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Summary of Sensory Team Manager Duties
Link to thesis website Chapter 6 Competing speech communities Chapter 6 Competing speech communities The final chapter of this section focuses on the evolution of folk tradition, and the new spaces created for performance, within the Celto-Cornish movement through the latter half of the twentieth century to the current era of festival culture and Pan- Celticism. It makes the case that the Celto-Cornish movement and the folk revival that arrived in Cornwall in the sixties represent different speech communities, which competed for ownership of oral folk tradition and the authenticity it represented. It must be also be recognised that there is a third speech community with a stake in the celebration of tradition, the local community within which it takes place. One outcome of these competing speech communities is the way in which the same folk phenomena will be used to express quite different identities. The Padstow May Day festivities for example are a celebration that firstly represents a sense of the towns community1 and secondly a Celto-Cornish tradition2 but at the same time is used as an icon by the English Folk Dance And Song Society.3 Underlying this discussion, however, must be the recognition that identity is chaotically unique for each individual and each group of individuals, all of which are at the centre of a “complex web of being”.4 In order to pursue this argument it is first necessary to revisit and examine more closely what is meant by a speech community and how this might affect performance and meaning within oral folk tradition. -
It Just Belongs to Be! Traditional Music and Cornish Identity London Cornish Association Rosyer Lecture 11Th July 2008 Merv Davey “It Just Belongs to Be”
“It Just Belongs To Be” It Just belongs to be! Traditional Music and Cornish identity London Cornish Association Rosyer Lecture 11th July 2008 Merv Davey “It Just Belongs To Be” Abstract This presentation first explores the early roots of Cornish Folk Music, what is the significance the Cornish Carol tradition and who were the musicians and dancers represented on the 16th Century bench ends at Altarnon Church. Following on from this the activities of the late early 20th century British Folk Revivalists in relation to Cornish tradition are considered together with the quite different approach taken by the Celtic revivalists in Cornwall. Lastly we will look at the ongoing traditions of today and how they reflect both the past and modern Cornish identity. “It Just Belongs To Be” Folk A genre of music derived initially from a 19th C folkoric notion of a rural cultural idyll which embraced a broader “peoples music” mindset from the 1950s to include industrial songs and an increasing body of newly composed material in “folk Style”. In the past 40 years it has been increasingly driven by commercial and artistic interests so that it is useful to distinguish the term from “tradition “It Just Belongs To Be” Tradition The active process by which a phenomena such as a tune, song or custom changes and evolves within community usage as it is transmitted from one person to the next and one generation to the next. Although influenced by popular, commercial and art culture, it is ultimately driven by the experiences, perceptions and values of a community or an individual reflecting that community “It Just Belongs To Be” Cornish Identity Identity is a sense of being defined by an individual or groups perceptions and understanding of their relationship with other individuals or groups. -
Česká Zemědělská Univerzita V Praze Provozně Ekonomická Fakulta
Česká zemědělská univerzita v Praze Provozně ekonomická fakulta Katedra psychologie Bakalářská práce Vliv nacionalismu na znovuobnovení kulturního povědomí v Cornwallu Kateřina Hassmanová © 2014 ČZU v Praze Čestné prohlášení Prohlašuji, že svou bakalářskou práci „Vliv nacionalismu na znovuobnovení kulturního povědomí v Cornwallu“ jsem vypracovala samostatně pod vedením vedoucího bakalářské práce a s použitím odborné literatury a dalších informačních zdrojů, které jsou citovány v práci a uvedeny v seznamu literatury na konci práce. Jako autorka uvedené bakalářské práce dále prohlašuji, že jsem v souvislosti s jejím vytvořením neporušila autorská práva třetích osob. V Praze dne 13.3.2014 ___________________________ Poděkování Ráda bych touto cestou poděkovala doc. Ing. PhDr. Petru Kokaislovi, Ph.D, za poskytnuté rady, dále Garrymu Tregidgadovi a dalším informátorům, kteří nám při výzkumu ochotně pomáhali a také Petru Mikšíčkovi, za jeho cenné rady při střihu dokumentu. Vliv nacionalismu na znovuobnovení kulturního povědomí v Cornwallu ---------------------------------------------------------------------- The influence of nationalism on cultural revival in Cornwall Souhrn Tato bakalářská práce se zabývá situací menšiny na území hrabství Cornwall, kde probíhá revitalizace původní keltské kultury. Cornwall, nejjižnější cíp Velké Británie, je jednou ze šesti oficiálně uznaných keltských oblastí spolu se Skotskem, Irskem, ostrovem Mann, Walesem a Bretaní. Tato menšina se v posledních čtyřiceti letech rozrůstá a dostává se do povědomí široké veřejnosti a to především díky vzrůstajícímu počtu mluvčích znovuobnoveného keltského jazyka, kornštině. Stejně jako u dalších minorit, tak i v Cornwallu existuje místní nacionalismus, který je hnací silou změn. Cornwallská identita, ke které se k roku 2011 hlásí necelých 14% obyvatel, je definována nejen jazykem, ale i dalšími kulturními aspekty. Protože tato kulturní revitalizace probíhá až od druhé poloviny minulého století, klade si práce za úkol zjistit a popsat klíčové události, které daly hnutí do pohybu. -
Revival and Creation of Cornish Folk Music and Folk Dance Contrary To
In Search of Cornish Identity: Revival and Creation of Cornish Folk Music and Folk Dance Contrary to the well-known folk music and folk dance scenes of major Celtic nations like Ireland, Scotland, Wales and Brittany, the folklore of Cornwall, a region located in the far southwest of Great Britain, has to date not received much international academic attention. Even in the major scientific works on Celtic music (Sawyers 2000; Stokes and Bohlman 2003), Cornwall is usually not mentioned at all, even though it was recognized as one of the six Celtic nations as early as 1904 (Jenner 1905). Until now, only one PhD thesis (Davey 2011), an MA thesis (Toms 2010) and a BA thesis (Trethewey 2011) have been written on Cornish folk music, while Cornish folk dance has only been investigated in a single chapter of Davey’s thesis. This lack of scientific interest in the region’s traditions seems somewhat surprising, however, given that there is indeed a rather lively folk music and folk dance scene observable in Cornwall at present. This movement has its roots in the late 1970s, when local musicians initiated the Cornish Music and Dance Revival – not least because they wanted to give emphasis to their Celtic heritage and celebrate their otherness to English people. It is also a result of the Cornish Language Revival, which was initiated around 1900 by Henry Jenner and Robert Morton Nance, with the aim of reviving the Celto-Cornish langauge that had been extinct by 1800. The Cornish Language Revival heavily influenced the Cornish Music Revival, not only ideologically but also linguistically. -
Lev Krev Kernow Lyther-Nowodhow
Lev Krev Kernow Vocal Force Cor nwall: ‘A strong voice for Cornwall’ Lyther-nowodhow-Newsletter Dynergh - Welcome! 22nd March 2010 Issue 14 Where we keep you updated on the news, latest sessions and future dates The ‘Fab 4’ & The Perraners at St Agnes Perraners & St Agnes school Tom Bawcock & his cat! THIS IS OUR LAST NEW SLETTER FOR THE FIRS T YEAR AND A PACKED ONE TOO! ‘Lev Krev Kernow’ is Cornish for ‘Vocal Force Cornwall’ - a project managed by Cumpas (Cornish Music Projects) as part of a nationwide ‘Sing-Up’ programme. The aims of the project include developing a network of vocal leaders for primary aged children, providing both training and support to enable the network to share their skills and repetoire in both leading singing and working with primary aged children. There is a strong emphasis on using Cornish repetoire including the use of the language. Focus Day Saturday March 20th This was led by Helen Porter, a singing leader and voice coach from Dorset who is both a teacher and a performer. The well attended day began with a technical voice session. Warm -ups included attention to posture in order to avoid fa tigue, breathing and a pilates excercise for the abdominal muscles. Physical exercises then focused on the mouth, lips and tongue such as moving the tongue around the teeth in order to relieve tension. We rolled rrrs to keep the jaw loose and we laughed loudly and silently to retract and widen the larynx. Throughout the session, Helen explained the reasons for the exercises and the beneficial effects upon the quality of singing. -
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. -
100Cm by 100Cm Poster Template
In Search of Cornish Identity Revival and Creation of Folk Music and Folk Dance in Cornwall from 1970-2010 Lea Hagmann, University of Bern Summary A similar approach was taken by musician and story- Method teller Mike O’Connor, who started to write his PhD thesis Contrary to the well-known folk music and folk dance on the history of Cornish music about six years ago but As a basis I will follow guidelines of the Grounded of major Celtic nations like Ireland, Scotland, Wales later abandoned the project and produced a smaller book Theory Methods (Glaser & Strauss 2005), which are and Brittany, the folklore of Cornwall, a partly on a similar topic, Illow Kernow, instead. based on: autonomous region located in the far southwest of England, has to date not received much international Musician and post-graduate Frances Bennett, who was 1. Collection of qualitative data (interviews, academic attention. Even in the major scientific works herself actively involved in the foundation of the Nos ethnographics, participant-observation etc.) on Celtic music (Sawyers 2000; Stokes and Bohlman Lowen movement in 2000, also started to write her PhD 2. Sampling (transcription of data, generating of 2003), Cornwall is usually not mentioned at all, even thesis on Cornish folk music, focusing on the cathegories) though it was recognized as one of the six Celtic contemporary developments rather than the historical 3. Coding (analysis of the data) nations as early as 1904 (Jenner 1905). Until now, only aspects of the movement. But due to a change in her 4. Generation of the new theory one PhD thesis (Davey 2011), an MA thesis (Toms family circumstances, she too gave up her studies. -
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SLIDE1 Challenging Collaborations: Local Musicians, Local Academics and the Scholar From Abroad SLIDE 2 “Fieldwork is the most personal task required of the ethnomusicologist”. This is a quotation by Helen Myers (1992:21) and it describes in a nutshell the core of this paper. When conducting fieldwork, we as ethnographic researchers cannot remain anonymous academics who merely exist through our written texts or within the realm of the academic ivory tower. When conducting fieldwork, we are first and foremost human beings, private people, who involve with the musicians and dancers we study, and we encounter our informants as partners on an equal eye level. As Bruno Nettl puts it in his introduction to Barz and Cooley’s Shadows in the Field: CLICK “[O]ur informants-consultants-teachers become part of our family; or even more likely, we become part of theirs”. (2008:vii) These personal relationships form the basis for conducting serious ethnomusicological research. In my view, they are the only solution against elitist behaviour on the side of academia, and the only way to prevent exoticisation of ‘the other’ - whoever that may be. However, in the course of my involvement with musicians and revivalists in Cornwall, I have become highly critical towards the idea that the researched musicians must always be right when it comes to personal opinions, convictions or narratives that are shaped by socio- political and cultural circumstances. The problematic discrepancy between our desire as | downloaded: 30.9.2021 ethnomusicologists to “give voice” to our participants and the fact that at the same time these participants’ experiences might be in line with certain ideologies, has been addressed by Harris Berger in 2008. -
Women in Cornish Trad Webinar Notes
Woman Tune Commentary Quotes, Refs and Links About the Welcome! The webinar will be available as a recorded video Women of Cornish Music webinar immediately via the same link you used to register here. We will Project: https://hypatia- also share it via the Hypatia Trust and Cornish Trad websites trust.org.uk/women-of-cornish- and social media. Longer playlists will be available on YouTube music and Spotify. Chat on the right of your screen. If you want to ask questions via audio…? Intro Nos Lowen by Nos Lowen. A representation of Cornish Trad today. Addictive, This is what Mike O’Connor says, Skillywidden ( mesmerising, emotional, diverse, it’s home, it’s us. How did we https://youtu.be/kZ get here? “The Cornish repertoire is so goMpZuDfw) diverse in form, origin and What is Cornish traditional music? The tunes and songs influence, as to make unlikely the enjoyed by the community for their own sake, mainly vernacular existence of any single identifying or non-religious in nature, played by folk for other folk. I am characteristic. But it can be searching for the women who have shaped the identity of argued that the Cornish repertoire Cornish traditional music we recognise today, situated in the together comprises a unique modern Celtic traditional music family in very much a living cultural profile. There are Cornish tradition that I now find myself part of. These sometimes include ‘fingerprints’ in many areas of the tunes and songs found elsewhere, but made our own and Duchy’s social music. The adopted into the tradition. -
Scoots & Troyls – the Cornish Dance Tradition: Sidmouth Folk Festival
Scoots & Troyls – The Cornish Dance Tradition: Sidmouth Folk Festival Workshop 2nd Aug 2014-07-28 Illustrated with displays from Kemysk Cornish Dancers and some audience participation. This workshop follows the threads of Cornish folk dance from medieval roots to 21st century Cornwall. Before we proceed it is worth a quick review of what we mean by “Folk” and “Tradition”. A Short Definition of Folk Tradition Folk tradition is a dynamic social process taking place within a community rather than something fixed and historical but it does have continuity with the past and does not suddenly pop into existence out of nowhere. It is a “people thing”, a psycho-social process involving identity and I use Jones’ de-constructions of the “tradition debate”1 to distil a number of features associated with identity and how people perceive themselves in relation to tradition which in turn impact upon the process of tradition: 1. continuity through time 2. social and communal nature rather than individual 3. defines events and marks the passage of time 4. becomes moribund or inactive at one stage only to be revived and engaged in later 5. a process where people will select which aspects they will learn, perform and actively transmit involves symbolic constructions of the past in the present for the future First and Second Existence in Folk Tradition This is a useful concept first devised by Hoerburger2 and further developed by Nahachewsky and Ruyter3: The “first / reflexive existence” is where the tradition takes place takes place unselfconsciously in its original cultural location and is an integral part of community life. -
Programme Spring 2016
DANCETHEATREEVENTSMUSIC PROGRAMME SPRING 2016 PROTEIN DANCE MAY CONTAIN FOOD MR AND MRS CLARK SMASH IT UP BRONCO’S HOUSE FILM SCREENING BELLATRIX BEATBOX CHAMPION Box office 01326 259349 1 PERFORMANCES 4 WELCOME EVENTS 15 OPPORTUNITIES 20 Welcome to the spring 2016 programme at Falmouth’s REMOVABLE SEASON CALENDER 11 Academy of Music and Theatre Arts. This season sees us continuing to bring pioneering new work from leading dance, theatre and music groups to Cornwall – from the emergent to the internationally-acclaimed. Some shows, such as James Wilton on 6 & 12 February, are presented as an evening performance and a free afternoon schools’ matinee, enabling Cornish audiences and children to see great work in a world-class facility. As our regular events, such as the Young Persons’ Creative Dance Sessions continue, some new initiatives are being launched. Particularly exciting are the forthcoming recording of a BBC Music Introducing Showcase on 10 February and an extensive range of public performances and creative events by current students. BA(Hons) Music, Theatre & Entertainment Management BA(Hons) Creative Events Management We look forward to welcoming you to AMATA. Adrian Bossey Executive Producer Academy of Music and Theatre Arts Cover photo © Chris Nash BoxBox office office 01326 01326 259349259349 3 Saturday 6 February Wednesday 10 February JAMES WILTON DANCE BBC MUSIC INTRODUCING PREMIERE: HOLOCENE AND SURFACING IN CORNWALL PRESENTS 19.30 STONE ROOTS Based on Job 41: 1-34 from the Tanakh, Holocene PLUS SUPPORT explores the immense power and ferocity of 19.30 nature. Starting from gently rolling waves the FEBRUARY 2016 BBC Music Introducing in Cornwall will be fluidity builds to epic proportions until the stage recording an evening of top local bands for is flooded with a crashing tsunami of movement. -
Tam Kernewektam
Tam Kernewek “ A bit of Cornish” Volume 30 Issue 4 Winter 2012 The Cornish Gathering 2014 The big news of this issue of Tam Kernewek is the announcement of our next Gathering. When no one came forward during the past year, the CAHS officers decided that we could wait until 2014 (if need be) to have a gathering, allowing any organization enough time to put things together. This change would also resolve conflicts the Gathering has had with other major Cornish events during the odd-numbered years. In September we had two organizations who were thinking about stepping forward. I’d like to thank the Toronto Cornish Association for their considerable reflection for hosting the event. The Gathering 2014 will be hosted by The Cornish Society of Greater Milwaukee. The Cornish So- ciety will team up with John Gleeson and the Celtic Studies Center at the University of Wisconsin - Milwaukee. John is the co-director of the Center and senior lecturer at the University. Joe Trewyn had the spark of an idea to include the Center in the planning, and this has lighted up new possibili- ties. Milwaukee offers a rich, urban setting with multiple opportunities. The university offers a body of knowledgeable (and younger) Celtic enthusiasts. Joe thinks it may be a bit of a departure from previous Gatherings, but the university connection also opens up new doors to promote Corn- wall and Cornish culture. Co-chairs Maribeth Sullivan and Katherine Herman are just beginning to work on details. Please make sure you keep late summer 2014 open for the Gathering! Thanks to the Cornish Society of Greater Milwaukee for taking this on! Have you seen the new look of our website: www.cousinjack.org? It looks great! The site is easy to navigate and the pictures bring a wonderful showing of our Cornish activities and the best of Cornwall.