relation at all to this US custom, further deepens the divide. 

There might have been some occasional tensions around Pete, but there is no reason to completely ban the figure in all its appearances as is being done now. Lovers of the tradition are often genuinely surprised that people depict black Pete as racist. This is a very logical reaction in view of the background and historically acceptable forms of Black Pete.  It is important that these processes become more visible and are given appropriate attention so that this important festivity in the Netherlands and the figure Black Pete can be better protected.

Critics of Black Pete have created their own version of history in which the Schenkman book is the central source and the rest of history is either forgotten, not known or ignored. As shown over and over again, the Schenkman book is not the origin of Black Pete and all sources on the situation before 1850 paint a completely different picture in which there is no room for a link to black pages, slavery or alike. 

.People just following a tradition are often accused of attending a party that glorifies slavery. Where this is “proven” from an incorrect view of the history of Black Pete one can hardly be surprised people do not feel addressed at all. Likewise also the artificial linking of the blackface tradition to Black Pete does not resonate. The influence of that link is grossly overrated, it has never played any role.  The festivity, the figures of Black Pete and the many people that each year celebrate this tradition are all badly depicted in this way. The Saint Nicolas tradition is a very deeply rooted one.  There should be recognition, in the large and in the small of its true history, as ignoring it does not work, which also applies to the artificial emphasis on the colonial past and slavery. 

We should in addition realize that the reformation in the Netherlands has played a major role in the development of the Saint Nicolas tradition and his black companion, as is explained in the following paragraph. 

The reformation

During the reformation, the new protestant religion went to great straits to eradicate everything related to Roman Catholicism.  So, Saint Nicolas, a bishop and his companion were banned during this period. Interestingly to note is, that these efforts to exterminate the festivities never fully succeeded.  In a famous painting by Jan Steen the Saint and his companion themselves are absent, but their symbols are everywhere. A little girl is holding a doll of candy (taaitaai) in the form of a bishop and his companion is embodied by the rod in the boys’ shoe, shown to him by his sister. In the background we see and old woman hand waving to a person not visible to us, who probably slammed or rattled the door.

It is often claimed that mothers kept the tradition alive for their children, which might well be the way how it persisted over the centuries. Yet, during this period the Saint Nicolas celebrations were less visible though still present as shown by the work of Arnold Jan Scheer. Possibly the religious resistance to the celebrations has contributed to its persistence in the Netherlands. A form of civil disobedience against a use of the church’s authority, widely experienced as unreasonable.

The blending of the figures of Saint Nicolas and his companion

It is interesting that the heathen companion of Saint Nicolas was apparently considered even more detestable than a roman catholic Saint. Although he did not vanish totally, we find him often back in disguise in this period. Frequently he adopted a variant of the Saint’s name (examples:  Stapklas, Ruklas, Clas Bur, Hell-Niklas and Klaaskerel (Janssen) or also Klaus, Klaas (of Sinterklaas). It was also not unusual to combine the roles of companion and the Saint in a single figure. This became so common that it was often erroneously assumed that only the Saint still remained. However, the people that knew him, recognized his black face, the rod, the chain and the sack or basket. In the Netherlands there was a notion of a  “Black Saint Nicolas” known e.g. in Amsterdam and there is also a drawing  of “Black Sint Nicolas from the Veluwe”.  At a closer look we immediately identify the chain, the black face, the lengthy rod and the rather small basket assumingly filled with coal. Also, other aspects of his appearance and attire symbolise darkness. Recently such a Black Claus has also been discovered in the booklet: “De Orgelspeler” by F.H. van Leent dated 1881. There is also a Saint Nicolas poem from 1802 in which the Saint goes around with a chain and is being laughed at.  Not a treatment suitable for a Saint and much more appropriate for his companion, again an example where we must assume that this “Saint” is in fact his companion in disguise. 

In the snippets of text below it is striking that Saint Nicolas is seen as a jester. This is likely again a blending of his role with that of his black companion, which we also found in the description of the Black Clauses above, making a lot of noise (wild geraas) and hunting for naughty children.  Such celebrations have been described in various sources and explain why there was a pushback against these. However, history teaches us that they have persisted well into modern times 

http://www.beleven.org/feest/sinterklaas

pastedGraphic_2.png

Zy laggen om zint Nicolaas

Die met een ketting loopt,

En maakt een drommels groot geraas

From: Het vrolyk Catootje. S. en W. Koene, Amsterdam 1802 (2nd edition)

The black Saint Nicolas from the Veluwe: At a closer look we immediately distinguish the chain, the black face, the lengthy rod and the rather small basket assumingly filled with coal. Also, other aspects of his appearance and attire symbolise darkness. This drawing has been made by Gait Mulder van Wessinge and can be found on page 459 of “Friese volksgebruiken weerspiegeld in Europese Folklore” by D.J Van der Ven.

pastedGraphic_3.png pastedGraphic_4.png

pastedGraphic_5.png

Saint Nicolas is seen as a jester in the text above. This is likely again a blending of his role with that of his black companion, which we also found in the description of the Black Clauses above, making a lot of noise (wild geraas) and hunting for naughty children.

.

Hieronymus van Alphen

Another source is a Saint Nicolas poem from 1778 by Hiëronymus van Alphen, author of a book full of children’s rhymes, that also contains a Saint Nicolas poem. The publication date of this book is between 1778 and 1782. It might have been the case that he still chose muffled terms as the celebration of Saint Nicolas had been banned for so long. Some cues though point immediately in this direction: the use of names like Claus (for Saint Nicolas) Pete and the reference to a black man (a golliwog another kind of influence of Black Pete). This poem is also included in the book of Saint Nicolas poems by De Bas and Bijl.

pastedGraphic_6.png

Klaasje en Pietje

klaasje

Pietje, zo gij niet wilt deugen,

Dan verschijnt de zwarte man.

pietje

Klaasje foei, dat is een leugen!

Laat hem komen, als hij kan.

Die aan zulk een man gelooft,

 Is van zijn verstand beroofd.

Mattheus van Heijningen Bosch

In 2013 the following information from Groningen emerged. It’s remarkable that the writer of this did not realize that the Black Pete figure here only differs from the one we currently know by its masquerade. It’s interesting to read the description of Matheus van Heyningen Bosch, aged about 7, visiting his grandmother on the eve of Saint Nicolas (around 1780). He describes the visit of a monstrous figure clad in a cowhide with horns and chains, that we also find with other companions of the Saint. Another known masquerade is the use of a so called “scherbilskop”. On this website one can view many more pictures of companions of the Saint seen in the province of Groningen before 1850. 

The picture below left was used in Rotterdam in an advertisement. There the name Saint Nicolas is used by the writer Henk van Benthem though, as he bears resemblance to the Saint Nicolas from the book “De beminnelijke Gerrit.” As we know that the figures Saint and Pete were often blended before 1850, we also assume the same here. In both pictures the characters seem to be using a masquerade. Also the fine clothing including the collar, the hat with feather are remarkable. The influence of this on the cloths of Black Pete should certainly be investigated, as he is a successor of these masked clauses and the black clauses that had a filthier appearance

pastedGraphic_7.png pastedGraphic_8.png

Gebelskop and grime or painting black?

This is a description of the “scherbilskop” or “Gebelskop” in the local dialect from Groningen, a well-known masquerade of the companions of the Saint known throughout Europe.  Masking and painting the face black is an ancient tradition that is assumed to be German as the word it is derived from is also German. See explanation here. More on this custom here and here (Please scroll down for the full explanation)

pastedGraphic_9.png

Part of a “Gebelskop” from the 6th century BC found in Middelstom

Alberdingk Thijm

Alberdingk Thijm describes a recollection from a 1828 Saint Nicolas celebration during which someone plaeds the black companion of the Saint. (In view of the importance of this source it must soon be made available physically. Until now there are only references, an actual version of the named document is not present yet). It could be the case that someone is dressed up with curly hair and black face here, just as Saint Nicolas is present in full with his white hair and beard. In addition, he also indicates that the companion visits other homes than that of the Arata’s where Alberdink is joining the celebration.

Alberdingk Thijm  assumes the black companion has been created by men “from the need of contrast”. Yet there is no physical Saint Nicolas here and it could be the case he describes a Black Claus, maybe he is even already clad in the suit with collar and feathered hat also seen with the masqued Clauses. 

A close relation to the midwinter symbolism is one of the key themes on this website. The companion has always been there in the Saint Nicolas celebrations and is a continuation of an age-old tradition seen in many regions throughout Europe. Where borders and governments changed regularly in Europe before 1831, we cannot ignore the development of this figure in the adjacent countries 

Bernard van Meurs

From the point of view of this website the following poem is very interesting. It was published in 1894 and is a reminiscence of Bernard van Meurs childhood, dating back more than 50 years, so before 1843. This is an realistic time, as Bernard turned 8 in 1843, the usual age for children to lose “faith” in the story of Saint Nicolas. The point being here that this is actually 7 years before the publication of Schenkmans book on Saint Nicolas and his servant. 

The title “Christene Zielen!” (souls of Christ) is not easily recognizable as a Saint Nicolas poem, but it certainly is.  As it is written in a dialect from the Betuwe, a region of Gelderland, it is not very accessible. The most interesting part is the following:

 ‘s Aovends goeng weer ‘t spul beginnen.

‘t Joeg mien wel ‘en schrik op ‘t lief

Dâ gerammel met de ketting;

maor toch was ‘k op mien kievief:

Went ik trok ‘en bietje ien twiefel

de echtheid van den Sinter Klaos,

En gen zier meer kos ik gleuven

aon zien knecht den Pieterbaos.

‘Stil!’ – riep vaoder bang tot moeder –

‘Heurde ‘m?…Daor kumt Pieter aon!…’

Maor ze kniepten saom ‘en eugske,

en dâ dee mien veul verstaon.

Boems! d’r valt ‘en roei, en strompelt

Pieter brommend uut de kas…

Gauw zag ‘k aon zien kromme beenen

dat ‘et oome Graodus was..

‘s Avonds ging het spul weer beginnen.

Het joeg me wel de schrik op het lijf.

Dat gerammel met de ketting.

Maar toch was ik op mijn qui vive.

Want ik trok een beetje in twijfel

de echtheid van de Sinter Klaas,

En geen zier meer kon ik geloven

aan zijn knecht de Pieterbaas.

“Stil!” riep vader bang tot moeder –

Hoor je hem?….Daar komt Pieter aan!…

Maar ze knepen samen een oogje dicht

en dat deed me veel verstaan.

Boem! daar valt een roe en strompelt

Pieter brommend uit de kast.

Al snel zag ik aan zijn kromme benen

dat het ome Gradus was.

Maskerade, ketting, roe

In the context of both the Christian and pagan history, that form the basis for the interpretation of the figure Black Pete on this website, this poem contains three of the four main characteristics of Saint Nicolas’ companion: the rod, the chain and the masquerade. The latter is apparent from the fact that young Bernard only recognizes his uncle by his legs.  It is important to note that chain and rod are held by the Pete here. There is also the masquerade of the Pete and we can only guess if this is the black face also mentioned for the Clausen. There might also have been a regional variant or a Black Claus here. Whatever may be final facts there, the poem Bernhard van Meurs classifies him unequivocally as a Black Pete. Interestingly also Spain and the chimney are mentioned in the remainder of the poem. 

New information

There is no specific information about the nature of the masquerade, but that not being mentioned suggests it is probably the most common and well-known form, a black face. Much about the Saint Nicolas festivities is stockpiled in archives yet to be discovered. Especially snippets as above, written by ordinary people in many dialects can provide us with a broader view on customary masquerades. It is far too early to conclude that everything about Saint Nicolas and the origin of Black Pete is known

And as stated before: 

Further evidence from adjacent countries should not be ignored in the interpretation of Black Pete. Below we find some further historic sources as well as a painting from Vienna, showing a Saint Nicolas with a dark servant.

Pastor describes black servant (1840)

In 1877, pastor H. Welters from Limburg wrote about the festivities during his youth: In every normal family Saint Nicolas would pay a visit or at least leave some trace. In the chimney a staircase was “drawn” for the Saint to descend. Next to it some barley for the horse was waiting. While a song was sung the holy man approached in full gown together with his loyal servant.  Lucky was the naughty boy that was not whipped or put in the sack by his black servant.

Louis Janssen who described this fragment in his work “Nicolas the duivel en de doden (1933) ” notes that this implies that the modern festivity had already settled in the 40’s of the 19th century. He suspects that its roots can be found in Austria. From Vienna we know an aquarelle of the festivity that depicts a black servant the Austrian way. (see below for more detail) 

Harme Bevoort was a poet of local fame who lived from 1801 until 1874 in Enkhuizen. Around 1850 he wrote a poem titled Saint Nicolas into his small booklet containing his collection, yet some suspect that it stems from an earlier date. Although no information can be found on earlier publications of the same, these could easily have been lost as such poems where often published in the form of pamphlets first.

Interesting details can be found in the following strophes (in Dutch)

Gerust kunt ge u nu buiten wagen

Geen zwarte kop

Met huiden om het lijf geslagen

En hoornen op.

Geen ketens ramm’len langs de keijen

Als van een beer,

Gij hoort geen deur, geen schot rammeijen

Geen angstkreet meer.

In line two of this verse there is a direct reference to a black head “zwarte kop” as masquerade. We also read descriptions of skins and horns that remind us of the monsters as described by Mattheus Van Heijningen Bosch in 1780 and similar figures like Krampus. Also, servant Ruprecht is now and then depicted with horns. Finally, we also find here a description of chains often carried around by the Saints’ servants. 

pastedGraphic_10.png

It will be clear this depicts a predecessor of Saint Nicolas companion that refers back to a far older tradition of figures with dark faces next to the holy man. The poem breathes the atmosphere of a trading city of old and realistically describes the situation including the shops and the bakery of master Lont. The dark creature was clearly widely known there, as it was in Groningen. No wonder that soon Black Clauses were introduced that finally transformed into Black Pete accompanying the holy bishop Saint-Nicolas. He could not have guessed that this figure leads now to such commotion. But a realistic knowledgeable view on the history of Black Pete offers many handles to remove the controversies from this figure, as it links the clothes and black face with ancient traditions. 

pastedGraphic_11.png

 A plate for spicy biscuits (speculaas in Dutch) from France. The figure in the centre resembles the monsters that have been described here. The figure to the right closely reminds us of Black Pete with his white collar. But who rides the unknown monster?

Xaver von Paumgarten 1820

The aquarelle from the Vienna museum of history is very interesting in this context. It shows Krampus together with Saint Nicolas. Here Krampus also is showing the black face/head. As discussed before also in the Netherlands Krampus-alike figures (with horns, skins, chains and the odd rod and sack) were seen. If one looks closely, the legs of the ten-year-old son are sticking out of Krampus basket. In the sack!  This habit of a celebration involving a holy Nicolas has probably been imported from Austria according to Louis Janssen (ref?) 

 

pastedGraphic_12.png

A combination of Christmas presents, and Saint Nicolas can be seen in this aquarelle. The German businessman Carl Baumann arrived in Vienna around 1800 where he married and lived with his children in the Weihbuggasse 10. In 1820 a friend of the family made a painting of the party with the tree in the centre of the table.  The father has dressed up as Krampus and the 10-year-old son is in the basket. The mother plays Saint Nicolas and the children Maria (4) and Alexander (6) gaze at the beautiful tree in wonder. The elder sisters Rosalia, Ida and Wilhelmine are properly aligned at the right side. 

Preliminary conclusion

From the description of his uncle impersonating Pete, by Bernard van Meurs one can draw the conclusion that the Pete he saw emerging from the cupboard was not as frightening as described in the older sources. It is well possible that the transition into a more friendly character (of Pete) happened before his time but this may also have been a private decision of his parents. Also the existence of the blended black Clases could be part of this transition. There are by now many sources that prove the existence of the companion of Saint-Nicolas before 1850, including in the double role that blends the Saint and Pete. Harme Bevoorts description of a companion of Saint Nicolas with a black face is another important piece in this puzzle. It forcefully counters arguments brought forward by Black Pete’s adversaries that claim that no such figure existed earlier in the Netherlands or that earlier characters did not have a completely black face. Also the author Schenkman was aware of these figures and his role and influence on the figure Black Pete was grossly overrated in earlier discussions on the topic. Painting the face black has no relation to the American blackface phenomenon nor to African people but is an ancient European tradition. As long as Black Pete impersonators take care to refrain from any potential link to the blackface history, like using a dialect that reminds of black people instead of the common hollow voice of Black Pete or red painting far outside the lips (more seen on merchandise than on actual Black Pete actors)  a Black Pete is  completely acceptable. It maintains the figure in his historical appearance and the original, not offending, meaning of his dark face. The Saint Nicolas worship is originally a mid-winter ritual. There is no need, given our current knowledge of the history of this tradition to remove any of these characteristics of Black Pete. With proper care to the behaviour of Black Pete and full understanding of this background, the figure can play its role within the Saint Nicolas celebrations and evolve naturally. Not being forced into an unnatural path assuming there is a racist connotation in Pete, as shown above this notion is completely unfounded.