My Eisteddfod Diary

I managed to pay my first ever visits to a National Eisteddfod this week – being held in Cardiff for the first time since 2008. Unprecedentedly, since this celebration of Welsh language and culture has been taking place at Mermaid Quay in the Bay, there’s no charge to get onto the site itself, and take in the stands, stalls and tents (some cultural, some commercial); although the big events, of course (gigs, contests, plays etc), charge admission.

One of these was Hwn yw fy Mrawd (“This is my Brother”) – a tribute to the legendary African-American singer Paul Robeson, at the Wales Millennium Centre, from the almost as legendary Sir Bryn Terfel, which I had the chance to review. A history lesson/musical, outlining Robeson’s personal and political struggles and his links with Wales (including an appearance at the Eisteddfod in Ebbw Vale exactly 60 years ago), there was probably not enough of either Terfel or Robeson on offer for it to be entirely satisfying, but there were many other talented people involved.

Later in the week, I went back to check out some visual art. Firstly there was the display by the Contemporary Arts Society of Wales, in the Pierhead Building, of some historic works by the likes of Ceri Richards and Siani Rhys James. Then I braved the lengthy security queue at the Senedd (the Welsh Assembly Building) to experience the exhibition of new pieces selected for the Eisteddfod; some beautiful stuff, with some striking sculpture, photography and video, but I felt most drawn to the paintings – hazy portraits by Casper White, and James Moore’s work, redolent of surreal film stills.