Ow Styrya Ilow Kernewek
Defining Cornish Music

Defining Cornish-ness is an age-old challenge – what makes a person (or a piece of music for that matter) Cornish for one person, might not be what makes it Cornish for another. Part of our aim is to represent the breadth and depth of music that is part of Cornish culture, so we’ve carefully considered how wide to cast our net of what to include in an archive of Cornish music. It can be quite the conundrum – consider for example, a piece of music written about Cornwall – but not by a Cornish person? Or, to take the opposite example, written by a Cornish person – but with nothing particularly “Cornish” about the music?

We’ve put our heads together and decided to include music that is, or has been: popular in Cornwall, impactful in Cornwall, written in Cornwall, written about Cornwall, inspired by Cornwall – thus aiming to include individuals, traditions and and compositions that express, reflect and celebrate Cornwall and our distinctive identity.

Most recent articles:
Jim Pengelly hailed from Padstow in Cornwall where he grew up, hence the name of this book ‘Den Lodenek’ which translated from Cornish means ‘Man of Padstow’.
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In 2000 the members of Cornish Youth Dance group Tan Ha Dowr (Fire and Water) engaged in a recording project to capture the sounds and rhythms of Cornish dance. The project featured Cornish Scoot (step) dance where the percussive sound of hard shoes creates a conversation with musician and tune.
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'Squire's Song'/'Can Scoswas', from Robert Morton Nance's Cledry plays, was recorded for the Racca Project between 1995 and 1997. The plays were inspired by what Nance called 'guise dance drolls'.
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