A question of folk tradition; The folk music tradition of Wales has a new-found popularity. Liz Davies talks to Stephen Rees, presenter of a new six-part S4C series.

Byline: Liz Davies 

Yn Ein Dwylo S4C, Monday AS a former member of Ar Log and current member of Crasdant, Stephen Rees certainly knows his stuff when it comes to traditional music.

And if ever a music ambassador for Wales were to be appointed, he would be at the front of the queue of contenders. In his day job he lectures at Bangor University's Music Department.

Ar Log did much to popularise the folk tradition of Wales and make it known all over the world. And Crasdant continues to do the same. It performs throughout Great Britain and is now preparing for a tour of the United States next February.

The snag is that when Welsh traditional musicians go abroad, they are usually categorised in the accompanying publicity as being Celtic - a label with which Stephen is less than happy.

"When people think of Celtic they think of Scottish, Irish, Breton - as if Wales didn't exist. People don't know what to think of Wales. I believe the word Celtic hides the differences between the countries.

"Such a label doesn't help people who are different. We are drowning in a sea of Celtic-ness instead of highlighting the variety."

This is why in this new six-part series, Yn Ein Dwylo (In Our Hands), which looks at the tradition of folk music in Wales and the influences which have caused its current popularity, Stephen has travelled not only to Ireland to look for comparisons in their lively music scene but also to Sweden.

This is outside the Celtic world and who have successfully revived their traditional music without any help from a label like Celtic.

'S weden has come under many influences, " says Stephen.

"But it's very aware of the differences between areas of the country and how a fiddler from one area can play totally differently from a fiddler from another area.

"This is equally true in Wales although we don't have such a strong tradition - but we have performers who have different styles and it makes you realise that the future of this kind of music is in the hands of individuals.

"It was fascinating for me to realise that there could be a lesson here for us. I could see the possibilities - not to copy what they're doing, but to take ideas from it and make them work for us.

"It's true to say that traditional music in Wales is undergoing something of a renaissance, although not as much as in Ireland, possibly because society hasn't developed in the same way.

"But there is a growing awareness that while festivals like Sesiwn Fawr and Cnapan are great, there has to be more to it than just celebrating this music on certain occasions. And within the past five years the music has developed a strong following.

The setting-up of Fflach Tradd is indicative of this, and one look at the vast catalogue of music available - both new music and stuff that's been around a long time - shows that there is a huge amount of work going on.

"Filming the series was a real experience. I was aware there was a lot of talent coming to the fore in Wales but this extensive survey demonstrated that the scene is much more exciting than I'd initially realised.

'W ith talented young artists like Fernhill, the harpists Llio Rhydderch and Robin Huw Bowen, fiddlers Huw Jones, Dan Morris and Iolo Jones to name but a few, the future of traditional music is in safe hands, " says Stephen.

He is, however, keen to point out that traditional music isn't just about performers performing and the audience listening.

"We need to pass the traditions on. We accompanied Jennifer and Maria, two young fiddlers from Bala, to Ethno in Sweden where hundreds of people aged 14 to 25 from all over the world including the Middle and Far East came together to learn and share.

"There were no tutors to teach the songs - everybody just taught one another and that's just how it should be. We do sometimes tend to forget what the essence of the music is. It's at its best when everyone is involved and the settings are more intimate."

The series calls on the vast knowledge of people like Dr Meredydd Evans and Wyn Thomas in its investigation of the position and status of traditional music today.

It deals with historical aspects, influences of the music, the revival of the tradition, the repertoire, instruments, performers, promotion and marketing and the integration into the music education system.

The first programme looks at how the revival has come about and follows its journey from the 60s onwards.

'A S a musician, teacher and chair of Trac, which was established to promote traditional music, I'm really keen to ensure this music is not considered to be academic and locked away in an archive, " says Stephen.

"It's time to move away from the idea that this type of music is old fashioned: it simply isn't true - without it, modern rock music wouldn't exist. This music is here for everyone and this series takes a significant step in sharing traditional music in all its glory."

CAPTION(S):

AMBASSADOR: Stephen Rees, far right, travels to Celtic countries to find the influences that have made folk music so popular, and right, the popular group Crasdant POPULAR: The future of Welsh traditional music is in safe hands with old rockers like Edward H Dafis, pictured here on stage during the Tan y Ddraig ll concert. Front cover shows harpist Llio Rhydderch