Social Networking and the Left Coast Eisteddfod 2009
February 2, 2009
Ceri Shaw is a Web Designer and freelance writer. If you remember, he wrote What is Anglo-Welsh Literature and why Should Anyone Care?. Ceri is a former college lecturer from Cardiff, South Wales. He wrote this article for us.
Social Networking and the Left Coast Eisteddfod 2009
There is an art to constructing social networks. Anyone can join Facebook, start a group, give it a catchy title and invite everyone on their contacts list. But building a true online “community” involves a lot more than that. My preferred tool for this job is the “Ning” platform.
One such project that I am involved in at the moment is Americymru. The site itself is an American Welsh heritage site and it welcomes members from anywhere in the world who are either Welsh, of Welsh ancestry or who have a love of Wales ( Cymruphiles? ) for whatever reason. The site has proved highly popular and is rapidly approaching the 1000 member mark.
The question is, of course, what purpose should such a site serve? Should we all vie with one another in forum discussions for the distinction of being the most enthusiastic supporter of Welsh culture? Should we all devote ourselves to learning the Welsh language? ( not a bad idea ) Or perhaps we should all exchange holiday snaps of our most recent visits to Snowdonia? Of course Americymru is a social network and so it is used for all of the above purposes and a host more besides.
How much better though to put these networks to a novel and creative purpose. In Wales the “Eisteddfod” tradition ( which is basically a talent competition ) dates back to the 12th century. Here is how the Wikipedia defines it:-
‘An eisteddfod is a Welsh festival of literature, music and performance. The tradition of such a meeting of Welsh artists dates back to at least the 12th century, when a festival of poetry and music was held by Rhys ap Gruffydd of Deheubarth at his court in Cardigan in 1176 but, with the decline of the bardic tradition, it fell into abeyance. The present-day format owes much to an eighteenth-century revival arising out of a number of informal eisteddfodau. The word eisteddfod is derived from the Welsh word eistedd, meaning “sit”.’
We decided to use Americymru to organise an international “online” Eisteddfod.
We have departed from the traditional formula in several significant respects. There are Welsh Pirate Lookalike and Tom Jones Impersonators competitions along side the standard literary and poetic categories. We feel that these features will enhance the appeal of the “event” and give it a more contemporary feel
All the competitions are open to everyone. Neither Americymru membership nor Welsh origin are requirements.
The poetry and short story competitions are already starting to attract some talented entrants and judges Lloyd Jones ( short stories ) and Peter Thabit Jones and John Good ( poetry ) will have some hard choices to make.
The online Eisteddfod will culminate in a live event in Portland in August 2009. It is here that winners will be announced and prizes awarded. It is also our intention to hold a series of concerts featuring major Welsh and American Welsh artists and performers. In short the “Left Coast Eisteddfod” will be a celebration of all things Welsh and in particular of the American Welsh heritage which has so enriched the history of the American nation. It will also introduce this tradition to a whole new audience and seek to involve the widest possible participation.
It is also possible to build a “constellation” of supporting blogs around your social networking “event”. In our own case we have been fortunate to enjoy the support of artists such as David Western who is probably the worlds finest carver of traditional Welsh lovespoons. He explains the reasons and the means of his supoport for the event in the following quote from his “David Western’s Portland Eisteddfod Lovespoon” blog:-
“To support the development of the Left Coast Eisteddfod next year, I am donating a handcrafted, one-of-a-kind Welsh lovespoon which Americymru will raffle off to help raise needed funds.
I’m proud to be able to contribute to the creation of the Eisteddfod and to help highlight Welsh people and their culture here in North America. Everyone knows the Scottish and Irish and it is through events like the Eisteddfod that people will come to know the Welsh.”
David’s blog has already encouraged others to try their hands at this ancient craft and his work in general is vital in order to ensure that this art form continues and thrives into the 21st century.
It is my belief that the potential for social networks to drive artistic creation and collaboration is immense and I am very excited to be a part of a project which is exploring this potential.
In closing I would urge you check out the online Eisteddfod ( linked and accessible from the home page of Americymru ), consider entering one of the competitions and above all, think of novel ways to utilise your own social networks so that they can become a real spur to human creativity and not merely glorified “chat” rooms.
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What is Anglo-Welsh Literature and why Should Anyone Care?
February 6, 2008
Ceri Shaw is a former college lecturer from Cardiff, South Wales. Currently he attempts to make a living as a Web Designer and as a freelance writer on a range of topics including Literature. He is a regular contributor to Americymru.com. Ceri wrote this article about Anglo-Welsh literature and its exploration of the themes of national, cultural and personal identity.
What is Anglo-Welsh Literature and why Should Anyone Care?
As a Welsh ex-pat currently residing in the USA I have noticed a profound disparity between the notion of Wales that many Americans of Welsh descent entertain and the reality that I left behind five years ago. Nowhere is this more evident than in the literary field. The triumphs of yesteryear are rightly held in high regard but modern literary trends and authors are sadly neglected. The legacy of Dylan and R.S. Thomas is , of course, sacred to us all, but Wales has moved on and a new genertaion of writers reflect that fact.In recent decades we have witnessed a flowering of literary culture in Wales and stereotypical Welsh writing so famously satirized by Harri Webb in his poem “Synopsis of the Great Welsh Novel” has been left far behind. We have seen the emergence of Welsh noir ( Niall Griffiths, Malcolm Pryce, John Williams ) which continues to be popular and other major talents such as Lloyd jones, Rachel Trezise, Trezza Azzopardi and Owen Sheers have made their presence felt.
But what is Anglo-Welsh literature and why should anyone care? I would argue that at its best it provides a unique perspective (in the English speaking world at least) on modern ideas of national, cultural and personal identity. As Gwyn Williams once famously said:- “The Welsh as a people have lived by making and remaking themselves in generation after generation, usually against the odds, usually within a British context.” Both Welsh-language and Anglo-Welsh literature have played a prominent role in that process. It is not a literature of rage. At the risk of offending a portion of my audience I will say that English colonial rule has for the most part been far too benign to produce a violent reaction but it is a literature of self-assertion and defiance, albeit sometimes confused and unfocused.
These themes are explored in a number of fascinating works by contemporary Welsh writers. Owen Sheers’ magnificent debut novel ‘Resistance’ is set in an alternate universe in which the Nazis invade and conquer Britain in World war II. It focuses in large part on the struggle to reinvent oneself, adapt and survive in the face of extreme adversity.
The book ends with both protagonists facing a stark choice which is really no choice at all. In order to survive they must turn their backs on everything they have known and attempt to find personal salvation in a future that is as uncertain as it is dangerous.The novel hints at the special relationship which the Welsh people have with their landscape. The hills of Wales are indeed magnificent but they pale into insignificance, at least in topographical terms, when compared with the European Alps or the North American Cascades. Their special gravity and power lies in the fact that every nook and cranny, every fold and crevice, is invested with some human significance. The sum of history and legend which the landscape reveals is almost an externalization of Welsh identity itself. It is against this backdrop that Sarah, the heroine of this novel, must strive to uproot herself and accept the evolutionary challenge.
A far more extreme adaptation and ‘remaking’ (or failure to adapt) can be found in the pages of ‘Niall Griffiths’ stark and brutal novel..”Sheepshagger”. Here we see what happens when ancient tribal resentments, personal greivance and drug-addled inarticulacy combine to prevent ‘personal growth’. The desperate and bestial acts of violence committed by the novels anti-hero are the products of a sense of loss and a seething resentment directed against those who have deprived him. He is unable to articulate his impotent rage by any other means. He asserts himself as a serial-killer. It should be pointed out that this exploration of the darker side of the Welsh ‘psyche’, whilst magnificent, also contains passages of graphic violence which would make Brett Easton Ellis blush.
The fact that the Welsh are a naturally restless people and constantly searching for a lost identity or fashioning a new one is perhaps more happily exemplified in Lloyd Jones extraordinary “Mr Vogel”. This novel which is by turns baffling and inspiring recounts an epic journey around Wales made by a delusional alcoholic. To say that the narrative is not straightforward would be an understatement but what this novel lacks in simplicity it makes up for in many other ways. We are never quite sure what the nature of the quest is but the journey is perhaps its own justification. Toward the end of the book, when his epic perambulation is almost complete, Mr. Vogel finds himself in a mental hospital where he offers the following observation to one of his fellow patients:-
“When was Wales? Wales has never been, it has always been.” he rambled on to his next victim, Myrddin the schizophrenic, who fortunately) was asleep. “I’ll tell you something for nothing.” he said, “true Wales is never more than a field away, and true Wales is always a field away, like Rhiannons horse in the Mabinogi. Got it?”
Jones’ work is a tribute to the transformative and redemptive power of the imagination and its ability to refashion national, cultural and personal identity.
None of the above should be taken to suggest that Anglo-Welsh literature concerns itself solely with these themes or that other literary traditions neglect them. I would contend howver that owing to Wales unique history,a history in which its cultural identity has constantly been threatened with absorption by that of its much more powerful neighbour,they are much more acutely focused in the Anglo-Welsh literary tradition.
Books Referenced in the Text:
“When Was Wales” Gwyn Williams Penguin Books 1985
“Resistance” Owen Sheers Faber and Faber 2007
“Sheepshagger” Niall Griffiths Vintage 2002
“Mr. Vogel” Lloyd Jones Seren 2004
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