This interdisciplinary research progresses aspects of musical composition, musicology and organology though the application of specific recent developments within philosophy and physics.
There are two contingent ‘expeditions’–articulated constellations constructed of a suite of compositions (released as a musical album), exegetical writing and performances.
Atlantic Drifter investigates and evidences interactions developing from the implications of Object Orientated Ontology, (Harman, Bogost et al) for composition. OOO identifies the independent cosmopoesis of non human objects–the manner in which objects-with-agency declare the nature of their ‘world’ through artefacts. It calls the interaction of object worlds ‘encounters’. This research interrogates and transcribes a series of these encounters, experienced in locations internationally. It explores and reveals the agency of place, Genius Loci–air, water, stone, architecture interacting with the composer/philosopher. The research resulted in new music released through Proper Records. A A chapter in Culture and Dialogue (Brill, 2016) and another in Music, Myths and Realities (2017) offer detailed exegesis of the theoretical advances facilitated by the creative work B The works and ideas were shared by invitation as concerts and keynote lectures at prestigious venues internationally C
The second expedition, A Spirit Library, D develops from this and examines the ‘encounter’ with the physical presence and agency of sound itself. Schopenhauer’s exposition of music as Will was revisited though the lens of String Theory and aspects of Steven Hawking’s ideas about universal futures. The work explored the sound/human/instrument ‘encounter’, resulting in novel engagements with the cosmopoesis of sound. It allowed an extension into organology, where the generative influence of ‘Ur’ sound was applied to the construction of instruments, offering a novel understanding, shared in a streamed Keynote lecture, available online E.
The work was performed by invitation at high status venues and on radio internationally. The music was positively reviewed, including selection as Album of the Year 2019 by Folk Radio UK F
Jonathan Day
NARRATIVE STATEMENT
This interdisciplinary research progresses aspects of musical composition, musicology and organology though the application of specific recent developments within philosophy and physics.
There are two contingent ‘expeditions’–articulated constellations of works, each constructed of a suite of compositions–released as musical albums–exegetical writing and performances.
Atlantic Drifter investigates and evidences interactions developing from the implications of Object Orientated Ontology, (Harman, Bogost et al) for composition. OOO identifies the independent cosmopoesis of non human objects–the manner in which objects-with-agency declare the nature of their ‘world’ through artefacts. It calls the interaction of object worlds ‘encounters’. This research interrogates and transcribes a series of these encounters, experienced in a variety of locations internationally. It explores and reveals the agency of place, Genius Loci–air, water, stone, architecture–interacting with the composer/philosopher. The research resulted in new music–released through award winning record label, Proper Records–two published chapter (please see below), an invited keynote lecture (available online), a number of conference addresses and a series of performances
A Each of the pieces on Atlantic Drifter’ was conceived as a response to place, to genius loci. The songs responded to environments that for some reason–at the time mysterious and veiled–had ‘power’ for me, places that resonated, that were ‘inspiring’. The locations associated with the works are as follows
Café in the Valley of the Fire Church – Tuggles Gap Motel, Blue Ridge Mountains, Virginia
Sea of Birds – Ocracoke Island, Outer Banks, North Carolina
Book of Days – Tønder/ the Waddensee, Jutland, and Minsk, Belarus
Ton Tussa Solas – the White Abbey of Kindness in the Sangré de Christo Mountains, New Mexico
Sita’s Last Dance – Copenhavn/Helsinki
An Onnagata Kami Infests my Forest – tenement roof, Tsim Sha Tsui, Kowloon
Shallow Ground – Apalachicola, Gulf of Mexico
Waiting for Innocence Again – Appleton Firehouse, Minnesota
The Darkling Sky – Sheinton, Shropshire
Most of the pieces were recorded using valve desks and two-inch tape reel to reel recorders.
B A detailed exegesis of the theoretical advances facilitated by the creative work is offered in two chapters and a keynote lecture. The first, in the Journal Culture and Dialogue, published by Brill, is a stall-setting piece initiating the research exploration. Day, J., 2017, “Jazz, Kant and Zen: towards a philosophy of improvisation”, Culture and Dialogue, Brill: New York and Amsterdam, Volume 4 issue 2, pp 301-316. https://brill.com/view/journals/cad/4/2/article-p301_6.xml
and https://www.open-access.bcu.ac.uk/7437/
The work begins with the score for a musical composition, at the heart of which lie transgression and experimentation. The compositional approaches employed developed from a consideration of Kant’s Critique of Judgement (1790) which offers a compelling explanation for the apparently bizarre “claim to objectivity” commonly made in judgements of taste. Kant’s final conclusion around the source of the claim is, for me, disappointing. This current work re-examines and extends his argument through an elision with Zen writing, and offers an alternate account. It is posited that the “claim to objectivity” operates as a linguistic marker, acknowledging the presence of experience that is trans-rational and supra-linguistic, and indicating a point/place at which language ceases to be viable. It relies on and incites an implicit shared understanding that aesthetic experience often exceeds language, and further indicates that one or more of the myriad unspeakable things are accessible nearby. This understanding is explored in relation to compositional practice, finding a powerful synergy with the writing of composers, improvisers, and avant-garde/jazz theorists. The work concludes with the suggestion that aesthetic experience and the “beautiful” may therefore signpost the ineffable, referring back to the score with which this work began.
The second chapter is in the journal issue Music, Myth and Realities.
Day, J, 2017, “The Dim Lit Subterranea of the Ancient Mind: the influence of place in ‘inspired’ composition”, Music, Myth and Realities, Princess Galyani Vadhana Institute of Music: Bangkok http://www.pgvim.ac.th/pgvis/wp-content/uploads/2020/06/Proceedings2017.pdf
This written exegesis begins with a consideration of that kind of composition that is often called inspirational or inspired. While acknowledging the essential importance of craft, there remain nonetheless numerous accounts of moments of elevation, a sense of transport, of ‘flow’ and many other descriptions of what appears to be an unusual or heightened state during the creation of music. Are there circumstances that facilitate or enable this state? Does this inspirational state have any characteristics beyond the solely individually predicated, and if so can we determine the nature and sources of this state? I’ve argued previously in “Jazz, Kant and Zen: towards a philosophy of improvisation” (Brill: 2016) that certain music can ‘signpost the transcendent’, as Maria Schluter Rodes describes it, because of its insistence on transgression and its playing with the liminal (Corbett, 1995 and Barthes, 1987). Carl Jung writes that “in exceptional states of mind [such as when composing/improvising] the most far-fetched mythological motifs and symbols can appear” (1960:112). Are there then any seed-germs–situations or experiences that are particularly likely to facilitate these kinds of situations? One is clearly the powerful agency of environment/landscape/location–what we may shorthand as ‘genius loci’ the 'spirit of place'. Jung argues for “the unavoidable influences exerted by the environment” and I am deeply intrigued by the agency of environment. This work examines the particular ways in which this agency operates, how it is noticeable in such works, and the extent to which that presence matters, so long as agency/inspiration was encountered. It further investigates the manner in which the traces of such compositional/improvisational experiences–the music which remains long after the experience–communicate. Jacques Lacan offers us an intriguing insight into the mechanism that allows us to reach from this deep state across to others and share in communication and expereince.
A great number of composers and improvisers acknowledge this inspirational role in their work. This relationship is examined in this writing, alongside examples from my own site specific experimental compositional practice that together constitute Atlantic Drifter1.
C These works and ideas were shared by invitation as concerts and keynote lectures at prestigious venues and arts festivals internationally
Invited performance and lecture at Princess Galyani Vadhana Institute of Music, Bangkok, August 2017
http://www.pgvim.ac.th/pgvis/archive_media/myths-and-traditions/
Lecture and performance at Jazz Journeys, 2019, Kunstunivseritat, Graz.
Lecture and performance at Agency in Jazz and Improvisation, Austalian Jazz Improvisation Network Conference, 2017, Melbourne.
Lecture and performance at “Songcraft”, Craft, Art and Sound Symposium, 2017, De Montfort University, Leicester
http://artandsoundsymposium.com
Performance at “The Dim-lit Subterranea of the Ancient Mind”, Architecture, Festival and the City, 2017, Architectural Humanities Research Association, Birmingham
http://www.ahra-architecture.org
Invited performance of Café in the Valley of the Fire Church at the 47th Hong Kong Arts Festival, Hong Kong City Hall, https://youtu.be/6ZX9cTa2sJw
Invited performance of Canticle at the 47th Hong Kong Arts Festival, HK City Hall, https://youtu.be/BagcAOZJki4
Performances in China:
Folk Radio Launch tour article pt 1 https://www.folkradio.co.uk/2015/09/guest-blog-jonathan-day-atlantic-drifter-launch-tour-pt-1-china/
Folk Radio Launch tour article pt 2 https://www.folkradio.co.uk/2015/10/guest-blog-jonathan-day-atlantic-drifter-launch-tour-pt-2-china/
Folk Radio Launch tour article pt 3 https://www.folkradio.co.uk/2015/10/guest-blog-jonathan-day-atlantic-drifter-launch-tour-pt-3-hebrides/
(For other performances please see end of statement)
Critical reviews were positive
“Stunning” Bob Harris, BBC
“Breathtakingly beautiful, “Jonathan’s voice floats like an ancestral spirit, his guitar shines like sun through morning mist. The music exists in and of itself yet remains both approachable and absorbing; placeless but grounded, timeless and yet somehow outside time.” Folk Radio UK
“a meditation of sorts on the relationships that exist between music, writing and images” South China Morning Post
“Very lovely: putting the poetry back into song lyrics” BBC Sunday Folk
“Day’s guitar playing evokes John Martyn–a perfect foil for the words. Perfectly matched phrases tumble out to form a seamless mosaic and illuminate the deepest musings of the soul” R2 magazine
“A poetic lyricism–evocative, intense and contemplative” Shire Folk magazine, album of the day
“Atmospheric, restful, reflective, poetic, responsive–no listener can fail to respond. Beautifully compelling” Fatea magazine
“A windswept voice not a million miles from Roy Harper–Jonathan Day captivates as he sings” Northern Sky magazine
“Jonathan’s music doesn’t sound like anybody else around now, that’s what attracts me to it. Somebody doing something genuinely different is just great” Gary Wilcox Moorlands Radio
“Long nights with dancers, poets and painters and long journeys are here held in song. His work takes its heart from time, silence and the mad, mundane and quietly beautiful vision of those who share the road”. Catherine van Ruhland, Greenbelt Festival
D The second expedition, A Spirit Library
Early on this work seemed to simply extend Atlantic Drifter–exploring and responding to place. As Evelyn Waugh wrote in Brideshead Revisited “Perhaps all our loves are merely hints and symbols; vagabond-language scrawled on gate-posts and paving-stones”–essentially honouring the creative action’s character as a marker of place and time. In the end, a Spirit Library became an ‘encounter’ (in OOO terms) with the specifics of sound itself, a work that shifted from moving and travelling into arriving and finding.
One aspect of my travelling-with-music is an extensive collection of instruments, accumulated along the way. Many of these are unusual. Performing overseas introduces one to sounds in their full presence and materiality–an experience almost entirely unlike listening to a recording, removed temporally and spatially from its origin. Instruments are fascinating aggregations–solid, fragile, physical things. Their sounds, though, can lift us, like keys opening onto strange, fascinating and wonderful place/times. As I continued exploring the specifics of ‘sound-in-place’ the work morphed, unsurprisingly, into an engagement with and exploration of the potentialities of sounds themselves–familiar and novel–and the experience of the ‘encounter’ with what Ian Bogost2 calls the ‘carpentry’ of these objects as they practice their particular cosmopoesis. The works here record these encounters with both what we might identify as ‘instruments’–assemblages of metal, wood, wire and more–sourced from musicians and traders I’ve met while travelling, and with non traditionally instrumental/musical sounds.
The instruments used include a gu zheng on 9th June 1924, bought from a trader in Kowloon, China. The tanpura on the same piece is from a Chennai alleyway, while a pair of iron gongs is from the garden forge of a smith in Klunkung, Bali. A woman made of leaves has labrodorite eyes developed around a conversation between a mid Victorian ship’s harmonium (in a pre modern tuning with A=446 hz) and a saung gauk (Burmese harp), sourced from virtuoso player Warwar San, who I met at a festival in Bnagkok, and who taught me the rudiments. Also featured is a LeBlanc bass clarinet, rescued from a street vendor in Singapore, previously used by the Police Band there. Lost Languages Café uses another instrument in A=446 tuning–a butterfly dulcetina from Kalighat in India. Suzu gongs sourced in Singapore, Hong Kong and India echo and refract the sound of the planet Jupiter on Pipistrelle. These sit alongside more familiar vintage instruments–a 1963 handmade guitar built in England and rescued from a garden, and a vintage amplifier found behind someone’s sofa, among others. The only instruments not played by myself are featured in the opening string quartet and the coda.
Alongside these instruments, the work investigates and engages in a series of ‘encounters’ with non instrumental sound objects acting as active ‘world creating’ agents. The often used and arguably even clichéd use of found objects (kitchenware) as percussion, is presented alongside the sound of the planet Jupiter (a sonification of the electromagnetic radiation emitted by the planet’s liquid iron core as it spins), a snow storm, whale song (a family of orca’s), wave sounds from Fingal’s cave, Scotland, the social calls of pipistrelle bats, the night sounds of a forest, the feeding calls of red kites in Rhaedr, Wales, the sounds of song birds in a spring woodland and recordings of a range of now extinct or near extinct human languages.
All these compositional encounters exist within a conceptual space, a Spirit Library, in which all that’s been wonderful and enduring about humanity–literature, painting, medicine, music, kindness, empathy, science, philosophy might be preserved though the nascent dark age that is upon us. A place where ideas and ideals are preserved against times of challenge–to keep what’s good about us safe and alive when so many things that we hold dear are under threat. I imagined it as somewhere over a sea–an island perhaps or near the shore of a different land. Stunning and enthralling, a place full of love, light and compassion. The individual songs happen in rooms or spaces within and extending from the library. The atrium, where the Kailash Maanke string quartet performs the opening piece of welcome, is an entry point, if you like. At the same time, aspects and moments of it–call this the travelling library perhaps–can appear anywhere and at any time. Like fabled fairy towns that are there only for a day, or times when we sense the presence of something wonderful just around the corner or at the edges of sight (it was in this way that I found a key inspiration for the album on waste ground in the heart of a desolate and semi derelict city).
The track listing for A Spirit Library is:
1 A Spirit Library – Welcome for Those Arriving, Lament for Those Lost on the Way
2 In Memory, a Crossing of Great Seas
3 A Woman Made of Leaves has Labrodorite Eyes
4 Gone to Earth
5 Cajsa’s Tears (Les Mariées Perdues)
6 From a High Stone Gallery, Open to the Sea, I See it is New Year
7 Lost Languages Cafe
8 Pipistrelle Fly Beneath a Vault of Stars
9 June 9th 1924 (A Place Of Mountains)
10 Sanctuary
11 In a Hall of Ravens, a Harp is Tangled with the Books
The gesamtkunstwerk aspect of the collection is extended though the packaging featuring contingent cover artwork by myself. Each iteration is individuated with a specific ‘date-of-issue’ stamp, on the back of the credits and track listing insert, these being hand-printed by mater printer Naomi Kent on 40 year old vintage paper, using letterpress.
E This work is theorised and examined in detail, exegetically, in this invited streamed keynote lecture as part of the Music and Matter Symposium and festival in 2019.
Day, J, 2019, “Ur sound: instruments, physics, philosophy and the future-of-the-universe”, Music and Matter, Princess Galyani Vadhana Institute of Music: Bangkok http://www.pgvim.ac.th/pgvis/archive_media/ur-sound-instruments-physics-philosophy-and-the-future-of-the-universe/
This Keynote lecture begins with an account of my own search for transcendence—trying to intuit, to imagine, to realise—to reach for that half-heard, enchanting mystery, what the poet Wordsworth called ‘intimations of immortality’. Through this journey/experience, I didn’t know what I was doing most of the time, only that I had a soft sense of something just beyond reach, just behind the horizon, so enchanting, so wonderful and so exciting that I couldn’t help but give all I had in following it.
My particular journey extended from China to Bali, the frozen north of the Americas to Egypt, India to Russia to Africa. Accompanying me always on the path is what in Zen would be called my ‘practice’—music. Travelling resulted in an extensive and in-depth engagement with instruments. Cobbled together, concocted out of wood, wire and skin, they are so delicate, so easily broken, so difficult to preserve. But when they sound, our desires, our intentions shudder through them and find fulfilment. We pick up an instrument and, if playing goes well, create something peri-transcendent—profundity floating, flashing and then fading through the air. Instruments are an interface between dirt, dust and the ‘something else’, active agents that declare, direct and project their own requirements onto the creation of sound.
One thing that very quickly struck me is that the sounds of most of the instruments I experienced across the planet fit into quite a small number of groups: plucked and bowed strings, end and cross blown tubes, reed instruments, things to hit and a few others. We often use many different technologies to arrive at similar sounds—pan flute, hole flute, bone flute, water flute, or bullroarer, bronze age horn and didgeridoo, or erhu, cello, crwth, gusle, morin khuur. There are wonderful and exciting exceptions, and even occasionally something almost unique. Mostly, however, we use quite similar sounds. Why is this? For many years I believed it was because of our limited and similar access to materials and the limits of our imagination.
Recently, I was sitting on top of a mountain on a dark day thinking about sound and about something Schopenhauer said. He thinks music is not like other arts. Most arts, he says, describe, mirror, critique and comment on existence. Music instead embodies it—embodies the generative ‘Will’ that is behind all the things we see and experience. Music is an aspect of the force, the ‘thing’, the unimaginable that sits behind, around and within, and results in the universe we experience. If we take that seriously for a moment, what can it mean for us? What is the arcane and mysterious link between music and the deepest universe that he is suggesting? Can this tell us, perhaps, why instruments are so similar?
By examining a range of instrumental sounds and then relating these to advances in String Theory and ideas of universal futures drawn from Stephen Hawking, along with just a little Zukerkandl, this paper examined the way in which music draws on the very essence of all things to challenge, lift and inspire. Finally, the deployment and approach to ‘Ur’ sound in the making of instruments was considered.
In short, Schopenhauer’s exposition of music as Will was revisited through the lens of both String Theory and aspects of Steven Hawking’s ideas. The work explored the sound/human/instrument ‘encounter’, resulting in novel engagements with the cosmopoesis of sound.
The work examines the generative influence of ‘Ur’ sound and extended into organology, where its generative influence was applied to the construction of instruments, offering a novel understanding.
F This work was performed by invitation at high status venues, on radio and at arts festivals internationally. The work was selected as Album of the Year 2019 by Folk Radio UK
In Memory a Crossing of Great Seas (Grampus) at the Music Matters: a celebration of sonic experience conference and festival, Bangkok https://youtu.be/H92WHsQBbjo
In Memory a Crossing of Great Seas (Grampus) animated film https://youtu.be/rWJDnaUMNig
Gone to Earth at Music Matters: a celebration of sonic experience conference and festival, Bangkok http://www.pgvim.ac.th/pgvis/archive_media/music-matters/ (40:07 minutes) and https://youtu.be/ffLTUTyj7Bg
June 9th 1924 live at Music Myth and Realities http://www.pgvim.ac.th/pgvis/archive_media/myths-and-traditions/ (15:16 minutes)
Pipistrelle live at Music Myth and Realities http://www.pgvim.ac.th/pgvis/archive_media/myths-and-traditions/ 11:01
Pipistrelle live at the Hong Kong 45th International Arts Festival https://youtu.be/ODGVgGOFhgY
Lost Languages Café https://youtu.be/ZVlt2zLmVXU at Musical Communities, Bangkok 2020
Welcome for those arriving https://youtu.be/gKkr_EArtgI at Refugee Week, Raven Meadow Shrewsbury
Cajsa’s Tears https://youtu.be/7Fdi9JNoCQM
Article describing the writing process engaged with In Memory a Crossing of Great Seas (Grampus) https://www.folkradio.co.uk/2017/05/jonathan-day-vagabond-language/
BBC radio interview Spirit Library https://youtu.be/QMYbQ8D5zXU
BBC radio interview lyric writing https://youtu.be/9Ytlmp1-8jk
The work was positively reviewed
Folk Radio extended review
https://www.folkradio.co.uk/2019/02/jonathan-day-a-spirit-library/
“The inspirations for Jonathan’s most recent recordings are as colourful and multi-facetted as the abundance of instruments featuring in his music–all picked up on his extensive travels to far flung corners of the world. Part of the multi-cultural treasure trove’s contents are a gu zheng from Kowloon, a tanpura from Chennai, a pair of iron gongs from Bali, a saung gauk harp from Myanmar and a butterfly dulcetina from Kalighat in India, which sit surprisingly well alongside his 1964-Burns guitar and a percussion section stolen from his kitchen” Evensi, https://www.evensi.uk/jonathan-day-spirit-library-album-launch/302789155
Other perfomances
2019 A SPIRIT LIBRARY TOUR
14/12 LEICESTER, the Shed, with VU https://www.facebook.com/events/1470946439701895/
13-16/2 KINGSTON JAMAICA, UWI Mona https://tinyurl.com/y927cd88
3/3 ALBERT’S SHED, Shrewsbury, with VU
23/3 HONG KONG, Bird time Jazz, song workshop
25/3 HONG KONG, More than Folk, City Hall https://tinyurl.com/y9u9x9v3
11-14/4 GRAZ, Austria, Jazz Journeys, University of Music https://www.rhythmchanges.net/2019
19/4 LLANGOLLEN, Sun, with VU, https://www.skiddle.com/whats-on/Llangollen/The-Sun-Inn/VU 18/4 BBC SESSION, Seven O’clock Show 25/4 OSWESTRY, Hermon Chapel https://www.facebook.com/events/2222780187984413/
4/5.SHREWSBURY, Radbrooke Hall
13-14/5 NAPLES, ITALY, Channel 4 recording
26/5 BBC SUNDAY FOLK, Radio Session, https://www.bbc.co.uk/programmes/p001d7lt
22/6 LLANDRINDOD, Festival Soup Fest
5/7 LIVERPOOL, Peel Street Studio’s With VU, https://www.facebook.com/events/381903362403017/ 19/7 THE GATHERING, Rhayader, The Lost Arc https://www.facebook.com/events/575035799698631/ 19-20/7 FESTIVAL at the EDGE VIRTUAL, online - join group @, https://www.facebook.com/groups/18816182382/
2-4/8 LANDED FESTIVAL, Rhaedr Gwy, http://www.landedfestival.co.uk/ https://www.facebook.com/events/2260841084007216/
8-11/8 PHOENIX FESTIVAL, Llanfyllin Workhouse, https://www.eventbrite.co.uk/e/phoenix-alternative-festival-2019-tickets-49376328929
28-30/8 BANGKOK, Music Matters Festival, Princess Galyani Vadhana Institute of Music https://tinyurl.com/ydy2kvcc
1-14/9 BANGKOK, Sangeet Vadhana Hall, Princess Galyani Vadhana Institute of Music, SUIC, CAT Tower, Jam Sathorn Surasek
9/18 Shrewsbury, OPO The Loft
2018
24/3 - WORLDBRIDGER, Llanrhaedr (UGANDAN PERMACULTURE BENEFIT) https://tinyurl.com/y8vevwcn
31/3 EOSTRE FEST Y Dolydd
4/4 REGGAE INNOVATION, Royal Birmingham Conservatoire https://www.eventbrite.co.uk/e/reggae-innovation-conference-tickets-43928155295
13/4 The FACE of WATER, the FACE of SNOW with Jane Siberry (FREEDOM FROM TORTURE/ MEDECINS SANS FRONTIERS benefit) In Good Hands Shrewsbury https://www.brownpapertickets.com/event/3385303 6/5 WENLOCK POETRY FESTIVAL the Edge, Much Wenlock https://www.ticketsource.co.uk/event/FGEJHG
13-15/7 WORKHOUSE FESTIVAL http://the-workhouse.org
9-12/8 PHOENIX FESTIVAL Llanfyllin https://www.eventbrite.co.uk/e/phoenix-alternative-festival-2018-tickets-43779976087
17-19/8 LANDED FESTIVAL Rhaedr Gwy https://www.fatsoma.com/landedfestival
29-31/8 MUSIC & METAMORPHOSIS FESTIVAL Bangkok http://pgvim.ac.th/sym/
2017
9/5 - Parkside, Birmingham
12/5 - BIRMINGHAM TOWN HALL www.thsh.co.uk
27/6 - APOLLO BAY (South Australia) www.ajirn.com 19/6 - LORNE (South Australia) www.ajirn.com
2 - 4/6 - MELBOURNE FESTIVAL (Australia)
6/6 HONG KONG T.V.(RTHK Folk Show) www.rthk.hk
8/6 - HONG KONG (City Hall)
23-24/6 - ART & SOUND, CUBE THEATRE (Leicester) facebook.com/events/1236058506490308
7/7 - WORKHOUSE (Y Dolydd) www.the-workhouse.org
10 - 13/8 - PHOENIX FESTIVAL (Llanfyllin)
19 - 21/8 - LANDED FESTIVAL (Rhayader, Wales) www.landedfestival.co.uk 3/8 - 2/9 - MUSIC and MYTH Festival (Bangkok, Thailand)
7/9 - SHREWSBURY POETRY (Market Hall, Shrewsbury) www.facebook.com/events/1896241980599681
16/11 - ARTSLAB (BMI, Birmingham
