The Bardic Chair and Bardic Gorsedd of Caer Wyse
“The Bard of Exeter”
Introduction and Overview
Based on records dating back to the 18th century, Exeter is one of approximately 30 ancient locations that have the right to elect their own Bard or “Bardic Chair” each year.
A Bard is a poet, songwriter or wordsmith in the Celtic Tradition. The most well known expression of this is probably the Welsh National Eisteddfod, and closer to home, the Cornish Bards- Gorseth Kernow.
This expression of the Bardic tradition has it’s roots within the Druid orders and societies that were popular in the eighteenth century, and who claimed to be a revival of a much older movement dating back to the original Druids of the Iron Age (and who, themselves may have been a continuation of an older still, shamanic order who were contemporary with megalithic monuments like Stonehenge).
The recent revival of previously vacant “Bardic Chairs”- as the locations are now known, was initiated by modern-day druids, most notably the late Tim Sebastian, but the bardic movement transcends any one spiritual, or even non-spiritual belief system and is open to anyone who wants to be involved, in essence, “belonging” to the people who live in the respective locations and with the celebration of the arts as it’s prime objective.
The most successful of the revived “Chairs” are Bath (Caer Badon) and Glastonbury (Caer Ynis Witrin), though more are being brought back to life each year, and brand new ones are being created including one just over the border in Exmoor!
Exeter was reclaimed by Mark Lindsey Earley, a former “Bard of Bath”, who, in 2003 took on the role of “Druid Chair” or “Grand Bard” and who is responsible for setting up a competition to elect a new “Bard of Exeter”, who will preside for a year and a day before hosting a competition to elect his or her own successor.
A Note on Terminology and Pronunciation
The term “Chair” generally refers to a title, or to the holder of that title, though there is also a physical Bardic Chair which is awarded to the Bardic Chair! The terms “Bardic Chair of Exeter” and “Bard of Exeter” are synonymous. A “gorsedd” (pronounced “gorseth”, the plural being “gorseddau”, and pronounced “gorsethi”) is a group or gathering of bards, though “Eisteddfod” (plural “eisteddfodau”) refers more specifically to a bardic meeting where poetry or other arts are performed or shared, and especially where there is a competition. While “bard” is the term given to a poet or (lyrical) musician within this tradition, anyone who becomes a member of the gorsedd, regardless of their poetical inclinations, would be referred to as a bard of the gorsedd e.g. “a bard of the Gorsedd of Caer Wyse in Dumnonia” (to use the full name for this gorsedd) or “a bard of the Exeter Gorsedd”, but not referred to as “a bard of Exeter”, as that title is reserved for the holder of the bardic chair only. The Ovatian Chair (see below) is sometimes informally referred to as “the Ovate” and the Druid Chair/Grand Bard is sometimes referred to as the “Chief Druid “ or “Chosen Chief “ of the gorsedd, though we tend to stick with the former titles to avoid confusion.
The Origins of the Tradition and the Wider Movement
The original bards were a highly esteemed order of Iron Age poets, musicians, satirists, genealogists, historians, and more than likely, mystics. There are certainly references to them undergoing shamanic-style initiatory rituals. They were contemporary with the original Druids, who were an immensely powerful order of sages, philosophers, intellectuals, teachers and probably priest/magicians, and the Ovates who were the psychics, mediums and prophets.
It is also possible that all three were specialist roles within one single order.
There is no hard evidence of the continued, unbroken existence of any of these orders, but there is a strong theory that when the druids were suppressed by the Romans because of their pan-European political influence, they went “underground” and continued to practice their tradition by merging with the bardic order which had never been a subject of Imperial suspicion.
Certainly, at frequent intervals throughout history there has been evidence of various resurgences of formal bardic orders, of one kind or another, most with seemingly strong druidic characteristics while also re-inventing itself in accordance with the respective zeitgeist.
The 18th Century, saw probably the most significant bardic and druidic renaissance of modern times. It was quite masonic in it’s organisation, and as well as being a celebration of, particularly Welsh, Celtic heritage and culture, it was a vehicle for various protestant christian theories which suggested that the ancient druids were either one of the lost tribes of Israel, or at the very least were Judaeo-Christian in their outlook. They strongly espoused the values of justice, (especially social justice), and challenged the poverty and oppression of the Industrial Revolution. William Blake, who was a prominent druid of the time sums up both threads with his poem “Jerusalem”, linking dark satanic mills with christian prophetic aspirations of a “Golden Age” to come.
Druidry has continued to re-invent itself, acquiring more pagan influences following the abolition of The witchcraft Act in 1951 and the friendship and collaboration of leading druid (and regular churchgoer) Ross Nichols with the witch, and founder of modern Wicca- Gerald Gardner. “New Age” and feminist influences came in from the 1960’s onwards (druidry was for a long time an exclusively male preserve, even though some ancient sources do obliquely refer to “druidesses”), and more recently still, a very strong ecological emphasis has emerged within the movement
But getting back to the 18th Century: we believe that it was Iolo Morganwg, the founder of what we now recognise as the Welsh National Eisteddfod and a huge influence on the bardic/druidic movement of his day, who first claimed that ancient manuscripts in his possession referred to a network of Bardic Gorseddau “of the Isles of Britain”, and to certain cities and sacred sites as being high druidic (and some arch-druidic) centres and this idea was developed further by his successors and admirers.
Iolo Morganwg
It is worth pointing out, at this juncture, that the historical accuracy of Iolo’s claims is highly dubious and that in all likelihood no such “ancient manuscripts” ever existed, despite his ironic espousal of the bardic/druidic motto “The truth against the World”! However, we think it’s rather harsh to label such an important “hero” of the movement as an out- and -out fraud. A more mystical perspective might theorise that he “channelled” his information. At the very least we like to think that he was creatively inspired, and that, although the history he outlined was possibly a purely “romantic” one, it is no less important or valid, as long as we distinguish it from academic history.
But to continue this history; in the last century, the 1920’s saw, among other things, a regional English Eisteddfod held in Torbay, and the birth of Gorsedd Kernow, but the particular strand of the movement most relevant to us only really came to fruition when Tim Sebastion came into the picture. Tim was a true child of the sixties who later founded the Secular Order of Druids (among many other achievements and exploits!) and on settling in Bath discovered that it was listed as one of the ancient Bardic Chairs, initially referred to by Iolo. He set about reviving it and in so doing, formed a template for future bardic chairs.
But to continue this history; in the last century, the 1920’s saw, among other things, a regional English Eisteddfod held in Torbay, and the birth of Gorsedd Kernow, but the particular strand of the movement most relevant to us only really came to fruition when Tim Sebastion came into the picture. Tim was a true child of the sixties who later founded the Secular Order of Druids (among many other achievements and exploits!) and on settling in Bath discovered that it was listed as one of the ancient Bardic Chairs, initially referred to by Iolo. He set about reviving it and in so doing, formed a template for future bardic chairs.
Tim Sebastion
(Photo courtesy of Gorsedd Ynys Wytrin)
(Photo courtesy of Gorsedd Ynys Wytrin)
The long term goal is to revive all of the ancient chairs, and from among them create an English Eisteddfod with an annual poetry competition held at Stonehenge, the winner of which would become the Bard of England. Petitions have already been made requesting royal ascent for this, though ancient charters are already extant permitting an annual fair to be held at the site.
The Importance of Rougemont
Every gorsedd is associated with a specific place, usually an ancient mound of some kind (the word Gorsedd is derived from “high seat”). In Exeter the location is Rougemont, which literally means “red mound”. It is unknown whether this was a sacred site prior to the building of the castle, but the location certainly feels right. Interestingly the crown court is situated there (justice being one of the central tenets of druidry), and it was also a place of injustice, being where the last English witches to be executed were “tried” (a plaque, placed there by members of the Pagan Federation commemorates this). It is adjacent to one of the city’s great arts centres-“The Phoenix” where the first competition took place, as well as to a number of educational and literary establishments, not to mention the more bohemian side of town. In the adjacent park there is a rather lovely statue of a Celtic hunter with his hound, and plays by THE bard are frequently performed outdoors on the grass..
Other Roles and Positions
Traditionally there are three main “Chairs” or positions, the Bardic Chair which is held for a year and a day, the holder of which wears a blue robe, The Druid Chair (this title is synonymous with that of “Grand Bard” a title inspired by our neighbours in Cornwall who have a Grand Bard as head of their Gorsedd, and partly as a flag of convenience to use where “the D-word” might be misunderstood). The Druid chair is held for seven years and the bearer wears a white robe. Then there is The Ovatian Chair, which is held for three years, wears a green robe and is usually appointed to someone who has made a significant contribution to healing or ecology (in the broadest sense). Bath have also incorporated the roles of Matron and Patron which it would be nice to adopt in Exeter. There are also the positions of Swordbearer (vacant), Clerk (Seed Davis), Scribe (Bob Mann), Harpist, Keeper of the Stones (vacant), Oakbearer (vacant) and Herald (Marcus Harris).
The Importance of Rougemont
Every gorsedd is associated with a specific place, usually an ancient mound of some kind (the word Gorsedd is derived from “high seat”). In Exeter the location is Rougemont, which literally means “red mound”. It is unknown whether this was a sacred site prior to the building of the castle, but the location certainly feels right. Interestingly the crown court is situated there (justice being one of the central tenets of druidry), and it was also a place of injustice, being where the last English witches to be executed were “tried” (a plaque, placed there by members of the Pagan Federation commemorates this). It is adjacent to one of the city’s great arts centres-“The Phoenix” where the first competition took place, as well as to a number of educational and literary establishments, not to mention the more bohemian side of town. In the adjacent park there is a rather lovely statue of a Celtic hunter with his hound, and plays by THE bard are frequently performed outdoors on the grass..
Other Roles and Positions
Traditionally there are three main “Chairs” or positions, the Bardic Chair which is held for a year and a day, the holder of which wears a blue robe, The Druid Chair (this title is synonymous with that of “Grand Bard” a title inspired by our neighbours in Cornwall who have a Grand Bard as head of their Gorsedd, and partly as a flag of convenience to use where “the D-word” might be misunderstood). The Druid chair is held for seven years and the bearer wears a white robe. Then there is The Ovatian Chair, which is held for three years, wears a green robe and is usually appointed to someone who has made a significant contribution to healing or ecology (in the broadest sense). Bath have also incorporated the roles of Matron and Patron which it would be nice to adopt in Exeter. There are also the positions of Swordbearer (vacant), Clerk (Seed Davis), Scribe (Bob Mann), Harpist, Keeper of the Stones (vacant), Oakbearer (vacant) and Herald (Marcus Harris).
Honourary Bard - Geoff Ward
Geoff Ward is a journalist, author and musician who lives in Somerset, England. He has a world mysteries website (www.mysteriousplanet.net) and also manages a website for the best-selling British author Colin Wilson (www.colinwilsonworld.co.uk). Geoff is the author of Spirals: the Pattern of Existence, an exploration of the prevalence and significance of the spiral form and pattern in nature and human culture, published in 2006, and which has an introduction by Colin Wilson. Geoff, who has a keen interest in the Bardic tradition, has a Masters degree and a BA (Hons) degree in English literature and is married to Angie with two grown-up children. In addition to English literature, Geoff's key interests are the lost knowledge and wisdom of ancient civilisations, existential philosophy, Jungian psychology, the music of Bob Dylan and writing short stories – he’s also played in rock bands for most of his life and picks a pretty mean lead guitar!
Geoff was made Honourary Bard in 2009 in recognition of his enthusiastic promotion of the Bardic Movement, initially through his weekly “Mysterious West” column in The Western Daily Press newspaper, and it’s associated internet podcasts/ radio broadcasts as well as on his excellent website.
The Name
All the ancient Bardic Chairs have been given “celticised” names, though it is likely that Caer Wyse is a misspelling of Caer Wysge”, deriving from Isca, the Roman name for Exeter, and originally the name of the River Exe. The River Usk in South Wales has a similar derivation, as does Whiskey (“the water of life!”). Caer means enclosure, fortification, or settlement. Cardiff is a city with a name derived from the same source. We favour the pronunciation kye (to rhyme with sky)-air, wizz-ger.
The Motto
“Nothing is Forever that is not Forever and Ever”
The above is quoted as the bardic motto for Devon in a treatise by Aneurin Vardd originally published in “The International Review” and reprinted in “The Druid Source Book” (see further reading). Our friends at Gorseth Kernow kindly provided us with a translation into the Cornish language, which is the ancient Celtic tongue most appropriate for formal use in this Gorsedd, as both Devon and Cornwall were at one time both part of the kingdom of Dumnonia. The Cornish version reads –
“Travyth yu bys vyken, nag yu trank hep worfen”.
The Physical Bardic Chair and the Stone Circle
The term “Bardic Chair” has it’s origins in the special place or seat reserved for the most esteemed poet in the court of ancient Celtic kings and chieftains (also a precursor to the Poet Laureate). The Welsh National Eisteddfod made a tradition of awarding real physical chairs as poetry prizes and now many bardic Gorseddau, (including Gorsedd Kernow, who have theirs on display in Truro Cathedral) have acquired ornate physical chairs which the incumbent bard takes possession of for the course of their tenure. We have recently acquired such a chair ourselves.
The gorsedd are also the proud owners of a stone circle, albeit a very little one!
In the tradition of Iolo Morganwg (the key 18th Century exponent of Druidry and Bardism and the founder of the Welsh Eisteddfod) we have a moveable circle in the form of a “pocketful” of stones that can be arranged into a circle wherever the gorsedd choose to meet, hence the role of “Keeper of the Stones”.
Iolo began this tradition at London’s Primrose Hill, which is also the location of a Bardic Chair. Our stones have been selected from the flower beds adjacent to the castle ruins at Rougemont and therefore in all likelihood were once part of the fortifications of arguably the oldest castle in England.
Membership and the Initiatory Vow
Membership of the Gorsedd is open to anyone who seeks it, though in extreme circumstances it can be revoked by the Grand Bard/Druid Chair, traditionally by a symbolic drawing of the ceremonial sword, which is never unsheathed for any other reason, being a symbol of peace. Membership is free and informal. Prospective bards of the Gorsedd are invited to thrice repeat a vow (which is a vow only to themselves, not to anything or anyone else):
I speak my own truth
In respect and love, I live
Inspiration I will seek
Inspiration I will give
Our Spiritual Patron
The Cornish Gorsedd make a call to Arthur, the once and future king, during every ceremony. Inspired by this, but wishing to put a Devonian slant on things, we have adopted Sir Francis Drake as a spiritual patron and protector-figure. We are not so much concerned with the historical Drake (although that’s also very interesting, although more controversial, as he took part in the slave trade which is something we would not wish to condone), but with the archetype which he represents. On this level he embodies exactly the same qualities as Arthur- he saved the nation from invasion, according to legend he will also return to defend us if the need arises (Check out the legend of “Drakes Drum” which was believed to sound at the onset of the First World War), and his name means “dragon” as in Pendragon. He also had strong links to Exeter, so seemed the ideal choice.
The Recent History of the Revived Exeter Bardic Chair & Gorsedd
The tradition was brought (or, we should say, brought back) to Exeter in 2003, when Mark Lindsey Earley, still incumbent as the (7th) Bardic Chair of Bath, publicly declared himself Bard of Exeter, after receiving the formal approval of The Council for British Druid Orders (COBDO). This was formally witnessed, by the Exeter Express & Echo, below the tower of Rougemont Castle, as he made a call to any challengers for the role, giving them a year and a day to come forward.
Being new to Devon, it took a little longer than that to sufficiently raise the profile enough to attract interested challengers. This was further hampered by the Gorsedd being joined by someone later discovered to be a prolific sex offender, who, operating under various pseudonyms, was believed to be getting involved in a series of, mainly pagan organisations with a view to selecting potential victims. Luckily this was discovered fairly promptly and he was politely and firmly asked to leave before any harm could be done.
By the Beltane of 2005, three contenders had come forward and a competition, held at the Exeter Phoenix, took place. Only two entrants arrived on the day- Hugh Patrick Smith and Farren Gainer, both of whom performed admirably, but with the blue robes being awarded to Farren, who describes himself as “An Essex born French Canadian poet, singer/songwriter and storyteller heavily influenced by the skills of “Off Broadway” actors”. He was known on the arts scene for his “Minute Plays” and “Theatre de la Verite!”. Farren got off to a very enthusiastic and dynamic start but began to express discomfort with the more traditional aspects and origins of the Bardic Chair, and despite being given free-rein and positive encouragement to remould the role on a more established, civic basis, as was his expressed desire, he resigned the post later that year, while also maintaining that he retained exclusive rights to the title of Bard of Exeter and requesting the Gorsedd to cease from using the title. This request was politely declined.
Geoff was made Honourary Bard in 2009 in recognition of his enthusiastic promotion of the Bardic Movement, initially through his weekly “Mysterious West” column in The Western Daily Press newspaper, and it’s associated internet podcasts/ radio broadcasts as well as on his excellent website.
The Name
All the ancient Bardic Chairs have been given “celticised” names, though it is likely that Caer Wyse is a misspelling of Caer Wysge”, deriving from Isca, the Roman name for Exeter, and originally the name of the River Exe. The River Usk in South Wales has a similar derivation, as does Whiskey (“the water of life!”). Caer means enclosure, fortification, or settlement. Cardiff is a city with a name derived from the same source. We favour the pronunciation kye (to rhyme with sky)-air, wizz-ger.
The Motto
“Nothing is Forever that is not Forever and Ever”
The above is quoted as the bardic motto for Devon in a treatise by Aneurin Vardd originally published in “The International Review” and reprinted in “The Druid Source Book” (see further reading). Our friends at Gorseth Kernow kindly provided us with a translation into the Cornish language, which is the ancient Celtic tongue most appropriate for formal use in this Gorsedd, as both Devon and Cornwall were at one time both part of the kingdom of Dumnonia. The Cornish version reads –
“Travyth yu bys vyken, nag yu trank hep worfen”.
The Physical Bardic Chair and the Stone Circle
The term “Bardic Chair” has it’s origins in the special place or seat reserved for the most esteemed poet in the court of ancient Celtic kings and chieftains (also a precursor to the Poet Laureate). The Welsh National Eisteddfod made a tradition of awarding real physical chairs as poetry prizes and now many bardic Gorseddau, (including Gorsedd Kernow, who have theirs on display in Truro Cathedral) have acquired ornate physical chairs which the incumbent bard takes possession of for the course of their tenure. We have recently acquired such a chair ourselves.
The gorsedd are also the proud owners of a stone circle, albeit a very little one!
In the tradition of Iolo Morganwg (the key 18th Century exponent of Druidry and Bardism and the founder of the Welsh Eisteddfod) we have a moveable circle in the form of a “pocketful” of stones that can be arranged into a circle wherever the gorsedd choose to meet, hence the role of “Keeper of the Stones”.
Iolo began this tradition at London’s Primrose Hill, which is also the location of a Bardic Chair. Our stones have been selected from the flower beds adjacent to the castle ruins at Rougemont and therefore in all likelihood were once part of the fortifications of arguably the oldest castle in England.
Membership and the Initiatory Vow
Membership of the Gorsedd is open to anyone who seeks it, though in extreme circumstances it can be revoked by the Grand Bard/Druid Chair, traditionally by a symbolic drawing of the ceremonial sword, which is never unsheathed for any other reason, being a symbol of peace. Membership is free and informal. Prospective bards of the Gorsedd are invited to thrice repeat a vow (which is a vow only to themselves, not to anything or anyone else):
I speak my own truth
In respect and love, I live
Inspiration I will seek
Inspiration I will give
Our Spiritual Patron
The Cornish Gorsedd make a call to Arthur, the once and future king, during every ceremony. Inspired by this, but wishing to put a Devonian slant on things, we have adopted Sir Francis Drake as a spiritual patron and protector-figure. We are not so much concerned with the historical Drake (although that’s also very interesting, although more controversial, as he took part in the slave trade which is something we would not wish to condone), but with the archetype which he represents. On this level he embodies exactly the same qualities as Arthur- he saved the nation from invasion, according to legend he will also return to defend us if the need arises (Check out the legend of “Drakes Drum” which was believed to sound at the onset of the First World War), and his name means “dragon” as in Pendragon. He also had strong links to Exeter, so seemed the ideal choice.
The Recent History of the Revived Exeter Bardic Chair & Gorsedd
The tradition was brought (or, we should say, brought back) to Exeter in 2003, when Mark Lindsey Earley, still incumbent as the (7th) Bardic Chair of Bath, publicly declared himself Bard of Exeter, after receiving the formal approval of The Council for British Druid Orders (COBDO). This was formally witnessed, by the Exeter Express & Echo, below the tower of Rougemont Castle, as he made a call to any challengers for the role, giving them a year and a day to come forward.
Being new to Devon, it took a little longer than that to sufficiently raise the profile enough to attract interested challengers. This was further hampered by the Gorsedd being joined by someone later discovered to be a prolific sex offender, who, operating under various pseudonyms, was believed to be getting involved in a series of, mainly pagan organisations with a view to selecting potential victims. Luckily this was discovered fairly promptly and he was politely and firmly asked to leave before any harm could be done.
By the Beltane of 2005, three contenders had come forward and a competition, held at the Exeter Phoenix, took place. Only two entrants arrived on the day- Hugh Patrick Smith and Farren Gainer, both of whom performed admirably, but with the blue robes being awarded to Farren, who describes himself as “An Essex born French Canadian poet, singer/songwriter and storyteller heavily influenced by the skills of “Off Broadway” actors”. He was known on the arts scene for his “Minute Plays” and “Theatre de la Verite!”. Farren got off to a very enthusiastic and dynamic start but began to express discomfort with the more traditional aspects and origins of the Bardic Chair, and despite being given free-rein and positive encouragement to remould the role on a more established, civic basis, as was his expressed desire, he resigned the post later that year, while also maintaining that he retained exclusive rights to the title of Bard of Exeter and requesting the Gorsedd to cease from using the title. This request was politely declined.
Things remained very quite for some time, until in 2009 a talented and prolific Exeter poet came to our attention and was appointed, to quote various press articles from the time, “…because of her dynamism and extremely high prominence in the local poetry scene, coupled with her deep connection with and understanding of the very unique tradition from which the Bardic Chair has it’s roots”. It was agreed that Liv Torc was already fulfilling the role in all but title and would be the ideal candidate to take the Bardic Chair to the next level”. She was initiated as Bard after topping the bill of a local poetry event which also coincided with the launch of her first anthology. She has already put out a challenge for her successor and we think that the Gorsedd has overcome its initial teething troubles and has now well and truly burst forth onto the Exeter poetry scene, we hope, to continue in perpetuity.
Funding and Constitution
The Bardic Chair and Gorsedd are non-profit making, and at this stage, despite having a strong and clearly defined ceremonial structure, have a very informal constitution, with something of a bohemian and “underground” character to it. The role of the Grand Bard/Druid Chair is to lead the gorsedd and ensure that it remains true to the bardic tradition, though there is plenty of scope for originality- each bardic chair has evolved in its own unique way. However, particularly in the early stages, the Druid Chair is expected to keep a strong hand on the tiller and remain as a “benign dictator” until the gorsedd is sufficiently established, at which stage it can develop into a more democratic organisation with a Chairman, Treasurer, Secretary, designated bank account and so on. It may also take on a more mainstream, quasi-civic profile.
So far all expenses have been met by the current Druid Chair himself, and the gorsedd is in financial deficit. Donations are welcome and some funds have been raised through sale of books and entry fees to the last competition, though proactive fundraising has not been a high priority to date. Accounts have been kept and are available for inspection by any prospective donors.
Ceremony
This is, almost literally, a moveable feast! There are various components that we can use in any given ceremonial gathering. They can take place outdoors (preferably barefoot) in an “open” circle, or, particularly, for the actual poetry competitions, a more formal indoor “audience and stage” arrangement is entirely appropriate.
A call to Drake (in the same way that Gorseth Kernow call to Arthur), the triple chanting of the Awen (See Appendix A), and triple call “First do we have peace?” by the Swordbearer are all excellent (but not essential) ingredients. These can be further embellished by the mass singing of “Jerusalem” and the passing around of bread and “wine” to the assembled throng. This would also be given as a symbolic offering to both the divine (“above”) and the genius loci (below).
The liquid libation should either be something appropriately Devonian such as Buckfast Tonic Wine, Plymouth Gin, local mead, cider or ale, or Whiskey (which has the same etymology as Wyse/Wysge/Isca and Exe!). It’s also nice to offer a non-alcoholic alternative so no-one need be excluded.
Ceremonies should be big, bold, colourful and creative. Processions through the city streets are a good way to grab people’s attention. Robes are encouraged for those that have them, and the wearing of predominantly blue clothing is encouraged for those who don’t!
It’s also good to incorporate Morris, Mummers, Musicians and the like.
Recommended Reading
“The Bardic Tradition in Britain-A Discussion Document Prepared for the Council of British Druid Orders” by Phillip Shallcrass.
“The Book of the Bardic Chair” by Kevan Manwaring. R J Stewart Books (22 Oct 2008)
“The Bardic Handbook: The Complete Manual for the Twenty First Century Bard” by Kevan Manwaring
“The Druid Sourcebook” by John Mathews. Blandford
“The Bardic Sourcebook” By John Mathews. Blandford
Funding and Constitution
The Bardic Chair and Gorsedd are non-profit making, and at this stage, despite having a strong and clearly defined ceremonial structure, have a very informal constitution, with something of a bohemian and “underground” character to it. The role of the Grand Bard/Druid Chair is to lead the gorsedd and ensure that it remains true to the bardic tradition, though there is plenty of scope for originality- each bardic chair has evolved in its own unique way. However, particularly in the early stages, the Druid Chair is expected to keep a strong hand on the tiller and remain as a “benign dictator” until the gorsedd is sufficiently established, at which stage it can develop into a more democratic organisation with a Chairman, Treasurer, Secretary, designated bank account and so on. It may also take on a more mainstream, quasi-civic profile.
So far all expenses have been met by the current Druid Chair himself, and the gorsedd is in financial deficit. Donations are welcome and some funds have been raised through sale of books and entry fees to the last competition, though proactive fundraising has not been a high priority to date. Accounts have been kept and are available for inspection by any prospective donors.
Ceremony
This is, almost literally, a moveable feast! There are various components that we can use in any given ceremonial gathering. They can take place outdoors (preferably barefoot) in an “open” circle, or, particularly, for the actual poetry competitions, a more formal indoor “audience and stage” arrangement is entirely appropriate.
A call to Drake (in the same way that Gorseth Kernow call to Arthur), the triple chanting of the Awen (See Appendix A), and triple call “First do we have peace?” by the Swordbearer are all excellent (but not essential) ingredients. These can be further embellished by the mass singing of “Jerusalem” and the passing around of bread and “wine” to the assembled throng. This would also be given as a symbolic offering to both the divine (“above”) and the genius loci (below).
The liquid libation should either be something appropriately Devonian such as Buckfast Tonic Wine, Plymouth Gin, local mead, cider or ale, or Whiskey (which has the same etymology as Wyse/Wysge/Isca and Exe!). It’s also nice to offer a non-alcoholic alternative so no-one need be excluded.
Ceremonies should be big, bold, colourful and creative. Processions through the city streets are a good way to grab people’s attention. Robes are encouraged for those that have them, and the wearing of predominantly blue clothing is encouraged for those who don’t!
It’s also good to incorporate Morris, Mummers, Musicians and the like.
Recommended Reading
“The Bardic Tradition in Britain-A Discussion Document Prepared for the Council of British Druid Orders” by Phillip Shallcrass.
“The Book of the Bardic Chair” by Kevan Manwaring. R J Stewart Books (22 Oct 2008)
“The Bardic Handbook: The Complete Manual for the Twenty First Century Bard” by Kevan Manwaring
“The Druid Sourcebook” by John Mathews. Blandford
“The Bardic Sourcebook” By John Mathews. Blandford
Profile of the Current Druid Chair Holder & First Bardic chair of Exeter
Mark Lindsey Earley had recently moved to Bath and had just become a member of the local Dubunni Grove of the Order of Bards, Ovates and Druids, when in 1998, he made the acquaintance of Tim Sebastion and was appointed as Bath’s second holder of the Ovatian Chair. This was in recognition of his work as a therapist, and in promoting complementary therapy in the city through his role as a correspondent for the Barth Chronicle newspaper and as a member of the steering group for the Bath Health Group.
He courted controversy by strongly supporting the mayor of Bath in his decision to make the annual civic “Call to Prayer” a multi-faith rather than a purely Christian ceremony, and in inviting a Muslim speaker to attend. Mark was interviewed by the local BBC television news after having spoken out at his disgust at having received anonymous anti-Muslim mail from opponents of the move.
He handed over the post on moving to Devon in 2001 after presenting his successor with a brand new robe emblazoned with the ”Snake of Aesculapius” – the universal healing symbol.
He wasn’t gone for very long, however; in 2002 when rules about residency had been temporarily relaxed, he was invited to return and compete, this time, for the Bardic Chair. He won with his poem “Stoney Littleton”, and was acclaimed for the quality of his performance & “bardinage,” waxing somewhat gynaecological about the symbolism of a local sacred sight!
During his tenure as the seventh Bard of Bath he set up a website for the Bath Gorsedd, made a guest performance at “The Hole” poetry event and was celebrant at a formal, open Eisteddfod at the Rocks East Wildwood Camp. He continued to write for the local paper, which also published a number of his poems, though once, famously misprinting the word “trilithon” as “triathlon” in his seminal poem about William Blake!
He tirelessly promoted the Chair and Gorsedd and helped to increase its wider public appeal and take it further into the mainstream.
In his final months as Bard of Bath, with the formal approval of The Council for British Druid Orders, and in accordance with the guidelines laid down by Liz Murray et al, he declared himself Druid Chair of Exeter and holder of the first Bardic Chair, inviting challengers to the latter title to respond within the customary year and a day. This makes him one of only two people to have ever successively held all three of the ceremonial chairs (Sulyen Richard Caradon being the other).
As Druid Chair he spoke out at the closure/relocation of The Dartington School of Art, featured frequently in local press and radio, and, in one of his more whimsical moments, gradually sneaked a small cohort of miniature druids into the Stonehenge feature at Babbacombe’s award-winning Model Village.
As a Bard, Mark writes poetry which blends the classical with quirky wordplay, earning it the epithet “Roger Mc. Gothic”. He also leads Ghost Walks in Totnes and previously also led eerie moonlit walks around Dartmoor Zoo to the accompaniment of howling wolves. When he has time he also provides a full-costume Highwayman Kissagram service.
He is an occasional actor, having featured in the BBC’s “Casualty” series and taking the lead in Etheric productions’ stage version of Jeff Wayne’s “The War of the Worlds”, though he would say that the absolute pinnacle of his performing career was playing the role of one of the “Future Kind” in other words -a “Doctor Who Monster” in series three. To put the icing on the cake, his photograph has since been immortalised on a Doctor Who trading card.
As an Ovate, he began as a Holistic Massage Therapist, later becoming a Spiritual Healer & Reiki Master before training as a hypnotherapist and eventually a counsellor / psychotherapist and trainer. He now specialises in treating all forms of addiction and in helping survivors of sexual abuse.
As a Druid he has a keen interest in promoting religious tolerance and a multi –faith agenda. He has officiated at various events and ceremonies, including being the celebrant for a wedding. He has been offered a place at the interfaith seminary to train as a minister. Mark maintains a keen interest in all aspects of spirituality and in local folklore and sacred space.
He also has his sights set on reviving another ancient Devonian tradition- this time in Plymouth, where the anniversary of the construction of the Devonport Leat (which provided clean drinking water to the city), and which was instigated by none other than Sir Francis Drake, was at one time regularly celebrated ( interestingly, at Beltane), but has since fallen into obscurity.
This document can be dowloaded as a PDF File using the link below
| the_bardic_tradition_in_britain._2.pdf |
A more recent Bard.
Another recent Bard of Exeter