Glass vessel from grave 539 at Birka, SwedenLeather flask based on a bog find in Cloonclose, County Leitrim, IrelandSilver cup from Lejre, Sjælland, DenmarkGarter or Spur buckle after finds from Carlisle Cathedral and Lincolnshire.Pattern Welded Sword with a Bronze and Twisted Silver Wire Hilt, based on several finds from Denmark.
We recently performed at Cromford Mills, a UNESCO world heritage site beside the River Derwent in Derbyshire. Besides the photos of combat and living history (which you can see on our Instagram feed), member Þorunn got round to photograph some of the interesting reproduction early medieval objects that members have collected.
Glass Beaker
A Frankish style ‘grape’ beaker, named for the grape-like globs that decorate the surface. This is the original from a Grave find, Birka, Bj 539, Adelsö Parish, Uppland, Sweden and is in the Historiska museet, Stockholm. Image rights: Jens Mohr, Historiska museet/SHM (CC BY 4.0) Object number: 106815_HST
Arbman 1943 H. Arbman, Birka I. Die Gräber. Uppsala 1943 (2 Bde.)
Leather Flask
The leather flask or “flacket” is a 1/3rd scale reproduction based on the bog find at Cloonclose, County Leitrim, Ireland, which is now in the National Museum of Ireland. It’s dated between 6th-12th century.
A silver cup from a Viking-age hoard discovered in the 19th Century near Gammel Lejre, Sjælland, Denmark. It bears similarities to other silver cups from the period, such as the ‘pix’ from the Vale of York Hoard in the UK, though the winged creature might represent the Norse goddess Freya rather than being Christian iconography. The original is in the National Museum of Denmark in Copenhagen.
These small copper-alloy buckles, used as a dress accessory or for spurs are found in several places around the UK, including in places associated with the Micel Here or ‘Great Army.’ Finds at Carlisle Cathedral and Lincolnshire.
Mccarthy, M. et al. (2014). A Post-Roman Sequence at Carlisle Cathedral. Archaeological Journal, 171(1), 185–257.
Sword
The sword is a based on a number of finds. It is classified as Geibig Blade Type 2 (750s-950s) with 3 bands of pattern welded rod visible, and a reverse twist reminiscent of the 8thC sword from Vehmaa, Lahdinko, Finland in Ian Pierce’s book Swords of the Viking Age.
It is paired with a Geibig Combination Type6/Petersen type O(1) hilt, based on one kept in the Museum of Archaeology, Gottorf Castle, Schleswig, Germany, close to the Viking-age emporia of Hedeby/Haithabu.
The hilt is cast in bronze with silver wire twist decoration. The Type O is a Scandinavian innovation of the largely Frankish Type K hilts. The O1 refers to a later classification of hollow cast bronze.
The idea is that it’s an older blade that has been rehilted at some point to a more ‘modern’ style.
This is a repost of our members guide to developing an impression of the Viking-age. An impression is the way in which we make, collect and combine reproduction clothing, objects and equipment to get a sense of what an early medieval person may have looked like and how they experienced the world.
We want to get the appropriate material culture1 that the people we represent to audiences would need or use for their role in society. It isn’t about accruing a stack of random, objects or bling.
We appreciate that a lot of people aren’t super nerdy and don’t want to develop an in-depth impression. They may just want to do battles, or go with the flow while they take in the historical vibes. That’s why we, and many other societies have a basic guide for costumes and objects! But, it’s such a worthwhile endeavour when you do get in to it, and it’s surprisingly easy to get started.
Reading books and making stuff!
Research and What to Read
Before you can effectively create an impression that’s unique to you, you need some basic knowledge of the period. Knowledge of any period, and of the people in it comes from reading. Sure, you can watch some TV documentaries, or be told some facts by elder reenactors, and you can regurgitate them at the audience, but you’ll never get beyond surface information. And when considering the kinds of things that Vikings did everyday – the things that really make an impression work – then information from this sort of media will be difficult turn into a good kit, let alone it being explainable to audiences.
The good news is, you don’t have to read really deeply to get a good handle on things. Popular history books and history magazines are a great entry point. But, there’s so much more out there – here’s the types of things you get get, and what they’ll help you with:
Popular History – PopHist are books that serve as overviews and reviews of current scholarly works in easy to digest prose. These are great for new readers of the period to give you broad strokes on subjects like chronology, language, daily life etc. Most re-enactors can get by by only reading PopHist, and that’s ok! These books are often reprinted as inexpensive trade paperbacks, or discounted eBooks. Get your own copies of the latest ones.
Eg. Neil Price’s Children of Ash and Elm, Eleanor Barraclough’s Embers of the Hands, Cat Jarman’s River Kings or Sally Crawford’s Daily Life in Anglo Saxon England to name a few.
Translations of period literary works – These are the things you want to read if you are interested in culture, status and the storytelling of the period. Get the most up to date, and get the ones with exhaustive notes. From the Icelandic sagas, to the Anglo Saxon Chronicles, to wills and charters, to psalters and gospels. They’re all good, depending on your interest. Prices vary, avoid the free Victorian translations you see online, except to compare. If you are a masochist and want to learn Old English, Old Norse, or another dead language, get an untranslated version….
Eg. Jackson Crawford’s Havamal, Larrington’s Poetic Edda, or Headley’s Beowulf.
Academic journals – These are a for more specialist reading where you find things like discussions and new arguments from topics ranging from studies of individual objects to broad cultural analyses. Often they’ll be summaries of, or contribute to work published in the academic press. Use the free tier or get a subscription to Jstor or Taylor and Francis etc., or scour Academia dot org for free stuff: but beware non-peer reviewed papers there (peer review is where other experts are invited to look over work before it’s published to check it for poorly formulated arguments). Many communities might host their own collection of papers – nerds look after nerds!
You probably dont need to own all the books, but they might get lonely on their own…
Academic press – This is where to find the most up to date thinking about a subject, but they are usually short run hardbacks by an academic/ university press and hard going for a layman. They’ll only do a few a year, expect to pay between £50-100 per volume. Get them while they’re hot. Or get a readers card at a university library. Sometimes these get released as fairly cheap eBooks. Really only buy these if you are really serious about researching things, or really need to know about a particular place/object/society.
Eg. Edinburgh Press Viking Age in Scotland or Oxford’s Anglo Saxon Farms and Farming, the Routledge Archaeologies of the Viking World series etc.
Archaeological monographs – A sub-category of the academic press, these focus on being a detailed study on one specialised subject. They are where the data lies and will include things like archaeological site reports, scientific analysis and discussion. If you want good pictures of finds, or good drawings of finds, and a discussion about that objects are, this is where they will be. These have very limited runs, older ones can be like rocking horse poo. But, quite a few are available for free on the Archaeological Data Service website, or as open access (ask your nerd community too!).
Eg. Dagfin Skyre’s Kaupang series, or YATs York Monographs
Trade history magazines – like Current Archaeology etc. are perfect for keeping up to date on latest stuff and they usually have inexpensive subscriptions.
Special Interest – There’s also a category in between popular history and academic books that are non-academic, but still quite niche. This is where books like Buried at Birka and Viking Dress Code live – resources that are great for re-enactors. Museum guides books that accompany exhibitions fit here as well I feel.
Eg. British Museums Viking: Life and Legend, the various ‘catalogue’ books edited by James Graham-Campbell etc.
Website – Websites can cover the gamut from Academic press to complete nonsense. We’ll cover how to ge the best out of web searches later in this post.
Historical Fiction – You’re not going to learn a lot of facts from these, but there’s nothing better than immersing yourself in the vibes of the period through dramatic retellings of stories, or characters wrapped up in historical events. If nothing else, they’ll remind you why you do this nerdy, silly stuff anyway!
Deciding on a Viking Impression
Who am I and what do I do?
The first step for developing an impression is using your basic knowledge of the Viking-age and thinking about what occupation the person you are representing would be working in. Perhaps you are a hunter, a potter, a fisherman, a smith — whatever. You don’t necessarily have to develop a craft, but you will want to think about what they would wear, what equipment they’d use, how they’d get about, and where they’d live. For female impressions, this might mean thinking about what kind of person you are married to, what the household would look like, and your status within the community. These will inform your purchasing or kit making decisions — your purchases should mirror your social status.
When am I from?
Fashion changed throughout the Viking-age, with new art styles, methods of construction, trade connections and political struggles that influenced everyday life. There are many movements within the 300-year span of the accepted Viking-Age, but for ease you can boil them down to three main ones:2
Maritoria: 750-850 – Traditionally the start of the Viking Age in Europe, where the pressure of migrating peoples in the east, the result of limited farmland and growing population, and polygyny spurring wife-less men to seek prosperity elsewhere. This period sees the founding of the earliest emporiums at Hedeby, Ribe, Birka and Staraya Ladoga, and a permanent Viking presence in places like Dubin and Noirmoutier in the 840s. This is the period where Sea-Kings carve out opportunities, often violently in raids and petty conquests, to take plundered goods to market. This period will be the raiders, and the people affected by it.
Hydrarchy: 850-950 – Vikings are here to stay. Great hosts — loose confederacies of lið under nominal leaders — make their winter camps permanent, and install puppet kings in conquered regions. The movement of large populations and wealth spur on trade through market kingdoms like Dublin, York, Ribe, Hedeby, Kaupang, Birka, Ladoga, Novgorod and Kiev. Contact with many different peoples, from the Strait of Gibraltar to the streets of Baghdad, bring new art, language and politics back to the Viking homelands.
Diaspora: 950-1100 – Experiments in monarchy, and the conversion to Christianity cement the Vikings as part of European culture. The reaction to Viking raids and conquests has made new Kingdoms in England, in Ireland, and at home in Scandinavia. New worlds have been discovered, and safe access to Eastern trade mark the end of the Viking Age.
Where am I from?
Someone from the South of Denmark, where the Danevirke guards against the powerful European empires to the south would have a very different outlook to someone living on the isolated Faeroe Islands, or in the Norwegian Arctic Circle. They’d might have different styles of clothes and jewellery, specialisations restricted by the geography of their land, and perhaps opportunities based on their polity. Understanding where your impression begins, and where it might end up means you can narrow down the search for objects to specific places and assemble an outfit with all the trappings of your trade based on the styles of the people and places most important to them.
How do I decide on these things?!
The best thing to do is read some popular history, or even some historical fiction to get a sense of who the people where and why they did what they did. Or maybe there was an object in a museum you really liked and you have been inspired about who may have owned it. These things can spark the ideas and get the ball rolling. Thinking of a trade and making a list of all the things you might need is a good starting point, then narrow it down to what’s realistic and achievable.
Like any collecting hobby, scope and costs can quickly spiral out of control (and remember you need to be able to bring things to events!), so take your time and develop your impression incrementally over several years.
Example: Fisherman (fiskari)
What kind of fisherman would be determined by his place in the world. Would he wade or take a boat out into the river and catch fish in a net, with a trident or harpoon, or in wicker traps? Or does he live on the coast and fish for herring, oysters and crabs? Does he sell his surplus to townsfolk at the market? He would need warm, rugged clothing, headwear to protect him from the sun, and baskets to keep his catch. He might forgo trousers and wear breeches, or just cover his modesty with a long kyrtle. On his belt, he would need a knife and a hone. A leather or ceramic flask will keep him hydrated during the long hours on the water, and a wallet or sack will be useful to pack spare dry clothes, bait (in a pottery jar), or lunch (eg. dried meat, fruit). He’ll need nets, net-making shuttle, line and hook, floats, bait, fishing spears, eel traps and more.
Example: Dairymaid (deigja)
Some women were in charge of creating and storing food for the family. They tended and milked the animals, made skyr and churned butter, kept whey and cheese; they cooked, baked and brewed ale and mead. The fact that the woman of the house was in charge of these very important commodities gave them significant power. A milkmaid’s outfit might require warm, practical clothing, such a cap to keep hair out of the product, mittens to keep your hands warm on cold days, and a number of bits of household equipment: ceramic jars, cheesecloth, spoons, spurtle/tvare, butter churn, buckets and yoke to carry them, fire-lighting equipment (flint/steel/tinder and bark tinderbox), bowls, and wicker baskets. She might also have a set of clothes and accessories for best.
When we get a sense of the objects they need to dress and do their craft, then we can look for examples in the archaeological record from the time and region we have chosen.
Where to find information – The Sources for Viking Research
First! Costume Passport
Once you have thought about and explored an impression on paper, it’s time to buy or make your kit, appropriate to your chosen date, region and persona. For example, a fisherman from the east-Irish coast may have slightly different things than a fisherman from the gentle river flows of Wiltshire.
To do this, you will need to research items that will be appropriate for the impression: what shoes were available in that area, how did they fasten their cloak in place, were their fishing hooks different etc.?
You will also have to navigate the fact that there may be gaps in information and make an educated guess, using the expertise of scholars.
It’s a form you can fill out with information and pictures you collect, and gives others (for example, a society officer, or fellow nerd) a chance to look over it before you spend loads of money and end up disappointed when you’ve bought something that isn’t period appropriate!
I’m going to suggest that most people are going to Google what they want, and this is a good start for research, but when you Google things like ‘Viking costume’ or ‘what the Vikings wore’ or similar, you are going to have to do some pretty critical thinking. (I’ll cover Google searching later).
Once you get past the shopping links, AI generated slop, primary school curriculum nonsense and TV cosplay stuff, you might get more useful links to museums, blog posts by researchers or reenactors, or similar. But even then, you have to be careful.
What we need to find is authority and references: references to museum catalogue pages, references to published work, figures with detailed captions that includes references, and respected outlets known for research (authority) etc.
I would avoid using LLMs like ChatGPT for research because the way they work is by aggregating content based on predicting words. This strips any context or nuance from an author’s arguments or findings, things that are crucial to collecting together different object together in a coherent way. (LLMs also aren’t terribly picky about what sources they use as long as they sound good…)
Why is this important?
It’s so we can verify whether the information is accurate and appropriate, and that the author has done the legwork and not just copied someone elses homework. If there’s lots of references to authoritative work (by archaeologists, historians and specialists) then we are more likely looking at something that we can use. What we are looking for is:
Source Credibility: Are the sources used reliable and credible?
Evidence Quality: Does the evidence presented support the claims made?
Evidence Relevance: Is the evidence relevant to the argument?
Counterarguments: Does the work acknowledge and address counterarguments?
Is the work presented within the appropriate context? (Ie. does the author discussing coins suddenly veer off into clothes – do they have authority in the subject you’re looking for?)
Let’s take a look at some popular websites with a search term about ‘what the vikings wore‘ and evaluate their usefulness.
Hurstwic is one of the top hits for this search term. Their article is well written and includes lots of pictures, including some that look like illustrations of archaeological finds. It’s perfect for general interest in the topic. However, there is no list of sources to back up their claims or authoritative language. The information may be accurate, but they leave it up to you to prove it. This might serve as a starting point for further Googling – knowing the names of items is a good start, but shouldn’t be used as a buying guide.
Viking Ship Museum in Denmark: https://www.vikingeskibsmuseet.dk/en/professions/education/viking-age-people
This is from the Viking Ship museum in Denmark, which should have a certain amount of authority, but there are also no sources included. This is where you need to discern the audience: it’s probably aimed at children and general interest rather than someone recreating clothing from archaeological evidence!
At first glance, the article on this online shop looks useful as it includes Norse terminology. But as you read there’s a worrying mix of hedging language and certainty that shows it’s pulled from two very different sources. And those sources are not listed, so you can’t check the information against them. Useful for people interested in fancy dress and learning somd terms, but not to the standard you’d probably expect for recreating historical clothing.
This page from our own blog has loads of information and uses specific terminology in an authoritative way, and includes a huge list of sources. However, the sources aren’t connected to the main body of the text, so it would take some real effort to verify every ‘fact.’ This kind of article is a good starting point, but not research in of itself. You shouldn’t just expect this to be accurate.3
Projekt Forlog: https://sagy.vikingove.cz/en/construction-of-early-medieval-tunics
This article from Projekt Forlog on the other hand has plenty of authoritative information with inline links to the sources used, so any claims or arguments they make can be checked against that work. Given the care they use, you can probably just expect this to be accurate – certainly enough for your dressing-up hobby!
This is a super blog by the Eoforwic Project, where someone is doing exactly what you are trying to do – creating impressions of the past. While being a personal blog, it includes inline references to the sources they use and their own reasoning, so you can check against the relevant literature if needed.
The point is not to discount every article because it doesn’t have academic quality referencing, it’s just that you should read from the critics point-of-view and think deeply about what you are looking at. These sorts of pages should lead you on to more specific web searches, or into papers and journals that details and discuss the things you want.
The same goes for information found in Facebook groups, forums or Discord channels – sniff out what looks like a good source and follow that thread to the object, or the interpretation by professionals in the field.4
Googling
Evaluating sites is important, but it’s actually really hard to find quality sites in the first place. Thanks to Pinterest, AI content farms, sponsored listings etc., etc., Google results aren’t what they used to be. Let’s start with a search for viking jewellery. Then, throw it away, because it’s a garbage search that’s far too broad. Consider what you’re looking for more carefully, and include that in the search.
Are you looking for reproductions/replicas to buy?
Are you looking for archaeological reports on something?
Are you looking for an overview of the styles in one area?
Looking for specific items found in one place?
Narrowing things down is awesome, and there’s a few methods, obviously the first is gonna be adding more keywords.
If we pretend I’m looking for glass beads from Birka, then glass beads from birka is a hell of a good start. However, this is going to come up with a lot of sites selling glass beads that may or may not have anything to do with Birka.
So we can start adding search operators, which are cool little bits that Google (and other search engines) uses to treat your search differently.
One of the very best ways is to add inurl:pdf or filetype:pdf at the end of your keywords as these will bring up results that are PDF files — typically press releases, archaeological reports etc., so that query would be glass beads from birka filetype:pdf.
To narrow results down, we can use quotation marks to force results that include the specific term.
“glass beads from birka” would ONLY return results with the exact phrase ‘glass beads from birka’ in that order, which is probably not that many.
“glass beads” from “birka” is a better option, which will return searches that include ‘glass beads’ AND ‘birka’.
So if we wanted to find PDF files that mention glass beads from Birka, “glass beads” “birka” inurl:pdf would be a good option.
We might then realise that quotation marks are so horribly specific that “glass bead” is different to “glass beads”.
So, we can use an OR operator: “glass beads” OR “glass bead” “birka” inurl:pdf.
glass beads from birka has 584,000 results. “glass beads” OR “glass bead” “birka” inurl:pdf has 2030 results.
We can further narrow this down by adding our most important keyword in an intitle operator: “glass beads”OR”glass bead” “birka” inurl:pdf intitle:birka has 8 results.
This query means the title of the PDF document must contain the word “birka”, and either the phrase “glass bead” or “glass beads” at least once.
Unfortunately, glass beads may only be mentioned once in the document but that’s where the human side comes in: Ctrl+F (cmd+f on Mac) is find within a page, get searching.
Other cool operators that are kind of useful:
viking glass beads -hedeby will bring up results without the word ‘hedeby’
viking glass beads -pinterest is basically essential: it removes pinterest results!
You can search on a particular site by using the site operator: site:website.com “clothing guide” filetype:pdf
If there’s an old broken link, you can use the cache operator: cache:website.com/linky.php (or use the Wayback Machine)
Also, consider using an alternative search engine like Duck Duck Go or Kagi for different results.
A lot of searches these days have an AI summary. These usually aggregate multiple sources together without context, producing a jumble of random content. Don’t trust these for anything more than basic information.
Using Academic Works
Internet research is great – there is so much stuff online. But the best stuff is peer-reviewed papers by experts working in the field. There are many online repositories that serve this kind of content: academia.org, Jstor, Taylor and Francis to name just a few. Many books and papers are open access, so you can get them for free, or they have free trials.
As with the quality of sources of websites, when you look at academic papers, you still need to look for: Source Credibility:
Are the sources used reliable and credible?
Evidence Quality: Does the evidence presented support the claims made?
Evidence Relevance: Is the evidence relevant to the argument?
Counterarguments: Does the work acknowledge and address counterarguments?
Is the work presented within the appropriate context?
The main thing in academic papers is that the authors have already done the legwork for you: evaluating primary sources (ie. archaeological finds) and using secondary sources (books and previous works) to make their argument or frame the discussion.
They are generally far more trustworthy than some random internet blog, however well written (although not always – you still have to use your brain!)
Getting things made
The other part of building an impression is actually where to get stuff from. Many items are entirely within your skills, even if you don’t think so: sewing is remarkably easy to get into and to get good at. I started making a hat, a bag, a tunic, and since have made full sets of costume across a bunch of different historical periods. It’s worthwhile having a go!
But, I also appreciate not everyone is so inclined. So, who to buy from? If you join a group, they may have recommended traders, or people with the skills to make stuff for you. Finding traders is much the same as Googling for artefacts and you need to apply the same critical eye on traders as you do on sources:
What are they copying (place, find, museum entry)?
Is it made the same way, with the same materials?
Is it ‘in the style of’ rather than a copy?
If they don’t list the place, or properly reference what a reproduction is based on, I’d avoid. In the early days of my reenactment career (a spotty, skinny teenager), the amount of things that I bought because the trader claimed that it was ‘from Birka’ was ridiculous. Even if they do list details like grave number or museum reference etc., give it a Google, or compare to your researched images to corroborate.
What you may find is that there are traders who are just as invested in research as you are and will document their process from object to reproduction. These are the best!
Bringing it all together
Developing an impression isn’t about owning the most kit, spending the most money, or having every answer memorised. It’s about being curious and following a thread of interest. Whether that’s a warrior from Birka or a far travelled explorer from Iceland, or a particularly cool brooch you spotted in a museum: see where it leads you. Every book you read, every object you make, every paper you skim over with a cup of tea in hand helps build a richer picture of the people we’re trying to understand and represent.
Don’t feel pressured to get everything right immediately. None of us started with a perfectly researched impression, and most of us are still changing and refining ours years later as new discoveries are made and new ideas emerge. The joy is in the process: reading things, making things (buying things! 😅), asking questions, arguing about obscure details and occasionally discovering that the thing you’ve just spent six months making is actually from the wrong century!!
So pick a person, pick a place, pick a story, and start somewhere. Read a book. Visit a museum. Make a hat. Fall down a rabbit hole about lead weights or cheese-making or glass-bead production. Before long you’ll find that your impression has grown from a collection of clothes and objects into something much more interesting: a way of understanding how people lived, worked, travelled, worshipped, traded, fought, loved and endured over a thousand years ago.
And if all else fails, remember: every expert was once a newcomer with an oversized tunic, a borrowed knife, and absolutely no idea what they were doing.
Footnotes
Material culture can be described as any object that humans use to survive, define social relationships, represent facets of identity, or benefit peoples’ state of mind, social, or economic standing. It includes the usage, consumption, creation, and trade of objects as well as the behaviors, norms, and rituals that the objects create or take part in. For us, it’s the things we reproduce from archaeological evidence to present an impression of the past. ↩︎
As described in ‘Children of Ash and Elm’ by Neil Price. ↩︎
The process of casting a Thor’s hammer or Mjölnir pendant, demonstrated at a Vikings of Middle England event at Polesworth Abbey in July 2025.
The soapstone mould, made by Helg Reproductions aims to faithfully cast a copy of an original hammer from Skotrøa, Norway. The hammer would be cast in silver (we used pewter for the demonstration for cost!), then finished by drawing material out with a light hammer to form the full hammer shape and a shank, before punching or engraving ring-and-dot docatoration onto the surface.
This is just one of the Viking jewellery making processes that our smith demonstrates. Pop along to one of our events to see other crafts like wire knit, mould making and lost wax casting.
“Authenticity” is the term we use to describe the historical accuracy of the kit and equipment that we display at public events, and the verisimilitude – the truthiness – of our performances.
One of the main ways we do this is by representing the typical people of the Viking Age. The farmers, labourers, artisans and craftspeople. We have plenty of reproductions of extraordinary items of the Viking Age, but you won’t find a field of nobles and kings sitting around in our camp. Instead, you’ll see busy people making things and demonstrating important domestic crafts.
Research Active
We demand a very high standard from our participants, with clothing and items around our camp checked against the latest research and interpretations.
To facilitate this, we have a dedicated research team who, in an ongoing process, evaluate and re-evaluate all items of kit twice a year. For most items we have a 2-year turnaround to renew or replace reproductions made with out-of-date understanding.
Furthermore, members who want to create their own ‘impression’ of a Viking-Age person beyond our basic instruction are required to provide a dossier outlining and evidencing each item against original artefacts, which must also suite the status, geography and chronology of that character.
What you are getting with Vikings of Middle England is a truthful impression of history, to the best of our ability and knowledge, and nothing that is going to confuse an audience. We flat out ban fantasy items that might seem ‘Vikingy’ like those you might seen on TV shows like Vikings and The Last Kingdom.
Balancing Education and Entertainment
Some argue that if we are only entertaining the audience, and they don’t know the difference between (for example) a fantasy helmet and a Viking helmet, then it doesn’t matter if they are used together. To us, it does. Everything the audience sees is a tangential learning opportunity. Human beings have the extraordinary ability to make connections between what they see, hear, touch and smell, and things they have learned and forgot long ago.
That’s not to say there aren’t practical barriers to representing history as truthfully as possible. We use modern hygiene standards in food preparation, we camp in cotton canvas tents because they have to be waterproof to protect us from inclement weather over many years of use, and we take the safety of our members seriously. For example, combat safety equipment such as gloves are ‘in the style of’ Viking age things but aren’t themselves ‘authentic.’
Combat displays, beyond the costume and trappings of warfare, are completely for entertainment. However, even here, we can express historical narratives and tell stories that identify the cultural, economic and political struggles of our ancestors.
Our goal is always to be informative and entertaining, and to give an accurate impression of Viking-age life. We think we do it better than anyone else.
Welcome readers far and wide to your “Reenacting: Surviving Camp” edition of “A Year in the Life of a Viking Re-Enactor.” Now the summer is in full swing and we are waiting for the sun to make its brief annual appearance, camping trips are in motion across all of England with families and reenactment groups alike.
Suns out Camps Up!
Some of you may be seasoned camping reenactors or even regular campers in a none reenactment setting. Whatever your camping level of experience there is sure to be something of interest to you here.
Camping Tips
When I was starting out in Viking reenactment some 9 years ago this web link was very helpful. I came to the camping experience as a total beginner. I wish I had read a “Reenacting: Surviving Camp” guide back then – my first camp was on a flood plain during an exceptionally wet spring. I cannot convey the learning curve that took me on, but I’ll cover that story at another time. Of course the best teacher is experience namely my own and that is where this article is written from.
Kori’s Camping Considerations
Editor: These tips are focused mostly on the modern forms of camping – there are two schools of reenacting one where we are ‘on’ during the day for the public, but are otherwise modern people, doing modern things, and two, immersive reenacting where you try to live as far as possible like a historical person. This mostly covers the former.
If you think you have enough bedding bring more. There is nothing worse than a freezing UK wake up at 3am then spending the rest of your trip cold to your bones. Authentic bedding is straw, supplemented with furs and blankets. For modern, a nice sleeping bag and blankets under and over will work.
Same as above for food. Talking about our shared passion and being outside in the sun, as well as the set up and take down of a camp are all drains on your energy resources. You end up hungrier than usual.
Include in your food salty and sugary snacks for quick energy boosts throughout each day. Salted chilli rice crackers are great if you can tolerate all the ingredients, and for authentic food, dried fruit and smoked or salted meat.
Bring your own camp stove. Cooking on the group’s communal fire is social but there are lot of us wanting to use it at the same time.
Do not worry about bringing and using sleep aids, though I find eye masks and earplugs are essential supplies! Does the 4am honking goose bring back vivid memories of nights at camp when you had a bad night sleep? I rest the point.
Bring spare socks to keep your feet warm and dry each day and night. Viking Naalbinding socks are amazing.
Even though it’s summer don’t forget gloves – at night you will be grateful for them being there if you did need them.
If you’re super hygiene conscious, bring your own loo roll and diluted liquid hand soap for those events without plumbing facilities.
Bring your own sunscreen, even in the UK the sun can be fierce. Our group has a stock of sun cream to use but build this good habit early on by applying your own when you wake up.
Work Life Balance
Our shows are great fun but interacting with the public can get intense and comes with it’s own challenges. After all we are there to provide them a great experience and inform them of our collective historical knowledge in a fun, enjoyable, memorable way.
The weekend as a whole should be included in your planning, including getting there and back, what you are having for dinner when you get home etc.
Check out the group’s schedule for a list of planned events and regular shows so you can work out which ones fit into your every day life. Our group has a Facebook group where we coordinate, with emails to give more detail. Sometimes you may only be able to do a day at some events others the entire weekend would suit.
As with anything plan and double check and don’t over promise yourself. This helps your group plan the programme of events and give the sponsors a fair price on what will be the turnout. Making sure we don’t over promise but under deliver on the day.
If you have any spare holiday days, a rare luxury in this period I realise, but do consider if you would be able to utilise a half day here or there to allow you to help with set up, or to aid your own recovery. We don’t want our members overdoing it and having negative health effects.
Key Members
This section is all about who we direct our questions and comments to in our group. . Either before the event or during, they help with the art of camping. When you join a reenactment society, make sure to hunt these kinds of people down and ask them loads of questions!
Meet regular camper Rœkia. Often seen in the hills of Scotland and extolling the virtues of the wild. Rœkia is our Membership officer, who makes sure everyone is alright, and sorted for their event.
RÅ“kia and daughter
Meet Lofthtæna, better known as Loffy. A seasoned camper with her whole family (Husband, 3 Children, and an adopted Saxon). Loffy has great experience in juggling multiple demands at the same time. Lofthaena is our group leader and always on hand to help.
Lofthaena
Meet Kael and Throst. Both are seasoned campers in reenactment situations. There is probably nothing they have not encountered (camping in snow, force 5 storms, floods…) Kael is responsible for the group’s encampment. That’s planing the camp layout, making sure it’s on he right ground and works the best as an attraction. Throst is our Combat leader, in charge of making sure our displays are safe and unforgettable.
Kael, Ãrost and Hikke
Meet Þorunn, our liaison with event sponsors. She is found providing assistance with on site viewings and getting our events booked in. So far Þorunn is the bringer of sun, with every event she attends nice and sunny!
Welcome back readers to the May instalment of ‘a year in the life of reenactor.’ It has been a while since I have been able to write. Life has happened and this Viking experienced a total modern day technology outage. However all is well now and I look forward to sharing with you in this edition conversations with fellow reenactors about their journey of “impression” development.
I caught up with two members who have approached their character portrayal from uniquely personal angles, to provide true to life representations to fellows of the group and the interested members of the public, shining light on aspects of life in the Viking period.
Introducing Æthelred!
Æthelred joined our group some 3 years ago. At that stage his expectation was heavily influenced by common media portrayals, from TV shows like the Last Kingdom to the decades of Victorian inspired ‘Viking’ culture, lacking in historical accuracy. With scale mail, horned helmets and an attitude that can only be described as BAD! Take No Prisoners, Cocky, Strong and Showing Off!
His journey has seen him refine his character and indeed transform it. The key defining character trait he now embraces is that of a Christian Anglo-Saxon, rather than a Pagan Viking. It is fair to say the character now portrayed is still a little cocky, can talk the talk but not so good at walking the walk. Apprehensive rather than bold.
Æthelred told me that the journey of character development for him happened very naturally. Changing thoughts on his own personal religious stand point played a part. As well as investigating, researching and delving deeper into the societal group and the history we try to bring to light. The more he learned, the more his interest was captured with the viewpoint that the Anglo-Saxons – or Early English – were much more complex than they are often portrayed.
Æthelred’s impression 3 years on
There are unique choices we choose to incorporate into our appearance and dramatic natures. These can range from simple adornments like brooches, the clothes worn and materials they are made out of, to give a sense of where the person is from, right through to acting out character traits and flaws in our interactions with others in the combat arena and the living history camp. In Æthelred’s case, when confronted with a real life Viking, he does his best to try to show them the error of their heathen ways.
To aid the portrayal of a person of lower status who is devout, pious and Anglo Saxon. Æthelred is often seen in camp with a simple white tunic and woollen leg wraps. He enacts a reserved demeanour and appears to not have fancy trappings.
What is in the future for Æthelred?
Æthelred is looking over the next few seasons to take monastic orders and develop his calligraphy and manuscript writing skills, chandelling (candle-making) and add to the travel alter he sets up at each event.
From Æthelred to you.
Æthelred’s top tip to help you in your character development is “Don’t act who you are not, embrace your own personal character traits to form the basis of a believable portrayal. Look at those traits and find the equivalent in the period to build on to provide that realistic connection between the modern and the historical. Those of who we were then and who we are now.”
Introducing Runa
The next person for you to meet is Runa.
Runa joined our group some 9 years ago. Runa started from having never reeanacted before, with no pre-formed idea of what her journey would be. As she started to think about her character portrayal she now portrays someone from a blended Anglo-Scandinavian family. The grieving niece preparing her uncle for his funeral rites.
Runa told me that her character development came from a place of personal passion to make the subject of death not such one of taboo and more approachable to everyone. Using her passion around death positivity and regular consultation with those in the group, and the vast collection of historical and academic resources available, Runa has shaped her portrayal
Runa’s Portrayal 9 years on
Runa has a sole focus on living history so she can be found tending to her uncle’s body – a movie quality prop rather than an actual body (he doesn’t bite I assure you!) The body is treated with all the care and respect of a real person. On hearing her talk respectfully about the subject and actions involved she breathes careful life back into the subject matter and the body itself.
Her portrayal is one of an artisan – the class her family elder, the lost uncle belonged. The lost family member would have been a glass-worker where some money was available for better quality clothes made with finer, more brightly dyed coloured materials available in burgeoning urban areas. Whilst he wouldn’t have as many bright adornments as a Jarl he would have items such as glass beads representative of his trade and some additional trappings of a more complex nature.
What is in the future for Runa?
Runa has quite ambitious clothing plans for both herself and her Uncle. She hopes to make a new Kirtle and Smokkr for her and Kirtle and trousers for the uncle, as well as a plain undyed shroud – which comes from historical research around funeral garb.
Alongside the clothing design, Runa will be maintaining the research to increase her knowledge and delivery of the mortuary practices talk. Runa will be presenting this to the group at our October Living history session, the perfect thing for spooky season! So do come along and join us for that.
From Runa to you.
Runa’s top tip to help you in the journey of character development is “Join the group with an open mind and don’t be put off from asking questions from anyone you encounter. If you can find something you are already passionate about you will have the confidence to talk about it and you may find out more on that subject than you realised was out there”.
See you at our next show taking place in Repton in July. Check out our events page here for all the other places the group will be this year.
Welcome readers and all-round wonderful people to the amazing and fun hobby that is being a Viking reenactor. Thank you for returning to read the next instalment of A Year in the Life of a Viking Reenactor for our group Vikings of Middle England. In case you have forgotten since February’s Edition, we are a Viking re-enactment, living history and combat group based in Leicester, UK!
The time is March, the spring flowers are starting to bloom, and you join us at an exciting time of year! With our first two shows of the season coming up, preparations for them are well underway.
If you have not yet managed to join us in person to see what we are all about, coming to one of our events is a great introduction. Wander around our living history camp. Strike a coin or two. Head over to the merchants table to examine the riches before you. Watch the intricacies of material fibre being woven before your eyes. Perhaps enjoy the glint from our silversmith stall. Or even just wander around and perhaps discover something new.
Join us on the battlefield for weapons demonstrations and examples of combat techniques. Smell the wood of the shields as they take a hammering and hear the clang of our weapons clashing in hopefully the bright sunshine. (Real fire not guaranteed).
In the background there is a lot that needs to be done to pull off a successful Viking reenactment event. It starts months back to plan the events calendar, reaching out to contacts within historical circles to find out if a mutual collaboration can be arranged. For some, these organically fall into place, others often need an element of negotiation be it as to expenses, date and the expectation of both parties as to what type of event to put on. Especially if it is a new booking and the organisers want to hire us as their event entertainment. (By the way if you are reading this and you would like us to play a part in your event please send your enquiry to info@vikingsof.me)
When these events have been fixed in place a site visit is organised. This looks at suitability of the area allocated to us for both the living history camp and the combat arena if required. If it is an outside venue, water availability for consumption is a consideration as well as the delicate matter of (ahem) latrines.
On confirming the event our committee (group leaders for membership, events, authenticity, combat and treasury) need to communicate to the group all the details through social media postings and our weekly training and meetup sessions, giving members all the info needed to maximise attendance on the day.
Another essential task for this time of year is the annual van check! I would be remiss to speak about life as a Viking reenacter without dedicating some time to an unsung member of our group. That is to say our van, that carries all the clubs equipment to and from the events and, you might say is as well travelled as any recorded Viking.
The stages for this are:
Check no birds or animals are currently nesting in the engine – it has happened believe it or not.
Take said van for its MOT and service.
On successfully passing the latter, start loading up for the events season ahead of us.
The loading usually is quite a social event with many hands making the job easier. We all go through the club’s kit assessing its suitability for the season ahead. Setting aside items that are in need of repairs, checking to see if anything has gotten miss placed. At a show, if the gods were displeased with our performance and rained down on us as we were packing away, that can very easily happen!
In instances like this it is quite literally a race against time to get everything packed down and stored in the dry. 1) so that the van is not overloaded weight-wise and, 2) our tents are likely to survive until the next show without the fabric weakening and going into holes.
Carrying out this annual check means our kit lasts longer and problem areas are identified before becoming major issues: come rain or shine we are well prepared for a successful event season.
After the show itself, a well-earned trip to a on route home takeaway is in order. Followed by arriving at home unpacking and for most of us a long hot shower. You may think that would be the end of it but the actuality is some of our events are paid events. This means that we need to follow up to ensure we will be paid in a timely manner which is where our treasurer comes into his own. Then repeat all over again at the next show.
You can prepare Viking-age skyr as either a soft cheese or yogurt. The name skyr originates from the Old Norse word skera “to cut.” A fitting term that describes the coagulating protein, separating and cracking apart as the soured milk heats up.
Making skyr is relatively simple, even over an open fire. Although, temperature regulation can be tricky, you’ll have a passable soft cheese in a few hours. Depending on how long you drain the cheese determines whether you’ll have a runny yoghurty cheese, or a crumbly cottage cheese, and how acidic tasting it will be.
Ingredients for Skyr
Measurements are in metric/British Imperial units.
2L / 3 ½ pints of un-homogenised whole milk
300ml / 10 ½ fl oz crème fraîche
You can use either raw or pasteurised whole milk, but if using the latter make sure you buy un-homogenised. The fat is thicker and creamier and perfect for cheesemaking. Crème fraîche is basically soured cream that we can use to inject all the sourness and acidity we need.
Making Skyr
Step 1:
Sour your milk. If you use raw milk, you can leave the milk out at room temperature for 24 hours to sour on its own. For pasteurised milk, add a drop of lemon juice or vinegar or other edible acidic solution (we’ve used liquid from a pickle jar before!), it’ll be ready in minutes.
Step 2:
Mix the soured milk and crème fraîche together in a pot or saucepan. In our experiments using an open fire, we used a clay pot. On the stove, use a low heat.
Step 3:
Heat the mixture gently without stirring. On a fire, place the pot to the side and turn the pot regularly. You may want to cover it to stop ash getting into it.
Step 4:
When the mixture is at the right temperature, it will look yellowish and the curds will crack. If it starts frothing, it’s too hot – it’ll probably still work, but results will vary. Now it is time to drain the whey.
Take the pot from the heat and scoop the mixture into a cheesecloth. A loosely woven linen is most practical. Stick the cloth over a bowl while you do this: you can keep the whey to add to stocks or broth, or as a protein rich drink.
Drain for 6-12 hours depending on the consistency you’d like.
More On Skyr and Whey
Sheep’s milk appears to be the preferred cheese making diary product in Anglo-Saxon Britain. What’s more, sheep’s milk is richer in milk solids than cow’s milk, meaning more cheese can be made for the same quantity of milk. It probably no coincidence that the Month of May in the Anglo-Saxon Tiberius calendar shows a shepherd tending his sheep.
May: tending sheep, Cotton Tberius B. v, fo. 5r
Cheesemaking is important in Viking households too. The sagas suggest that it was a substantial part of women’s work, with some houses having their own dairy room (skyrbúr) for cheese, or even a separate out building for a serious operation.
Historically, the use of whey was important in food preservation, and adding much needed protein to food in lean months. Enormous coopered barrels have been discovered in Viking settlements such as Hedeby and in burials such as Oseberg. These may have been whey vats. A 13th century Norse saga describes a whey vat that is so vast that a grown man can hide in it.
In Anglo-Saxon Britain, food rents included cheese, and workers were allotted a portion of whey. The cheesemaker received an entitlement of “100 cheeses” provided she made the lord butter from the whey. Female slaves were paid a penny or whey in the summer.
Further Reading
A delicious accompaniment to early-medieval soft cheese or skyr are flat breads. We also made a tutorial on how to make them, check it out.
Banham, D. Faith, F. (2014). Anglo-Saxon Farms and Farming.
Fridriksdottir, J K. (2020). Valkyrie: The Women of the Viking World
Hagen, A. (1992). A Handbook of Anglo-Saxon Food: Processing and Consumption
Welcome readers and all-round wonderful people to the amazing and fun hobby that is being a reenactor. Thank you for returning to read the next instalment of A Year in the Life of a Viking Reenactor for our group Vikings of Middle England. In case you have forgotten since January’s edition, we are a Viking re-enactment, living history and combat group based in Leicester, UK!
This month, as we all have grown accustomed to being somewhat more active as a group, we all begin to tackle the many projects related to the success of the group in all aspects of living history.
Living History
For the uninitiated, living history means experiencing a taste of life as the Vikings could have lived. As closely as we can at events, we remove many of the modern-day trappings we all are accustomed to in our daily lives. All whilst trying to be historically accurate and present an authentic impression of the Viking-age. This covers the following aspects:
Clothing and personal belonging.
Tools used to practice different crafts.
Daily activities undertaken.
Everyday equipment, utilities and living quarters.
Facts about local, regional and other points of interest from the Viking diaspora.
Note: To answer a question I hear you forming. Although we spend the odd few nights in tents over the year as part of the events we offer, we all do have homes, mobile devices and modern luxuries. Our lives are not based 24/7 in Viking camps! (although some wish they could!)
A joyous part of our group is seeing collaboration. Various members have wide ranging interests. We all have a different origin in our approach to the portrayal, and contribute to our living history.
Our collective knowledge comes from group discussions and workshops. Individual research on specific topics shared back to the group forum, general fact-checking and cross-referencing of historical texts, and reviews of published works by Academic experts. In this context, the available projects members can contribute to is vast. Whether it’s something simple like making a new cloak, more complex like setting up a new or expanded Living History display, or learning a new skill such as woodworking, there is always someone willing to help and be your sounding board.
Outerwear.
At our weekly sessions, Hrefna and Beigan have made savvy choices with the finishing off of their cloaks. Both of them have chosen the same colour and type of lightly felted wool. The difference lies with the contrasting-colour hand spun wool thread that each of them has chosen to finish off the edges. To do this they have rolled the cloak edges over and are doing a simple blanket stitch to add an adornment. It serves a functional purpose too – stopping the edges from fraying.
Don’t forget underwear!
Þorunn (pictured above) is hand-sewing an undyed linen serk, a must have to wear under your thicker woollen kyrtle. This layering helps moderate your temperature whilst provides a comforting layer between your skin and the wool!
Boredom is not a complaint you ever hear us making! It opens up a creative part of the mind linked to muscle memory and learning through doing.
How about carving?
Our own Hermish (pictured above), coin master and Muster Caller Extraordinaire is this year embarking on a project to make a bag for his daughter who occasionally joins us on our weekend camps. She has seen people toting (pardon the pun) wooden bag handles. Some examples of these finds can be viewed here if you are interested. He intends to get some suitable wood and have a go at hand carving a set to go on a bag for her.
A walk in nature.
Later in the year, we will develop an interesting project that has stemmed from an interaction with a member of the public. They asked Lofthaena about the difference between the oak galls we use and the oak galls they had found themselves. Leading to finding the period correct oak galls for our Calligraphy display. We use oak galls for making ink for writing texts on parchment. Various species of wasp larvae cause galls to form on the underside of twigs and branches of oak trees. These galls are unsightly bumps, but when picked at the right time of the year and processed correctly, then added to the correct solution of water and iron oxide, turn the water dark brown and far more ink-like in colour and consistency than previously.
Hunting for wasps
Research so far discovered several types of oak gall wasp. Wasps have larvae that hatch and fall from the trees at different types of the year. Our challenge will be finding the ones belonging to the native species, the most likely candidate is oak apple gall wasps (Biorhiza pallida).
On the practical side, this project this will involve a woodland walk over surrounding regional areas to spot likely areas to find them. Then one of our favourite past times – experimental archaeology. Trying out what gets the best results and identifying future learnings to develop it’s potential. Look out for the November edition of a year in the life of a Viking reenactor where we check back to find out what happened with these projects!
Thank you readers for joining me on February’s a year in the life of a viking reenactor journey. I hope you enjoyed reading it as much as I enjoyed writing it. If you want to meet us in person we will be at the Braunstone West Social Centre, on 14-2-24 from 7:45-10.15pm for our living history night where discussion will be on Viking Artefacts. Have you got a favourite Viking artefact?
