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Follow the whole nine yards here (a 95 part series) :- Half Marathon Blog
Why I am running:- West Coast Eisteddfod - Bryn Seion Church
For details of how to sponsor see - this post
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Getting packed for another week on the road with my clipboards. This time we are going to the Oregon Coast. I must admit that with my rather punishing work schedule I have had thoughts about not being able to get in shape in time for the 4th. However I guess I still have ten weeks and here is a ten week training schedule for reaching half marathon standard:- http://running.competitor.com/2012/03/training/rock-the-trails-10-week-advanced-off-road-training-program_48069
I guess this is the schedule I'm going to need
More tomorrow assuming wifi is available in the area where we are staying.
We apologise for the cheesy title but we are naturally very pleased and excited to be able to announce that plans for the Left Coast Eisteddfod in Portland this August are now beginning to firm up. This week we secured the location for the event in Portland, Oregon: it will take place at the Crystal Ballroom on Saturday, 22 August 2009.
Below is a shot of the view of the ballroom from the stage. The Crystal Ballroom has been a Portland nightlife destination for many decades, glamorously famous for its dance floor: a wooden floor on a ball-bearing base, below a balcony of fixed seating, with two bars - one in the balcony and one at the back of the ballroom itself. The ballroom overlooks downtown West Burnside Street, a main boulevard which bisects the north and south halves of the city and just blocks from Powell's Books, the largest independent bookstore in the United States, probably in the western hemisphere.
The ballroom is on the third floor and in addition to that floor, we have the second floor, which is another bar and dance floor - photograph of that bar, intrepidly claimed for Wales by AmeriCymru member, Hugh Roberts, at the bottom of this post, below.
So far confirmed to attend are:- Chris Needs , Bruce Anderson , Niall Griffiths , Oceans Apart and David Western . Other announcements will follow. There is every chance, should our funding situation continue to improve, that we will book a second and possibly a third day It was our original intention to stage a three day event and we are exploring various sponsorship options with interested parties at the moment.
The program for the event is in the beginning planning stages but so far we're looking at a Welsh market/tradeshow with vendor spaces during the day and seminars/appearances by lovespoon carver David Western and author Niall Griffiths on the ballroom stage and performers appearing in the ballroom in the evening.
The winners of all our online Eisteddfod competitions will be announced at the event. The Short Story Competition is being judged by Lloyd Jones and Peter Thabit Jones is judging the Poetry Competition. Judges for the other competitions have yet to be announced. David Western will announce the winner of the Left Coast Eisteddfod lovespoon he is creating and auctioning for the event.
We're working out additional presentations and possibly appearances and events at other locations near the Crystal Ballroom: book signings and other events. We'd really love to hear from anyone about events they'd like to see at this, any ideas anyone to make it even bigger and better.
We want to thank all our members and contributors for helping us get to this point and giving us an opportunity to promote Wales and modern Welsh culture in the western USA. We really hope we see a lot of you here and plan a special event for AmeriCymru members.
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Do you have an upcoming Welsh or Celtic event? Are you looking to sell tickets online? Then look no further. The AmeriCymru Welsh Directory now offers a full online ticketing service at this url:- Add Event
If you are an AmeriCymru Welsh Directory member you have two options:-
1. You can log in and add your event yourself, or
2. You can contact us at americymru@gmail.com and we will be happy to work with you to create and promote your ideal event page.
There are many online ticketing services. Eventbee, Eventbrite, Brownpaper Tickets to name but a few. How do we differ from the competition? As far as I know they all charge 1 dollar per ticket but do not offer any assistance with page creation or promotion. We offer BOTH!
Here is our West Coast Eisteddfod 2012 page:- West Coast Eisteddfod 2012
For 1 dollar per ticket sold ( a cost which can be added to he ticket price ) we will create a similar ( or completely different ) page and help you promote it on the web.
If you are interested in taking advantage of this offer please contact americymru@gmail.com and we will get to work on your page
( All events on the AC Welsh Directory must be Welsh or Celtic themed and will be subject to approval prior to publication )
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By default, anyone can view a member's profile page and list of friends on a public social network on Ning. It's now possible for members to change this from the "Privacy" section of the "My Settings" area. Here's what a profile page looks like if you choose to only have content visible to network members:
In the above example the text reads:-"THIS PROFILE IS SET TO PRIVATEYou must be a member of this network to view this profile."
Members can choose to show their page to everyone, give access only to network members or limit to just their friends. Network Creators and Administrators can still view all information on the social network.
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Today we are proud and pleased to present the official West Coast Eisteddfod 2012 poster. Designed by Peter Lewis with collaboration from Jen Delyth . Download printable PDF HERE
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After too many weeks away from the project, its high time to get back to work on the Left Coast Eisteddfod spoon! This week I'm going to work on the maple leaf and the star.
These elements require radically different handling to make them look as they should. The leaf needs to be soft, curvaceous and 'flowing', while the star needs crisp angles and a uniform rigidity. Those with a keen political eye will note that the maple leaf is on the left and the star is on the right...I'd like to be able to take credit for a bit of a political wit with that one, but it was actually just an accident of placement. Perhaps I should have put them both in the centre (or center) to avoid any political misinterpretations!
Anyway, the key thing with the maple leaf is to make it appear 'leaf-like' which is easier said than done. While cutting the leaf on the scroll saw, I was careful to make the tips of the leaf appear to bend slightly. This creates a bit of tension, which in turn makes the leaf appear to have some movement despite being completely static. To further enhance this illusion, I exaggerate the 'hills and valleys' between each leaf tip by using a curved knife (a gouge works good too) to create a concave surface.
I've become a huge fan of curved knives for this type of work and have pretty well forgotten all about my gouges. Because I work on such a small scale, these knives are the perfect tool and are both light and fast in the hand. I'm careful with leaves to not overwork things and make the surfaces too smooth.
A bit of texturing helps give the leaf a vitality which disappears if the surface is too homogenous. There is a tricky area at the bottoms of the valleys where the wood grain changes direction which must be handled with care. Because I don't want to sand my leaves (which kills the vibrant look completely) I need to be very careful in this area. Nice shallow cuts are generally the answer, but occasionally I will fair out a rough patch with a small, curved scraper blade.
The star is a completely different kettle of fish. Here the surfaces will ultimately need to be as flat an fair as I can get them. The intersections of the angles need to be kept crisp and should be as straight as possible. I like to get a facetted look to the star with each arm having a central ridge from which the wood falls away meeting in a valley between sections. To get each arm faired properly, I take advantage of a skewed knife which allows me to cut on a bit of an angle. When the majority of the shaping is done, I go back over the star with a smaller straight knife to clean up any rough spots or fraying. I could cut the star all flat and on the same level, but I have found that facetting it in this manner makes it look a bit more regal and impressive.
Next week I'll have a go at the Celtic knotwork which is always good, dangerous fun! If the spoon is going to break anywhere, the Celtic knotwork is generally the place it happens. But that won't happen on this spoon because I'm doing it for a cause and my Karma will be good!
Please don't forget that the purpose of this spoon is to raise money for the Left Coast Eisteddfod! Without your support, it will be very difficult to get this worthwhile event off the ground. Every dollar you send in will give you a chance at winning this spoon and I very much hope that you will see your way to making a donation!
Cyhoeddiadau newydd | New releases (New publications | New releases) from Sain
By Ceri Shaw, 2012-05-14
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9. Were you able to find compositions or music for this instrument? What kind of music was used for?
"The crwth was a folk instrument, and as such was not supported by a written musical tradition. Both the method of playing it and the music for it were traditionally passed down from father to son, and I gather that there was more than a modicum of guarded secrecy. Sorry, ladies, but the traditional belief was that it was such bad luck for a girl or woman to play the crwth that her so doing would literally wake the dead and send bodies from the churchyard wandering around the town. Morris relates an account of that view in his monograph. I personally do not share that view, by the way!
10. You've composed music for the crwth - is there a particular type or style of composition you think it best suited to?
"I prefer either re-created or adapted to composed in most cases. Everything at this site, for example, is music that was initially fashioned by some talented but anonymous folk artist who probably did not read or write a note of music. There is musicality in each of us, just as surely as there is a penchant for verbalizing. As far as actual composition is concerned, I’ve had in my head for years – decades, in fact - a multi-movement piece called “Twmpath Dawns” (“Dance on the Village Green”) for crwth and orchestra, but I’ve only committed a tiny portion of it to writing. That’s one of so many things on my to-do list for post-retirement. Its style is not at all original, but rather based on that of the dance and ballad tunes that I located in my research, although I’ve not actually copied any of the melodies."
11. How important is the crwth in the Celtic musical tradition?
"I would regard the crwth as very important, although I have come to consider the oral-aural tradition supporting both the playing of it and the music for it, along with music for other folk instruments and vocal music, as even more important, not only because oral-aural tradition is the foundation on which so much else in folk culture is built, but also because what exists only in memories is so volatile and easily lost. Instruments are concrete phenomena and hence more durable entities. That is part of why my doctoral dissertation was on the oral-aural processes in melodic transmission, preservation, and change rather than on an instrument."
12. Do you believe that the crwth can make a comeback? Does it have a place in the mainstream musical tradition?
"I think it already has made a comeback as part of the larger emergence of both popular interest and scholarly inquiry in Celtic music. As to whether or not it will attract a huge following, I suspect not. We must remember that, of all the music education programs in our schools, strings in general tend to be the smallest group in terms of participants. For example, in American public schools, band members outnumber orchestra members ten-to-one, although, interestingly, studies have shown that string players are more likely than wind or percussion players to keep playing their instruments after finishing their formal educations. In my son’s high school, there were four huge bands and one orchestra of modest size. Given the limited number, although usually the deep dedication, of string players, I suspect that the crwth attracts and will continue to attract a relatively small but intensely devoted group of adherents.
Technically the crwth is in general far less facile then modern orchestral string instruments, and it’s not supported by either the huge written musical tradition or anything even remotely approaching the instructional regimen that exists for them. It is best suited to the music for which it was created, which is but one enjoyable but narrowly circumscribed segment of the entire Western instrumental music repertory. Hence I suspect that, while someday the crwth may enjoy an even greater status than it now occupies as an historical instrument useful in, for example, certain movie soundtracks or period and/or regional compositions, it will never stand as an equal partner with the violin. This is certainly not to speak disparagingly of the crwth in any way. After all, within the continuum of its particular repertory it can provide its own accompaniment and in so doing perform a feat at which the violin is far more limited except in the hands of a few of the greatest virtuosi.
There always is the possibility, of course, that a composer will come along who specializes in writing for instruments outside the usual academic milieu. There, in fact, was such a composer in the last century. His name was Harry Partch. He even invented some special instruments, in some cases by adapting earlier designs, and I seem to recall that he wrote for some antique instruments such as the panpipes. To the best of my knowledge, he wrote nothing for the crwth."
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13. Other than on this site where can people obtain samples of your work?
"There is my personal website, which includes the main crwth page that’s linked on my Americymru page. For direct access to my online bibliography of publications and presentations, go to http://home.earthlink.net/~llywarch/pubpr.html.htm It includes listings for my studies in other areas as well as those on the crwth.
My other “crwth pages” are as follows:
http://home.earthlink.net/~llywarch/cth02.html (performance advertisement)
http://home.earthlink.net/~llywarch/cth04.html (thesis bibliography with additional references)
A copy of my thesis is available via university interlibrary loan from the Music Library of the University of North Texas, Denton, Texas, 76203. Also, as I’ve previously stated, I make and mail copies for the cost of production and mailing. I plan to put the whole thing, with revisions reflecting what appeared in my running supplement of addenda, online eventually."
14. Do you give live performances or demonstrations with the instrument?
"Yes, I do, although not all that often. I’ve performed with a harpist at the Mucky Duck Pub in Houston, a location where entertainment often includes live Celtic music, and I’ve performed at wedding receptions and various fundraisers for the arts in the Houston area since the late 1970s. At one point I was with Young Audiences of Houston. Also, I was once on “Inside Area-5,” a feature news program in the Dallas area, not too long after completing my thesis. For more detail, see my performance advertisement listed above."
