Hedd Wyn & The Bardic Chair at Hawkwood 9 November 2014
A review by Katie Lloyd-Nunn
Kevan Manwaring, Cotswold Word Centre volunteer co-ordinator and former Bard of Bath (1998-1999), introduced the evening. His intention in organizing the event was to honour Remembrance Sunday and to generate interest in the new competition for the Bard of Hawkwood. This was launched at Hawkwood Open Day on Monday 5 May 2014 and this evening is almost exactly half way through the year which will culminate in the competition and adjudication on Monday 4 May 2015 at Hawkwood Open Day. The theme of the competition is FLOOD and competitors must be “within a day’s walk of the Chair” i.e. and inhabitant of GL5 or GL6 postcode, as winning the Chair includes responsibilities related to the Chair and its location in GL6 at Hawkwood. Each applicant is to perform an original poem, song or story of less than 10 minutes duration.
Richard Maisey, Holder of the Bardic Chair, talked about the Chair, saying how it has been in his family in South Wales near Neath for a long time. The plaque reads Eisteddfod Denbighshire 1882, but no name is assigned (as no Chair was awarded that year). It’s tremendous that now this unclaimed Chair will have the opportunity to be won by a local talented wordsmith.
Kevan explained how the current revival of Bardic Chairs came about. The eccentric antiquarian Edward Williams (Iolo Morgannwg) ‘found’ a list of 30 English Chairs, several of which have now been revived including Bath, Exeter and Glastonbury thanks chiefly to the vision and initiative of the late Tim Sebastian, who started the Bath Eisteddfod in 1996. New Chairs are being created, eg Northampton. What is a Bard? The Bard kept remembrances and genealogy of the tribe and shared stories of wooing, wedding and funerals. They were not Druids, though.
[Katie adds: In 1998 I met Donald McDonald, the Bard of South Uist. He wrote poems about all sorts of events, between thatching his own roof aged late 70s, including Camilla’s marriage to Prince Charles. It was huge privilege to meet him!]
A Laureate is appointed by the Queen and has officialdom attached to him/her. In contrast Bard is elected by their community, and needs to able to perform and connect to an audience, not to be just a “page poet”, e.g. performance poet, singer, storyteller.
The Cotswold Word Centre honours all the word activities in the local area.
The Chair, as its living symbol, will foster community arts engagement. It will support local creativity as each Bard represents a particular locality.
We then watched Hedd Wyn film, a 1992 Welsh-language film. Its title is taken from the bardic name of Ellis Humphrey Evans, who won the Bardic Chair of Birkenhead of 1917 posthumously, having being killed at the Battle of Passchendaele. ‘Hedd Wyn’ means ‘Blessed Peace’.
(see separate notes)
After the film, John Xavian, Bard of May Hill spoke:
“I am a Celt and this film upheld all the Bardic Traditions and we need to look ahead and get working on it [the 2015 competition for the Bard of Hawkwood] now! We want to see young people writing. We need to get into the schools. Spread the word from this gathering! We needpeople to respond. This is a live heritage. Everyone is capable of creation. Like painting, we can write with the Pen – we have the English Language full of shades and colours, tones, depth. Artistic creation is within everyone. Recognise what’s in your heart. People need galvanizing. By freeing the Spirit in each of us, the stupidity of war can be challenged. When the Spirit is bound, the Human is led by aggressive acquisition and short-term gain. Let us remember that music and art meet in poetry.
We want to see a Bard at Hawkwood and we want to see people who want to be the Bard at Hawkwood. The Chair is the symbol for the Spirit unbound in creativity.
Kevan added the tragedy in this film was the silencing of all the voices. The Ellis chair is known as the Black Chair and the 1917 Birkenhead festival is now referred to as “Eisteddfod y Gadair Ddu” (“The Eisteddfod of the Black Chair”). A powerful symbol of all those silenced voices. Winston Churchill was asked about cutting arts budget and he said: ‘Then what are we fighting for?’
Josie Felce: It was an honour to work for 20 years in the peninsulas of Wales; to help to stimulate people who are not used to expressing themselves is inspiring. The Bard has the job of inspiring others for one year. There should be performance skills offered.
Kevan: Anyone can perform at the contest at Open Day on Monday 4 May 2015, they don’t have to compete. They will still be part of the ‘Gorsedd’ (the Circle for all those who wish to be involved in supporting the Chair).
Ways to hone performance skills:
Last Friday of the month – Black Books Café Story Supper (next 28 Nov).
Green Words – 10 week Tuesday evening writing course at Hawkwood, starting in January.
Late January – Inklings of Spring Bardic Showcase, an ideal way to savour the “Awen” spirit of inspiration.
Bardic Boot Camp – 28 March, 2015.
Further reflections on the film by Richard Maisey: In the Valleys if you went into the non-conformist chapel, it was to sing. Fewer chapels and no singing now, so singing at Rugby matches is no good – has no “Hywll” no heart / soul / heat/ passion. I wonder if the wood of this chair might have some resonance? Has it soaked up some of those voices?
****The Bardic Chair of Hawkwood is going to Malvern Writers Circle to be blessed by Gillian Clarke, national poet of Wales.****
£44.50 was raised for the Peace Pledge Union from donations.
HEDD WYN – THE FILM
It was the Best Foreign Language Film in 1992 (in Welsh with English subltitles). Also won several BAFTA Wales awards.
Kevan chose to show this film on 9 November on Remembrance Sunday
- Set at the beginning of WWI. Ellis Humphrey Evans entered the Eisteddfod under the nom de plume Fleur de Lys. We are showing this film to honour those who have been impacted by war in whatever way.
- Also, it’s about a Bard. It’s one of the things that made me [Kevan] want to be a Bard. It’s not just about the Celts ~ it’s about what we do now to celebrate being alive.
It is a relatively simple story of a young man wedded to his Muse who sadly dies in action in the early months of WWI. Driven by his need to write and leading a relatively undemanding farming life, Ellis Humphrey Evans is shown writing in the landscape and getting help from a more educated friend in polishing his work for submission to local Eisteddfod competitions. His poems evoke the beauty of his native land and are infused with unspecified feeling, perhaps hinting at and matched by the sensuality of the Welsh landscape and his own susceptibility to the charms of womankind.
The pace of the film is unhurried and could possibly do with cutting by 20 minutes or so – I didn’t feel the relationship with older woman Lizzie really added to the plot. The disturbing reality of the War gradually oozes into the life of Ellis and his family in parallel with his growing ambition to win the national Eisteddfod. As Kevan says, “The film illustrates the complexity, the forces bearing down on the individuals and the community portrayed.” The anguish and confusion of the mother is well portrayed and echoed by the new young school teacher who urges Ellis to write about this, saying,” Ellis we are all affected by this war.”
The camera plays upon actor Huw Garmon’s handsome sensitive features, his beauty enhanced by the fact that most of the other Welsh-speaking actors seemed to have unusually wobbly Celtic faces.
After months of inertia and avoidance, despite a visit by a War Office official, he is finally brought before a tribunal and deemed fit for war. His tendency towards being a bit of a slacker (according to younger brother Bob) and womanizer is now redeemed by his set-jawed decision to go to war instead of 18 year-old Bob in an act of maturity and honour.
He is then flung into the violent, de-humanising war machine yet still manages to make friends with his fellow Welsh tommies, write letters home and to submit his poem Armageddon to the Bardic competition.
His fatal injury occurs fairly early in the film and the clever use of flashbacks brings a subtle poignancy to the narrative. The staging and direction is beautifully done and though grueling is never gross. The mystical Celtic soul shines through in the lush green landscape and full flowing rivers paralleled by the occasional appearance of a shadowy figure representing love, conscience, Nature or perhaps Arianrhod the once-virginal moon goddess whose boat carried the dead into the afterlife.