MESKLA | Brewyon Drudh #5 A Conversation with Performers - MESKLA | Brewyon Drudh

Episode Transcript
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Sovay Berriman (00:00):
Dydh da ha dynnargh pub huni dhe bodkastow
MESKLA | Brewyon Drudh ostyesgenev, Sovay Berriman. Hello

(00:25):
and welcome everyone to theMESKLA | Brewyon Drudh podcasts,
hosted by me Sovay Berriman.MESKLA | Brewyon Drudh is a
multi platform project, usingsculpture making and
conversation to explorecontemporary Cornish cultural
identity. Through workshops,podcasts, a symposium, and an

(00:50):
exhibition. The project invitespeople to share their
experiences of identity andCornwall, and their views on
Cornish culture and itsrelationship to land, language,
heritage, tourism, the Cornishdiaspora, and much, much more.
These podcasts recordConversations with guests whose

(01:14):
research or lived experiencetouches on the project themes.
The views, thoughts and opinionsexpressed are the speaker's own.
All conversations are carriedout with a spirit of generosity
and openness, creating space forthe discussions to twist and
turn. And I'm very grateful toall who have taken part. In this

(01:39):
fifth podcast, I'm joined byEllie Allen, caller for ceilidh
band Splann. Becky Bordeauxactress, performer and
production assistant with RogueOtherworld and Luke Passey
otherwise known as Passman, onehalf of Hedluv and Passman. We

(01:59):
talk about Redruth livingworking and growing up in
Kernow, nightlife housing andthe cost of living.
Hello, thank you all for beinghere. And so I've invited you to
be part of this conversation,which is sort of talking about
contemporary Cornish culturalidentity and locating that sort

(02:21):
of feeling around what it is.And I've invited you guys to be
part of it because you're allcreative practitioners. You're
Cornish in Cornwall. I mean, youmight contradict me about some
of that as we talk. But yeah, Ithink your input is really
valuable to this debate. AndCornish culture seems to feature

(02:46):
in some of what you do sofirstly, Ellie I wanted to ask
you a bit about your workbecause it's totally Celtic and
you're dancing and you'receilidh calling and I'm
interested in the importance ofthat to you as Cornish

(03:09):
identifying person.

Ellie Allen (03:12):
Yeah, I mean, it's really important to me I have to
have to be honest with ceilidhcalling. It is more Celtic than
then Cornish dance. We don'talways do primarily Cornish
dance, but I think it's a sharedheritage of Celtic nests. We
share similar languages withother Celtic nations. So we
would do quite a lot of Scottishdances and things like that. But
with chemists, we we do Cornishdances, 100 % Cornish dances,

(03:35):
that's what we do. And it'sreally important for us we've
been to festivals, both withbase plan and with chemists to
festivals in England, Wales,Ireland, the Isle of Man,
Brittany. And I just thinksharing our culture which is
perhaps not as prevalent is likeScots or Irish. Everybody kind

(03:56):
of gets that. So I think it'sreally important for us to make
sure that Cornish is up therewith the other Celtic nations.

Becky, what are you what do you think about
that?

Becky Bordeaux (04:09):
Yeah, I probably isn't as prevalent as other
Celtic nations, I suppose. Yeah,I suppose what I suppose
reflecting what we do with Rogueis we we were our Cornishness
come through where we perform.And the stories he wrote because
Ali who runs rogue arrow theatrewrote Otherworld with my sister,

(04:31):
Angelina. They, we write cornystories in Cornwall for mainly a
Cornish audience. But I wasthinking when you're talking
about it, like how because wehave a lot of holidaymakers come
and one of the things and one ofthis we talked about a second
homeowners quite a lot in one ofour stories, and you can see the
people it dawning on people asyou see it, rippling through

(04:54):
about actually what the boughtin Cornish culture that people
see and actually the realCornish culture so you Have
people from we have an eclecticmix of people come to our shows
you have people who have comewith into their second homes
watching it going, Oh, hang on,and there's a woman on the front
row nodding her head off goingYeah, that's exactly how we
feel. So it's actually it's themishmash of culture of non

(05:17):
clinician clinician culture,which we get at our shows, and
also the different classes ofCornish because there is
definitely different class ofCornish in Cornwall, you've got
the the posh Cornish who arehere and bought there, sort of I
bought the identity of course.And then there's people actually
live here who work here andstruggle to buy homes here. And

(05:38):
yeah, I'm interested in the factthat you bring those politics
into our work it's work it'ssettled politics not work
because we don't want to make itblatant because as soon as you
blatant visually do blatantpolitics and work it's it's you
isolate people don't you sowe've done in humour so like the
store which is about stir murmeesays these two fishermen catch

(05:58):
mermaids and they put them intothe pot down at Portreath and
charging people are quick to goto go see them. But in that Ali
is talking about a second Homerthing this is how we have to
make our living because there isno Cornish traditional jobs
anymore. But then at the end,we've got our guide, Paul, whose
mouths with ginger beard and atail singing sweet fishy lips.
So it's, it's, it's dealing,it's dealing with those

(06:21):
different it's Yeah, dealingwith it with humour, I guess,
and crunch it and see but alsothis year we're doing King
Arthur which is like, has a messwhich is completely embedded in
Cornwall, but we try and bringin current politics within that
and current and how currentlyCornish people feel living in
Cornwall, which is sometimeshard, isn't it? Easy living in

(06:42):
Cornwall being Cornish?

And how about you, Luke? I see that you bring
Cornish culture or theexperience of living in
Cornwall? Yeah. into your work?

Passman (06:54):
Yeah, certainly isn't inherently about that. It's
entirely tied up. And it'sgeography kind of like a lot of
rap music is sort of about sortof ownership of where you're

(07:16):
from, and sort of trying tocommunicate that lived
experience

and Ellie with your work if it's, so you talk
about like that traditionalCornish culture and making it
present. Where does acontemporary come through with
it?

And so I think we are always trying to invent new
dances do different things, evenif it's not like 100%
contemporary we did do withchemists, chemists, for example.
At the end of Perrin, which is alocal Celtic music and dance
festival, chemists did do adance to Hayyan. And we did it

(07:59):
traditional dance to hayyat andwe did want to Lord, and we kind
of like mashing up music anddance. So the dance steps were
the traditional ones, but thedance was newly choreographed to
outcasts hayyat. So it wasreally fun. Like it was really
fun and really, really cool. Andthere were things like we have
done as well at the independentwith the plan. We've done like,
covers Caylee bands, so youwould do Cornish Express, which

(08:22):
is a fun Cornish dance to DollyParton nine to five and
someone's singing Dolly Parton.So you get you get kind of
modern and you get you gettraditional as well. Other
things we've done is like asilent Kaylee so on one ear, you
can hear the triad. And if youcheck this clip to the other
channel, you can hear modernmusic so I've been to like

(08:44):
Sidmouth, which is obviously inDevon but and you can be dancing
to Nirvana you can be doing likea kacian circle to Nirvana track
or something and it's justtrying to kind of make it maybe
a bit more easily accessiblewithout someone feeling silly. I
think a lot of the Kaylee's wedo was plan or weddings and

(09:04):
people are generally drunk andthere's kind of a camaraderie of
being there with people you knowyour wedding you know, everyone
we do do open events as well assplatting but generally, I think
there's a fear of it. i Peoplehave a thing against Morris
dancing that no they think it'slike Morris Dance Oh, skipping
around a grown man skippingaround and it's kind of a fear
about that for people to do it.They don't necessarily embrace

(09:24):
it, you know, once they starteddoing it, they're gonna love it.
So if you can, if you can givethem a bit more of kind of
something they used to dowhether that's traditional, more
modern pop music or moves thatare more modern then then people
are more likely to engage withit and that's that's what we
want really people to engagewith it in a way that they're
comfortable with as well assharing our culture with them.

And that's where like I suppose all of you have
what you do mixes up that stuff,doesn't it? Yeah. Okay is like,
well, when I've gone to see headlove and pass man I like your
firm, like, I laugh a lot allthe way through. But I feel like
there's serious stuff there aswell. Like when you're putting

(10:12):
your show together, do you doyou to think about where
corners? Maybe ut Daneidentifies coordinates? What do
you think about that? Andputting it into the show?

Passman (10:27):
Um, well, I certainly feel like Cornish 100%. Like,
I'm sort of a product of whereI'm from. And yeah, I can't get
away from that. It was there wasalways sort of heads kind of

(10:51):
other No, like, agenda to pushpush the corn Cornish thing. I
was sort of, I'd say at theoutset kind of hesitant about
that. How it would be perceived.Or no, just to be Blinkbox, it's
kind of like, I don't know, alot of people mine. Especially

(11:11):
when what we do is kind ofcomedic. It's not overtly
comedy, but a lot of people mindtheir Cornish pneus for like,
sort of cheap, kind of, youknow, humour. That's how I feel.
And it's kind of often sort of,kind of derogatory, like that.
Sort of like, yeah, selfdeprecating. So I was very,
like, aware of not to kind oflike, yeah, be be that because I

(11:35):
saw that I see that elsewhere.And I don't find it kind of, I
find it kind of distasteful,really. So, but I think heads
done in such a way, he's such agood writer. And like,
obviously, you've collaboratedon a couple of songs that are
very like overtly like Cornish,whether they use sort of like
Cornish dialect, or the, youknow, like, all our songs are

(11:56):
about life in Cornwall, andthey're all kind of like, like,
in the way the wraps written.It's not using sort of allegory
or like metaphor or anything,it's just like, sort of
describing exactly, you know,how something is and sort of
playing sort of, like language.And, yeah, sort of hesitant,
especially like, using the wholelike, directly thinks that
something I'd sort of onlyreally experienced through kind

(12:17):
of like bumper stickers, youknow, like, like cornishmen
directly sort of thing. But thenlike, he sort of, like use it in
such a way and it is kind oflike so inherent, particularly
it's like men head and like akind of like a lifestyle sort
of, like, you know, pace of paceof life that is inherently sort
of like Cornish but yeah. Butthen he took he took that and he

(12:39):
liked sort of made this greatsong that that does sort of feel
communicates a lot about what isto be quite sure what we feel
like it has been Cornish topeople. And also with meeting
cornets. That's called Made inCornwall, but then like, it's
about the electorate back. Yeah,we've got this, like, we've got

(12:59):
amazing clients not celebratingthe fact that you're like, born
in Cornwall, or whatever,celebrating the fact that like,
wherever you're from, if you'reliving in Cornwall, you know,
there's a lot to celebrate aboutand it's like, you know, like,
yeah, so it's wholly celebrateRealFeel you know, practices,
how we celebrate feel

celebrated when we, when I watch you, I can feel
it. Yeah. I mean, I surprise youlike you like, yeah, it's sort
of it's brilliant. And it's fun.And like you both are great,
like showman showman when whatyou do, but it's like, it's a
joy to watch. You don't go awayfrom ahead of impasse, man get
going. Wow, that was heavy. Likeyeah, like it's, it's fun to
watch.

Passman (13:40):
I hope so. I mean, yeah. And also, it doesn't feel
like cheap. I mean, I know thatsome people might enjoy it for
maybe like the wrong reasons orwe've been asked to do
commissions in the past forlike, random things like, I
don't think there's like a, whatwas it like a Sainsbury's in
imbued or something? And there'slike a tunnel. So like you can

(14:04):
walk to the to the carpark andnot get rained on or whatever.
There's like a transparenttunnel. And some, some people
that had a, I guess I can talkabout this. I mean, we didn't do
some people that have had, youknow, commercial agency which
call it a advertising agency,like Sainsbury's would have got
in touch with them. And theywere like, because it had become
like a sort of online phenomenonthat it was like a TripAdvisor

(14:26):
and people were filling out sortof jokingly saying like, Oh
great, like, you know, tunnellike thing called POC tunnel or
whatever and there was loads ofentries and it was like a news
thing. So they're like, oh, weneed to capitalise on this
organic sort of interest. Sothey got in touch with a
commercial agency who were like,Oh, can we can we do anything
about this? Can we like have anevent can we like find some some
people that can do like a songabout this like, tunnel and some

(14:50):
guys that got in touch with usand we had like a phone sort of
like um, conference thing wherewe're all like on the line and
like man head on together wewere like on the phone. And as
these two guys and one The guy'swas basically seemed like a,
like a sort of Avatar like anAI. Like he had no like
personality whatsoever. But thenthe other guy was a guy that was
sort of familiar with what wedid. But he was like, Yeah, you

(15:11):
guys would be perfect for this.And I was like, what is it about
x is like, we write about apersonal experience. And it's
like, the only experience I hadof this thing was like seeing an
article about it online. So Iwas like, like, how, in what
way? Is it perfect for us? Andhe's like, oh, you know, just do
what you do. Just just take thepiss. And it's like, oh, I
wasn't, I wasn't what we do. Iwas like, having major

(15:35):
reservations, because it's like,this guy is totally sort of
like, misinterpreted, what it isthat we do. There's no he's
engaged with it. He's seen it.And he's like, it's like, what
are we taking? What are wetaking? Taking? Unless it's
like, in our sort of, like,approach to like music making
where it's like, you know, kindof, like, haphazard and stuff I

(15:56):
didn't know, I thought like, youknow, in the lyrical content,
it's not like we're, yeah. Sothat's why we didn't end up
doing it. It's interesting,

though, that it feels like that's all caught up
there with intangible culturalheritage and histories. And then
that certainly you guys coverin, in your head love and
Passman act and songs, reallyhard to interpret sort of

(16:25):
things, and maybe actually madethem tangible. Yeah, yeah.
Exactly. So it can be done.Well, it may be with that mash
up that you're doing with Kenickas well, le have like, some Trad
dance Medes mixed up with morecontemporary music, like pop

(16:48):
music or whatever. Yeah. Sothere's, perhaps there's a
tension around that with like,conversations around
gentrification as well, and howwe hold on to culture.

Yeah, I mean, I think there's an idea of what
Corbin is, and there's, there'san IT. And there is an idea that
Cornwall's like 30 years behindeveryone else, I'm gonna go
there, it's quiet, people aredifferent, we have our same
British values we've always had,then, you know, things haven't
changed in Cornwall, it's wrong.And unfortunately, it does
attract some of the wrong peopleto to move here that we probably

(17:24):
they don't share our values, orthey obviously they share some
people's values, but what theybelieve are the values of
corpsman, which is a bit, maybewe stuck in the 1980s is not
really actually communists arevery progressive place if people
you know, some of the theatrestuff, like the stuff Luke does,
there's a lot of stuff going on,it's like really progressive.

(17:45):
But maybe it's not seen becauseit's not on the, you know,
Monopoly board of corn, well,this is what I'm gonna I'm gonna
go to St. Ives and have an icecream and probably get attacked
by seagull. I'm gonna do this,you know, and that those things
don't cover a lot of the stuffwe've got going on, it's very on
the surface and it and it doesgive people the wrong impression

(18:06):
of who we are and attract thewrong people. I think sometimes,

I've certainly come across, I mean, what you
say there really, keys into someexperiences I have where I've
met other tradespeople who'vemoved to Cornwall and very
explicitly have said, I've movedhere because this is what
England used to be like. And,and they essentially moved here

(18:31):
because they perceive it aswhiter. They perceive it as
something that's Yeah, put onlike a heritage TV show. You
know, and I think that'sreinforced by some of the what I
call like nostalgia, tourismadvertising. Yeah. Also, I

feel like with the toy, like, I feel like by
people buying into thatchocolate, but when I say
actually, that isolates thepeople who actually live here as
well, because culture should befor everyone shouldn't it
shouldn't be classes, itshouldn't be what you can afford
to go see. And like and also toaccess natural space. It's
obviously working to heady likea lot of people who live in

(19:12):
bedrooms probably don't even goto Tahiti words because I don't
think it's for them because it'sa woodland whereas like, we go
come see a show. They walkthrough they get math and the
words they can watch the showfor free if they can't afford it
and actually that's reallyimportant. I think there isn't
that many things that areaccessible that you can just
we've got beaches obviouslywhich are amazing and the

(19:32):
weather's nice if they charge tothe carpark our parks Yeah, so
like and get if you can get tothe beach, if you can afford the
bus Festival, which did dancelift the buses go to buses goes
to beach, if you can afford toget to the car park if you can
afford the fuel to get to thecar park. Like there's there. It
just feels like in some ways,the class isness is like
isolating local Cornish peoplewho who are poor. That's

(19:52):
basically it's

being made worse by also because firstly, lots of
income is moving around thecoast. Contrary people from the
coasts are moving inland Sothose of us that live in land
are pushed even further outbecause we because it's
obviously more expensive to liveon the case. So imagery for
example, used to be I would sayone of the cheaper areas to live

(20:14):
but it just really isn'tanymore. There was a was that
one bedroom flat they put itdown to 775 but it was a one
bedroom flat. It is a lovelyflat but

what do you think then about this? Like,
like growing up? Did you allgrow up in Cornwall?

I grew up in hostel clay pride. I think
there's a badge going around.But yeah, I grew up in hostel,
which was my last bus home wassix o'clock, I couldn't do
anything. Like at all I justlived in foxhole didn't even
have phone signal. How can youtext boys if you like haven't
got a phone signal? It'shonestly awful, most isolating
experience ever.

I was thinking about like growing up, I would
have loved like some of thestuff that we've got. Now, that
really excites me. But I'm alsofeel a sense of responsibility
about maybe being part of thisclass divide building or this

(21:11):
gentrification. Like, do youguys feel any responsibility
about that? Or how do youmitigate against that?

I mean, it's really difficult, isn't it? I mean, I
so I grew up in blingee. So thatis, it's fairly posh, actually.
But also is in the middle ofnowhere and all my friends have
the new key. So you got to getbuses everywhere and that kind
of stuff. I've lived in New keyI've lived in Turo, and now I
live in Redruth. And I loveRedruth. It's the nicest place

(21:42):
I've ever, ever, ever lived. Idon't care what anyone else
wants to say. The sense ofcommunity here is amazing. And I
think, you know, I thinkgentrification is a worry for
lots of people in the town. Andyou know, I tried to get
involved in as many things as Ican like the town council or
something on or the advisoryboard for the for the ladder for
the old library building stufflike that. I tried to get

(22:03):
involved and represent peoplebecause I've got like two main
communities in in Redruth one Ikind of share with Luke, we go
to ring roses, sitting there,and I think it just meet people
that you wouldn't generally meetmaybe. And then the other place
I frequent, quite frequently isrumours Club, which is, which is

(22:25):
a social club, and it there's alot of tradesmen, there's a lot
of Redruth like more reducedthan me. I've only been in five
years that people have grown uphere, they live here. And I
think just by like, being in thecommunity, you are helping to
stop gentrification I like Ijust try and listen to people
and represent people and helppeople there's people with such

(22:47):
struggles, not least of whichlike technology and the fact you
can't book a doctor'sappointment unless you know how
to go on the internet and dothese things and there's a lot
of people can't do it. So, Imean, I I help out however I
can, I'd like to I would like tobuy a house. I can't even really
afford a midriff. But like Iwould like to think that I'm not
responsible for anygentrification really, I would I

(23:09):
would like to think that I'malthough I have moved obviously
inland because I was Nickybefore now so I am one of those
people that's moved from thecoast inland but I by embracing
the community and trying to helpout the community wherever I
can. That's how I can do my bit.That's That's how I see anyway.

Yeah. How do you feel about that stuff? Like

Passman (23:32):
I don't know. I'm a sucker for like novelty. If that
something crops up, like anysort of cafe or something,
certainly, like, try that. Buthe hasn't. I mean, I was living
in pharmacy and it's kind oflike it's just there's so many
opportunities for places to goand coffee.

Place live in Falmouth by got priced out, what
10 years ago.

I live in Falmouth at the moment and it's
funny living over there becauseI've always lived like more
North case facing like Camborneand true rate, really, it's
occasionally Perranporth, andother little villages around on
the north coast. And then I'vegot to say, there's loads going
on there. Like I love it, but Ialways base my art practice back

(24:25):
in red roof. And it feels likethat's more connected to who I
am. I mean, I've got some familyhistory like the mom's my mom's
side of family is from Falmouth,but yeah, I just feel far more
connected to the sort ofCamborne pool red reef corridor.

Passman (24:44):
Yeah, moving back here. Well, I live in a lagoon at the
moment. But being back inRedruth, it definitely felt like
sort of coming home, but I wasreally impressed with the sort
of, I suppose, like you saying,felt there's a lot going on.
There's certainly a sense ofcommunity. There's lots of
people doing things, but it'skind of certainly I think more
manageable here, you kind oflike, like there's different

(25:04):
pockets of people doing thingsthere. But here, it's kind of I
was really impressed with thesort of coherence. And, yeah,
the sense of community and thetime that which is something
that I don't know, it's justbecause of the age that I am.
And that sort of the, you know,the years I've spent sort of
getting to know, people, but youknow, there's also new new

(25:25):
people that man this, I think,different people want different
things from this sort of time.

There's something that seems to be
coming up around, like thebalance between being
contemporary sort of 21stcentury people who want to go
out and do kind of 21st centurythings. You all have some work
in the arts say you want to havethe opportunity to enjoy that

(25:52):
stuff. But at the same time, youdon't want to lose community
connection to home. And theidentity of the place. Is that
right? Is that the SEC Yeah,

Passman (26:06):
Yeah, certainly. Yeah, I don't know. I mean, rhetoric
is never gonna be able to sortof compete, it's not gonna be
able to bring people in sort ofdo their shop, you know, that's
gone. The Times go on thesupermarkets.

They hired Wayne Hemingway to do projects on
bringing people to retreat.

Passman (26:22):
All right, yeah. But I think it needs to offer. Yeah,
it needs to offer somethingwhich is, you know, entirely
sort of unique enough as anexperience, which is, I mean, in
terms of nightlife, I think thepeak sort of time was in the,
for me was when I was going outthe most, I suppose. But then in

(26:42):
the early 90s, I've sort of morevenues, I know the drapery sort
of open sometimes and when itwas a green room that was sort
of that was a space for likelive music. And that was also
well, me and my friends, likeused to frequent gaslights. And
yeah, had started up, open mic,Dan, and did some of his
earliest shows down there is anew stage on Wednesday until he
sort of like, talked Aaron intoopening on a Wednesday. And that

(27:05):
was also the crowbar existed fora short time that was somewhere
where you can see live music aswell. So it's like, I think,
yeah, red wreath. I've alwaysbeen a, you know, a staunch sort
of advocate for support.

And I think when you're in, you're in, it's like,
if you for example, the Oxforddoes an amazing race on Sunday,
but you've got to order itsomehow. So who'd and they
haven't got a phone number. Sohow I don't even understand how
that works. But it just to me,it's just being in the knowledge
of actually the Oxford roast isvery, very nice. I have had one
I didn't arrange it myself.Obviously. I haven't got no clue

(27:39):
how to do a vegan.

That's quite that whole thing about being
vegetarian and vegan meat aswell, I think is really
connected to what peopleperceive as Cornish identity,
because I've been asked beforelike, but are you really cool
niche like, but you're vegan andyou work in the arts? And

you're like, oh, yeah,

we could do that to

some of the most coolest people I know are
vegetarians and vegans, I think,like

now, Becky, you work up at the Cornish store.

Oh, yeah. I've worked there for about a decade.

So in the corner store like you can buy as you
beautifully modelled onInstagram or something. Yeah,
that a Ross Poldark question.Unfortunately, not

anymore. Used to be it but it's gone out of
fashion. Since it came off TellyI was in Boulder. Yeah, amazing.
I

was in the first season of supporting artists. I
touched Ross powder on theshoulder.

That's amazing. I applied directly so as to
busty for the cost may set youback in the day. I was like,
Alright, fair enough.

I'll take that. They wanted corny stances. So
that's how we got the we got thejob. Ginger. Nice wedding. We
were dancing.

Cool. Yeah, just thinking about that Poldark
stuff. Like because part of mefinds it really funny. Like I'm
just next Hilarion just likeyeah, great. I can laugh at
that. But then there's anthere's another point that I
think oh, there's something abit in. It's insidious, the
right word like it's creeping upof actually repackaging culture

(29:33):
and kind of nullifying realCornish lives and the fact that
during that era, you know, therewas some serious like caste
based,

occupy a bit of coordinate like people just come
in and buy a bit of Cornishculture, like it was very much
on when I worked in it. I tookit as a complete joke. So I love
Poldark and I enjoyed theseries. And like it was all
filmed down here and I supposethat is, in some ways Bringing
people experiencing a differentkind of coach from Cornwall. I
didn't know I was a big fan ofit, like embarrassingly say like

(30:07):
that. I've even got a roughproduct mug at

work. I can ship I don't know what's Doc Martin
like, which is worse Doc Martinor polder I mean Doc Martin is
set in present day right infront of a village for Dodie
people. I don't know I choosenot to watch it.

See me have stereotype character. You can

say sentence sensibility, Pride and Prejudice
period drama, who will evenknows and that's where Poldark
sits for me. Whereas, DocMartin, which is I think it's
now funny. I've never watched anepisode, I think it's finished,
which something like that, to meis more damaging because it's
supposed to be set now, and itpaints us as blooming idiots or
whatever. I don't know, maybehave you watched?

Passman (30:46):
Well, I don't know, I have a sense of what it's like,
without having seen I think I'veseen I've seen I can't say I've
like watch actively engaged. Butit sort of exists in I mean,
it's set in like a real place,right? I feel like it's just the
nature of those kinds of shows.They don't really feel grounded
in like a sense of reality orwhatever. And that's kind of not

(31:06):
what people were in watchingthem for. I don't think but like
what is the set kinda it was acomedy. It's not like high
drama.

Stick up a comedy element is that he's
meant to be quite a bumblingsort of,

he's like a posh Doctor. Doctor treating poor

Passman (31:28):
is like fish out of water kind of like postdocs and
there's like yeah Cornish Pierreand he's like all these kooky

and there are definitely some Cornish people
he fit that sort of stereotypeand like slay country person and
then like because I feel thatall part of that on the one hand
seems Oh, well it's harmless.But I also feel a bit like which
I think you're saying a bit thatYeah.

Passman (31:55):
What is that? Like? Is it historical?

It's based on a series of books by William
Graham When were they

Passman (32:04):
50 Should be interesting to see so serious
take on like kind of that periodof history and the actual like
harsh because is it like aroundmining or they might owners or
something like that? Is theremuch like sort of like about
sort of the politics of miningand

raping is all customizable watch the episode I
was in the mouse a mouse

was from a luggage and she can't read or
write and she's really poor andlike has an abusive father I've
got really into it, but like itis it does I would say it
represents more of the cultureof comics he lives because
pulled up houses five miles fromRed really so it's in the login
basically.

Passman (32:44):
But it's sort of like it's like wealthy minus like
Dallas, isn't it basically like

yeah, it does. It does document some of the
things like problems with thecall law right okay. The rise of
Methodism, and it being alrightwork is religion and or belief

(33:08):
system. But I do think it'squite interesting this like high
Cornwall's represented and whatthings are most problematic like
I really find programmes likesort of Dawn French's, Cornwall
and Caroline Quentin's calledwill and these sorts of things
called really problematic

Yeah, read that really problem.

Passman (33:26):
It's like they're gone. Yeah,

there's been a really good there was a really
good one wasn't there last year,which was more the real
communists okay.

I don't think she was a man could SIMON Yeah.
No, no baby to Bucha.

I didn't watch it either.

Passman (33:45):
At some point. This past season.

I know that they went to the food bank in
Camborne.

Next time. I was for extended one at the

moment did as well Camborne and feedback has
become that

because it had was like millions and millions of
money after was on the
TV loads of people donated toit.

So it was that guy Simon's programme.

I think the Simon guy programme was supposed to be
a good one, but I don't knowbetter than

It was. I found it marginally better, right. But
I still feel like there's a sortof softness that protects
Perhaps those who do seek toeither buy second homes or move
to como, or who may be verycomfortable middle classes. He

(34:43):
can afford a different kind oflifestyle then is actually
affordable to the majority ofpeople who live and work in
coma. I mean, we have quite lowincomes here

Passman (34:54):
are sort of important that they protect a certain
image because it's saleable.Exactly. What do you think
everyone feels like that, like,wherever you're from, you know,
just just in the UK, whatever,like these programmes like this
kind of like regionalequivalents, like all throughout
the UK, just things just feelthe same. They're never gonna
get to the crux of like, what,what is or what, you know how it

(35:19):
feels as an actual person livingan existing and it's very

expensive to live in London. But I just feel the
way that that's communicated ismore sympathetic than it is for
us. And we're whinging Cornishpeople moaning about our country
that you know, we don't wantincome as we're this way that
and I feel like it's, you knowthat I was on Jeremy Vine,
actually, because he was doingsomething about people coming
down or something. I think itwas the Grim Reaper, was it in

(35:45):
COVID times when there was agrim reaper stood around about
go home or Yeah, a couple ofincidents Jimmy I was down there
was that they had like bannersbanner over a bridge and there
was a guy with a guy dressed asa grim reaper just stood in
around about twiddling hisstick. And they were basically
making out that we we werehorrible people, and we were
moaning because we didn't wantpeople coming down and giving us

(36:07):
COVID. And I think that's whatupsets me more is that, you
know, there's empathy for thepeople of London, but there's no
empathy for us. We're

just seen as whinging about things and I'm
that upsets me and I don't knowwhere it comes from and why.
Because we are seem to be livein an enviable place because we
have lots of nap. Like you said,when you email this thing, we
live in a naturally beautifulplace. We live near the beach,
we can go to woodlands, like weall have access to the
countryside, but and Londondoesn't have that. But I suppose
it's just we're seen to bewhinging because we we don't

(36:38):
want to share it's like we don't

want to share this we don't have room down there.
We

Passman (36:41):
still kind of like simplifying it, I suppose isn't,
like kind of London, like theshorthand for like London is
like Gree urbanism. Like andbecause probably like, that's
not the whole picture

there is there's loads of stuff in London.

Passman (36:57):
I mean, like shows about me talking about
programmes about like, you know,London's

because like if we think about like EastEnders
or something that's obviously areally simplified story. And
obviously, none of us live inLondon. And we're not London is
so we don't I don't know aboutthat experience. It feels like
perhaps there's something aboutthe presentation of Cornwall and

(37:24):
maybe I think you're right, Ilike other places around the
British Isles that are beautifulsort of visitor destinations.
There's an investment in thembeing presented as not that
gritty not that sort of workingclass or not that much poverty
there because I don't know maybeit would be off putting or

Passman (37:49):
I mean, I read race to get a lot of publicity like few
years ago to know when it's sortof like highlighted has been one
of the most deprived when theyhad in the UK and that was like
sort of national like news isn'tit?

When they had the US both it was it up up at the
top where there was no kids overthe under the over the age of 15
route that out at certain times.It's

Passman (38:10):
like a curfew. Yeah, curfew,

no matter. Is it middle close off the top there.
Nowadays. Yeah, that wasn't anational news that this one area
of the country kids were nowbanned from being outside after
seven. I can't remember but itwas. I mean, Redruth generally
gets a bit of a bad presseverywhere, but it doesn't
really bother me.

Think Tambon gets the

worst camera.

Passman (38:35):
What do you think of that? Richard Campbell and
Robert Wright alive? Is it realor does it exist?

Liberal Arts people but like, we play it and
it definitely exists,

Passman (38:46):
I suppose. But anyone on the outside it's always like
read through Sam Campbell andisn't it they mentioned sort of
like breath.

But definitely the Red River was always seen as
this sort of divide. So likepart of my growing up was in
Bray village just outsideCamborne and so that's Camborne
postcode, but even within thevillage like people would say
yeah but you live on the redroof side

I think was all this money that went to camp on
porn and retrieve so I don'tknow what that if that's what
pulled them to get yet CPRregeneration didn't you? Yeah.
You

did the launch because we did the launch of
Heartland Yeah, cuz originallyhired you to do I think I
remember you performing now. Andwe've definitely

Passman (39:33):
performed a few times. Yeah. Early days. Yeah. They had
like schools. They were sort oflike bossing schools up there
and stuff. Yes, we did a bigfight. It was in the crowd. We
did fire dance up there tolaunch heartland. Right and
there's one way around. Oh,

I don't know. It's yeah, it's like,

Passman (39:49):
yeah, I think I don't know. Yeah, that's sort of kind
of problematic. It's kind of abit seems a bit of a bit of a
waste.

Until the Cambodian

Passman (39:59):
Highlands. I I was like thinking of, you know, like the
the Eco park or whatever. Yeah.And that's kind of like
everything that kind of likeHoloLens could have been. Yeah,
because it's got like art spacesand sort of studios, Scott cafe.
It's got like

it's quite gentrified. It's really
expensive.

I would say an issue, like a difference between
what's going on at Heartland andwhat's happening at the Eco Park
is you can walk to Heartlandquite easily. Like it's fair. I
mean, apart from that they putall them big roads around that.
But you can walk to Heartlandfrom a number of like villages

(40:38):
and towns, where is the Eco Parkis less accessible by foot?
Yeah. And so simply that as wellbegins to make a choice between
like, who, who's going to be themain audience? Yeah, but also,

(41:02):
we can't really say thatHeartland is teeming with
people. Less

on finite, then, isn't it?

Passman (41:11):
Big expanse? Yeah, I don't know what is intended for
use as a site for large scaleevents, wasn't it? But then they
had that one big festival andthere was like a single noise
complaint and that paid to sothey just

can I ask you, then just thinking about mining
rights and Heartlands was calledHeartland because it's at the
heart of the mining industry ofcertainly, later 20th century
Cornish mining, not ignoringgeevor. That was 20 century

(41:45):
mining, but it's miningimportant like to you as
individuals for your Cornishidentity, do you feel any
connection to

Passman (41:55):
it? I mean, it's like I said, it's sort of capitalism
isn't as celebrated because it'ssomething that generated so much
money. And then yeah, there'smoney now to sort of preserve,
you know, the, his history ofmining, because it was something
that made a lot of money. Ididn't think in terms of like, a
cultural impact. Like, what,what other impact did it have? I

(42:19):
mean, people worked in themines, like, sort of generations
of people worked in the mines.And I can only imagine that it
was like, hard, like, you know,horrible hard work and I have
huge respect for anyone thatlike, did work in those mines.
But, yeah, it to me, it doesn'treally resonate. I mean, it's

(42:40):
obviously like, the landscape islike, utterly, like altered in
the wake of it. And you can seesort of the remnants of it
everywhere. And that's is like,kind of that is the Cornish
landscape. It's like I wastalking to my girlfriend
yesterday about how identifiablethe kind of the silhouette of an
engine has this to a Cornishperson whereas like if you show

(43:03):
that silhouette to anyone elsewould be like what's you know,
what is that doesn't have anysort of meaning but everyone has

mine, Ollie, so I played a lot Ali Ali's dad
worked at homens like so andlike I live in tucking metal so
I've got that you know, the oldit's completely abandoned the
old sort of it's like grade twolisted, but like it feels so odd
to use it daddy's work at homeis and like I do chat to him
about it. Because he does ourcar park and stuff. Right but
he's Yeah, it's like it's stillI think it's still prevalent

(43:34):
amongst people and like it was agood job. And now those good
jobs are gone for thatgeneration. I definitely feel in
Camborne the next generationdown feel a bit lost, if that
makes sense. Because it wasn'ttheir family did that and now
what it was like yeah, I didn'tknow if people is like a sense
of loss. I think in Camborne itfeels for me

Passman (43:55):
I mean, like I don't know like it was a good I'm just
saying like historically how itwould have impacted on people
being and health

Coleman's was the fuse works so it's in effect
it's basically a dynamite fiveminute drink in a club that

will mine is a sense of great I think they love
it that they were mine is

a regular income is is a good is a good job. And
like regardless of the hardnessYeah,

and there's different skills like electric
electricians all that kind ofstuff they know all just know
their pickaxes like face and butyeah, no

Passman (44:37):
I think sorry. I just

Well I did see a survey about the town which said
that people were fed up withharping on about mining because
they feel like it it it steepsus in the past and and surely
have we not got more to be part.I mean, all of our houses have
got tunnels underneath them.Thanks to them. I know you
didn't really know it there.didn't buy things, but I think

(45:01):
people think, but we're movingon past that. Now, if we want to
remove away from this being inthe past kind of like
perception, we don't have anyminds anymore. Can we not be
World Heritage Mindsight orwhatever they want to say that
what the home of mining andstuff? Can we not be celebrated
for what we are now? And I thinkgenerally there is if is a
feeling for that as well. Ithink it probably depends on

(45:23):
what generation you are there.Yeah, definitely. So

Passman (45:25):
they are looking at a particular sort of snapshot,
aren't they? I don't know howlong that lasted. But yeah, I
was having a conversation. Andit was like when, you know, when
did sort of humanity go wrong interms of sort of the Sustainable
nature of it and stuff. And it'slike, well, like when you
started sort of digging in theearth. And I sort of Googled,
like, you know, mining and corn,when did that start? And then it

(45:46):
was like, I don't like1000s 4000 years ago, and I was
like, I suppose it's on adifferent sort of scale. You
know, it's kind of was thatpeople just sort of literally
scratching.

I don't know, like, there's just, there's
mediaeval I went to there's awoodland up near the Shire, down
there.

I should go into praise, just loads and loads of
mediaeval minds, just in there.But if that mining is sort of
passing and is part of heritage,and there is like Morton, work,
going into the land, there'slithium mining, there's the
geothermal stuff.

Paleo the whole clay areas like still if I grew
up there, I know

if that is, if that is shifting, as far as sort
of a cultural recognition oridentity is concerned, like,
what would you would each of youlike consider, I mean, heart of
your Cornish identity, like

if I was gonna think about the mining if you
wanted to celebrate somethingabout the mining I would say the
destroyer is the kind of likething that you would look at
because like even like Gavinagain, he's he had some cars is
great, great cousin went tosomewhere in America and there's
a zone of road in America ofsomewhere, and he wants to go
there because you go to Mexicoand they got pasties in terms of

(47:07):
my Cornish heritage. I don't Idon't know. I just think living
living here loving here,respecting where you live and
looking after your community.That's, that's my like, I don't
think there's a thing like, Oh,I haven't even a pasty for tea.
You know, I'm doing this thingtoday or doing that thing today.
I just think I just loveCornwall and it I feel like it's

(47:28):
in me, and that's what myCornish identity is.

Passman (47:34):
Amen. Thank you. Yeah, I mean, yeah, it depends on
what's important to you,personally, I suppose. Yeah, I'm
not sort of disregarding thefact that like mining has been
important to people and it stillresonates with I was born in in
Cornwall as the first member ofmy family to be born in Congo. I
didn't grow up in a Cornishfamily, but I've lived in

(47:55):
Cornwall all my life and I'venever left and I mean, I don't
feel the need to leave has an Ifeel like it does. It feeds
feeds me sort of likespiritually creatively. And
yeah, I feel wholeheartedly sortof Yeah, I mean, just there is

(48:19):
something about I don't know ifit's just sort of having grown
up somewhere I don't know if Iwould have found found it. You
know, the same if I had sort of,I don't know, I mean, I've been
to other places and enjoy thembut I always find something
about Cornwall and sort of likeyeah, Ramin read the red race

(48:41):
area in particular. Like asprobably say, my favourite place
like Canberra going up there andsuddenly has like a sort of,
like a kind of cosmic vibration.

The phallus of Cornwall

Passman (49:01):
I mean, like the monument that's just like as you
know, it's like a rich was thatas a rich person oh yeah rich
industrialists like falling orwhatever but it kind of like I
don't know what it like pastthat I don't really see it as
that I just see it as like akind of marker from my from from
my own sort of purpose to likesort of say like, oh, this you

(49:21):
know, this kind of bro thisYeah, I don't really I don't
sort of think about whatactually you know who put it for
what purpose but but it's weirdbecause it does sort of a jazz
when you go up there and there'sthe rocks that have been just
been there forever but it sortof sits amongst those and

yeah, it's a funny tension between the
granite stacks and Bassettmonument which is Yeah, so of
its time

Yeah. And then you've got the big Foley up
there haven't you as well? Yeah,the big like hunting folly which
does do great food in there.

Yeah.

Nice. Got this can be costly. But yeah, yeah,
can't be it's like it just feelslike it's owned by both Campbell
and bedrooms, so it doesn't itdoesn't feel like it's one or
the other.

So that do you feel that connection? That land
thing?

Yeah, definitely. As soon as you can,
I've got I love going away fromCornwall and going travelling,
but as soon as you come homewith us, I sit on a beach dream.
And I'm like, it's like an innerpeace which you don't get from
the outside, like I work outsidequite a lot. And it's like to
hear the words feels likeanother home, to be honest, a
lot of time actually do have itwithin me, but only if my
fingernails like dirt from thefloor, scuffs on my knees or

(50:32):
like, the like, I just I feellike I'm really part of to hear
the words a lot of the time. Butlike, yeah, I just really feel
like the being physically herein Cornwall is like, it's it's
home isn't it's home. It's whereyou grew up. It's where you
work. It's yeah, it feels SummerSpecial, even though they're not

(50:53):
in the chocolate box way. Youknow, I mean, like, it's a
special which you only get ifyou grew up and live here. Like
I think that's the kind ofspecial it feels.

And some people I mean, I've spoken to people
who say they've cut they reallyfound it. They belong here. And
they didn't go up here. Theyhave no connection, but they
came here and they then feel

Passman (51:14):
Yeah, I think it's totally valid. You can gravitate
to a place. Yeah, what you know,you find your kind of people and
that's kind of like an unspokenkind of rapport that you might
have.

I do think it's the people and the place. You and I
yeah, that's why I loveVirginia's because I always
lived in Corbin. I wouldn't itwasn't that I didn't. I lived in
Bristol for few years. And Icame back. But I I've lived in
lots of places in commonobviously. Nikki's quite
touristy Truro is just a bitdull.

Passman (51:42):
Void is a cultural void

to five by five and then parent both is touristy as
well. So it wasn't I came herethat I would have I didn't wanna
leave Cornwall, I never did. Buthere I just get a real sense of
like, community and spirit andkind of like, a lot of different
people that are very, verydifferent. But they're still
just such a community. So yeah,I think people it's very

(52:07):
important.

I feel like we've got over this road and
stuff with our audiences likebecause we've been doing it for
12 years, like, there's acommunity what we've seen kids
people think, Oh, my winter istheir Father Christmas, because
I've seen them since they wereborn or people have wished in
all my winters tent for a baby.And then next year, they bring
the baby to seal. I mean, like,it's a definite sense that
you're creating those newfolklore, those new folklore and

(52:30):
that new traditions and, andalso, like you go out to see
people, they think you're,they're your mate because they
and that's we love that becausewe're we're not in a fourthwall
we don't speak to audiences,we're part of the audience and
we experience that we breathetogether for stories and
emotions. And it's definitely asense of community, cuz I don't
live in bedrooms. And I don'tget that. Maybe that sense of
like, like traditional communitybase, but I definitely feel like

(52:52):
we've got a rogue family whichextends out beyond the
performance to the people whocome to our shows for years, who
you see out and about, and theycan feel it can chat to you and
taught and have a shared ashared experience of being in
the woods at night watchingtheatre.

And it feels like you're all sort of part of
creating those new folk clothes.In the things that you do. I
think we do just really aware oftime, but we did touch on the
diaspora. And I wanted to ask ifanyone else felt like what do

(53:33):
you like about the tension ofour heritage that is quite does
veer into chocolate boxy, heroicminor, sort of thing. But
Cornish miners are there fromthe diaspora. And you go to
places that I've visited townsin Australia that were mining
towns that really like the landfeels like it has absolutely

(53:57):
been, like wrung out, there'snothing left in there. The town
has seen people even call themdead towns. And I'm really aware
that the indigenous people ofthose pieces of land were like
shipped off and like treatedabominably and still are in many
cases. And I yeah, I feel I feela sense of responsibility about

(54:24):
acknowledging that whilst so notonly celebrating the diaspora,
but but also sort of, I don'tknow if anyone else have some,
anything to sort of say aroundthat.

I also work in a corner store. So we send a lot
of stuff out to the diasporas. Alot of Cornish tight and they
come into the shop and they wantto buy into the chocolate broke
my neck, we're gonna go to redroof later. I'm like, you want
to prepare them for the factthat it's not going to be the
red roof of Poldark? You know, Imean, it's sort of like, like,
they're like, oh, it's not howwe imagined it. But I know my
system but I've been I've beenout to Bodie in America, which

(55:02):
is a complete ghost town now butall the gravestones, all the
truebill Cox and gunners, andlike all that, but definitely
you even watching historicalperiod dramas about that they
were ravaged indigenous peoplewere ravaged and thrown out
because of the gold mining. Soit's all it's hard, isn't it?
Because you can't,

I don't even gloss over it. You can try and look at
things as holistically aspossible you do not I mean,
we've just had the CommonwealthGames, I'm surprised they still
exist. It Shake me a little bit,that we've got all this stuff
about empire and about peoplewanting to lead the Commonwealth
and the queen. And then we havesomething called the
Commonwealth Games. And it's alittle bit odd to me as to I

(55:44):
don't really understand that.Like, I don't have a plan with
the Commonwealth. I've actuallywent to the Commonwealth Games
in 2014 or something in Glasgow.But like, it seems like we we
don't want to be the wrongthings. We don't want to do the
wrong things. We want toapologise. We want to do things,
right. We want to acknowledgewhat we've done or what's been
done on our behalf. But thatdoesn't seem a very way to do

(56:05):
that. Understand. We you know,we look at things holistically
the Commonwealth and Empire areproblems. So how can we have the
Commonwealth Games? I don't, tome, it doesn't make much sense.
I think honesty, integrity,authenticity, we're not just
gonna go look, Mexicans got topass these things to us. There
needs to be more to it thanthat. But how, how that happens?

(56:27):
Or, or how we even understandthe real impact now, you know,
200 300 How do we even how canwe even way that really we can
acknowledge that it wasn'tgreat, but I don't know I don't
think we should pretendeverything's rosy. You know,
look for the rose tintedspectacles. But also I don't
think you will ever know. We'llnever know half of these things

(56:50):
will because we just can't. Soyeah, as long as we're honest
and you know, like really cheesyabout it and corn was great. We
did all these great things. Idon't think there's a problem
with it but that's me personally

late Do you have anything to add about that

Passman (57:14):
as I feel like I'm not really like well informed about
exactly what was sort of mighthave been perpetrated by
visiting people I can I mean,just you know, is it is hugely
that just the the whole thenature of mining is hugely

(57:35):
invasive, isn't it and we cansee just in the Cornish
landscape, you know, what'swhat's done to so I can only
imagine you know elsewhere Ithink the movement of people is
like certainly not a way youknow if it's because there's
that choice you know, peoplegoing to work elsewhere and like

(57:58):
you know, you go you gosomewhere and there are sort of
like Cornish people everywhere

some cheeses like whether you find a hole in
the ground you find a Cornishmouth but yeah, I find I've
sight it's frustrating becausethere was also with like the
movement over like, did you eversee back Appleby show? Oh, Mary.
Yeah. Yeah, it's amazing, wasn'tit but that's about how that's a
whole that's a whole differentidea of a not a diaspora be as
cool as people being shippedover. Being basically poor not

(58:28):
be able to afford to live here.

Yeah. And you've got remember, Redruth went from
being the richest town in thewhole of the country to having
apparently just lines ofprostitutes by the train
station. Nobody was hereanymore. There was no money.
Like, I'm not saying movingindigenous people so you can
survive is the right thing todo. But I don't think there's a
like, we're going to make loadsof money. I think some people
would have to do it just tosurvive, send money back to

(58:50):
their families. So it's reallytricky. Someone's always making
some money. But it it's notnecessarily it's probably one of
the

people on the ground.

Passman (59:03):
Well, I mean, what did it come from? Like, you know, it
was really rich, but what was itbefore? For the mining sort of
boom, what would it

just average? I

guess it was fishing and fishing and farming.
Yeah.

Passman (59:17):
Because I mean, obviously, a lot of the way red
reef looks now and they're sortof the, you know, the residences
and the businesses and stuff.And because of that,

yeah, well, you can you can even see the difference,
because you've got farm withroad with all the minus clutches
and yeah, Clinton road with allthe posh people lived. Yeah,
Aubrey Road,

same as Tucker. So you got Tucker mill. That's
all Cornish mine is like, whereI live Neilsen. It's like a turn
to your mind. And then you go upthe top of the road and it's
literally beautiful houses, allthe way into Campbell. And so
those houses that guy, right,yeah, the cricket club in that.
Yeah, yeah, that's yeah.

Passman (59:47):
I mean, would there been enough Cornish people to
populate those those mines wherethat would have there has been a
massive influx of people anyway,from elsewhere. I think UK to
sort of I

don't know, to be honest. I don't think so. I
think it was mainly from

Ellie Allen (01:00:00):
spent the expertise, they knew what they
were doing that nothing likeBruce Willis go into Armageddon
expert drill is Yeah.

Passman (01:00:11):
Ben Affleck question for sort of the thinking behind
that. So wouldn't it have beeneasier to train astronauts to?

Ellie Allen (01:00:18):
We didn't know anything about journalism

Sovay Berriman (01:00:29):
anyway, thank you all very much for being so
generous and open. I'd reallyappreciate it. And yeah, I'll
speak to you again soon. Thankyou. Thank you. Thank you
Meur ras, a’gas goslowes, thankyou for listening. Turther

(01:00:58):
episodes of the MESKLA | BrewyonDrudh podcast can be find on my
website Sovay berriman.co.uk.That's sovayberriman.co.uk Where

(01:01:21):
you also find guest'sbiographies and a resource page
of links to further reading onthe topics discussed. If you
feel inspired to join the MESKLAconversation about contemporary
Cornish cultural identity,please get in touch with me
Sovay Berriman. via my websiteor social media, you'll find

(01:01:42):
MESKLA | Brewyon Drudh onFacebook, Instagram, and
Twitter. The MESKLA | BrewyonDrudh podcast and project has
been made possible due to awealth of inkind help and
support for many parties,including the Lowender Peran
festival. Gorsedh Kernow,Cornwall Council's Cornish

(01:02:06):
language office, Kowethas anyeth Kernewek, Cornwall
neighbourhoods for change andFalmouth University Falmouth
campus. The project has beensupported using public funding
by the National Lottery throughArts Council England, and
further funding has beengratefully received from

(01:02:27):
Historic England by RedruthUnlimited. Meur ras dhywgh
a'gas termyn, agas gweles. Thankyou for your time. See you
later.

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MESKLA | Brewyon Drudh #5 A Conversation with Performers

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}MESKLA | Brewyon Drudh #5 A Conversation with Performers