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The Revival of Manx Traditional Music

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The Revival of Manx Traditional Music The Revival of Manx Traditional Music: From the 1970s to the Present Day Chloë Woolley PhD University of Edinburgh 2003 STATEMENT OF AUTHORSHIP I hereby declare that I am the composer of this thesis and that the work is entirely my own. ................................................................ September 30th 2003 ii The Revival of Manx Traditional Music: From the 1970s to the Present Day ABSTRACT This thesis examines the revival and subsequent development of traditional music in the Isle of Man from the 1970s until the present day. Together with dance and the Gaelic language, the revival of Manx traditional music has contributed to the reevaluation of a Manx identity based upon traditional values and symbolism. Drawing on individual interviews, a comprehensive survey and primary source material, this thesis investigates the motivations, influences and ideology behind the revival. Issues of nationalism, individual and communal identities, Celticism, authenticity and the formation of cultural boundaries are all addressed in an analysis of the revivalist ideology, which has consequently dictated the standard repertoire and musical style of today. The structure of the study is based upon a theoretical model of musical revivalism designed by Tamara E. Livingston (1999:69): 1. an individual or small group of “core revivalists” 2. revival informants and/or original sources (e.g. historical sound recordings) 3. a revivalist ideology and discourse 4. a group of followers which form the basis of a revivalist community 5. revivalist activities (organizations, festivals, competitions) 6. non-profit and/or commercial enterprises catering to the revivalist market. Livingston’s model has been employed to ascertain whether the Manx music movement corresponds with the modern conception of the term ‘revival’ and therefore with the typical characteristics as documented in other cases. This thesis aims to render new concepts that can be added to contemporary theory on musical revivalism. iii CONTENTS Abstract ... ... ... ... ... ... ... ... ... iii Contents ... ... ... ... ... ... ... ... ... iv Acknowledgements ... ... ... ... ... ... ... viii List of Appendices ... ... ... ... ... ... ... ... x Abbreviations ... ... ... ... ... ... ... ... xiii INTRODUCTION ... ... ... ... ... ... ... 1 1. Music Revivalism ... ... ... ... ... ... ... 4 1.1 Terminology - Defining the Nature of Revivalism ... ... ... 5 1.2 Theoretical Models of Music Revivalism ... ... ... ... 7 2. Chapter Review ... ... ... ... ... ... ... 12 3. Methodology ... ... ... ... ... ... ... ... 18 CHAPTER ONE ... ... ... ... ... ... ... 22 Manx Traditional Music - Source Material - Part I The Victorian Collectors 1. Source Material ... ... ... ... ... ... ... 23 2. The Decline of Manx Gaelic Culture ... ... ... ... 27 3. The Clague and Gill Collections ... ... ... ... ... 32 3.1 Fieldwork - Clague and the Gill Brothers ... ... ... ... 34 3.2 Manx National Songs and Manx National Music ... ... ... 44 4. A.W. Moore’s Manx Ballads and Music ... ... ... ... 49 5. The Contemporary Reception to Manx National Songs and Manx Ballads and Music ... ... ... ... ... ... ... ... ... 52 Conclusions ... ... ... ... ... ... ... ... 56 iv CHAPTER TWO ... ... ... ... ... ... ... ... 61 Manx Traditional Music - Source Material - Part II Mona Douglas - Collector and Revivalist 1. Mona Douglas (1898-1987) - A Link to the ‘Folk’? ... ... 63 2. Mona Douglas and the Gaelic Revival/Celtic Twilight ... ... 66 3. Mona Douglas and the English Folk Dance and Song Society ... 70 4. Mona Douglas as a Revivalist ... ... ... ... ... 73 4.1 The Manx Folk Dance Society and Aeglagh Vannin ... ... 73 4.2 The New Generation - Bock Yuan Fannee and Bwoie Doal ... 76 4.3 The Revival of ‘Yn Chruinnaght’ ... ... ... ... ... 81 5. Source Material - “A Manx Folk-song Expanded By Mona Douglas” 86 Conclusions ... ... ... ... ... ... ... ... 96 CHAPTER THREE ... ... ... ... ... ... ... 98 The Core Revivalists 1. The Inception of the Revival: Identifying the Core Revivalists ... 99 2. The Folk Scene on the Isle of Man: Pre-Revival ... ... ... 101 2.1 “Ching-a-Ching Songs” ... ... ... ... ... ... 103 2.2 Remnants of the Celtic Twilight ... ... ... ... ... 108 3. The New Manx Identity ... ... ... ... ... ... 110 3.1 Manx Nationalism and the New Resident Policy ... ... ... 111 3.2 Manx Nationalism and the Revival of Manx Traditional Music and Dance ... ... .... ... ... ... ... ... ... ... 116 4. Characteristics of the Manx Traditional Music Revivalist ... ... 122 4.1 The Outsider ... ... ... ... ... ... ... 123 4.2 The Teachers’s Hobby ... ... ... ... ... ... 125 4.3 The Middle Class ... ... ... ... ... ... ... 126 Conclusions ... ... ... ... ... ... ... ... 127 v CHAPTER FOUR ... ... ... ... ... ... ... 131 Ideology in the Revival of Manx Traditional Music 1. Principal Objectives of the Core Revivalists ... ... ... 131 1.1 The Need to be Different - Identity and Boundary Formation ... 133 1.2 Local Pressures - Links to the Manx Nationalist Movement ... 138 1.3 “A New Living Tradition” - Creating a Grass Roots Environment 140 2. Selection of Source Material ... ... ... ... ... 142 2.1 Inclusion - “what to select and emphasise” ... ... ... 144 Kiaull yn Theay ... ... ... ... ... ... ... ... 151 2.2 Exclusion - “what to ignore and screen out” ... ... ... 153 3. Instrumentation ... ... ... ... ... ... ... 159 3.1 The Search for a National Musical Instrument ... ... ... 159 3.2 ‘Tools of the Day’: Selecting Appropriate Instrumentation ... 162 4. Interpretation and Style in the Treatment of Source Material ... 165 4.1 Interpretation of Source Material ... ... ... ... ... 166 4.2 “the uncritical adopting of styles” ... ... ... ... 170 4.3 Development in Style and Ideology ... ... ... ... 173 4.4 The Grass Roots Ethos - ‘Keeping it Real’ ... ... ... 177 Conclusions ... ... ... ... ... ... ... ... 181 CHAPTER FIVE ... ... ... ... ... ... ... 185 The Revivalist Community Forming a Community ... ... ... ... ... ... ... 186 1. Individual Identities in the Manx Folk Community ... ... 188 1.1 Individual Dispositions ... ... ... ... ... ... 190 Generation ... ... ... ... ... ... ... ... ... 190 Class and Level of Education ... ... ... ... ... ... 192 Gender ... ... ... ... ... ... ... ... ... 194 Ethnicity ... ... ... ... ... ... ... ... ... 195 1.2 Individual Motivations ... ... ... ... ... ... 200 Manx Traditional Culture as a Lifestyle ... ... ... ... 201 vi The Construction of a Manx Identity ... ... ... ... ... 206 2. “Spreading the Word” - Network Formation ... ... ... 209 2.1 Friends and Family ... ... ... ... ... ... ... 210 2.2 Manx Traditional Culture and Education ... ... ... ... 214 3. Creating a Sense of Community ... ... ... ... ... 217 3.1 Revivalist Activities - Social ... ... ... ... ... 217 3.2 Revivalist Activities - Political ... ... ... ... ... 224 3.3 The Manx Folk Community within the Manx Nation ... ... 226 Conclusions ... ... ... ... ... ... ... ... 229 CHAPTER SIX ... ... ... ... ... ... ... ... 234 The Establishment of Manx Traditional Music - Organization and Development Mediators ... ... ... ... ... ... ... ... ... 236 1. Producing Knowledge of the Tradition - Research and Legitimacy ... 238 2. Controlling the Knowledge - Revivalist Activities ... ... ... 247 2.1 Organizations ... ... ... ... ... ... ... ... 248 2.2 Festivals ... ... ... ... ... ... ... ... 258 2.3 Competitions ... ... ... ... ... ... ... ... 264 3. Distribution of Knowledge - Revivalist Industry - Media and Market 274 Conclusions ... ... ... ... ... ... ... ... 281 CONCLUSION ... ... ... ... ... ... ... ... 283 Appendices ... ... ... ... ... ... ... ... 289 Bibliography ... ... ... ... ... ... ... ... 312 Discography ... ... ... ... ... ... ... ... 339 Informant Details ... ... ... ... ... ... ... 341 Interview Recordings 1998-2001 are lodged in the archives of the Department of Celtic and Scottish Studies, University of Edinburgh. Certain restrictions apply to the future use of these recordings. vii Acknowledgements Due to the recent nature of the subject matter, this thesis has been almost entirely dependant upon individual interviews which were conducted during my research. In order to create an objective view of the developments in Manx traditional music over the past thirty years personal accounts were gathered from individuals who represented a cross-section of all those involved. I would like to thank all of the informants who have provided me with information that has proved essential in reconstructing the history of Manx traditional music since the 1970s: Adam Rhodes, Anne Kissack, Barry Pitts, Bernard Moffat, Bob Carswell, Brian Stowell, Charles Guard, Clare Kilgallon, Colin Jerry, Dave Richardson, David Fisher, David Speers, Emma Christian, Fenella Bazin, Fiona McArdle, Freddie Cowle, George Broderick, Greg Joughin, Hazel Hannan, John Kaneen, Kate Pitts, Katie Lawrence, Kirsty Lawrence, Mike Boulton, Norman Clague, Peter Cubberley, Rachel Pressley, Sheila Corkill, Stuart Bennett and Sue Ling Jaques. Appreciation also goes to Bobba Greggor, who sadly passed away during my research, Peter and Fiona Shimmin, Peter Hayhurst, Sue Lewis, Catreeney Craine, Margaid Bird, Judith Wellings (also for the loan of her video camera), Ruth Blindell, Simon Collister and Pam Mather, and all of the anonymous informants who contributed towards the survey during Yn Chruinnaght 2002. Thanks to the Manx traditional music festivals, individuals, groups and events which have allowed me to record live music: Yn Chruinnaght, Shennaghys Jiu and Mollag Ghennal,
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