2023-12-29 05:00:02
I finish commenting on number 27 of the magazine “Cultures”. It will be seen at the bottom of this column which is the path that takes us to the Atlantic Celticism of the 21st century. Roberto González-Quevedoin charge of “Cultures”, kicks off issue 27 with a long essay on the Asturian tales of Constantine Cabal and ends with an ethnographic account of several beliefs that remain in the memory of the town of Palacios del Sil. The review of the Encyclopedia of Gerardo Ruiz Alonso and of Marta Ruiz Ramos (see page 191) ta fecha por Carlos Suari, the home most prepared at this moment in motor skills, sports and recreational activities, both in general and in relation to our traditional games and sports. Ultimately you have to ignore the review of Paco Ramos Torrejón (page 199) on the book “The Flute of the Sapu”, from 1930: a reissue (2023) of this little-known but important book in the work of Alejandro Casona.
At this point I see it necessary to bring here with recognition and admiration the other magazine that shares the spirit and spirit with “Cultures”: “Asturies, memory in the end of a country”, edited by the Belenos Foundation and which is already at number 42. Both of them They have a different aesthetic presentation but old content: the older one focuses more on archaeology, art and mental history than the newer one focuses on anthropology, ethnography and language. Notably, they are the same, not that in reality they are more basic and basic: they are both written in Asturian.
La Puela d’Allande is now one of our cities most compatible with the Asturian era and it was held there, on November 16 and 17, 2019, the XX Seminar of Asturian Studies of the Belenos Foundation. And that foundation, together with Publicaciones Goxe, will publish this year the Actes under the title of “Asturian musical Celticism.” In this monograph, people from Belenos who are historical to the South participate, such as Inaciu Lopewhich lu coordinates, as Lisardo Lombardywho writes of his own “initiative path” (page 124) or how Astur Paredes, who designs and models the work with luxury and abundance of illustrations and images. I say this because Celticism was among us in many cultural and political aspects, but above all it was in the powerful and original art that we call “Celtic music”: a fusion of traditional folk background with more modern forms of pop-rock and the most modern choreographic forms. theatrical.
In this work I read Inaciu Llope’s essay, “Pixuatu” for his friends, who is as good a musician as he is a poet and essayist. And I warn that if we were anantia self-criticism with Celticism, we still have to change and face ourselves among Celts indeed. Inaciu sensibly defines three ideas. One: that there has been a strong history of European cultural Celticism since the 18th century that resists the classical criticisms leveled against it, establishing its major case of James Macpherson and his fictional and creative work “Los trabayos d’Ossian”, (1765). Two: that all this music came to us at the end of the 19th century and that it was received with approval by the “La Quintana” group (Julio Somoza, Fermin Canella). And three: that the writer Constantino Cabal highlighted, in the 20th century, was also an erudite of Celticism and who as an Asturianist “marks constant and continuous parallels with Bretaña”. What I know is that Constantino Cabal was a Francoist or not, in reality he was a Celtist.
“Piesllu”, page 231, “Un viaxe célticu”. At the beginning of mysterious missions and even more or less holy ones, there was a beginning of some kind. This is what I did Roberto González-Quevedo from Alba/Escocia to Kernow/Cornual.les in 1978, on the 20th of September and September 8th. Account in diary format.
With help from the Ministry of Culture, Language Policy and Tourism of the Principality of Asturies
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