Chair: Stephen Rees
Bydd y papur hwn yn archwilio sut mae cerddoriaeth werin yn cael ei hailddiffinio ar hyd y Fenai, a hynny mewn perthynas â chyd-destun ‘Celtaidd’ ehangach.
Cenir cerddoriaeth werin ar hyd y Fenai mewn sesiynau, mewn amryw o fannau cyhoeddus fel tafarnau, bwytai a chlybiau chwaraeon. Mae'r gymuned o gerddorion werin, ac yn arbennig yr aelodau sydd yn mynychu’r sesiwn yng ngwesty'r Waverley ym Mangor, yn cynnal cysylltiadau neilltuol â grŵp mwy o gerddorion o Iwerddon, Yr Alban ac Ynys Manaw. Maent yn cyfarfod deirgwaith y flwyddyn: unwaith ar y penwythnos agosaf i ddydd San Ffolant yn Baile Uí Bheacháin yn Iwerddon, a ddwywaith eto ym Mangor ar benwythnosau olaf Hydref ac Ebrill. Mae’r cerddorion sy'n cyfrannu i'r digwyddiadau hyn yn tueddu i ganu llawer mwy o alawon Gwyddelig nag ydyw'r rhai nad ydynt yn cymryd rhan yn y digwyddiadau hyn.
Bydd y papur yn taflu goleuni ar y modd y mae'r sesiynau hyn yn peri i hunaniaeth gael ei hailystyried yng ngherddoriaeth y cerddorion sy'n cyfranogi o'r mudiadau hyn. Edrychir ar eu repertoire, arddull ac offeryniaeth, a'u cymharu ag eiddo cerddorion o Fangor nad ydynt yn rhan o'r mudiadau dan sylw.
The use of 'Celtic' is widely debated within Ethnomusicology. Notable works include Bohlman and Stokes, Wilkinson and, in the Iberian context, Castelo-Blanco, Campos Calvo-Sotelo, Colmeiro. The place of Asturias in the ‘Celtic’ context is problematic from the perspective 'Celtic Studies' scholars and is similarly contentious in the liminal spaces of the pan-celtic movement. There is a gap in published ethnomusicological consideration of the contemporary Asturian folk scene. Arias-Cano's work on the flute in Asturias, and emerging work from García-Flórez are as yet unpublished.
I observe use of the transverse wooden flute as a lens to examine complex, evolving understandings and use of the term ‘Celtic’ in musical identity construction in contemporary Asturias. I consider impact of shifts in spatial location of performances on musical aesthetics and what this reveals about construction of musical identity in liminal spaces of contested national identity and in particular post-Franco Spain. Data analysed includes participation observation in Asturias, digital ethnography and in-depth interviews. I argue participants renegotiate relationships with Asturian folk music, expressing complex cultural, political and social aesthetics in a liminal national space where pan-hispanic aesthetics are on the rise. 'Celtic' aspects of their identity are being reimagined as something either nostalgic or a historical artefact.
This paper sheds new light on the issue of contemporary use of the term ‘Celtic’ in identity negotiation in liminal spaces of contested nationality, how it continues to connect participants with contested pasts and how it contributes to musical, regional and national identity in both an Asturian and Spanish context.
Bwriad y papur hwn yw rhannu casgliadau prosiect ymchwil sy’n archwilio agweddau o’r proses o farddoni o safbwynt gwybyddiaeth ymgorfforol, gan ddefnyddio dull ymchwil celfyddydol.
Dadleuaf fod safbwyntiau ymgorfforol â photensial i gynnig mewnwelediadau newydd i’r proses o farddoni, a ellid eu defnyddio i ddatblygu ffyrdd newydd o ysgrifennu a dadansoddi barddoniaeth. Defnyddiwyd dull ymchwil celfyddydol yn ganolbwynt i’r prosiect, ar ffurf cyfres o gerddi rwyf wedi’u hysgrifennu a’u gwnïo ar wrthrych tecstil tri dimensiwn i’w wisgo. Gan ddefnyddio dull ysgrifennu awtoethnograffig ynghyd â damcaniaethau am wybyddiaeth ymgorfforol o feysydd gwyddoniaeth wybyddol a beirniadaeth lenyddol, gellir ymdrin â’r profiad o greu’r gwrthrych hwn fel proses ymholi systematig.
Cynigiaf fod ymdrin â goddrychedd yr ymchwilydd yn uniongyrchol yn arwain at ddealltwriaeth ddyfnach o ryngweithio’r bardd, y testun a’r gynulleidfa, a bod safbwyntiau ymgorfforol yn galluogi ymdriniaeth o agweddau llenyddol na thrafodir fel arfer gan eu bod yn ymwneud â theimladau goddrychol y darllenydd. Trafodir sut y mae’r profiad ymchwil hwn, o fod yn fardd ac ymchwilydd ar yr un pryd, wedi goleuo’r cysondebau rhwng y weithred greadigol o farddoni a’r weithred o ddadansoddi. Yn olaf, archwilir y berthynas rhwng safbwyntiau gwybyddol ymgorfforol a swyddogaeth y bardd a’r ymchwilydd, a’u gwerth cymdeithasol yng nghyd-destun barddoniaeth Gymraeg.
This paper aims to share conclusions from a research project which explores aspects of the process of writing poetry from an embodied cognitive perspective, using an artistic research method.
I argue that embodied perspectives have the potential to offer new insights into the process of writing poetry, which could be used to develop new ways of writing and analysing poetry. The use of an artistic research method was central to the project, in the form of a series of poems I have written and sewn onto a three-dimensional wearable textile object. By using an autoethnographic writing method as well as theories about embodied cognition from the fields of cognitive science and literary criticism, the experience of creating this object can be treated as a systematic process of enquiry.
I suggest that engaging directly with the subjectivity of the researcher leads to a deeper understanding of the interaction between poet, text and audience, and that embodied perspectives enable treatment of literary aspects which are not usually discussed because they concern the subjective feelings of the reader. I discuss how this research experience, of being poet and researcher simultaneously, has highlighted the consistencies between the creative act of writing poetry and the act of analysis. Finally, I explore the relationship between embodied cognitive perspectives and the role of the poet and the researcher, and their social value in the context of Welsh language poetry.