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Tam Kernewek and /Or News Bulletins Or Announcements from the Executive Board Tam Kernewek “ A bit of Cornish” Volume 29 Issue 1 Spring 2011 Mineral Point, Here We Come! IONA… The Cry of Tin “the Best Celtic Music “Music and drama combine in Cry of Tin to make this a America has to Offer” “Must See” at the 16th Gathering. The performance in the historic Mineral Point Opera House promises to be an inspi- rational and unforgettable experience”. (Jim Jewell) Founded by Barbara Tresidder Ryan and Ber- nard Argent, IONA‘s mission is to present the rich musical When an assayer puts an ingot on a bending machine, as the elements of all the Celtic cultures – Breton, Cornish, Irish, tin flexes it makes an eerie sound from which he judges its Manx, Scottish, Welsh, Asturian and Galician, blending value. Although variously described as a „screaming‟ or them into a tapestry that resolves in the New World, as „crackling‟ sound, it is not particularly loud. They call it the evidenced in Appalachian, Cape Breton and Cajun cul- Cry of Tin. tures. IONA has researched its material extensively, “From the Bronze Age to the closure of South Crofty Corn- traveling to all the Celtic lands to excavate the traditions wall‟s destiny has been wrought in the pain, the joy, the and learn from those from whom the music originated. profit, the loss, the life and death – the Cry of Tin.” (Cornwall Songwriters). Barbara Tresidder Ryan (lead vocals, bouzouki, bodhran, guitars, pieds) grew up in a Cornish /Scottish family that In the original production by the Cornwall Songwriters, each sang and played traditional music all her life. Bernard song was led by its writer, and all joined the choruses. The Argent (flute, whistles, percussion, vocals), a native story is told through a combination of documentary narra- Briton, brought his deep knowledge and love of music to tion, dramatic quotation and descriptive songs in the format the band‘s core. They are joined by Chuck Lawhorn from of the „radio ballads‟ of the 1950-60s. an old Virginia family tracing its roots back to Wales, Jim Queen, whose Scotch-Irish background has informed his We are fortunate to have the permission of these originators playing through 30 years with the Air Force Band, and to present this powerful musical drama which deserves to be step dancer Kathleen Larrick who contributes an even seen and heard by a much wider audience and will be per- broader spectrum of AmericCeltic culture formed at the Gathering by a group of musicians from Grass Valley, California. “A terrific collection of sophisticated contemporary “…They are careful folk songs that combine with brief scenes to tell the with their source material story of tin, “conceived in the Crucible of the Gods.” and will command the re- Songs vary in style from storytelling to anthem to bal- spect of enthusiasts for the lads, from boisterous to poignant. THE CRY OF TIN tradition….” Mike O‘Connor, humanizes Cornish miners across the centuries and Cornwall Songwriter, quoted in across the world. An excellent experience not to be Cornish World magazine. Cornish AmericanHeritage Society missed.” (Sue Pellowe) The memorable songs in this production take us down paths Continued next page of spirituality with “The Green Man” which beautifully evokes Cornwall‟s Celtic pagan origins, the humorous “A Continued next page Iona con’t: Cry of Tin con’t: Barbara tells us, “In October, 1991, Bernard Argent, and I Didjan for Bucca”, full of local superstitions, and folklore, and went to Cornwall in search of music and adventure. We towards the end, we have “The Miner‟s Anthem”, which could hit the mother lode! In Polperro, I worked with Jack have come straight from some grand Methodist revival meeting Libby, a bard who helped me with pronouncing the Cor- in the days when John Wesley came to Cornwall. We have nish words of songs that I'd researched. He arranged a heard and read about the child labor prevalent in our ancestors‟ recording session in his church and, while we were there, time; the powerfully emotive “I Feel Fine” which was written we asked whom we should seek out to find out more. Of and recorded by Miranda Truscott at fourteen years of age will course Brenda Wootton's name was top of the list, and chill you with its “youthful bravado”. The emigrant miner, we set about finding her. earning a good living in Australia expresses the longing for homeland experienced by so many Cornish of the 19th Century Our quest led us to Penzance where we called Brenda at „exiled‟ to Mexico, Australia, South Africa, India and North and her home in nearby Ding Dong. She told us that she South America by economics. wasn't well, but would see us that day. It couldn't be for long since friends were coming to dinner that afternoon, “I was fortunate to see “Cry of Tin” at Dehwelans. What a but perhaps we could have tea. She dispatched her hus- moving experience! Having been completely immersed in band, John, to come to our B&B to lead us to see Cornwall and Cornish culture for days, this was a culmination. her. He arrived on a motor scooter, a bright, apple It was a story that my great grandfather could have lived; the cheeked wee man, who smiled all the time. We followed joy of fulfilling work followed by the tragedy of mines closing him through the hedgerows, and just past the ruin of the throughout Cornwall. It was the story of why he had to leave. Ding Dong mine, we found their little cottage. Truly family history.” (Nancy Heydt) We hit it off famously Marion Howard also describes her reaction to the privilege of and were there when seeing “Cry of Tin” at Dehwelans in Falmouth in 2002. “It is a their friends ar- powerful musical drama inspiring many emotions in telling the rived. My Cornish an- story of tin mining in Cornwall… It brings to life and into your cestry, plus our deep heart the joys, pain and reality of tin mining on the lives of the interest in the history of men who toiled in darkness to bring the tin-bearing rock to Cornish music, de- grass and the impact of such a life on their families. I think it is lighted Brenda, and we a very important piece to bring to SW Wisconsin where mining had more to talk about was once the life-blood of the area.” than we could fit into a ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ couple of hours! Their friends, Bill and Colleen Rogers, invited us to have dinner with them at their farm on The Lizard the following Sunday, and Brenda and John planned a tour for us en route. And what a tour! We heard all about Brenda's heritage, stopping at a pub for which her grand- father had painted the sign. We danced with the Nine Bring yours to the 16th International Maidens, heard all about bards and gorsedds, visited Tresidder (homestead of the archers) Farm, where arch- Gathering of Cornish Cousins in Mineral ers would set up their practice bosses and spoke to Lady Point in August and share it, showcase it. Bolitho, the proprietress, finally arriving at Rosenython Pack up your guitar, tin whistle, bodhran, Farm, a working dairy. The tables groaned all day with Colleen's amazing, creamy creations that culminated in a cornet, bugle, poems, or ??? and plan to delicious suckling pig. Bill took us on a tour of The Lizard entertain us. and the farm, we talked and we sang around the fire. We were convinced we'd died and gone to heaven! On top of all their hospitality, Brenda arranged to have us We’ll have a open for the Rum and Shrub Shanty Singers at the Star Inn in Redruth. When I sang in Cornish, the audience Crawdy Crawn! was quite taken aback! They were definitely there for their local heroes, who got better with each rum and shrub, until they hit their limits and ended with great hilar- ity. It was an experience. John called us to make sure we tuned into Brenda's radio show, scheduled to air as we were leaving Cornwall. “With tears in our eyes, we listened to her dedication of Continued next page 2 Iona con’t: one of her songs to the American Cornish girl and her band, IONA, as we drove east and away from Cornwall.” Barbara Tresidder Ryan’s vocals have been described as ―smooth and sweet as dark honey‖ and are IONA‖s mainstay. She has performed throughout the British Isles and Brittany, sung for Voice of America broadcasts and for the National Geographic Explorer Special. She and Bernard have gained international recognition as the founders of the Potomac Celtic Festival. Barbara Ryan’s singing in the various Celtic language is beautiful, earthy and impeccable, Joanne Gagnon, Celtic Beat Bernard Argent is IONA‘s charming historian and yarn spinner. He studied music through is youth and at the uni- versity in England, and played trumpet in several orchestras before venturing into folk realms as a blues guitarist. In the ‗70s he took up the tin whistle, then wooden flute. The latter has become as much a trademark of IONA‘s sound as much as Barbara‘s vocals. He and Barbara travel extensively through the Celtic lands, collecting material for their repertoire and his scholarly interjections. Chuck Lawthorn not only owns just about every bass guitar conceived by mankind, but plays them all expertly. He also dabbles in whistle and mandolin playing and sings a mean tenor harmony with the group. Other the past three decades as a bass guitarist, he spent 13 years traveling all over the country in different dance and show bands, including the seminal Fabulous Potato Heads.
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