Michigan Technological University Digital Commons @ Michigan Tech

Michigan Tech Publications

5-2020

Paul Robeson, Carnival, and the 2018 National Eisteddfod

Mark Rhodes Michigan Technological University, [email protected]

Follow this and additional works at: https://digitalcommons.mtu.edu/michigantech-p

Part of the Ethnomusicology Commons, and the Human Geography Commons

Recommended Citation Rhodes, M. (2020). Paul Robeson, Carnival, and the 2018 National Eisteddfod. Ninnau: The North American Welsh Newspaper, 45(4). Retrieved from: https://digitalcommons.mtu.edu/michigantech-p/1602

Follow this and additional works at: https://digitalcommons.mtu.edu/michigantech-p Part of the Ethnomusicology Commons, and the Human Geography Commons Paul Robeson, Carnival, and the

By Dr. Mark Rhodes 2018 National Eisteddfod Following my discussion of Welsh-American folk music connections at the National Eisteddfod in the previous issue of Ninnau , I turn to two specific events during the 2018 National Eisteddfod in Cardiff Bay: a musical in tribute to the African American Paul Robeson and an Afro-Caribbean inspired carni - val parade. I reflect on how the National Eisteddfod, as one of the national institutions guiding culture and heritage in Wales, can offer unique possibilities into what and who is included in the Welsh nation. One inclusion is Paul Robeson. The facade of the Wales Millennium Centre during the Carnifal y Môr lining up to begin on its opening night at the While certainly not surprising 2018 National Eisteddfod. 2018 National Eisteddfod in Cardiff. for those in Wales who routine - ly encounter Robeson’s memory at work in the musical, they wit - resources from Wales, as well in places such as the National nessed Robeson himself rein - as the deeply imbedded ethnic Waterfront Museum or the forcing the authenticity, power, and racial ideas of who can Manic Street Preachers hit song and work which went into the claim Welshness. “Let Robeson Sing!,” production/memorialization of Overall, the influx of Americans may find this contin - Paul Robeson in Wales. American influence, whether ued celebrity perplexing. After This was a two-hour dialogue that is from Argentina, Canada, all, this All-American athlete, about Robeson’s life and why Jamaica, or the United States, Hollywood Star, Grammy Wales (and the world) should strengthens rather than weakens Award-winning artist, care about it. Using a combina - Welsh identity. The continua - Broadway actor, and pre-Civil tion of Welsh language, power - tion of these impacts from the Rights activist is all-but-forgot - ful music, and the context of the Welsh diaspora reveal them - ten today. None-the-less, the opening night(s) of the National selves at the Eisteddfod in the National Eisteddfod commis - Eisteddfod, this heroic narrative form of North and South sioned the musical Hwn yw fy places Robeson at the center of American pavilions and music. Mrawd [This is our Brother] in Welsh nationalism. There was Welsh music takes elements of no need to state how Robeson strength and protest from The 2018 National Eisteddfod ticket office. Paul Robeson and tribute to Robeson for the open - an advert for Hwn yw fy Mrawd on full display ing two nights of the festival. may or may not have supported Canadian, Argentinian, The sold-out musical tells the the Welsh language campaign, Caribbean, and U.S. counter- cousins. The popularity of the accomplish similar goals of story of a student who’s asked Welsh culture, or Welsh politi - culture-turned-culture. Woody North American Festival of using anti-colonial or decolonial to write about a Welsh hero. cal autonomy, as these are Guthrie’s original lyrics from Wales or the Trevelin counter-culture and popular cul - Mr. Jones, the music teacher already cornerstones of the “This Land is Your Land” or Eisteddfod in Argentina har - ture to not only continue coun - played by the opera star Bryn National Eisteddfod and the Paul Robeson’s own progres - nesses the international energy tering English identity and Terfel, sees the student strug - national spaces in Cardiff where sive rendition of “Old Man Wales seeks in its continual influence, but transform a gling with personal issues and the performances took place: River” made their impact, and struggle to remain a unique nation that has been tolerant the assignment, so he introduces justification by association. Welsh cultural movements over geopolitical and linguistic land - thus far in word but not deed. the student to Paul Robeson. The second Celtic-American the past one hundred years have scape. Mark Rhodes is Assistant Starting with Robeson’s parents connection was the Carnifal y continually used those labor-ori - Renewed interest in making Professor of Geography, Michi- and going into his time playing Môr [Carnival of the Sea]. I ented and anti-imperial ele - these same global connections gan Technological University , football and as a lawyer, the attended the Carnifal on its first ments of American pop culture with Caribbean-Welsh immi - [email protected] musical builds up to Robeson’s night – the second evening of to counter their own colonial grants and diaspora seeks to Welsh connections - singing for the eisteddfod – and was taken striking miners, researching folk aback by the scope and intricacy  music, etc… of the parade. Comprised of a Hwn yw fy Mrawd symbolizes Welsh dragon, Dixieland, Afro- the slow transformation within Caribbean, African, and Cuban Wales from a supposed tolera - music groups, and heavily-cos - 16th ANNUAL MALAD VALLEY WELSH FESTIVAL tion of difference to a true cele - tumed dancers, much of the bration. Bringing Robeson into parade and its props were sea- June 26 – 27, 2020 the halls of the Millennium themed. The procession slowly Malad City, Idaho Centre commits Wales to the weaved its way from the progressive politics of Robeson. Millennium Centre down to the After all, it houses the Welsh Bay (again, we’re still in National Opera, and this was Butetown, so the above obser - • Presentations on Welsh heroes and history of Wales the opening of the National vations also apply to this perfor - • Poetry competitions and readings; chairing of the Bard of the Eisteddfod in the national capi - mance), but not without stop - tal, Cardiff. ping while the Treorchy Male Festival This all took place in the elec - Voice Choir sang. Together – toral district of Butetown where 200 parade performers, 50 choir • Fiction competition (must have Welsh or Welsh pioneer Middle Eastern, African, Afro- members, 1500+ people from theme) Caribbean, and African the evening outdoor concert and American immigrant workers LGBTQ event, and 2000 atten - • Family choral and harp concert, youth concert, and piano settled alongside Welsh, dees from the just-concluded English, and Irish to work the Hwn yw fy Mrawd – they made ensemble concert docks. Cardiff was, in fact, one their way down to the Bay. • Outdoor music by Celtic performers of the largest coal ports in the Everything ended with a music world. In this context, perform - video composed and sung by • Wagon rides along historic streets of Malad City ing a tribute to Robeson brings Gruff Rhys of Super Furry Robeson and all he represents Animals projected onto walls of • Quilt show and bake sale by the Oneida Quilters “Codi o’r Cysgodion” (“From water erupting out of Cardiff • Art Walk and youth art competition and displays the Shadows,” a song in the bay. musical). Carnifal y Môr – coupled • Malad Valley pioneer family displays of pedigree charts, cen - Using color, music, and poet - with Hwn yw fy Mrawd and the ry, Hwn yw fy Mrawd further open concept of the Eisteddfod sus data, and artifacts (lots of Evanses, Joneses, Williamses, made American connections itself [no walls and no entrance Prices, and Thomases) through a student choir forcing fees] – symbolized an unprece - the House Unamerican dented shift in the National • Displays about life in Wales, past and present Activities Committee off stage, Eisteddfod. It opens the idea of • Self-guided tours of Samaria, where the Welsh first settled in a jig to Langston Hughes’s who and what is Welsh, as well “Freedom Train,” and African- as the role of colonialism both Oneida County American/Welsh artistry fight - by and upon Wales in that dis - ing against fascism for the cussion. The performances of • Lots of kids’ activities (pioneer-era games; bouncy castle; return of Robeson’s passport. the carnifal and musical, such color-the-dragon contest; face painting, etc.) The final and title number of the as the song “Alaw Werin y musical sees Matthew Gough’s Byd” [“The Folksong of the • Food and craft booths, including “Taste of Wales” booth Robeson character overlooking World” compiling Welsh, the stage appearing to not only Russian, German, and African enjoy the performance but join American folk music], channel For more information, see www.welshfestival.com in singing. “Robeson’s” the historic anti-colonial acknowledgement and approval activism of Robeson and con - or call Malad City Office (208-766-4010). of the musical here, placed the temporary ongoing activism in audience in a unique position. Wales. They simultaneously  Beyond the many other symbols seek redress for the colonial extraction of wealth and

May-June 2020 NINNAU Page 11