Lighting Bríghíd’s Flame

 

In the Old Chapel, St Briavel’s, Midsummer 2017. Photography by 2017

The inspiration for our new show – Bríghd’s Flame (we pronounce it ‘breed’) – came when Chantelle and I explored Ireland back in the summer of 2015. Our 2500 mile road trip (much of it on the back of my Triumph Legend motorcycle) took us to many places associated with Irish myths and legends: Croagh-patrick, Tara, Knocknarea, Carrowmore, Uisneach, Newgrange and Kildare. The latter inspired the spark of our show – to visit a site associated with the blacksmith goddess Brighid and the sacred flame of St Brigid was thrilling. As was the extra-ordinary ‘Cave of the Cat’, accessed via a small hole beneath a hawthorn tree, this intense, visceral place is associated with the Morrighan and boasts an ogham inscription in its lintel stone claiming it to be the burial place of the son of Medb, the great queen who haunted WB Yeats and whose mighty mound can be found dominating the coastline of his beloved Sligo. By the time we left Ireland we knew we’d create one of our distinctive ‘ballad and tale’ shows around the sites and their mythos. It would take a couple of years and alot of effort (far more than perhaps some realize), but we finally achieved this dream – on Saturday 24^th June with the premiere of our show at ‘Tales of Witchcraft and Wonder’, a launch event organised by Inkubus Sukkubus for their new album, Belas Knapp, as the atmospheric setting of St Briavel’s, a haunted Norman castle deep in the Forest of Dean.  We started seriously discussing the show around Samhain, but it was at Yuletide that I came up with the post-apocalyptic framing narrative that would provide the ‘spine’ of the show, with its 4 main tales (Finn and the Salmon of Wisdom; Cuchullain and the Warrior Women; Oisín and Niamh; the Children of Lir – told uniquely in my way, with my words); 5 beautiful new songs and arrangements by Chantelle; new poems by yours truly; and incidental music on harp, bodhran and shruti box (once again by the talented Ms Smith). Both of us really pulled out the stops, creatively. Then there were the rehearsals, the costumes, the poster, the promotional copy … and the logistics of getting bookings and so forth. If it was all for one event it would have been too much really – insanity, even – but we have a small tour lined up and hopefully other dates that will materialize. St Briavel’s was the start – but what a start! It was great to finally share the show – and with such a well-informed, attentive, and appreciative audience. The Old Chapel looked fantastic – low lighting, candles, fairy lights draped from ancient beams … Atmosphere like that does half the work in a performance. But midsummer day was hot and there was no real seating in the hall until I gently insisted on some. Benches were brought in from the banquet room, but still it was standing room only for some. Yet the amazing Inkie audience stuck with us (and perhaps literally to each other)! Afterwards we got lots of great comments – such as ‘utterly amazing’; and ‘thank you – your stories unlocked the symbolism and wisdom for me’ – people had clearly ‘got’ the show and lapped up its magickal imagery, music, narrative and verse. We look forward to bringing Bríghíd’s Flame to more audience this summer and beyond.

 

***Thank you to Candia and Tony McKormack of Inkubus Sukkubus & our fellow Fire Springs Anthony Nanson and Kirsty Hartsiotis for providing support & a space to glow***

 

Chantelle ready for action, St Briavel’s Midsummer 2017. Photo by K. Manwaring 2017

 

Forthcoming dates:

• Druid Camp 27-29 July
• New Forest Fairy Fest, 12-13 August
• Everybody’s Reading Festival, Leicester, 30 September
• Dorset Earth Mysteries, 7 December

For updates, see website: http://brighidsflame.co.uk/

 

Walled Garden, Hawkwood

So soon now the midsummer
builds like a migraine,
a pressure in the head.
The sun rucks the sky,
stuns us into submission.

Drunken bees tumble
dark poppy heads ~
with their forgetful secrets.
Under the nets the strawberries
quietly bloom to fullness.

How sweet the seed
that from the bitter earth
erupts, clamouring for
the spell of light and
the kiss of rain.

Each thorn snags
a bud of dew,
sap swims up
the hidden rivers
of roots and stream.

Green blood pulses
and pushes life up
and out with a broken
cry of yes. And the trees
nurse us asleepwake

with their beards of birds.

 

Kevan Manwaring

14 June 2017

 

 

Equinox Bridge

(reposted in memory of the families and victims of Manchester Arena)

Rising to the brightening fields

to the bridge of day and night

when all is in balance

briefly.

Friends, families, dog-walkers, gather

by the quickening stream

united by their mutual awe.

This morning a kingdom

holds its breath,

the day of the new moon,

the day of the Spring Equinox,

the day of the solar eclipse,

the sun entering Aries,

all the usual astrological mumbo-jumbo.

 

But the solar system is not our personal orrery.

 

The show is not for us,

although we act like it is.

 

Not full totality here,

but dramatic enough

for us to stand and stare

astonished,

as the moon takes a bite out of the sun,

Fenris’ rabid bite-marks

raising hackles of primal fear

beyond science and common sense.

Birds quieten, a wind stirs,

pets are bewildered.

 

Yet we know the light will win in the end.

 

The moon for once

turns its face away

from the radiance.

A loyal mirror

today is shattered.

 

Some will turn away from goodness,

some will turn away from the light,

some choose evil’s imagined glamour,

some choose the night.

 

And yet, in the great scheme of things

(has anyone had a look lately?)

both are needed.

Not a fifty-fifty fixed rigidity

but a flowing, a to-ing and fro-ing.

Like rough-and-tumble cubs fighting.

 

Towards summer, the lion of sunlight dominates.

Towards winter, a beast cast in night’s bronze.

 

Both have their place in the Great Dance.

 

Yet often the light feels frail.

Ah,

so much darkness in the world.

 

Black-clad barbarians enacting their

impotent rage on aid-workers,

school-children, museum-visitors.

Infantile despots, wanting the world

to comply to their solipsistic

Cyclopean monomania,

their pinhead paradigm,

which perverts its own doctrines

to serve whatever devil lurks inside.

 

See them nurse their grievance narratives,

polish their Russian rifles,

strap on their home-made bombs,

thinking their lonely library of a single book

can justify destroying all others.

 

Yet this morning all of that is erased

by the sublime benediction of the new sun,

still shining its endless love on all of its children.

This morning the Earth is like a prayer –

grass, flower, tree: hands raised in praise.

All that lives, that is truly alive,

turns towards the light.

 

Only that which denies, which deals in

death, in the destruction of its own past,

a Year Zero moronism, does otherwise.

 

Yet this morning I stand

one foot in the shade

one foot in the light,

between the Horns and the Heavens

a balancing act, a tight-rope walk,

across the Niagaras of positive and negative

moving stubbornly beyond duality.

Beyond a binary world of

with-us or against-us.

 

I stand poised on Equinox Bridge

knowing as I cross it

that it disappears behind me as I pass,

that it never truly existed

a fleeting moment, a pulse of awareness,

cherry blossom falling on snow.

 

And somewhere the future

is surging towards us like the swell of the bore.

And somewhere a king

with a black name is buried,

and somewhere Persiled druids

stand posing in the sun.

 

All bathed in

eight minute-old light

which scatters its photons

magnanimously across the tilting Earth,

the part we call north,

the place we call home.

 

In the blink of a blind god’s eye.

 

 

Kevan Manwaring

Spring Equinox, 2015

(reposted in memory of the families and victims of Manchester Arena)

Bard of Hawkwood 2017

Th

Centre – Madeleine Harwood, Bard of Hawkwood 2017

3 years ago I set up the Bard of Hawkwood contest to promote community creativity. This, along with Stroud Out Loud! – the monthly spoken word showcase I founded – offers a way for budding bards to hone their fledgling talents in an inclusive, supportive way. It is not the only way of doing things but it works here in Stroud and the Five Valleys, where there is a wealth of local talent and traditions of artistic heritage, alternative lifestyles, radical thinking, and grassroots activity. The Bardic Chair tradition and revival is something I have explored in my book, The Bardic Chair: inspiration, invention, innovation (1st published by RJ Stewart Books in 200, a new edition of the book is forthcoming).

RJ Stewart Books, 2008

The revival of English Bardic Chairs is largely down to one man, Tim Sebastian. The Arch-Druid of Wiltshire and the Secular Order of Druids. I had the pleasure to know Tim during my time in the city of Bath. I won the Bardic Chair he set up in 1996 (becoming Bard of Bath in 1998). He died in 2007 and the book is dedicated to him. This book, and the others I have written about the Bardic Tradition (Speak Like Rain: letters to a young bard, Awen, 2004; The Bardic Handbook, Gothic Image 2006; The Way of Awen, O Books 2010), as well as my training and experience in Arts in Community Development, inform my endeavours – providing platforms for creativity that celebrate local distinctiveness, diversity, and transcultural empathy. Now more than ever we need to hear one another’s stories and sing the songs of soil and soul.

 

Here’s the Press Release announcing the new Bard of Hawkwood – feel free to reblog, tweet or share….

The New Bard of Hawkwood Announced

After a gripping contest at the Hawkwood College May Day festival Monday 1^st May, the new Bard of Hawkwood has been announced: Madeleine Harwood, who won with her original song, ‘Right Way Up’.

Madeleine said afterwards: ‘I shared the room with some extremely talented individuals and so I am very humbled to have been chosen as this year’s Bard. I look forward to working hard over the coming months to really promote everything the the Bardic Chair stands for.’

The Bard of Hawkwood contest – an annual competition for the best poet, singer or storyteller in the Five Valleys area – was founded in 2014 by Stroud-based writer Kevan Manwaring (a previous winner of the Bard of Bath contest). The theme, chosen by the outgoing bard, Anthony Hentschel, was: Contentment (or Resistance). Each entrant also had to read out a ‘bardic statement’ describing their plans if they were to win. The role lasts for a year and a day.

Madeleine will get to sit in the Bardic Chair of Hawkwood – an original Eisteddfod chair, dating from 1882, kindly loaned by Frampton-based solicitor Richard Maisey, in whose family it has been for generations. It is on permanent display at Hawkwood College. The new bard will get to set the theme for next year’s contest, announced in the winter. Future contestants then have until 23 April to enter an original story, song or poem, and must be able to perform at next year’s Hawkwood May Day Festival.

Kevan says: ‘The Bard of Hawkwood becomes the ambassador for the Bardic Chair, Hawkwood College, and their area. Having been a winner myself I know how empowering it can be – not only for the individual recipient, but also for their respective community. It is about celebrating local distinctiveness, fostering civic pride, and loving where you live.’

***

If you would like to be involved in the Bard of Hawkwood contest, Stroud Out Loud! or creative community in the Stroud area, get in touch.

Walking with Thomas

The sun used to shine while we two walked
Slowly together, paused and started
Again, and sometimes mused, sometimes talked
As either pleased, and cheerfully parted

                                                                                  The Sun Used to Shine, Edward Thomas

 

Near Dymock, K. Manwaring, 2017

On the 100^th anniversary of the death of Edward Thomas, poet, who died at the Battle of Arras, Easter Monday, 9^th April 1917, after only two months in France, my friend Anthony Nanson (writer, editor and cousin of  the Edwardian editor and critic Edward Garnett) and I undertook a memorial walk around Dymock, Gloucestershire, where he lived for a brief while with his family at Oldfields, just over the field from his fellow adventurer in verse, Robert Frost.

Setting off on the Poets Path, K. Manwaring 2017

It was a glorious Spring morning when we set off from opposite the Beauchamp Arms (where Frost and Thomas liked to sink a pint or two), the sun was shining as it did upon their famous ‘walks-talking’ (‘The Sun Used to Shine’), the sky was a freshly-scrubbed blue, and the fields were brimming with wild daffodils, daisies, anemones and bluebells.

Reading by the Old Nail Shop, A. Nanson, 2017

We walked an indulgent ten hours, from 10am-8pm, at an ambling pace – stopping intermittently to read poems in situ – on a 13.5 mile route that took us around the old stomping ground of the Dymock Poets, as they became known (close to Frost and Thomas lived Wilfrid Gibson and Lascelles Abercrombie, who along with John Drinkwater and Rupert Brooke, formed the loose band of bardic brothers). We followed some of the Poets Paths (2 routes which take in the key sites, although in a poorly-signposted and badly-maintained way), but quickly struck out on our own way, a road less travelled, taking us via the Greenway crossroads, site of the Old Nail Shop (Gibson’s former residence) through Brooms Green and Bromesberrow, before striking out on the ridge up to southern tip of the Malvern Hills and our destination for the day, Ragged Stone Hill, another Dymock ‘hot spot’ (as marked by Gibson’s eponymous poem).

The view from Ragged Stone Hill, looking backward towards Dymock, May Hill in the distance, K. Manwaring 2017

It turned out to be a hot day, so we took it easy, finding frequent excuses to stop, stand and stare (as advocated in ‘Leisure’ by WH Davies, a visitor to the Dymocks). Supertramp Davies was not only an epic walker (even with a wooden leg, having lost one while freight-car hopping in America) but also an animal lover (see his poem, ‘The Dumb World’), and he would have enjoyed the many encounters we had today – splendid pedigree horses; a whole colony of pigs, the sows feeding their litters of lively piglets; proud ewes with their sprightly lambs; frisky young bulls (a herd seeking to harangue us from one end of the field to the next until I waved them off). There must have been something in the air, because the livestock seemed to get increasingly frisky towards evening. At one point I had to fend off the challenge of a feisty black bullock with my walking stick.

One Man and his Stick, Kevan on Chase End Hill, A. Nanson, 2017

Along the way we talked about many things – the writer’s life, lecturing (we both teach in universities), cabbages and kings and everything under the sun. We read out poems by Thomas and the Dymocks along the way – I choosing mine at random, Anthony selecting his from the contents page. Here’s what we shared:

Early one morning – ET (KM)

The Lane – ET (AN)

The Old Nail Shop – WG (KM)

May 23 – ET (KM)

The Bridge – ET (AN)

The Ragged Stone  – WG (KM)

Iris by Night – RF (KM)

Celandines – ET (AN)

But These Things Also ET (KM)

The Poets: ET – Edward Thomas; RF – Robert Frost; WG – Wilfrid Gibson
Readers: AN – Anthony Nanson; KM – Kevan Manwaring

Anthony reads The Bridge, K. Manwaring, 2017

The views from the ridge were magnificent, looking back across the Dymock vale – May Hill in the hazy distance (another favourite jaunt of Frost and Thomas) – the vibrant shades of green upon the trees, the meadows festooned with flowers, every detail picked out by the golden afternoon sun. This part of England, where Gloucestershire meets Herefordshire, is so quintessential it is positively Arcadian (at one point we strolled through a handsome country estate where lambs hopped, skipped and raced about by the shores of a royal blue lake, a pastoral idyll that just needed a shepherdess to complete the picture). To connect the flat fields of Dymock with the dramatic peaks (or rather ‘Marilyns’) of the Malverns was satisfying – a transition that Frost and Thomas would have enjoyed, heading for the hills to get a perspective on their lives, away, for a day’s meandering, from families, bills, deadlines and looming war.

Light and shadow co-exist in Thomas’ poetry. K. Manwaring 2017

The flanks of Ragged Stone hill have a Faerie quality to them – alive with Earth energy. Perhaps this is not surprising as it is said to be a nexus of ley-lines, as initially discovered the original ley-hunter, Alfred Watkins (who described his theories in The Old Straight Track). Next to it is the Whiteleaved Oak, said to be the site of one of the Three Perpetual Choirs (as cited in the Welsh Triads), along with Glastonbury and Ely. The harmony of the land was maintained by the choirs there, and to this day the Three Choirs Festival takes place in the area. In a way, perhaps the Dymock Poets, with their songs of verse, were also maintaining the land’s equilibrium. I really do believe that for a brief while they created, with their inspiring creative fellowship, a Little Eden in a quiet corner of England. And whenever kindred spirits gather together to share their stories, songs, verse, laughter and love, it can happen again.

A well-earned rest on Ragged Stone Hill, only 4 hours back to the car! K. Manwaring 2017

As the sun set, the trees silhouetted by its evanescent golden after-glow, the ink of shadows oozing from the earth, we made it, foot-weary but happy, to the Beauchamp Arms, were we raised a pint in memory of Edward Thomas.  In Steep and Aldestrop there had been memorial events also on that day, but here in Dymock, Anthony and I, in our modest little way, had perpetuated the choir of the Dymock Poets with our walks-talking, in the spirit of Frost and Thomas.

Elected Friends, Edward Thomas (left) & Robert Frost.

 

Wall in the Woods

Along a tangled way I wended

unpicking the stitching of my thoughts,

revisiting the mind’s invisible divisions

 

until there it stood.

 

Tumbledown barrier

overcome

by stumbled trees,

storm-snapped branches.

Wedges of limestone

covered in maps of lichen,

thirsty moss, panting ferns,

rusting vines of wire

grafted to the bough’s skin.

 

A good few days’ graft –

each stone an effort;

a rough-thumbed thought,

a pipe’s pungent respiration.

Chosen and placed

with deliberation;

held by gravity’s cement.

Demarcating

 

space.

 

Green air

the same on both sides.

A wildernessed wood

criss-crossed with rotting boughs,

a paradise of fungus.

An Eden of decay.

Gap-toothed wall,

an absence big enough to walk through.

 

What good does it do?

 

What good

these barriers

we place between us

when

in the end

we are in the woods

together?

 

Kevan Manwaring © 2010

From The Immanent Moment, Awen, 2016

http://www.kevanmanwaring.co.uk/the-immanent-moment.html

 

*****POSTED IN SUPPORT OF THE BRIDGESNOTWALLS CAMPAIGN******

On 20 Jan 2017, we’ll drop banners off bridges around the UK, pledging hope for the future & to take a stand against the rise of the far right. #bridgesnotwalls

http://bridgesnotwalls.uk/

Shaking the Silver Branch

 

The foliate mouth, Kevan Manwaring 2016

 

Twenty five years ago I published my first collection of poetry, Remembrance Days, which celebrated the wheel of the year. It was crudely produced, typed up in upper case (why? Was the shift key on my typewriter stuck?), photocopied and stapled together, and yet three of the poems within it – The Bride of Spring, One with the Land and Summer’s Wake – I still perform today. I had worked late into the night high in the ‘art block’ of Coventry Polytechnic typing it out … one finger at a time (no wonder it took so long!). By the time I was finished I found myself locked in. Everyone else had gone home and I had spend the sleeping under my desk to be awoken in the morning by the cleaner’s vacuum cleaner humming near my head. An auspicious start! My first print run was modest – I printed 20 copies off to force upon friends and family as Yule presents; and have been inflicting similarly ever since, albeit with better production values. Over the following two and half decades I have put together around a dozen such collections – from chapbooks to professionally published volumes. To celebrate this anniversary I have decided to gather together all of my bardic poems together in one volume, entitled Silver Branch, it is to be published by Awen next year. I discovered very early on that few people are willing to read poems from an unknown poet, so the best way to ensure an audience is to perform them – which I started to do at ‘open mics’. I quickly realized that learning them by heart is far more effective than merely reading them out – there is no barrier between you and the audience, and there is a level of kudos about committing work to memory. Folk appreciate the effort. So, the essential criteria for this next collection – what defines them, in my mind, as bardic poems – is the fact they have been performed in public, from memory, at some point. And many were written with that in mind – thus I embedded within them the kind of mnemonic devices that have served bards, scops, skalds, mimesingers, etc, for centuries: alliteration, assonance, consonance, end-rhyme, anaphora, refrains, imagery, and other kinds of oral/aural patterning. Some have been commissioned (e.g. Dragon Dance), some have been composed as part of a book (e.g. The Taliesin Soliloquies, for The Way of Awen), or for a larger collaborative performance (e.g. material for the Fire Springs shows ‘Arthur’s Dream’, ‘Robin of the Wildwood’, and ‘Return to Arcadia’). One sequence won me the Bardic Chair of Caer Badon (Bath) in 1998: Spring Fall – the story of Sulis and Bladud of Bath. They have been written for protest (e.g. ‘The Child of Everything’, performed from memory spontaneously in front of thousands of people at an anti-GMO rally, on a podium by Nelson’s Column, Trafalgar Square); for celebration (e.g. ‘The Wheel of the Rose’, for a friends wedding in a castle in Scotland); for healing (‘Heather’s Spring, for a friend dying of cancer and used several times since); and for ceremony (‘Last Rites for John Barleycorn’, and several others in my previous ‘bardic’ collection, Green Fire). Common themes running through all of the poems include an evocation and honouring of the sacred as manifest in all living things; a celebration of numinous places and remarkable people; the passionate defence of the fragile web of life and the precious glory of this planet we call home; and a mythic sense of negotiating reality.

Poetry has been there from the start of my journey as a writer and it has informed everything I do. First and foremost it is an act of perception – a way of seeing and being in the world. I find it effective at capturing the little epiphanies of existence, moments of heightened awareness, of beauty and truth. It has enriched my prose, my performances and my life.

I look forward to sharing my awen with you. May it inspire your own.

SILVER BRANCH: bardic poetry by Kevan Manwaring forthcoming from Awen Publications 2017

www.awenpublications.co.uk