DOCSLIB.ORG

FOSIL News & Views 27Th May 2021

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
FOSIL News & Views 27Th May 2021 FOSIL News & Views 27th May 2021 St Ives Library and Information Centre is open for browsing, computer use and information 9:30am - 4:00pm Monday - Saturday Date for your diary FOSIL is at The Farmer’s Market rd Thursday 3 June 2021 Borrow Box BorrowBox is not just novels. You can down-load the latest non fiction too. This includes cookbooks, travel guides, and biographies. BorrowBox e-books are free for all library members. To sign up go to: https://www.cornwall.gov.uk/.../borrowbox-ebooks-and.../ The Brainiac 5 continue their journey in “Another Time Another Dimension” Like a missing piece of Cornish musical archaeology combined with some great contemporary experimentation, this is a vital artefact in the history of Cornish rock music that has just been released. Old Penzance favourites the Brainiac 5 have produced an album of previously unreleased historic tracks, plus some new pieces that show a continuing commitment to their forward musical journey. Despite now being based in London, their music is still part of Cornwall (with most of this album recorded here, including elements of the new tracks) and lives in the local pyschogeographic landscape - certainly mine as my flat is on the site of the old Heatherbell Motel, Carbis Bay, a venue they played several times in 1977-1978 before getting sacked by the landlord for being too scruffy! I have sketched the history of the Brainiacs in a previous newsletter article (News-Views-XII-10.09.2020.pdf (stivestowncouncil-cornwall.gov.uk) so this is really to alert you to their new May 2021 release of “Another Time Another Dimension” (Reckless CD 110, or as a download from Bandcamp). One motivation for the recording was the sad death of Martin Griffin in January 2020, their long-time friend and associate best known for his drumming with Hawkwind, which sparked the writing of some new material and also a trawl through the previously unreleased recordings they had made with his help. Martin had been in the Half Human Band with Brainiacs main man to be Charlie Taylor and was incredibly supportive after the Five first formed in Cornwall during 1976, allowing them cheap/free use of his Roche Recording studio, plus his extensive engineering skills. There are ten tracks here from the Brainiacs initial Cornish period of 1976-80, six from previously unreleased Roche studio sessions (1976-78) featuring their first line-up with Bert Biscoe, while the next four have Richard Booth on, including two live tracks from the White Horse Launceston in 1980. Their usual wide range of styles is on display: punk, reggae, psych jamming (‘The Warning’) and the sheer strangeness of ‘Khazi Persona’ along with a couple of spirited covers ‘Tobacco Road’ and ‘Do Ya’ (the Jeff Lynne song originally by the Move, later by ELO). Then there is the real oddity of a Charlie Taylor track from the band’s “wilderness years” of 1981-2012 when they did not really exist! This is from 1995 and the period when Charlie lived in the USA with the track ‘Pain in a Bowl’, quite a bizarre offering with mainly him on guitar and percussion from ‘Bongo Albert’. Track 12 ‘Sludge’ is actually from the current live line-up of Charlie (guitar, vocals) / Duncan Kerr (guitar) / Wayne Worrell (bass) / Joe Malone (drums) recorded in 2019 at their favourite North London gig of The Gunners, and is a Taylor composition that propels Hendrix into the 21st Century! The next three tracks are from 2020, after Martin Griffin’s death and all seem to refer to him in some way. ‘Never Say Never’ features the return of Bert Biscoe (who has never entirely gone away) with Charlie and John ‘Woody’ Wood (bass), so this is really the original 1976 core trio of the Brainiacs in 2020, stripped down and playing a Beefheartian- type blues written and sung by Bert. The CD title track ‘Another Time Another Dimension’ follows and is the song most obviously about Martin, written by Charlie/Woody/Bert, that was the initial inspiration for the album. Finally, there is ‘Our Devils’ by Charlie, a lovely dubby reggae lament. This section of new songs, including the short hidden final coda, is a very strong part of the album. The last two tracks feature guest and old Cornish friend Chrissy Quayle (the Mermaid of Zennor) on sax, flute and vocals. Chrissy played an important role on their last 2019 recording called “Back To Shore” and now seems an honourable member of the extended Brainiac family who really adds a lot to their already huge palette of sound. There are some great photos used in the album’s artwork, often with amusing manipulations, and include a Daliesque Lanyon Quoit on the cover, with the Men-an-Tol on the reverse (see pics). This really is a landmark recording that covers a lot of ground, retaining a strong sense of their Cornish roots but still finds the Brainiacs on their journey from “Another Time Another Dimension”. So, join them on the ride - after some 45 years it is still a most enjoyable one that progresses even further here. Check out their website for videos and more information: www.brainiac5.co.uk Phil Saward We are extremely excited to announce that Writers Block will be using St Ives Library as their base, with lead writer and artistic director Anna Maria Murphy in residence – and they are on the lookout for G7 Story Scouts aged 12 – 18. Be quick as the closing date for applications is 30th May 2021 (lots of information has gone out already via Facebook) They are keen to talk to people in the town who are involved in a range of activities, projects and businesses to ask them about the summit and their views about what can be done for young people – would you be interested in being interviewed by them? Want to find out more about The Writers’ Block? Why not take a look at their website? https://www.keap.org.uk/the-writers-block. They are brilliant! The G7 Summit will bring unavoidable disruptions to the St Ives area. Find out more from the Devon & Cornwall Police Facebook Page and by following the link: https://g7.devon-cornwall.police.uk/news Interested in the Environment or a Young Activist? – The following five books give an excellent introduction to young readers The Sea takes readers on an astonishing underwater journey. Using an evocative palette of greens, blues and purples, this large hardback book provides a captivating look at the world’s seas. The journey begins on the coastline with a lighthouse and children rock- pooling in the background. Double-page spreads on estuaries, salt marshes, mangrove swamps and kelp forests follow. The second half takes a more in-depth look at the animals, with stylised depictions of creatures, such as whales, penguins, and jellyfish, and features of the deep ocean, like hydrothermal vents. The final double page spread serves as a warning. The authors outline some of the ways governments are trying to tackle plastic waste and, as a final message, urge us all to take steps to reduce our plastic consumption. Natural Wonders of the World promises “30 marvels of Planet Earth”, and it doesn’t disappoint. A world map guides the reader to the location of various natural phenomena, presented in double page-spread photographs, with detailed information and illustrations. After an introduction describing the challenges our planet faces, each double- page spread is a large photograph with a few paragraphs describing the wonders. These include caves, waterfalls, birds of paradise, penguins, the northern lights, the Salar de Uyuni salt flat in Bolivia, Yellowstone Park and the Grand Canyon. There are also pages on numerous animals and massive migration and breeding events, which are enhanced by digital illustrations. All in all this is an excellent gift for a curious young geologist, geographer or biologist, and will keep even adults entertained through its vibrant images and scientific detail. The latest book in the Great Women series shines a spotlight on many inspirational women from around the world who have dedicated their lives to studying, conserving, and protecting nature. Learn about how Antarctic researcher Edith Farkas helped identify the hole in the ozone layer and made the whole world realise the effect of pollution. Isatou Ceesay from the Gambia is also featured, spreading the message about the damaging consequences of plastic waste and educating women in local communities about recycling. Other women profiled in this colourful and informative book include Wangari Maathai, founder of the Green Belt Movement in Kenya and Anita Roddick, founder of environmentally friendly beauty brand The Body Shop. There’s a Rang-tan in My Bedroom is based on Greenpeace’s Rang-tan video. Beautifully illustrated and written in a rhyming poetic cadence, this is an excellent book for younger children. A young girl must reckon with an uninvited baby orangutan in her bedroom, who eventually explains (after causing some havoc) that humans are destroying trees and burning the forest for palm oil, which is used in chocolate and shampoo. The final pages contain information about orangutans, palm oil, and what young people can do to help. Best of all, it concludes with top tips for writing a campaign letter. Greta and the Giants transforms the story of Greta Thunberg into a fable. Greta lives in a beautiful forest with many plants and animals. “The Giants” – adults who are busy working, building houses and cutting down trees – are destroying their home. The animals come to ask her for help, as she is the only one not afraid of the Giants.
Load more

Recommended publications
  • Peter Lanyon's Biography
    First Crypt Group installation, 1946 Lanyon by Charles Gimpel Studio exterior, Little Park Owles c. 1955 Rosewall in progress 1960 Working on the study for the Liverpool mural 1960 On Porthchapel beach, Cornwall PETER Lanyon Peter Lanyon Zennor 1936 Oil on canvas November: Awarded second prize in John Sheila Lanyon Moores Exhibition, Liverpool for Offshore. Exterior, Attic Studio, St Ives February: Solo exhibition, Catherine Viviano Records slide lecture for British Council. February: Resigns from committee of Penwith Gallery, New York. Included in Sam Hunter’s European Painting Wartime, Middle East, 1942–3 Society. January: One of Three British Painters at and Sculpture Today, Minneapolis Institute of January: Solo exhibition, Fore Street Gallery, Passedoit Gallery, New York. Later, Motherwell throws a party for PL who Art and tour. St Ives. Construction 1941 March: Demobilised from RAF and returns Spring: ‘The Face of Penwith’ article, Cornish meets Mark Rothko and many other New At Little Park Owles late 1950s April: Travels to Provence where he visits Aix March –July: Stationed in Burg el Arab, fifty to St Ives. Review, no 4. January–April: Italian government scholarship York artists. Visiting Lecturer at Falmouth College of Art January: Solo exhibition, Catherine Viviano March–April: Visiting painter, San Antonio and paints Le Mont Ste Victoire. miles west of Alexandria. March: Exhibits in Danish, British and – spends two weeks in Rome and rents and West of England College, Bristol. Gallery, New York. Art Institute, Texas, during which time he April: Marries Sheila Browne. 6 February: Among the ‘moderns’ who March: Exhibits in London–Paris at the ICA, American Abstract Artists at Riverside studio at Anticoli Corrado in the Abruzzi June: Joins Perranporth gliding club.
    [Show full text]
  • Creative Industries Consortium
    Post of Gallery Manager – Penwith Gallery, St Ives The Penwith Society of Arts was founded in 1949 by a group of artists in St. Ives, under the distinguished leadership of Ben Nicholson, Barbara Hepworth and Bernard Leach; it now has a unique complex of buildings in Back Road West, including public galleries, artists’ studios and workshops. A charitable company – Penwith Galleries Ltd – was created to arrange the programme of exhibitions, execute all gallery business and manage the entire complex. The galleries present year-round exhibitions by Members and Associates of the society, as well as exhibitions by other artists from Cornwall and artists from further afield. The New Gallery and the Studio Gallery are available for hire when our programme permits. The Penwith is an unrivalled resource for the arts in Cornwall and is part of a unique cluster of visual arts activity in the town, working with other partners such as Tate St Ives, Porthmeor Studios, the St Ives School of Painting, the St Ives Archive and a range of other galleries. Gallery Manager Penwith Galleries Ltd (PGL) is now recruiting for the new post of full-time Gallery Manager. We expect that she or he will be an experienced administrator with a real interest in and enthusiasm for art as well as experience in finance, marketing and sales. The new Manager should demonstrate the ability to oversee effectively our gallery operations and our employees. Applicants must have the management skills to control the gallery’s budget, manage and schedule the gallery staff, plan gallery schedules, set deadlines and so on.
    [Show full text]
  • The Arts Council of Great Britain
    A-YUAAt J`2 101" The Arts Council Twenty-ninth of Great Britain annual report and accounts year ended 31 March 1974 ARTS COUNCIL OF GREAT BR(fAMm REFERENCE ONLY DO NOT REAAOVE I j,FROM THE LIBRARY ISBN 0 7287 0036 0 Published by the Arts Council of Great Britai n 105 Piccadilly, London wIV oAu Designed and printed at Shenval Press, Englan d Text set in `Monotype' Times New Roman 327 and 334 Membership of the Council , Committees and Panels Council Committees of the Art Pane l Patrick Gibson (Chairman ) Exhibitions Sub-Committee Sir John Witt (Vice-Chairman ) Photography Committee The Marchioness of Anglesey Serpentine Gallery Committee Professor Harold C . Baldry Performance Art Committee The Lord Balfour of Burleigh Alan Bowness The following co-opted members serve on the Lady Casson Photography Committee : Colonel Sir William Crawshay, DSO, TD Michael Elliott Bill Gaskins The Viscount Esher, CBE Ron McCormic k The Lord Feather, CBE Professor Aaron Scharf Sir William Glock, CBE Pete Turner Stuart Hampshire Jeremy Hutchinson, Q c and the Performance Art Committee : J. W. Lambert, CBE, DsC Dr A. H. Marshall, CB E Gavin Henderso n James Morris Adrian Henri Neil Paterson Ted Littl e Professor Roy Shaw Roland Miller Peter Williams, OBE Drama Panel Art Panel J. W. Lambert, CBE, DsC (Chairman) The Viscount Esher, CBE (Chairman) Dr A. H. Marshall, CBE (Deputy Chairman) Alan Bowness (Deputy Chairman ) Ian B. Albery Miss Nancy Balfour, OBE Alfred Bradley Victor Burgi n Miss Susanna Capo n Michael Compton Peter Cheeseman Theo Crosby Professor Philip Collins Hubert Dalwood Miss Jane Edgeworth, MBE The Marquess of Dufferin and Av a Richard Findlater Dennis Farr Ian Giles William Feaver Bernard Gos s Patrick George Len Graham David Hockney G.
    [Show full text]
  • BRENDAN Mcmahon Folklore, Loss, and Social Change in Nineteenth
    Folklore, Loss, and Social Change in Nineteenth Century Cornwall BRENDAN McMAHON Introduction: the historical context The nineteenth century was a period of unprecedented social and economic change, at least in France and England. From France emerged the possibility of political transformation, which was to have profound historical consequences, and from England the no less momentous possibility of industrial transformation, forces which combined to create a triumphant liberal capitalism, which consolidated and extended its power in the latter half of the century.1 Britain, where much of this process began, was of course a scene of unprecedented social and industrial change at this time. Between 1831 and 1901 the population increased by ten percent in each decade, and cities grew disproportionately: when Victoria came to the throne only five towns in England and Wales had a population of more than 100,000; by the end of the reign, there were twenty three.2 Cornwall too was transformed: the population increased from 192,000 to 322,000, though it fell during the last three decades of the century due to recession and emigration, as we shall see.3 Cornish people played a big part in the transformation of Britain, and the wider world, and it would be hard to imagine the Industrial Revolution without Humphry Davy, Richard Trevithick, and the countless Cornish engineers and miners who made the wheels turn, everywhere from Mexico to South Australia.4 The landscape itself was changed forever. At the beginning of the century Cornwall was the world’s biggest copper producer, and technological innovation caused both copper and tin production to soar; old mines were re-opened and between 1800 and 1837 the number of workings rose from seventy five to over 200.
    [Show full text]
  • Scottish Gallery 2007.Pdf
    Wilhelmina Barns-Graham 23 North Sea, Fife 2, 1979 mixed media, 27 x 20 cms Wilhelmina Barns-Graham (1912-2004) Paintings and Drawings 1952-2003 4 - 26 June 2007 1 Black Rocks, 1952 oil on board, 61 x 76 cms Foreword This will be the first show of work by Wilhelmina Barns-Graham in her native Scotland since her death in 2004. As a major British artist and a key figure in the St Ives School, she has long been represented in important survey exhibitions relating to modernism, abstraction and St Ives and has been the subject of major retrospectives at Tate St Ives and the Scottish National Gallery of Modern Art. Born in St Andrews, she graduated from Edinburgh College of Art in 1937 and moved to St Ives in 1940 where she soon became an important member of its lively community of forward-looking artists. Over the next 20 years she showed successfully in solo and group exhibitions in St Ives and Newlyn but also in London and America. Scotland, however, always remained a very important part of her life, art and exhibiting career, ever more so when she inherited a house near St Andrews in 1960. She soon settled into a routine of moving between her twin centres of St Andrews and St Ives, her Scottish retreat offering perhaps an opportunity to work and to reassess in a different milieu and atmosphere and under a different set of influences and inspirations. Her relationship with The Scottish Gallery was always close and productive. Her first exhibition with us in 1956 was followed by six further shows culminating in 2002 with her magnificent 90th birthday exhibition of recent work.
    [Show full text]
  • A Guide to in Association with the 2021 G7 Summit. Cornwall, UK
    A Guide To Cornwall, UK In association with the 2021 G7 Summit. Welcome to St Ives Explore our picturesque town on the Cornish Riviera. 2 Contents Stay Eat Shop, Business For all of your & Drink Culture & Services accommodation needs. To help you navigate our Explore For all your other general fascinating food scene. business needs. For when you want to get lost down our cobblestone streets. For details on any Disabled Facilities, simply click to find out more! 3 Rd r o e m 2 th r o P d Burrow R r Rd d rthmeo ow R Po Burr lk e Wa Rop I The s Porthm l eor Rd Rd a r n eo lk d m R h Wa d t e r op o R Ca P The rncrows St Rd s d w R o Tee m r t ea d d o r ta l S Dr n u t al a e B h sl Back Rd E I St Eia S t W d E k R Bac Bac k Rd E Pl sda St P ethe Bac eters B k Rd E t W E S h St e Back Rd Fish a toria Rd l ic V D r Quay S e t a m y oria Pl ige Flat t t D s ic f C S V r h 9 hu s ha rc 7 i W F e h Th S s T Pl m he Rd Ba harf e Dige ileys L W a Bunk t adow Flat o n Me y n s e P i rs e Ln H r se ill ack Ln Ro B or Hill Porthme T n he l o Vi Hil rg Di t r wo g in S e ee y rthmeo t Str r Po re ie Barna Fo P Rd ns f o Beach R r d 6 a at ll t Hi e or e ee m Wh C h woon Sm arthew Beach rt a Rd Str Po Barn Barn re Wa oon y Fo Barn Te Wh rr o ac o n Hi e a ll r Ca rf r t h l Pie s e l w We Hi Rd C stwa Barnoo ton l Ca rd or R e 4 rth d m e h n w Hil mea rt W S o l ay P W View gy od e Cl ac rr Oran Te Fo ge Ln een re C hannel ling Gr S w ce t Vie ra r w Bo er ee B l l i ellair T ac t H B Cha r k nne o S l e View ew e t annel Vi m ac Ch h rr Ca t r n Te
    [Show full text]
  • Tate Report 09–10 Contents
    Tate Report 09–10 Tate Tate Report 09–10 Contents / Introduction 02 Art and Ideas / Collection Acquisitions 10 Collection care 12 Research 15 Acquisition highlights 17 Art and Ideas / Programme Tate Britain 31 Tate Modern 32 Tate Liverpool 35 Tate St Ives 36 Calendar 38 Audiences / Learning Families and young people 40 Adult programmes and live events 42 Audiences / Beyond Tate Online and media 45 Tate National 46 Tate International 48 Improving Tate Staff and sustainability 50 Funding and trading 52 Future Developments 54 Financial Review 56 Donations, Gifts, Legacies and This report is also available to download Sponsorships 58 in PDF and large-print versions – visit www.tate.org.uk/tatereport Featured art and artists 64 Introduction We are committed to enriching people’s lives International Art. The acquisition of a large through their encounter with art. And so, this group of work by Keith Arnatt, a film by David year Tate again reached out across the country Lamelas, and a significant photographic and to the world beyond – through our galleries, collection, generously given to Tate through partnerships and online – to invite people to the Acceptance in Lieu scheme by the late look again at the familiar, and to think about Barbara Lloyd, are examples of ways in which the new experiences offered by the art of our our representation of this important area of own time. art practice is being strengthened. Broadening global and artistic perspectives / Other notable works entering the Collection Our environment is characterised by rapid this year included a performance by Tania technological, social and economic change.
    [Show full text]
  • Catalogue of the Papers of Bernard Leach
    Catalogue of the Papers and Books of BERNARD LEACH - - - - - - COMPILED BY ALYN GILES JONES, M.A., D.A.A., F.S.A. VOLUME I 1 – 10,803 - - - - - - Crafts Study Centre Bath 1984 - 1985 F O R E W O R D This is the third and final catalogue of the papers of Bernard Leach. However, a number of his letters are in the Muriel Rose archives, also held at the Crafts Study Centre: many of these are in answer to her own letters to him listed in the three Leach catalogues. Other Bernard Leach material may yet emerge, and hopefully any such records will be deposited at the Centre. Mr David Leach made available the first “trance” of these papers, for which the Centre is deeply grateful – as, indeed, it is for the contents of Bernard Leach II, also deposited by him. The second section of this catalogue concerns the papers of the late Mrs Trudi Scott, Bernard Leach’s housekeeper, confidante and indispensable prop during his last years. I had only one telephone conversation with her ever, shortly before she died, during which she promised me an original drawing by Bernard – which I never got! Following her death, I enquired of those close to her about her papers, and can thus claim credit for having saved them. They would otherwise have been thrown away. The collection consists largely of fascinating oddments, single pages of letters, infuriating but captivating jumbles of “membra disiecta”, which have required the repeated re-cataloguing of already catalogued entries, and the constant need to review and revise and rewrite, as fragments came together during the interim and final sortings.
    [Show full text]
  • Alexander Mackenzie
    ALEXANDER MACKENZIE AUSTIN DESMOND FINE ART 1 Fishing Boats 1951 Oil on canvas 40.5 x 51cm In Character: Alexander Mackenzie and Landscape Michael Bird Pencilled in a small black notebook in Alexander Mackenzie’s clean, open italic script: ‘We find in the countryside the character of enduring things’. Is he quoting someone? – Thomas Hardy, maybe, or Edward Thomas. Or W.G. Hoskins in his 1955 classic The Making of the English Landscape, which scraped down the post-war landscape’s layers of social and cultural accretion to decipher the human palimpsest they contained? Whatever its source, the sentiment sounds familiar. It may have come from some volume Mackenzie pulled from his studio shelves, as he did when he wanted to illustrate a point, but the precise choice of words makes me think that this is the artist himself speaking. Mackenzie looked long and deep into landscape. Like Hardy or his own contemporary Peter Lanyon, he was haunted equally by its tactile, impersonal contours and its imagined histories. What he found there, however, and what he made of this in his art were wholly distinctive. 4 2 Still life (Buoys), Kehelland, Cornwall 1951 Gouache on paper 35 x 44cm 3 Still Life 1953 Oil and collage on board 16 x 22.5cm 6 4 Painted Relief 1953 Oil on board 13 x 40.5cm Cup and ring marks - artist’s slide, 1979 ‘Character’ is what Mackenzie would have called the operative word in the aphorism. When we use it as a synonym for personality, we forget that it is a physical metaphor, from the ancient Greek kharassein, to scratch or carve a furrow.
    [Show full text]
  • The London Group at St Ives
    THE LONDON GROUP AT ST IVES Press Release The London Group is heading west to the historic and contemporary art colony of St Ives, Cornwall, to stage an exhibition of its members’ work at the Penwith Gallery, St Ives, home of the Penwith Society of Artists. Both groups are recognised as two of the UK’s most prestigious and longest-established artists’ collectives and have collaborated with two major exhibitions in London and St Ives, Cornwall. One of the London Group’s aims is to ‘advance public awareness of contemporary visual art’ - an objective it constantly achieves with regular shows in London, throughout the UK and the World. This unique alliance culminates during the St Ives September Festival, with The London Group at St Ives at the Penwith Gallery and a concurrent selling exhibition of notable past members and associates of The London Group at the Belgrave St Ives Gallery called The London Group - the St Ives Connection. These exhibitions will provide opportunities to witness the diverse energies of the current LG members within an iconic exhibition space and appreciate the Group’s historic membership, its significant contribution to British Art along with associations with Cornish artistic communities during the Group’s 115 year history. Susan Haire, current London Group President comments, “We are full of anticipation for our exhibition in the beautiful Penwith Gallery which has had years of planning and nowhere could be more fitting for a London Group regional exhibition. We look forward to bringing a show to St Ives that demonstrates the breadth and diversity of work that we as a group celebrate enthusiastically.
    [Show full text]
  • Employing Cornish Cultures for Community Resilience
    Employing Cornish Cultures for Community Resilience. Submitted by Neil Patrick Martyn Kennedy to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Cornish Studies. Submitted in February 2013. This thesis is available for the library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other university. Signature: …………………………………….. 1 Abstract. Employing Cornish Cultures for Community Resilience. Can cultural distinctiveness be used to strengthen community bonds, boost morale and equip and motivate people socially and economically? Using the witness of people in Cornwall and comparative experiences, this discussion combines a review of how cultures are commodified and portrayed with reflections on well-being and ‘emotional prosperity’.1 Cornwall is a relatively poor European region with a cultural identity that inspires an established ethno-cultural movement and is the symbolic basis of community awareness and aspiration, as well as the subject of contested identities and representations. At the heart of this is an array of cultures that is identified as Cornish, including a distinct post-industrial inheritance, the Cornish Language and Celtic Revivalism. Cultural difference has long been a resource for cultural industries and tourism and discussion of using culture for regeneration has accordingly concentrated almost exclusively on these sectors but an emergent ‘regional distinctiveness agenda’ is beginning to present Cornish cultures as an asset for use in branding and marketing other sectors.
    [Show full text]
  • Tins and Fishes Playscript
    TIN AND FISHES TIN AND FISHES A PLAY FOR VOICES by Pauline Sheppard UNITED WRITERS Cornwall The stage performance rights to this play are held by Cornwall County Council and this web version is freely available for educational and community use. All other rights, including mechanical recording rights, remain with the author. © 2006 Pauline Sheppard Sources Geevor Oral History Project Drill & Blast, Nation on Film (BBC) a film by Mick Catmull of A39 Films The Cornishman Newspaper (1930s to present day) A Geevor Miner’s Tale by Ian Davey Deep Down, R.M. Ballantyne St. Just & Pendeen by Edith M. Nicholas St. Just in Penwith by Douglas C. Vosper Geevor Mine Underground by J.A. Buckley, D. Wills, K.T. Riekstins. St. Just Area Guide Tin & Fishes was commissioned by TSW Film Archive St. Just Heritage Area Regeneration Project Cornwall Studies Library and The World Heritage Site Bid Office. Morrab library, Penzance ii Tin and Fishes could have been told many ways: as a gritty mining drama, as a farce about the political engineering of society, as a Acknowledgements spectacular historical pageant in St. Just’s plen an gwari. Each approach would be wonderful theatre. However, every time I came This play could not have been written without the help of the back to the source material - real memories, personal anecdotes - I following: found that they spoke for themselves, and with a little editing and animation by true Cornish voices, they told a simple truth about St. Just Heritage Area Regeneration Project people, place and change. The World Heritage Site Bid Office Pauline Sheppard Fiona Young and Geevor Oral History Project Morrab Library, Penzance Cornwall Studies Library, Redruth Tamsin Daniel, Heritage Officer Penwith District Council The Cornishman newspaper Elaine George Cyril Honey Rachel Ewer Bill Roberts Elvia Elbro Paul Adams R.
    [Show full text]