The Black Country flag. Black Country English has undergone the processes of language change just as any other variety has.

Language Change – Up Close and Personal

The constant churn of language change is an ever-present backdrop for every speaker and learner of a language. Sounds change, words come and go, phraseology shifts. What was common parlance a century ago can be a complete archaism today.

But the classic textbook examples – napron, methinks, thou art and such like – can often seem  a bit dry, distant and theoretical on the page. It’s rarely that we see it up close and personal, not just in our first languages, but in our particular varieties of them. We’re used to thinking of traditional dialects as timeless, apart from Standard English; somehow they were always just so.

It made a nice change, then, to notice real-time language change in my own family vernacular of late. I’ve been conducting a piece of research into Black Country dialect, which has turned up all sorts of fascinating texts. And some of the forms in there had me boggling at how our local speech has altered in the last 150 years or so.

Vocabulary items, as you’d expect, drop in and out regularly over the course time. That doesn’t stop them being surprising when they pop up, though. My searches turned up things I’ve never heard a West Midlander say in my life. But there they are, in black and white, as examples of typical Black Country speech in newspaper articles both pillorying and honouring the dialect over time.

Welly Enough

My first ooh – I’ve never come across that before!  is the word welly for nearly. Take this lovely example from the story “How Leyvi Crafts Got Rid O’ The Mice“, which appeared in an edition of the popular “Tom Brown’s Black Country annual” in 1889. The narrator, bemoaning the stench from a bottle of poison, exclaims:

“The smell on it’s welly enough to kill a christian, let aloon a mouse!”

And then there’s the sign-off from a humorous letter to the editor in dialect, from the 1890s. After speaking his piece, the writer rounds off:

“well mr Editer i’n sed welly all as i wanted”

So what became of the welly? I’ve asked our resident Black Country expert (aka John, my stepdad), and he hasn’t a clue either.

Bear in mind that sometimes the word remains, but its form is different. Who knew, for example, that Black Country had an Old English -en plural for fleas, just like oxen? As one commentator in 1892 writes:

“…the Black Country mother may be heard to declare that ‘her babby has been peffled all o’er wi’ fleen.'”

I know. Not a nice image.

Better Nor That…

And then there are constructions that have changed a fair bit, too. I grew up around some very broad and proud speakers of Black Country English, who nonetheless formed comparisons as in Standard English: “better than that“, for example. Switch that out for nor, and you end up with the kind of phrase you’d more likely hear in the early 20th Century:

“…yow oughten to ha’ known better nor that…”

One of the most unusual lost phrases I’ve come across yet is the use of without as unless. It was nestling in a local yarn published in 1906:

“I dow know, without yow goo to Dr. Brown’s…”

Again, it’s lost on my family when I press them (no doubt ever nearing their limits of patience) for clarification. A hundred years can do a lot to a language.

How has your local speech changed in the last century or so? Let us know in the comments!

Publications written in Black Country dialect.

Back at Home with Dialect

I’ve had dialect on the mind lately. As a language learner, that’s nothing new; learning how my target languages vary across geography has always been a fun (and useful) distraction.

But this time, it’s a case of back to my roots as I research my local Black Country dialect for a university project. It’s a winding path that led me to the Black Country Living Museum this weekend, the sights and sounds of my home region at every turn. The caws, shaws and ays tripped off the tongues of the fantastic volunteers, all well-versed in Dudley spake. I lost count of the times I was wistfully reminded of how my grandparents talked.

A chain-making forge at the Black Country Living Museum.

A chain-making forge at the Black Country Living Museum.

It‘a a timely reminder that we don’t always have to look to the language books for linguistic diversity. Regional dialect is just not always feted for that. In fact, pundits often paint it as something far less worthy of our attention.

At least, that was my experience growing up as a Black Country kid.

Doing Down Dialect

My family have always spoken the local dialect. Happily, naturally, barely even aware of it. At school, though, I learned that a different standard was set. Broad Black Country was a tongue subtly shunned. Although dialect shame was no longer as explicit by that time (some shocking attitudes prevailed just a decade or two earlier), it was clear that “doing well” meant “speaking proper”.

Later, at uni, I worked hard (though likely, without even too much conscious awareness) to flatten out the giveaway vowels in my own accent, which were so eagerly pointed out as entertaining during Freshers’ Week. No, not all dialects are created equal in the eyes of the hoi polloi. But those clumsy attempts to escape it also stir up the mirth. Heck, they even dissect Liam Payne for it of late.

As a result, I saw my family dialect as something to resign myself to. I never really gave it the time of day. It was background noise, something to be borne, something I just ended up with. What a shame that is. But what a common story it is, too.

(Re-)Learning to Love It

Learning that dialect – yes, even my own – fascinates and occupies linguists, had a profound effect on me. Only recently have I come to regard mine at something special, something worthy of study in its own right, just like one of my foreign languages. I’m approaching Black Country English with the kinds of mental tools that I’d approach a foreign language with. And I’ve realised how richly unique it is.

If social pressure ever prompted you to lock your own dialect in a dusty mental cupboard, try revisiting it with fresh eyes. Check out local societies working to document and promote it. Leaf through a dialectology primer to find out where yours fits in, and why it’s special. Reappraising mine as something with an important linguistic story to tell is a response to that language-obsessed youngster, seeking a skill to make himself special by looking further and further away.

You already have something unique. Treasure it.

A bag of books from the gift shop at the Black Country Living Museum.

A bag of books. What better souvenir?

Intonation adds a thousand different colours to speech. Coloured glass. Image by Simon Jackson on FreeImages.com

Intonation Training: From Yam-Yam to Yia Sou

When you meet me, one of the first things you notice is probably my accent. Despite being embedded in Scottish life for over a decade, there’s still an unmistakeable Midlands lilt that persists. The vowels have flattened out to something a little more neutral over the years, it’s true. But it’s in my intonation that you can still hear the imprint of my roots.

Midlands accents get a bad rap. Full-on Brummie, for instance, still battles to be taken seriously after years of parodies and comedy sketches. And the baggage that people attach to your variety of speech can weigh you down. That pressure is one reason many of us subconsciously begin to change our distinctive sounds when we move away from our home regions.

One thing has proven extremely resistant, though – that characteristic rise and fall, up-and-down, sing-song intonation of my West Midlands English. In the Black Country, where I grew up, that particularly strong swinging tone has given us some national fame as yam-yams (most probably from the local form “ya’m” for “you are“). The almost musical nature of it is something it has in common with certain varieties of Welsh English.

But as endearing as it can be to us locals, it can play havoc with your foreign language learning.

Intonation and Learning Foreign Languages

The reason is the same phonological interplay that anchors our foreign language speech to our native phonology. Just as much as our vowel shapes and consonant articulation, intonation is highly ingrained in our oral muscle memory.

The unwelcome interference stuck out like a sore thumb in my recent learning on the mass sentence training platform Glossika, which I’ve been using to improve my fluency in a couple of language projects. The great thing about this platform is the chance to compare your own pronunciation with native speakers’ renditions. But be prepared: it can be very revealing. I realised that my intonation in Greek – especially in questions – was completely off.

What was going on?

Well, it all comes down to my deeply rooted Midlands twang. The tendency I carry over from my own native accent is to go up at the end of a sentence. That’s not just in questions, either. If you listen to Midlands English, you might well notice that our intonation rises at the end of nearly every sentence!

Not so with Greek. Often, the intonation will fall after rising towards the end of a yes-no question. It’s a bit more complex than that, of course, and there is much more detail in studies like this one if you need the nitty gritty. But generally, it is quite a bit different from English (especially mine).

Training It Out

The solution, of course, is more of the tool that shed light on the problem. Plenty of reps later on Glossika, and my question intonation is starting to improve considerably.

Repetition is the key, here. And if you don’t have access to Glossika, it’s not difficult to make your own DIY solution using the mass sentence technique. First of all, you need to source neatly chunked, model sentences in audio format. This can be surprisingly easy to come across. Many phrase books, for example, come with an accompanying CD or MP3 download links. Often, this material is available for download without even buying the book. Audio support for German publisher PONS’ mini courses, like this Croatian introductory text, is one such freely available resource. Multilingual sentence repository Tatoeba also includes many native recordings for its entries.

Once located, you can organise the material as a playlist in the player app of your choice. Having them loop round on a reel isn’t far off doing audio-only reps with a rep tool like Glossika. While it won’t quite follow the very effective, high-frequency high-representation corpus method of that site, it isn’t a bad substitute to give the technique a try in working on your intonation. There’s a plus side to phrase books, too; they tend to include lots of questions, which is ideal if you also struggle with that particular aspect.

Bit by bit, my up-and-downy Midlands intonation is disappearing from my Greek. It’s a lot less yam-yam, and a lot more yia sou. As for my English? I’m older and wiser enough now to stand up for my accent. I’ll carry that intonation with pride – as long as it leaves my other languages alone!