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What Board positions must be filled this year?

There will be several vacancies on the 2011-2012 WNGGA Board ofTrustees. We are asking for names of qualified candidates, who will be voted on at the Annual Meeting, Sept. 3, 2011, at the North American Festival of Wales, in Cleveland, Ohio. Trustees serve a three-year term and may be elected for a second term.

Who is the ideal Board candidate?

There is no ideal Board candidate. Instead, WNGGA is looking for dedicated individuals with diverse skills to complement the current Board.

What criteria will the Nominating Committee use to select Boardcandidates?

The only requirement of Board candidates is that they are WNGGA members and have been a member for at least one year. Six trustees shall be residents of the Western United States west of the Mississippi River. Nine trustees shall be residents of the Eastern United States east of the Mississippi River. Five trustees shall be residents of Canada. One Trustee maybe elected from Wales. In certain cases, a member or members may be elected from any other region, to fill the vacancy or vacancies in another region.

What do Board members do?

The Board is responsible for planning and carrying out the annual North American Festival of Wales.

How much time does Board service require?

Board members must be willing to invest time in preparing for and thoughtfully participating in Board meetings. The Board meets twice a year.Also, each member of the Board serves on at least two committees and should therefore be available to participate in regular committee work and respond to communications.. Finally, Board members are expected to attend the NAFOW

May I nominate myself?

Yes. WNGGA members may n omina te themselves for the Board of Trustees by following the same procedures they would use in order to nominate someone else.

How do I nominate a candidate?

If you know of an individual who meets the Nominating Committee's criteria, and who might be willing to serve on the WNGGA Board of Trustees, please complete the nomination form below.

Mail form to:

WNGGA International Headquarters, Stacy Evans, Executive Director, PO Box 410, Granville, OH 43023. or email it to: president@wngga.org . One of the Trustees will then contact the candidate. WNGGAs Nominating Committee will accept Board nominations by post until August 20, and at the NAFOW through Sept. 2, 2010.

Visit our website for more info: www.nafow.org

Thank you!

WNGGA Nominating Committee

NOMINATING FORM

Your name: _____________________________________________________

Address: ________________________________________________________

________________________________________________________________

Phone: __________________________________________________________

Email: __________________________________________________________

Check here if self-nomination

Name of the person you are nominating:_____________________________

Address: ____________________________________________________________

_____________________________________________________________________

Phone: ______________________________________________________________

Email:__ _____________________________________________________________

Have you discussed this with the candidate? __________________________

How long have you known this person ?_______________________________

How has this person been involved in Welsh activities? ______________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

What skills can this person bring to the Board of Trustees?

Writing Public speaking Technology skills Publicity

Marketing Graphic Design Accounting

Legal background Fundraising Other___________________ _

Writing poetry the modern way, the free verse way, the no-pain-no-gainless way is not difficult. Writing poetry which merits its reading is. Because English is largely spoken in a natural iambic meter (allowing for regional accents) one could in practice jot down ones thoughts on any given subject, apply line breaks where speech would naturally pause and voil, a poem is written. Put another way:
one could in practice
jot down ones thoughts
on any given subject,
apply line breaks
where speech
would naturally pause
and voil,
a poem is written.
That is to say, this nave and facetious example, which has all the appearance of a poem on the page, simply follows the harmonic cadences of Western speech. It needs a title of course. Ill call it . . . Cop Out. Now sit back for the obligatory nerdy paragraph:-

The Latin word cadentia unhelpfully means a falling off, more applicable to musical cadences. The typical iambus follows the pattern of a short or weak syllable followed by a stressed or long syllable, though it can be the other way around. Some think that it replicates the heart beat as in der dum, der dum, der dum as if chancing on some profound insight. And heres another nerdy bit - the iambic trimeter was first used by Greek satirists iaptein meaning to attack verbally. Good. Weve got that out of the way.

So, much of the poetry presented online and also often published in Small Press publications adopts this modus operandi. The poetic conventions of rhyme (whether perfect, internal, half rhyme or assonant), sprung rhythm, alliteration, metaphor, simile and imagery are happily omitted, and why not? They demand imagination, the creative juices, fine judgments and decision making. The labour -intensive, time-consuming use of the thesaurus and dictionary, the tedium of crafting lines and the frustration of ditching ones darling phrases to make a rhyme are utterly avoided; as are those endless revisions thank many a god for the back spacer in my case (I darent permit myself freehand no human would ever read it).

What it comes down to is that free verse (mostly unstanza-ed) is just too easy to write, and whereas it might encourage almost anyone to write poetry one is reminded of Lears Nothing will come of nothing. That said, free verse can work well but there has to be a bloody good original idea within the poems plainsong. Generally however, much modern free verse rarely says anything worth saying and, without the element of crafting, it is rudderless. I suspect that, given modern mans natural propensity to short cut virtually every effort, if crafting was de rigueur many who write poetry now would no longer do so.

And yet the mainstay of almost all modern verse is a given the rhythm. By aping speech patterns rhythm and basic line breaks can be naturally achieved. And certainly, as a skeleton draft, the plainest of language will help the poet to sketch out the structure of the poem, to work through its consistency and test its basic concept for leakage. As this is done the poem will often shape itself. The length of the first line for instance might dictate the length of all others. The build -up of the narrative or descriptive passages may suggest stanzas or free flow. And if stanzas are used, the line count of each may evolve as creative cogs turns.
But, with the rhythm and structure achieved and a central concept mapped out, is that then it ? Is the free versers offering now destined for the Keats-Shelley prize, or is it a suit of clothes fit only for a myopic emperor?

So, what else can be avoided because it is too much like hard work? The decision to rhyme or not to rhyme would be an obvious candidate. And if to rhyme, what scheme to use; whether to locate full or half rhymes at the end of lines, or to embed internal or assonant rhymes as mortar to bind the poem. Decisions, decisions. But they can be by-passed; as can the need to root around in a rhyming dictionary and, finding nothing suitable, to rewrite a choice descriptive phrase because nothing rhymes with purple or orange. Also, the necessity to assess a readers patience with half or quarter rhymes. Neither would there be a requirement to discipline oneself not to invert the customary word order simply to accommodate a rhyme. Nope. The emperors transparent finery requires none of this.

Nor does his suit need the epaulettes of metaphor or simile. A few buttons of course but no gilt braid or piping to raise an eyebrow or stroke the imagination. No unstoppering the heart to release the creative spirit; to let loose the impatient genie makes words jump through hoops of fire and can girdle the globe in search of the rare, and risky, bon mot. Do todays free versers fear such alchemy, or cant they be bothered with all that tosh ? Too, too much hard work involved (toil, exertion, effort, strain, stress, pressure, struggle, labour, travail, sweat, swink, operoseness, fagging, drudgery, hammering, pains, trouble, limae labor, energy, vigour . . . puff, puff! . . . I have it! Too, too much hammering).

Dont get me wrong. Im not anti free verse. I use it myself often (rhyme and alliteration should be used with circumspection or they work against the serious poem becoming a distraction.) Poems short on craft are short on poet, and definitely short change the reader. I hope I will never be accused of not using the most felicitous word in every instance. Each word in a poem from first to last should, in my opinion, be tested against all alternatives. Many of the poems which I read today suggest that the poets thesaurus (if he or she has one) needs dusting. There are too many obvious, first choice plain Janes in them. Its not so much the application of imagination, structure or concept which is missing but the evidence of effort and revision. I cant hear much hammering these days. Maybe Im going deaf.

Nigel Humphreys
The Hawk's Mewl (Arbor Vitae Press, London)
The Flavour of Parallel (Arbor Vitae Press, London)

http://www.nigelhumphreyspoet.com

My Kind Of Heaven - by Geoff Knott

Images and editing by Alan Evans ( reproduced with kind permission from the Sancler Times )

Garnffrwdd Lake Trout Fishery Google Map & Directions

The sun was a fiery orange, soon it would start to go a deeper shade of amber and ever so slowly dip below the mountain. In the far distance, there was no wind at all and the surface of the lake was like a sheet of glass. I still had a good couple of hours before I would have to see about moving from this idyllic spot. I had a backdrop of trees that came down to the waters edge and as I looked above the trees from the stern of my boat I could see various species of birds returning home for the night. Far above the tree line was the unmistakable shape of a red kite as it continued to scour the land for its evening meal.
Close to the shoreline I could see the unmistakable wake of an otter in the margins. Coming towards the boat in all his majesty was a regal swan. I am sure he was hoping that I would have something for him. The heat had gone out of the day. I sat there with a cool drink in my hand. I had to stop fishing to take it all in and gaze upon Gods creation in all its beauty.
Out of the corner of my eye I saw a trout rise close to the reeds. I knew that with a good cast I could reach it. The trout was working along the margins and I suspected it was feeding on the rising midges that could just about be seen. I lifted up the rod and prepared to cast taking time to anticipate where it would come up next. I cast my fly to where thirty years of experience told me the trout would surface next. The fly alighted the water like gossamer to exactly where I wanted it and after a pause I started a slow retrieve. A minute later the line went solid. At first I thought I had hooked the bottom but then the bottom started to move and I knew I had something. I was into one of the over wintered trout that had grown on to a substantial size.
The tip of the rod bent right over as the trout steamed away. I knew there would be little I could do in controlling this beautiful fish until later in the fight. All I could do was apply as much pressure as possible and just hope if would not find an underwater obstruction.
Ten minutes later I felt as if I was in control. The fly line was in the water and I had little backing line left on my reel but ever so slowly I started to gain the line back on the reel. Another ten minutes went by but at that moment it seemed that time had stood still. I now had the end of the fly line back on the reel and I knew that thirty yards away a trout in pristine condition was doing its very best to part company with my fly. The trout was trying to get the upper hand but I knew in my heart that I had already won the battle. I just had to rely on my experience, stay one step ahead of the trout and hope and pray that the fly held.
It was another five minutes before I could slip the net under a very nice brown trout. As I lifted the net into the boat the adrenalin was still running strong. I wondered if this thing of such great beauty would beat my previous best. I despatched the fish straight away and after removing the fly with my hands still shaking I weighed it. The hand on the scales didnt quite reach ten pounds but I was well pleased, it was a very fine specimen.
I had to sit down for a good ten minutes and make a cup of coffee from my flask. Any fish is a bonus but I didnt think that I would catch another like this one. Fish of this size do not come out every day. I look upon fishing as a day out and a time of relaxation where you can unwind from the stresses of this hectic world in which we live. Finishing my coffee I eased the anchor out of the lake bed and let the boat drift to another favourite spot. I gently lowered the anchor and eased out some more rope and the boat came to a gentle stop. Any noise makes the fish scatter but I had not spooked the fish that I knew abounded this particular part of the lake. As I sat there contemplating my next move a moorhen with her chicks moved along the waters edge by some bushes that grew out of the water. The mother kept her brood close to her and a little distance behind the chicks their father kept a watchful eye out for predators. I changed my fly for a damsel nymph I had made the day before. I had actually made a dozen and I was very pleased with the representation. It was as close to the real thing as I could make. I just hoped the trout would think so to and take it with confidence.
I could not see any trout rising but I knew they were there. I started by casting to my left deciding to work the fly line in a fan pattern ending far to my right. The first cast failed to interest the trout but the second cast did. I had allowed the new fly to sink towards the bottom and had worked it back towards the surface when the line went solid. As it did so I lifted the rod into a fine fighting fish. I allowed the fish to swim out into open water so it did not disturb the other fish where I hoped to catch another. I stated to put the pressure on and as I did so the trout leapt into the air in an attempt to shed the fly. I could see it was a decent rainbow trout and after a few more minutes I had it in the net. I did not weigh this fish, I knew it was around the 3lb mark from experience and it would make a lovely meal for two at a later date. I inspected the fly for any damage and found none. I was so pleased as the trout had not hesitated in taking my new creation. It took with confidence convinced it was a real Damsel nymph. Sometimes when a trout sees a fly it may hesitate if it suspects that something is not quite right. Sometimes you feel a series of little tugs as the trout half takes it and then spits it out. There was none of that with my fly, just a solid take that oozed confidence. I went on to take four more trout including another brownie of four and a half pounds. It had been a good days fishing. Soon after the last fish slid over the rim of my landing net I decided to call it a day. I dismantled my rod and put everything away. When I had stowed the last piece of gear I pulled the anchor in and headed for the landing stage.
The bailiff was there to meet me as I eased the boat alongside the pontoon. The bailiff helped me unload the boat and he could see I had some nice fish. I had a really nice brown trout so photographs were taken for the angling press. I stood a chance of winning the fish of the week prize, which would be very welcome. Having filled in the log book and loading all the gear in the car I drove home at a sedate pace still feeling the glow and the adrenalin from the days sport. It was a great feeling, like a job well done.
So this is my kind of heaven. It is my means of escape. When I am fishing I am away from stress, there are no phones ringing, no clocks, no schedules to meet. I completely switch off from everyday life and I am at peace. The day before I go fishing I am excited and quite often the excitement of what is to come keeps me awake. Have I got the right flies, what will the trout be feeding on, will the weather be good and so on. My experience usually tells me how the day will go apart from what fish I will catch that is. Even if I blank I will still have a good day. I am in another world, a world where peace reigns. I am alone with my thoughts and I have time to think of other fishing venues.

There are some venues where I have yet to wet a line. I am happy and my heart is filled with joy. This is my thing, it is what I do and without wishing to boast I do it well because my heart is in it. I give it everything I have and after more than thirty years I still get that same wonderful feeling as when I caught my very first trout. It is immensely satisfying when the trout are rising to take the fly, which I created at home. Tight lines and good fishing.

A cottage industry, which has published books on thehistory of St. Clears, has been rewarded with a place at the National Libraryof Wales. Mrs. Stella Griffiths has been working tirelessly to publish thephotographs and diary of her late father Stanley Phillips. Having publishedthree books and produced a DVD with rare footage of life in St. Clears Stellas work has placed St. Clears firmly on the map for visitors to the library.

Thebooks have also been accepted by the National Waterfront Museum in Swansea andGreenwich Maritime Museum in London. Stella said, It has been extremely hardwork and a very emotional journey. It was hard work putting on an exhibition ofmy fathers work which was so well received in St. Clears. I am now taking abreak with a cruise around the Norwegian Fjords following the route my fathertook all those years ago. I am taking his diary with me and it will be fantastic to see all the places he wrote about so passionately. It will be asif he is there by my side. Local photographer Alan Evans has helped Stellaproduce much of the material.

The books can be purchased at www.stanleyphillipsphotography.co.uk or by calling 01994231776

Reproduced by kind permission of Alan Evans http://sanclertimes.ning.com

More people than ever are tucking into delicious Welsh food and drink according to new research commissioned by the Welsh Assembly Government. Nine out of ten people questioned were able to name at least one Welsh food, highlighting the year on year increase in awareness and purchasing of Welsh food and drink among consumers, which is now at its highest level since 2005. Conducted across the UK over the summer the survey shows a rise of 11% over the past 12 months in awareness of Welsh produce (83%), with the purchase of Welsh food an drink by Welsh consumers rising to 85% - the highest ever level.

http://www.newswales.co.uk/?section=Culture&F=1&id=20433

By Mona Everett

Previously printed in Ninnau

Leaders from over two dozen local Welsh Societies met during the 2010 North American Festival of Wales in Portland for a lively give-and-take at the annual meetingof Affiliated Welsh Organizations (AWOs). Working from an ambitious agenda,WNGGA Board member, Mona Everett moderated the discussions while Liz Heath, ofthe Puget Sound Welsh Association, took notes.

Participants took turns sharing ideas and swapping stories and brainstorming ways the local societies can keep in touch and help each other all year long. (Did you know that WNGGA has over 100 Affiliatemembers from the US, Canada, Wales, New Zealand and Australia?)

A summary of this meeting will be sent to all the AWOs, and additional information will beprovided for future Ninnau articles.

The Welsh National Gymanfa Ganu Association had been at work all year to establish better communications with, and between, local Welsh societies. Any Welshsociety or organization which supports the mission of the WNGGA may join as an Affiliatedmember. Organizational dues are currently $50 for a life-time membership.

The AWOs are at the heart of the WNGGA. Most of the individual and life-time members of WNGGA also belong to at least one local Welsh society. The WNGGAmails its newsletter, HWYL, and NAFOWregistration and publicity materials to all AWOs. These in turn are shared withthe local members. Many people first hear about the Festival through their local society.

This past summer, WNGGA began sending e-letter updates to the AWOs and will expand this to include individual members and other interested parties this year. Aswe all know, email updates can be sent much faster and are much cheaper thanpostal mail. To this end, it is now a priority of the WNGGA to have the mostcurrent contact names, along with email addresses and websites (if any) for allthe AWOs and individual members. Please be sure your current contactinformation is on file, by sending it to:

Mona Everett,

1314 Woodvale Drive,

Madison, WI 53716 USA,

or email it to publicity@wngga.org .

There are many advantages of individual membership in the WNGGA. A short list of these includes: saving on registration costs for NAFOW; receipt of thenewsletter, HWYL, three times a year;and automatically receiving all mailings/emailings with the latest news andregistration materials for NAFOW. Most importantly, membership supports the WNGGA mission to preserve our Welsh heritage and allows WNGGA to continue tosponsor the North American Festival of Wales. In addition, members have a voicein the organization, by voting at the Annual General Meeting (AGM), serving onthe Board of Trustees, and volunteering their talents to help plan or run aNAFOW.

It is the hope of WNGGA that every AWO will encourage all their members to join and support WNGGA. Individual memberships start at just $10 per year.Membership forms may be printed from the website: www.wngga.org , or may be requested from WNGGAInternational Headquarters, PO Box 410, Granville, OH 43023 USA.

Besides the advantages for individual members, AWOs are also eligible to volunteer to bring a NAFOW to their city and may help plan and run the Festival; to join other AWOleaders on the private online AWO discussion group to exchange program ideasand strategies for solving problems facing local Welsh societies; to have theirAWO contact information listed on the WNGGA website so prospective members canfind them (and join); and to attend the AWO meeting at every NAFOW and meetother leaders from other societies.

In addition, each AWO is entitled to send a representative to vote on their behalf at the AGM and is able to nominate eligible members from their local society to serve on the WNGGA Boardof Trustees. Be sure your local society is taking advantage of all thesebenefits.

Remember every member helps WNGGA continue to sponsor the NAFOW we know and love and is always invited to suggest ways to make it better-known and loved.

www.ninnau.com

National Coal Miners Museum at Lake City (Coal Creek), TN

Submitted by Mona Everett, with permission of the Coal Creek website and Ninnau (previously printed in Ninnau )

A proposed National Coal Miners Museum to be located on a site in downtown Lake City (Coal Creek), Tennessee, convenient to Interstate 75, will celebrate the regions dramatic coal mining heritage through unique interactive
experiences.

The museum will tell the story of the Coal Creek Wars of 1891-92, which led to the abolition of the convict leasing system through out the South. It will also relate the heroism and courage of the miners and rescuers
associated with the Fraterville Mine Disaster of 1902 and the Cross Mountain
Mine Disaster of 1911. The Welsh educational and religious influence and
Appalachian artifacts will join to tell the story of a strong willed and
resourceful people, according to the museum mission statement, crafted by the
designers.

Why Coal Creek?

This East Tennessee area was settled by immigrant Welsh coal miners in the mid-1800s. They provided the coal that helped rebuild Knoxville and surrounding areas after the Civil War.

The Coal Creek War was fought in 1891-1892 and was credited with abolishing the corrupt convict lease system throughout the southern states.

The Fraterville Mine Disaster of May 19, 1902 killed 216. Disasters like Fraterville raised public awareness about the dangers of early 20th century
coal mining and led to the creation of the U.S. Bureau of Mines and safer
mining conditions in mines across the country.

The Cross Mountain Mine Disaster of December 9, 1911 was one of the first successful rescue operations led by the U.S. Bureau of Mines, even though only
five of the eighty-nine men and boys trapped in the mine were rescued by
engineers and apparatus crews and eighty-four perished, this was a success at
the time.

The Plans

The proposed size of the museum is between 25,000 and 40,000 square feet, and is dependent on fundraising. The museum will serve the community as a whole and will be used as a cultural center, hosting traveling
exhibits, dances, a market space, and educational events.

The layout of the museum will provide visitors with a valuable experience, including:

Labor and Coal Mining education--An 1890s era coal mining experience

A visit into the town of Coal Creek, Tennessee in the late 1800s

The Coal Creek War and labor disputes and the convict lease system

The Fraterville and Cross Mountain Mine Disasters -- Experience the disasters

The Science of coal mining today -- This hands-on and interactive, more like a discovery museum. The focus will be on science and how coal is obtained and how it is used today. Many people may not know that over
half of the country's energy still comes from coal.

Of the top 50 spots for tourism in Tennessee, 22 of them are in East Tennessee. The museum would most likely attract an average of 180,000 visitors a year

To celebrate this mining history and preserve it for educating future generations, Mayor Buck Wilson of Lake City (formerly the town of Coal Creek),
Tennessee is working with many others to build the Coal Miners' Museum of Coal
Creek and connect it to the many historic sites found
throughout the watershed.

Fund raising is underway for the project, which is expected to cost between $12 to 20 million, depending on the finished design. A completion date for the museum has not yet bee announced. Tax-deductible donations may be sent to:

Mayor Buck Wilson

P.O. Box 66

Lake City, TN 37769USA

To read more about the Welsh settlers of Coal Creek, the history of coal mining in the area, or to learn more about the Museum and to see artist renderings, go to http://www.coalcreekaml.com/ .

Does anyone else do this?

The Cambrian Heritage Society of Madison, Wisconsin, brought Welsh traditions and culture to the public attention in March and April 2009. In honor of St. David, I arranged to put a display of Welsh items up in my localpublic library. Besides me, Cambrian Heritage Society Board members David and Ellen Lloyd of Friesland and Danny Proud of Madison, also contributed items to the display.

Some of the items displayed, along with brief written explanations, were Welsh books and videos, lovespoons, rugby accessories, slateitems, Welsh beer, water and whiskey bottles, Welsh tea, honey, jewelry featuring leeks and daffodils, acollection of Red Dragons, and toy sheep and bears and a Mini-Cooper, all with theWelsh flag on them. One of the more unusual items was a pigmented beeswax paintingDavid and Ellen and brought back from Wales.

The oak and glass case sits prominently in the front reading area of the library, and with a Draig Goch windsock flying gaily from the ceiling above it, garnered a lot ofattention and interest from the library patrons.

The Society is considering making this an annual event and moving the display to different library branches each year.

www.ninnau.com

By Mona Everett

Previously printed in Ninnau

Llandysul is a market town in the Welsh county of Ceredigion (Cardiganshire), West Wales, and the hometown of writer/singer Dr. Fflur Dafydd, who delighted her various audiences at the Chicago NAFOW with spontaneous shouts of, West is best! as she entertained and educated with her singing and lectures.

A professor at the University of Wales, Swansea, Dr. Dafydd presented seminars on two topics, based on books she has written. Twenty Thousand Saints, began as a translation of her award-winning book, Atynaid, but, as she explained, soon took on its own storyline when the English did not seem to convey the same tone. Atynaid, is a semi-autobiographical account of her 2002 stay as a writer-in-residence on Bardsey Island, off the west coast of North Wales. While, Twenty Thousand Saints is set on Bardsey Island, and one of the characters is a poet-in-residence, Dr. Dafydd assured us that the book is no longer autobiographical and she switched things up a bit, even adding a main character.

As the story opens, we learn that the island is woefully short on men and the all-female film crew that is making a documentary on the island, is eagerly awaiting the imminent arrival of the boat which is promising to drop off a male writer. In the meantime, the women have found diversion working with Deian, an archeologist who enlists their aid under false pretenses. The island is also home to Viv, a former nun-turned-hermit, who has the disagreeable task of hosting the annual hermit convention on her island. Yes, Dr. Dafydd writes with a lot of humor, but youll have to pick up the book to see what unfolds when the boat delivers a female poet-in-residence.

After giving her audience a taste of the storyline, Dr. Dafydd answered questions about living on the island. Although there are only about six full-time residents, the island can swell with tourists when the weather is good. It is a favorite locale for creative types to get away and seek inspiration or find peace and quiet to work on their projects. The islands inhabitants are at the mercy of the sea, though, and can be cut off from the mainland for days at a time, if the boat cant make the crossing.

Welsh Icons

What makes an icon? In an effort to go inside Welsh icons and separate out the hype and stereotype, Gomer Press has published several small books by various authors who know Wales inside and out. Welsh Icons, by Dr. Fflur Dafydd, is one of the series, and in her lecture she provided behind-the-scenes glimpses into several well-known icons and how they became icons and how the Welsh people are changing the meanings.

In an effort to debunk stereotypes, Gomer gave her a list of items generally associated with Wales, from harps to sheep for her consideration. Sadly, the piece on sheep was left out of the book, even though Dr. Dafydd says it was one of her favorites.

Cardiff

During her lecture, she was able to discuss only some of the topics, beginning with Cardiff, the Welsh capital. A modern city, Cardiff retains its historic climate with the castle and older architecture. The radical transformation of the citys decaying docks in the 1980s, into Cardiff Bay with the Senedd Building and the Millennium Centre, projects a modern European image. These transparent buildings, lighted from within at night, reflect on the water, and seem to say, Were more a part of Europe now, not a rural backwoods. The Millennium Centre, completed in 2004 is striving to reach iconic status worldwide, as a center for performing arts, while showcasing the bilingual reality of Wales. Nothing is easy, though, and there are some who dont think enough Welsh events are being held at the Centre.

A recent linguistic shift, due to migrants from rural areas moving into the city, has produced 20,000 Welsh speakers in Cardiff. Due to this influx and widespread Welsh-language education, more Welsh events are being held in Cardiff, and musicians have access to more venues. Even the daily Western Mail has more Welsh content. Television station S4C features a popular drama, Caerdydd, in its fifth series now, which draws on current events in Cardiff, and because it is subtitled, has fans among both Welsh- and English-speaking city-dwellers

Eisteddfod

The Welsh seem to have a push-pull relationship with many iconsunwilling to remain stagnant, there is nevertheless, volatile discussion over seemingly minor changes. But changes are generally embraced eventually . Even the National Eisteddfod, which was held in Cardiff for the first time in 30 years this summer, is not immune to controversy. When the traditional green and gold pavilion gave way a couple of years ago to a big pink tent, rumblings were heard far and wide; when alcohol was first allowed on the field, many thought it would be the end of the world as they knew it. What has actually happened is acceptance--festival goers can now have a genteel brew while discussing the winning and losing entries, and the pink tent is well on its way to becoming a genuine icon in its own right.

The Gorsedd of the Beirdd, often viewed as odd assortment of druids in sheets by those outside of Wales, are certainly iconic representations of cultural identity. Dr. Dafydd recounted her own experience donning the bardic robes for the first time. As a young woman, she was definitely in the minority, but even that aspect of the pomp is changing and that fact alone bodes well for the continuation of the Eisteddfod tradition.

The Welsh take their Eisteddfod seriously. While attendance on the maes is sometimes called a week away from real life, debating the merits of the winning entry will continue throughout Wales, until the rumors of the next years winner begin to surface.

Language

The Welsh language is fast becoming an urban language and is continuously evolving. English-speaking parents are sending their children to Welsh medium schools, so they can get aheada 360-degree turnaround from earlier days when Welsh was seen as the language of the lower classes and a stumbling block to success.

Dr. Dafydds parents and many of their friends were active in the Welsh Language Society while she was growing up.

Protests over English-only signage and other slights often resulted in arrests. Now that Wales is becoming more and more bilingual, the targets of protest are not as obvious as taking down a sign or painting over something. Dr. Dafydd reported protests are more subtle but still on-going. While much progress has been made, they are not yet where they want to be.

Music

Wales, of course, is known as the Land of Song, with the harp as its national instrument. From earliest Celtic harps, musicians moved to the triple harp and double-action harp, continuing to produce traditional sounds. Today, there has been a shift in harp music. Artists, such as Catrin Finch, have introduced the electric harp, producing a street-wise, avant garde sound, bringing the harp to the urban youth scene. Rebelling against stereotype, but keeping the iconic instrument, harpists are experimenting with pop, rock, hip-hop, jazz, rap and punk.

However, most current singers grew up with the Welsh chapel experience--another icon--and learned to sing there and this still comes through in their music. The hymns of the Welsh religious revival are brought alive for the 21st century by vocalist Lleuwen Steffan, with Huw Warren and Mark Lockheart on piano and saxophone, on their CD, Duw A Wyr (God Only Knows). The familiar Methodist hymns are updated, but still treated with reference.

In a country where more people are still mono-lingual English- speakers, artists continue to sacrifice for the Welsh language.

Folk singer Meic Stevens turned down lucrative offers which would have had him singing only in English and playwright Saunders Lewis, also chose Welsh over English. Others, like protest singer Dafydd Iwan, drove their message home in their native tongue.

Dragon

The Welsh dragon signifies the solidarity of the nation. Wales is the only country with same flag in 2001 as in 1001. Welsh businesses daring to fly a Union Jack in place of the Welsh flag are likely to discover their banner missing. Today, the Red Dragon is a highly recognizable branding image. The draig goch motif can be seen everywhere. Its on clothing, jewelry and even beer bottles.

With Welsh Icons, Gomer Press has succeeded in its attempt to peer out and let the reader peer in. With short, 2-to 4-page chapters on each topic, the reader is provided with an easy-to-read, generously-illustrated romp through modern Wales. Other icons discussed include actors and actresses; coal mines; rugby; Llanfair PG; mountains; and St. David. Personally, Id still like to read what Dr. Dafydd had to say about sheep.

Oh, yeah, West is best!