Cofiwch Dryweryn

This is a blog post from our guest writer, Zoe Murphy. It eloquently explains the acoustic impact of the flooding of Capel Celyn.

I live in the hope that most people in Wales will know or come to know, the significance of the phrase ‘Cofiwch Dryweryn.’ These two Welsh words have now become synonymous with Welsh nationalism and induced an iconic embracing of Welsh identity and history and while reading about Tryweryn and then delving into a piece about acoustic ecology (as you do) I thought about how the drowning of the village caused both the ecological and sonic landscape to change irrevocably.

Acoustic ecology, also known as soundscape ecology, is an interdisciplinary field that studies the relationship between living beings and their environment through sound. It focuses on the ecological, cultural, and social roles that soundscapes play. Before its flooding, Capel Celyn was filled with the sounds of daily Welsh rural life—children playing, farmers tending to their fields, local conversations in Welsh, and the overall ambience of a tightly-knit community. These sounds were intrinsic to the cultural identity and social fabric of the village. With the village’s inundation, these sounds were literally drowned out by the waters of the newly formed Llyn Celyn reservoir.

This event drastically altered the soundscape from one of vibrant rural life to one of silence and stillness under the water, representing not just a loss of land but a profound loss of a way of life and a silencing of cultural expression. Llyn Celyn is substantially more than just a reservoir; this body of water is an emotional symbol of the loss of a home, and culture and the suppression of a language. This event was a physical and symbolic silencing of a vibrant Welsh-speaking community, and I am discussing how the flooding of Capel Celyn, through both a historical and acoustic ecology lens shaped the collective memory and identity of Wales.

This muting and silencing of Capel Celyn resonated throughout Wales and became a powerful symbol of resistance, instigating a resurgence and investment in Welsh Nationalism, catalysing movements that were committed to the preservation and promotion of Cymraeg

Prior to 1965, Capel Celyn would have buzzed with the sounds of daily life characteristic of a close-knit Welsh community. The laughter of children at play, the calls of farmers to their livestock, and the conversations of villagers in their native Welsh would have echoed around the surrounding hills and fields. It would have been a soundscape rich with the tonalities of the Welsh language which would have bound the community together. The heartbeat of a community.

However, with the bill that authorised the village’s flooding to create a water supply reservoir for Liverpool, this auditory tapestry would be abruptly silenced. This decision was made without the consent of the Welsh-speaking residents. It was met with fierce opposition and viewed as an act of cultural imperialism. It was not only an actual destruction of a community but served to further marginalise Welsh language and culture.

A Transformative Flood Devastated Capel Celyn

Flooding Capel Celyn transformed the village’s soundscape into a deep, unsettling silence. In place of the hum of life was the stillness of the reservoir. This physical silence mirrored the broader suppression of the Welsh language, political and societal shifts had been favouring English for years and years and the water did not just submerge and silence the village it hushed a whole cultural identity.

This muting and silencing of Capel Celyn resonated throughout Wales and became a powerful symbol of resistance, instigating a resurgence and investment in Welsh Nationalism, catalysing movements that were committed to the preservation and promotion of Cymraeg. This was all fuelled by Capel Celyn’s loss. Simultaneously, the symbolic weight of the flooding of the village saw a Welsh art renaissance. Music, lyrics and poetry created, drawing upon the tragedy as a way to reclaim cultural identity. In an innovative response to the cultural silencing, contemporary acoustic ecologists and cultural historians have undertaken projects to capture and recreate the ambient sounds of the area prior to its inundation. Through oral histories and archival research, they have reconstructed the auditory environment of old Capel Celyn.

These sounds are played at annual gatherings at the reservoir, allowing participants to momentarily “hear” the village once more. This act of acoustic reconstruction is not only a poignant act of remembrance but also a declarative statement about the resilience of Welsh culture. Today, the legacy of Capel Celyn transcends its tragic origins, serving as a profound lesson in the power of community voice and cultural resilience. The site of Llyn Celyn, where quiet waters now cover what was once a bustling village, has become a place of reflection and activism. Each year, gatherings at the site bring together historians, activists, and descendants of the displaced families. They lay wreaths on the water’s surface and share stories, ensuring that the village and its cultural significance are not forgotten.

While my linking of acoustic ecology to Capel Celyn may appear random, I believe it offers a powerful lens with which to view the drowning of the village. It challenges us to listen to the silences, for they can teach us much about the past, and to raise our voices to protect and celebrate the diverse cultural landscapes that enrich our global heritage. The story of Capel Celyn is more than just a chapter in Welsh history; it is a continuous call to remember and act in the face of cultural and linguistic adversity.

Guest Writer – Zoe Murphy

Zoe Murphy is a multifaceted artist from Swansea, encompassing roles as a podcaster, writer, poet, educator, and dance choreographer with over twenty years in arts education and community development. Her work has included teaching poetry at HMP Swansea and facilitating film projects with the Taliesin and Swansea City of Sanctuary. Zoe’s work has featured in three poetry anthologies and she has independently published three books—a Welsh based mythological novel, a poetry collection, and a book of short stories. She also hosts the “Out Loud” podcast, interviewing change-makers from social advocates to artists. A member of the Drunk Poets Society, Zoe continues to perform poetry and has a vested interest in promoting the culture and history of Wales. 

Guest Writer