It takes a special kind of chaos to blend folklore, performance, and logistics but this is where I live my life much of the time. Somewhere between shadow and spectacle is where I feel most at home. I’m a theater artist specializing in puppetry arts, but I am also an organizer, and an event planner. It’s unusual, I’m finding, to have all those gifts wrapped up in one individual but… here she is! Getting the producer gene and the artistic gene all in one has been a stroke of luck for me. It has brought some fun events into my life, including, of course, a whole host of Krampus engagements. I've been fortunate enough to spend the last 11 years planning Krampus themed affairs across the West Coast of the United States. Admittedly, I am not an academic on the historic migration of the tradition to the US. There is a whole gaggle of wonderful information out there on the Germanic diaspora and how their customs have evolved in the New World. The Christmas folk character, the Belsnickel, is a great example of this and can be read about in detail in Al Ridenour’s book The Krampus and the Old Dark Christmas as well as Jeff Belanger’s book The Fright Before Christmas.  What I find most fascinating is the movement I've seen unfold before my eyes over the past decade, the Krampus Movement in America. Over the years, I observed in detail how Americans work with and celebrate Krampus in modern day, and the current climate is nothing short of riveting! 

As of 2024, I hold a seat on the board of organizers for Krampus America out of the Pacific Northwest, the first ever Krampus Convention in the United States and the entire world. I also am the founder of The Dark X-mas Market of Vista, and its affiliated folklore procession called The Wild Hunt of Vista. The Dark X-mas Market event has been growing for the past three years. It is currently the one of largest Krampus inspired event in California, with the City of Vista counting roughly 5000 people in attendance in December 2024. These two positions alone allow me to converse and exchange ideas with a great many Krampus experts, organizers, cosplayers, and enthusiasts from all over the country. Honestly, it’s been more fun than monkeys! But, while the Krampus movement in America continues to grow in popularity, it still faces a myriad of challenges. America’s relative youth as a nation, our disconnect from our European cousins, and religious stigma from many American Judeo-Christian followers often pose setbacks for Krampus enthusiasts. 

Devils & Disconnection

There is a gross misconception that celebrating Krampus is directly tied to Satanism. I'm not going to deny that some members of the Satanic Church do embrace the Krampus tradition. They may also enjoy ramen noodles, Pokémon, and hot showers; that does not make those things Satanic. It's important to note that they generally see Satan and Lucifer as distinct from the alpine folk character of Krampus, largely because the two are fundamentally different. Traditionally, The Devil himself, is a tempter of evil and revels in the villainy and downfall of man. The entire tradition of the Alpine Krampus is that he comes out of the mountains on St. Nicholas Eve to punish the evildoer and therefore teach morality. The difference between the two; one actively seeks your downfall from hell, and the other is a folk character used by parents to keep children in line.

There’s an observation I have made in the many trips that I have taken to Europe, and particularly in the Czech Republic. I will use this country as my prime example. In storytelling and puppetry, the Czech people, as well as many Central and Eastern Europeans, have historically used the devil character to portray the supreme “bad guy”. We see this in countless plays and operas. The dramatic work of Faust comes to mind. It was written by Johann Wolfgang von Goethe and published in 1808.  A Far older version of this work was first published in 1587 as a small chapbook bearing the title Historia von D. Johann Fausten. The book was re-edited and borrowed throughout the 16th century. 

If you travel specifically to Czech and Slovak cities and towns, there are countless displays in different art and puppetry exhibitions that feature the famous Czech devils. Usually carved in baroque style, the Czech devil is not only common, but indeed a beloved villain in countless stories and folk tales. It just makes sense that with the heavy Christianization of European lands, the devil is the natural antagonist to any story. 

Research into linguistics by folklorist Sara Graça da Silva and anthropologist Jamie Tehrani, also suggest that "The Smith and the Devil" may be one of the oldest European folk tales.  It contains consistent language and plot points throughout the Indo-European-speaking world, from India all the way up to Scandinavia. It’s quite possible that a simplified version of this may be the first ever told fairy tale by Indo-Europeans in the Bronze age. That is 6000 years of everyone from Eric the Red to Ghandi seeing devils as the representative of the enemy in storytelling. Put simply, whether we are looking at the earliest known depiction of the angel Lucifer, a mosaic in the Basilica of Sant ‘Apollinare Nuovo in Ravenna Italy, or the more modern wood carved marionettes of Prague, Europeans are used to seeing this character as the guy to beat in all their dramas!

The Newbies

Americans are babies. And I don’t mean that in a derogatory “pull up your diaper and grow a pair” kind of way. I mean that our country is young.  When we look at a 100-year-old building we see something “old”, whereas when Europeans look at that same building, they see something more modern. Their structures can harken back as early as 117 AD and that permeates a way of thinking and viewing the world at large that really separates the two continents. 

We see all these types of fundamental differences even when looking at the villains in our modern cultural media. They don’t look like they did in Old Europe. Most US citizens have a much different, downright puritanical relationship with the devil. In his place, we’ve substituted characters like Darth Vadar and Lord Voldemort into our dramas. Don’t delude yourself, these are the same guy. The Devil in Faust, Darth Vadar in Star Wars, and Lord Voldemort in Harry Potter are all representations of a single collective darkness. Despite this obvious correlation, Americans are far more interested and indeed accepting of a guy in a black cape and a shiny mushroom helmet than they are looking at anything with horns. Still, I put out for your ponderance, dear reader, the fact that just because you enjoy watching the drama play out between Vadar and Luke, does not mean that you are even remotely seduced by the “dark side”. Therefore, most of the good folk who celebrate the Krampus tradition, regardless of religion, are far from Satanists. If there was one misconception that I would eradicate from the Krampus movement in America, it would be this. Not sure I’ll ever get my wish, but a girl can dream. 

From the Mouths of Babes

As previously mentioned, my seats on the organization boards of both The Krampus America Convention and The Wild Hunt of Vista allow me to speak with a great many folks who are involved in growing this tradition in the US. For this project, I focused my efforts on three interesting humans: Nicole Pisanello, Gavin Hughes and John Hurst. Each one of these individuals has helped to further the Krampus movement in America and has their own unique and valuable perspective. 

Nicole Pisanello: The Maven of RVA Krampus

Nicole is an artist and theatrical type like me, who started her event quite modestly in 2011. Inspired by Austrian internet videos, she and work mates dressed as the mischievous Alpine character and went out one night in early December. They were gallivanting around and play-fighting with one another in the streets, when they were recognized by fellow citizens as “The Krampus!” Surprised and delighted by the recognition, Nicole put out a Facebook inquiry to her community to see if anyone would be interested in building something larger in her quirky and liberal town of Richmond, Virginia. The response was overwhelming and the RVA Krampus scene was born.  

When I asked Nicole what she thinks people get out of it and why America needs Krampus, she pondered the questions thoughtfully. She began to talk about two things specifically. First, the fact that Krampus is a wonderful chaos agent that provides a much-needed pressure release for adults and children alike. She talked about the importance of celebrating the dark side of the year because there can be no light without darkness. 

“We are not living authentically if we are not able to look at all aspects of things, and that includes the scary side of things. Not looking at the darker aspects, like Krampus, leaves a kind of pent-up energy, like a child that’s been over protected. If you try to deny it, if you are blind to it, it leaves an energy that has nowhere to go. There is no outlet for our own chaos. And maybe that’s what Krampus is, an outlet for chaos.”

Nicloe then likened it to a kind of therapy. “Allowing the scary stuff to move through because if you lock that energy away, it will fester.” 

Nicole’s thoughts resonate with me deeply and I can’t help but ponder it for days afterwards. In modern society, we are separated from the wild, urged to control our more primal natures, and are often forced into social politeness on the streets, in the classroom and at work. There is a restraint that is expected in almost every aspect of life today. This is part of the reason people behave so badly once they are safely tucked behind a computer screen, left to troll at their own whim and will. Krampus celebrations give a hearty nod of permission to release a fraction of that control.  It is an endorsement to join the wild rumpus, allowing people to loosen their white knuckled grip on sensibility at a time of year that can be incredibly stress inducing. 

The second point that Nicole made is that the Krampus movement in America gives a sense of community for the creatives and the weirdos. Her art community in Richmond is a flurry of activity during the Krampus season. Year after year, she observes a lot of joy happening in those that are able to bring out their own creativity, and she talked about the vibe being akin to that of Comic Con. Her community comes together to create, explore, and enjoy the holiday fun in unique ways that are very specific to Richmond. Nicole made the comment, “There is a sense of my weird recognizes your weird and it’s great!” At that statement we both had a laugh. We wholeheartedly agreed that the Krampus scene in the United States promotes a great deal of inclusion and acceptance of one another.

Inclusion and acceptance are two things that we as Americans desperately need right now. It’s critical as we come through a period where mainstream media is in the pocket/purse of every man woman and child, glorifying ways of being that are not attainable for most. We can’t all be Kardashians! And with the latest political administration fighting back on the very idea of inclusion, the country needs it now more than ever.  

Nicole also talked about the importance of giving an alternative perspective on the always happy “Santa Claus Christmas”. Our common American version of Santa was created by Coca-Cola, who hired Haddon Sundblom, an illustrator who painted somewhat cloying Christmas images for the company from 1931 to 1964. Sundblom can’t take all the credit however, since he took his inspiration from Clement Clarke Moore's 1823 poem "A Visit From St. Nicholas" (commonly called "'T’was the Night Before Christmas"). The poem itself describes St. Nick as a character that is warm, sweet, and pleasantly plump. Sundblom was merely painting what he read. 

Illustrating for the company all through and beyond World War II, Sundblom’s post-war Coca-Cola Santa addressed the public’s need to focus on positive things after all the atrocities and losses of war. But the pendulum swing is often way too broad, and the 1950’s culture of sock-hops and mom’s apple pie Americana was heavily reinforced. Girls put on their poodle skirts and housewives took little white pills to mask any ugly feelings. Racism, domestic violence, and deep-seated conflicts were ignored. We focused on white culture, the space race, TV dinners, and happier days (cue the Fonz on his motorbike with his goober pal Richie Cunningham). 

It’s out of this potent concoction that the red suited fat man, as we know him, really gains a foothold in popular culture. He’s not a bad guy. Pretty loveable in fact, but when the pendulum swings so wide, to Nicole’s point, we need a counterbalance. Fast forward 60 or so years, and the USA, Nicole, and all her work pals are poised and ready for their first internet viewing of the Austrian Krampus! 

Montana Mask Maker: Gavin Hughes

Without fail, every person I chat with about the Krampus movement in America inevitably ends up commenting on the sheer creativity of it all. No two Krampuses are ever the same, and most folks who participate take great delight in personalizing their costumes. One man, living in rural Montana, is helping Americans all the way from California to Florida do just that with his carved wooden masks. 

Mask maker Gavin Hughes comes from a strong wood working background and has spent roughly 15 years chainsaw carving giant bears for everyone from private buyers to restaurant chains. There always comes a time when we artists get stuck in a rut and need new injections of creativity. Krampus showed up in Gavin’s world at just that time and took this humble wood worker quite by surprise. 

When I chatted with Gavin about his influences and the mask making business, he gushed over the artistry of both new and vintage Austrian masks and how different each one can be. Gavin is a rugged and straight forward man, to be sure, but it was hard not to see the sparkle in his eyes when he talked about working with his clients on new designs. He admitted he is not a cosplayer in the slightest, and I get the distinct impression he wouldn’t be caught dead running around in a fursuit. While the concept of being a jack of all trades is alluring to many, Gavin is working as a master of one: The mask. 

The mask is everything to him, and he’s been working since 2021 as the only full-time wooden Krampus/ Perchten mask carver in the United States. When asked about any deeper meanings for him, he was as pragmatic as a ponderosa pine: “I’m strictly drawn to the fact that we are taking a chunk of wood and turning it into a thinned out, cool, usable mask that is as true as we can get to the Alpine tradition.” 

This crucial business is fulfilling a growing need for people who range from hobbyist-cosplayers seeking the best design for the season, to individuals who are looking to maintain the spirit of the Alpine heritage within their own family lineage. We are a nation of immigrants after all. Many of us Krampus organizers and costumers have been approached by thankful citizens over the years, those who fondly remember the tradition from their childhood abroad. I took one look at Gavin and knew this kind of public response and heartfelt gratitude gives him the warm fuzzies, just like me. 

Gavin also talked about watching his clients pop up at social events in the Pacific Northwest. Both Seattle and Bremerton in Washington state have large Krampus scenes, and they often join forces due to their proximity to one another. Bremerton specifically, spearheaded by Eric Morley, has started hosting socials on a regular basis. Gavin has gotten to know Morley and watched this movement grow. Gavin mused about participants “just wanting to be a part of something greater,” and create community through commonality. 

The PNW isn’t the only place where this is happening, and it’s just another example of the successes of Krampus in America. My own experience in organizing Krampus events has shown me the deep and profound connections that can be made through community engagement. It’s hard, as we grow older, to make friends. If this movement does nothing more, it galvanizes like-minded people around one thing (albeit strange) and helps them get to know one another and develop meaningful relationships. 

Between 2010 and 2012, a large surge of Krampus themed videos went viral on the web and a growing interest in darker holiday traditions skyrocketed. Around the same time, and completely unrelated, a team of social psychologists led by John Cacioppo began an experiment that explored the effects of loneliness and isolation in today’s society. The study was called “Bowling for One,” and the name reflects the idea that even though activities like bowling are typically done in groups, people these days often choose to engage in those activities alone, or indeed, not at all. The study wasn’t about bowling at all, but about understanding how social engagement, or the lack of, affects people’s psycho-emotional health. With the rise of online gaming and entertainment, and the decline of club culture since the 1960’s, Cacioppo’s study helped identify the fact that lack of “social capital” is not only negatively affecting our mental health, but it’s hurting our democracy. 

If this is the first time you are reading the term “social capital” allow me to define it. Social capital refers to the value derived from social networks and how cooperative community groups can be seen as a form of currency. In short, it refers to the benefit that we all get from putting our pants on, leaving the house, and just doing cool shit with our freaky friends!    

Interestingly enough, another study in psychology and neurosciences by Reinhard Schmidt and his colleagues looked at the connections between novel experiences with dopamine release. Evidence shows that when we engage in physical activity in new and bizarre ways, the pleasure centers in our brains light up like rockets! I know you never expected a book about winter folklore to serve up talk about saving democracy and spit deep neuroscience, but here we are (cue hair flip). 

Speaking as both a spectator and a participant, engaging in Krampus events certainly has the potential for massive dopamine hits, and the social capital experienced by individuals in Krampus groups is high. There is a social re-education happening in these groups, one that reiterates that if we gather and work together, we can accomplish big things. That notion in and of itself, can lead to a collective confidence and possibly even better democracy. Just like Gavin’s hearty wooden masks, these are two things that will never go out of fashion. 

As people find the Krampus in the United States, they are also finding one another. They are making connections, creating trust, and forming bonds that go deep and wide. And whether he knows it or not, folks like Gavin Hughes aren’t just contributing to art, history, and heritage. He is quite possibly contributing to the health and wellness of entire communities of people. 

John Hurst: The Man Behind Krampus Seattle

I had been following the movements of Krampus Seattle on social media for years before I met John in person. I began reaching out to him personally and sending artwork for his collection. It wasn’t out of some unhealthy fan-girl obsession on my part (she says). It was just a desire to thank and support a fellow weirdo in his endeavors to honor the folklore and make America more enjoyable. Out of this contact, we struck up an internet acquaintance and found we had a lot in common. We are the same age and have similar taste in music and culture. John Hurst and I were both raised on a steady dose of Sisters of Mercy and Skinny Puppy. Maybe other Krampus enthusiasts can relate. We do tend to attract a type. 

What I know about John, the man behind Krampus Seattle, is that he is a stoic figure; one with genuine intent, experience, and straight forward language. When he speaks, it’s with words that cut straight to the point. John is a truth teller, and he generously offers mentorship and guidance to those operating in America who are actively honoring and respecting the Alpine customs. He and I have had multiple phone conversations over the years discussing topics from cultural appropriation in costuming, to how to successfully navigate undesirable behavior at events. He is a wealth of information and an all-around good man. 

While his start in the Krampus movement came from a place of playfulness and naïve exploration, John is now 150 percent dedicated to preserving and representing the Alpine Krampus Tradition in its truest form. He focuses on every detail of its heritage and customs but in an American setting. He has worked tirelessly to build strong connections with Austrian mask makers, Krampuslauf organizers, and related international groups. He started the Facebook Group, Krampus America, an extremely active platform for American enthusiasts to exchange information, costuming ideas, and pimp their Krampus art projects. Through all of this, he has become an inspiring figure for creators and cosplayers in the American Krampus community.

I have a real fondness for John, even though our approaches to Krampus costuming may differ. While John is committed to traditional Austrian wooden masks and fur suits, I take a more flexible approach. As an artist and puppetry fabricator for the past 10 years, I have worked with a whole host of materials, from natural materials and recyclables to foam and thermoplastics. Exploring non-traditional materials has helped me approach costuming in a way that works for the limitations of my body. But John and I both see eye to eye on one thing; when doing any representation of Krampus or the Perchten tradition, respect for the spirit of the Alpine customs should be placed at the forefront of the endeavor. 

Tradition, in and of itself, can act as a significant obstacle for some people, and for others, it becomes a form of gatekeeping. There can be real financial costs, not to mention physical demands in creating and manipulating authentic Alpine costuming. Some folks want to create historically accurate costumes, but conditions like location and weather can be a perplexing challenge. YOU try dressing up as Krampus in an 85-degree Arizona December! These things can pose significant barriers to entry and unnecessarily exclude folks from participating. That being said, furthering Krampus' events without the basic knowledge and understanding of these strong European customs and their foundations, can be viewed as offensive to those who started it all.

When John first embarked on all this back in 2015, he had a difficult time getting mask makers in Europe to even speak with him. He began by creating an Alpine winter horror scene at a nonprofit Halloween haunted house in Washington. Dissatisfied with the masks he found online in the United States, John decided to reach out to a few folks in Austria who were making the real thing. When he explained what he was doing, many of the authentic woodworkers went silent and refused to work with him. It wasn’t until he met artist and mask maker Stefan Koidl, and they developed a working relationship, that John found out why. Though there are some arguments amongst Europeans on the details of costuming and timing of Krampus events, they certainly don’t want to see their culture misrepresented. 

The first several years of John’s growth in the Krampus movement was met with negative social media comments by angry Germans, Austrians, and Italians who felt he was “stealing their culture” and bastardizing the tradition. He admits that he still gets one or two of those even now, but that he’s come a long way from just participating in haunt and horror culture. For many years now, his entire Krampus Seattle group, which has included his wife and son, has moved away from the haunted house scene, instead focusing on reliable education and a real passion for showcasing the original tradition. Often attending local events, even outside of the seasonal time frame, Krampus Seattle helps to showcase the artistry of Austrian/German wood carvers and costumers. This aids in educating the public about the origins of the folklore and dispels any misconceptions that Americans might have about religious (or anti-religious) connotations. John is always open to having conversations about the custom, even if it’s to provide a recusant naysayer with helpful reference material and wish them a good day. 

When I’ve chatted with John about what he finds fulfilling about the whole situation, he’s talked a great deal about his love of interacting with the public and creating unique moments for his Pacific Northwest community. While he is extremely introverted, he uses the time inside the costume to engage more deeply with people and create rare, personal exchanges that often keeps followers coming back year after year. Behind his ornately carved white and black mask, provided by the aforementioned Koidl, John shrugs off any reticence he might have about others in his personal space. He becomes much more gregarious and comfortable with interpersonal interactions. And, perhaps it’s because he himself is a father, he seems especially captivated by watching children conquer their fears. He’s drawn to the moment when a small child, previously reluctant, lets go and decides to approach and engage with him. When he describes these interactions to me, I watch his whole face light up, and there is a softness in him that starkly contrasts the visually imposing costume he wears. A “monster” with a heart of gold. We need at least one in every city. 

Overcoming Fear and Embracing The Krampus

 Central and Eastern Europe has a long and winding history of folklore and fairytales to help parents guide their children’s behavior at home and out in the world. German and Austrian parents would use frightening cautionary stories and supernatural characters to instill in their “kinders” the importance of sticking close to home, minding authority, and adhering to social expectations. These stories served as multidisciplinary manipulation of the emotions, primarily fear. Looking back on some of these vintage tales through an American lens can seem harsh. We are used to more watered-down versions of these stories and are often gob-smacked when we realize their darker origins. But just remember, most of us are not living like our ancestors did, relying on oral traditions to teach our children. Nor are we living in territories that encompass miles of deep woods teaming with wolves*. That being said, even the more modern stories out of these regions can seem hard for parents from the States to understand. 

Looking singularly at Heinrich Hoffmann’s children’s book from 1845 in Germany, many American parents today are shocked by the images and tales in Der Struwwelpeter (“Shockheaded Peter”). This darkly humorous book has ten brilliantly illustrated and rhymed poems that demonstrate moral lessons and the disastrous consequences of everything from playing with matches, to not grooming properly, or wearing a coat outside. Show this book to a young couple with a toddler and they are often horrified by the thought of reading these stories to their little one, let alone subjecting them to a folk character like Krampus. Funny that I’ve talked with couples who abhor the idea of telling children about this Yuletide monster, but they will drop a cell phone right into a two-year-old's hands at the dinner table.  Do you even know where the real monsters are? These days folks seem to be a bit overprotective of their children in certain ways, and yet in others, completely negligent. 

Wanting a happy ending to tell a child, or adults, for that matter, is natural. I personally know the feeling of wanting to shield my children from this sharp and pointy existence. Boldly though, I’ll make the broad statement that Americans seem to particularly like things wrapped up neatly in a bow. It’s all the Disney and Lifetime Special Events we’ve been raised on. But refusing to bring children closer to real stories of loss, death, fear or ugliness doesn’t actually do them any service. Trying to shield our children from uncomfortable feelings can hinder their ability to navigate tough emotions and often leads to anxiety as future adults. 

In many shamanic cultures the emotion of fear is seen as a teacher and a guide. Confronting fear and moving through it can be used as a portal for deep and profound transformation in many stages of life, including childhood. Rituals and initiations that take people through this process are often the last thing the average American thinks of as necessary to emotional growth. In truth, we often view things like this as over the top “woo woo” or unnecessary. But coming face to face with overwhelming emotions and experiences can act as a gateway to significant internal transformations that can increase confidence, clarity, and personal power. Who doesn’t want that for their child, let alone themselves? 

In over-protecting our children, we often discount their resilience and their ability to process. We trade hyper-insulation and “helicopter parenting” for trust, discipline, and real communication with our kids. Sometimes, after an intense experience, a child can be bolstered and grow infinitely if we are just willing to have a meaningful dialogue with them about it. Letting our children in on the Krampus movement in America not only teaches them time honored values like consequences to their actions, but it provides us with a powerful opportunity to help them grow and move through their fears, even as they hold our hands. Remember folks, you might not have the Black Forest outside your window, but it’s still a jungle out there. Teach your children accordingly! 

*There are parts of Europe where it is still considered bad luck to even say the word “wolf” on Christmas eve or Christmas day due to old superstitions connecting werewolves to the holidays. These were specific beliefs about werewolves being active during the "twelve nights" of Christmas (from Christmas Eve through the New Year). In many cultures, these specific days were (and still are) seen as a time when the veil between worlds is thinner, and supernatural activity is at its height. Werewolves are believed to be particularly dangerous as their power is magnified during this time. It should be mentioned as well that many of these regions, including rural France and Germany, have struggled in the past with large wolf populations that often led to countless deaths of both livestock and people. This gives us meaningful insight to the need for folktales of a cautionary note aimed at children. For more information on werewolves at Christmas time, check out both the website and the podcast Weird Christmas – Werewolves of Yule, by Eric Olsen.