A Word Within LettersAn Interview with Tallyessin the BardBy Jillbe Badb, Contributing Editor
He penned a comprehensive book on Bardry released last Spring – The Bardic Handbook, The Complete Manual for the 21st Century Bard – which has achieved applause of approval in the Bardic world. You can learn more about this inspired work at: http://www.gothicimage.co.uk/bardic.html? He has also edited The Book of the Bardic Chair, released in April (UK limited edition initially, by Sulis Underground) – followed by a wider US version in the Autumn – published by RJ Stewart Books. It features a foreword by Professor Ronald Hutton; and contributions from Caitlin Matthews, RJ Stewart, John Michell and Dr. Graham Harvey, as well as all the Bards of Bath, Ovates and Druids. Plus, this work lists current Bardic Chairs, and how to set up your own. RJ
Stewart Books will be publishing his series of Bardic novels: “The
Windsmith Odyssey!” You
can buy his books directly – and even get signed copies –
at: Now let’s talk with Tallyessin himself... DE: What are the very basics a person needs to get started on the Bardic path, according to your new work, The Bardic Handbook, The Complete Manual for the 21st Century Bard? T:
An open heart, an open mind, a willingness to learn, to play –
to give themselves permission to be creative, and a freedom to fail.
To feel the fear and do it anyway – hold onto the dragon's tail
and enjoy DE: I have read your (brilliant) work and have noted that it says that the Bardic path is a lifelong one. Are you still memorizing poetry, and how much these days? T:
It depends on the gig if it's required for a show, I'll learn
it. Sometimes it's a case of
T: In a way... I was given a medicine rattle, unasked, on Solsbury Hill (our local sacred bump of Peter Gabriel fame) when I was taking part in a medicine circle with Roy Littlesun. A lady came up to me and said: 'I think you should have this.’ Since then, I've used it in my storytelling. Other than that, I'm still waiting for that faerie branch – in the meantime, I made my own. DE: If an aspiring Bard were enrolled in a University, what classes would you encourage her to take in order to form a good base of Bardic knowledge? T: Storytelling; performance poetry; creative writing; drama; music; history; local studies; comparative religions; psychology even... DE: What was your most vivid Sidhe encounter? T: Wildcamping by myself near a barrow called 'the Giant's Grave' on the Wansdyke - a henge (ancient earthwork) stretching for miles across Somerset and Wiltshire. As I curled up around the fire, in the middle of the night, as the fire had died and I was beginning to feel cold, I felt a presence behind me – a 'man' on the edge of the grove. I was unable to move - sleep paralysis – as he approached, reached over...and stoked the fire into life, adding wood. Then he vanished. I wasn't able to sleep much after that, but it was nearly dawn by then. I am glad I asked for the blessing of the spirit of the (oak) grove before I made the fire and went to sleep.
DE: What is the name of your harp? T: Haven't got one yet, as been working with a musician, but if I did I think it should be a private sacred thing (personal choice). DE: If you were Bran -- in The Voyage of Bran – and beheld a plate of food that reflected whatever you desired, would you eat of it? T: Well, there's strong taboos about eating faerie food, but it would be tempting – depends if I'd felt I'd achieved all I needed to in this world. I still have too many books to write and tales to tell before then! DE:
Do you agree with the works of John and Caitlin Matthews that the Bardic
path is necessarily a Shamanic one? What of urban Bards? T: I think they share similar roots, but you don't have to be a shaman to be a bard, and certainly not vice versa (although there are obvious overlaps). A powerful story performance should take the audience on a magical healing journey - just like shaman does. At the end of the day it is about connecting with your own tradition, and being authentic, your source of inspiration - if that's urban, so be it. The cities need healing and enchantment more than more wild places after all. DE: Which deity is your biggest taskmaster? Greatest inspiration? T: The Goddess in her many forms is my constant teacher and inspiration. DE: An Otherworldly creature offers you a "one-way trip" to 6th Century Wales: go or stay? T: Tempting...but I've got too much to do in this time, and I probably was there before anyway – I certainly connect with it more than any other period or place. DE: Anything else you would like to add for up-and-coming Bards? T: Believe in yourself – if you won't, no one else will. Stand up there and shine!
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Kevan
Manwaring – whose Bardic name is Tallyessin – is a novelist,
poet, storyteller and teacher. He has been performing his poetry for
over a decade in venues across Britain as well as the Rhode Island Sacred
Arts Festival. In 1998, he was awarded the Bardic Chair of Caer Badon
in Bath. In 1999, he won the Writers' New Ghost Story Competition. He
runs Silver Branch Bardic Training and teaches fiction writing for the
Open University. He lives in the city of Bath. His Website is: http://www.tallyessin.com/
Windsmith
(1), and The Well Under the Sea (2) will be coming out this Autumn.
Check them out soon at: http://www.rjstewart.net/
DE:
Have you ever had an Otherworldly creature sing to you or give you a
branch?
