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I Lár an Aonaigh

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I Lár an Aonaigh I Lár an Aonaigh: Iniúchadh ar an athmhúnlú, an athmhíniú agus an taibhléiriú a déantar ar amhráin dhúchasacha Gaeilge in Éirinn agus in Albain i gcomhthéacs nua-aimseartha Síle Denvir, BA, MA, Diop. Iarchéime san Oideachas Tráchtas le haghaidh PhD curtha faoi bhráid Ollscoil Luimnigh Roinn: Dámh Chruinne Éireann Rince agus Ceol Ceann Roinne: An tOllamh Mícheál Ó Súilleabháin Stiúrthóirí: An Dochtúir Lillis Ó Laoire agus An tOllamh Mícheál Ó Súilleabháin Curtha faoi bhráid Ollscoil Luimnigh, Márta 2012 ClÁR Achoimre i Buíochas ii Réamhrá 1 Caibidil 1: Ó Phobal go Stáitse – Ceist na Barántúlachta Réamhrá 4 Feidhm na hAmhránaíochta Gaeilge 8 An Cogadh Cultúrtha 11 Pobal 13 Seilbh na hAmhránaíochta Gaeilge 17 Ceist na Barántúlachta – Fíor nó Fiar? 20 Conclúid 29 Caibidil 2: Sean-nós – Seantuiscintí? Réamhrá 32 Sainiú Traidisiúin 32 Coincheap an Chomórtais – Ábhar Casaoide? 41 Tuiscintí Nua 42 Caibidil 3: Cás na hAlban Réamhrá 48 Comhthéacs Stairiúil 49 Comhthéacs Tuaithe na nAmhrán 52 Rómánsachas 54 An Comunn Gaidhealach agus An Mòd 58 ‘Seann-nòs’ 70 Margadh, Tráchtáil agus Nua-Aimsearthacht 75 Caibidil 4: I dtreo Aeistéitic na hAmhránaíochta Dúchais (Éire) Réamhrá 79 1. Ornáidíocht agus Breacnú 79 2. Úsáid ghutha 81 3. Frásaíocht – rithim, guta cúnta, fadú nótaí faoi leith 85 4. Mód/gléas 87 5. Tionlacan agus armóin (nó a easpa) 91 Caibidil 5: Anailís ar an gCeol: ‘Tá mé i mo Shuí’ – Cás-Staidéar (Éire) Réamhrá 97 Liosta Leaganacha 98 ‘Tá mé i mo shuí’: An tAmhrán 98 Aidhm agus Modheolaíocht 103 Leaganacha: 1. Áine Ní Mhuireadhaigh 105 2. Liam Ó Dúgáin 109 3. Áine Ní Ghallchóir 112 4. Skara Brae 116 5. Clannad 120 6. Altan 123 7. Cóir Thaobh a’ Leithid 126 8. Fiona Kelleher 129 9. Ceolta Gael (eag. Seán Óg agus Mánus Ó Baoil) 131 10. Cas Amhrán (eag. Mícheál Ó hEidhin) 131 11. The Irish Song Tradition (Seán O Boyle) 131 An Tionlacan agus an Dúchas: Dís nach ngabhann le chéile? 133 Conclúid 141 Caibidil 6: I dtreo Aeistéitic na hAmhránaíochta Dúchais (Alba) Réamhrá 143 1. Ornáidíocht agus Breacnú: 144 2. Rithim 146 3. Úsáid ghutha 148 4. Mód nó Gléas 151 5. Amhránaíocht Ghrúpa, Tionlacan agus Comhcheol 154 Caibidil 7: Anailís ar an gCeol: ‘A Mhic Iain ’ic Sheumais’ – Cás- Staidéar (Alba) Réamhrá 157 Scéal an Amhráin 157 Leaganacha Taifeadta agus Scríofa 158 Na hAmhráin Luadhaidh 159 Téacs ‘A Mhic Iain ’ic Sheumais’ 160 Leaganacha: 1. Ruairidh Iain Bhàin Mac Fhionghainn: 169 2. Calum Aonghas Chaluim Johnston 173 3. Ceit Ruairidh MacMillan 177 4. Flora MacNeill 183 5. Runrig 186 6. Kathleen MacInnes 190 7. Karen Matheson 193 8. Cliar 196 9. Maeve Mackinnon 201 Conclúid 204 Caibidil 8: Na hAmhránaithe: Guth na nGlórtha Réamhrá 210 Cur chuige 213 Liosta de na hAmhránaithe 215 Agallaimh I (Éire) 1. Cúlra 217 2. Seachadadh 218 3. Dúil sna hAmhráin agus Ceist na Canúna 222 4. Teanga 226 5. Tionlacan 231 6. An tOireachtas 240 7. Proifisiúntacht 243 8. Todhchaí na hAmhránaíochta 250 Agallaimh II (Alba) 1. Cúlra 256 2. Seachadadh 257 3. Dúil sna hAmhráin agus Ceist na Canúna 261 4. Teanga 263 5. Tionlacan 267 6. An Mòd Nàiseanta Rìoghail 280 7. Proifisiúntacht 277 8. Todhchaí na hAmhránaíochta 280 Conclúid 284 Foinsí 290 Aguisín Liosta rianta an dlúthdhiosca 305 Achoimre Léargas atá sa saothar seo ar na claochluithe a tháinig ar thraidisiún na hamhránaíochta Gaeilge in Éirinn agus in Albain ón gcomhluadar pobail tuaithe as ar eascair sí amach i dtreo na bpobal domhanda idirnáisiúnta ina mbíonn sí ag feidhmiú anois. Tá forbairtí éagsúla tagtha ar amhránaíocht na Gaeilge sa dá thír, go mór mór ó dheireadh an 19ú haois ar aghaidh. Ceistíonn an saothar seo impleachtaí an nua- aoiseachais don amhránaíocht thraidisiúnta agus déantar scagadh ar an gcaoi a bhfuil na hamhráin ag feidhmiú anois sa 21ú haois. Fiosraítear na hathruithe atá tagtha ar phobal na hamhránaíochta agus ardaítear ceisteanna faoi sheilbh, faoi fheidhm, faoi láithriú agus faoi sheachadadh na hamhránaíochta sa dá thír. Pléitear chomh maith tuairimí roinnt amhránaithe sa dá thír maidir lena bhfuil d’athruithe ag rith ar a gcomhthéacs sealbhaithe agus taibhléirithe. Tháinig athruithe móra ar an amhránaíocht thraidisiúnta in Éirinn agus in Albain ó na 1960í i leith nuair a d’aimsigh grúpaí mar Cheoltóirí Cualann, ar dtús, agus leithéidí Clannad agus Capercaillie ina dhiaidh sin, modhanna úrnua leis na hamhráin a chur i láthair an phobail, go náisiúnta agus go hidirnáisiúnta. Ceann de na hathruithe is suntasaí atá tagtha ar an amhránaíocht ná go gcuirtear tionlacan de chineálacha éagsúla leis na hamhráin anois go minic. Is iomaí bealach a ndéantar láithriú ar amhráin thraidisiúnta Gaeilge anois agus déantar iniúchadh ar na modhanna láithrithe éagsúla seo sa tráchtas seo. Ceistítear tuiscintí seanbhunaithe faoin amhránaíocht thraidisiúnta agus chuige sin déantar scagadh ar cheist na barántúlachta i gcomhthéacs na hamhránaíochta traidisiúnta agus i gcomhthéacs chultúr domhandaithe na linne seo. Ceistítear go sonrach an tuairim a mhaíonn gur gan tionlacan amháin a bhíonn an amhránaíocht thraidisiúnta is ‘barántúla’ agus is ‘dúchasaí’. Déantar mionscagadh ar thréithe na hamhránaíochta Gaeilge in Éirinn agus in Albain agus dírítear go sonrach ar dhá amhrán faoi leith, ‘Tá mé i mo Shuí’ na hÉireann agus ‘A Mhic Iain ’ic Sheumais’ na hAlban chun na forbairtí atá tagtha ar an traidisiún amhránaíochta sa dá thír a fhiosrú ó thaobh theoiric an cheoil de. Pléitear an tuairim gur truailliú ar an gceol agus ar an dúchas iad na hathruithe a thagann de bharr go gcuirtear tionlacan leis na hamhráin. Bunaithe ar an scrúdú seo, maíonn an tráchtas go bhfuil bealaí éagsúla ann chun an traidisiún a nochtadh agus, d’ainneoin tuairimí láidre na gcaomhnóirí, nach lúide an mhaise a chuireann go leor de lucht an fhoráis ar a ndúchas chomh maith. i Buíochas Tiomnaím an saothar seo do mo thuismitheoirí Máire agus Gearóid Denvir a spreag mé agus a thug misneach dom i gcónaí i gcaitheamh mo shaoil agus thacaigh liom ar chuile bhealach agus mé ag tabhairt faoin obair seo. Tá buíochas speisialta freisin ag dul do mo dheirfiúr Siobhán agus do mo dheartháireacha Frainc agus Seán. Murach an grá agus an tacaíocht a thugann an cúigear agaibh dom ní bheadh an tráchtas seo ann go brách. Fuair an taighde seo tacaíocht ón eagraíocht Colmcille agus tá mé thar a bheith buíoch d’fhoireann Colmcille as ucht an deis a thabhairt dom an staidéar seo a dhéanamh. Tá mé fíor-bhuíoch don Dochtúir Lillis Ó Laoire agus don Ollamh Mícheál Ó Súilleabháin a thug idir threoir agus chomhairle go mórchroích, cineálta dom i gcónaí agus iad ag stiúradh an tráchtais seo. Tá mé faoi chomaoin ag na hamhránaithe ar fad a thug a gcuid ama go flaithiúil agus mé i mbun agallamh: Mairéad Ní Mhaonaigh, Áine Uí Cheallaigh, Gearóidín Bhreathnach, Iarla Ó Lionáird, Dominic Mac Giolla Bhríde, Éamon Ó Donnachadh, Muireann Nic Amhlaoibh, Máire Phíotair Uí Dhroighneáin, Meaití Joe Shéamuis Ó Fátharta, Ingrid Henderson, Margaret Stewart, Julie Fowlis, Mairì Smith, Christine Primrose, James Graham agus Joy Dunlop. Roinn go leor amhránaithe agus ceoltóirí eile a gcuid eolais agus a gcuid tuairimí liom go fial, flaithiúil i gcaitheamh na mblianta agus tá mé fíorbhuíoch don phobal amhránaíochta Gaeilge in Éirinn agus in Albain. Tá buíochas faoi leith ag dul do Ghriogair Labhruidh a roinn a chuid eolais liom faoi amhránaíocht Ghàidhlig na hAlban agus a thacaigh go mór liom agus mé ag tabhairt faoin saothar seo. Tá mo bhuíochas ag dul do na daoine seo freisin a chabhraigh liom ar bhealaí éagsúla an saothar seo a thosú agus a chur i gcrích: Niall Keegan, Sandra Joyce, Ian Lee, Deirdre Ní Chonghaile, Ciarán Ó Duibhín, Eoin Ó Raghallaigh, foireann Sgoil Eolais na hAlba, foireann thionscadal Doegen, foireann Thaisce Ceol Dúchais na hÉireann, foireann leabharlainne Ollscoil Luimnigh. Ar deireadh, gabhaim buíochas le mo chairde agus mo chomhleacaithe uilig a thug misneach dom, a d’éist liom go foighdeach i gcónaí agus a rinne plé ar ábhar an tráchtais seo liom. Ní fhéadfaí chuile ainm a lua ach tuigeann sibh féin go maith cé sibh féin! Má tá botún nó míchruinneas dá laghad sa saothar seo is liomsa amháin é. ii RÉAMHRÁ Siombailí cumachtacha, láidre, agus earraí suntasacha cultúrtha i sochaí ar bith, is ea ceol agus amhráin. Léirítear dearcadh pobail ar an saol ina maireann siad agus ar an saol lasmuigh dóibh trí mheán cruthaitheach an cheoil agus na n-amhrán. Más comhartha féiniúlachta é an teanga a úsáideann pobal, daingníonn an ceol agus na hamhráin an fhéiniúlacht seo. Amhránaíocht thraidisiúnta na Gaeilge in Éirinn agus in Albain atá faoi láimh agam sa saothar seo, agus an t-aistriú ón gcomhluadar pobail tuaithe as ar eascair sí chuig pobal domhanda idirnáisiúnta ina bhfuil sí ag feidhmiú anois. Is é aidhm an tráchtais forbairtí éagsúla atá tagtha ar an traidisiún sin a fhiosrú agus impleachtaí na nua-aoiseachta ar an traidisiún a mheas. Ceistíonn an saothar seo an reitric a bhaineann le cúrsaí amhránaíochta in Éirinn agus in Albain agus scagtar coincheap na barántúlachta atá chomh mór sin chun tosaigh sa chaint a dhéantar ar an amhránaíocht i gCaibidil 1. Léirítear go bhfuil amhráin thraidisiúnta na nGael ag feidhmiú ag leibhéil éagsúla i saol nua-aimseartha an lae inniu. Déantar mionscagadh ar thréithe na hamhránaíochta (Caibidlí 2 agus 4) agus ar dhá amhrán faoi leith, ‘Tá mé i mo Shuí’ na hÉireann (Caibidil 5) agus ‘A Mhic Iain ’ic Sheumais’ na hAlban (Caibidil 7) sa saothar seo chun na forbairtí atá tagtha ar an traidisiún amhránaíochta a fhiosrú ó thaobh theoiric an cheoil de. Dúshlán suntasach a bhí ann dul i ngleic le dhá thraidisiún ag an aon am amháin, is é sin amhránaíocht thraidisiúnta na Gaeilge in Éirinn, nó an sean-nós mar a thugtar air go coitianta, agus amhránaíocht thraidisiúnta na Gàidhlig in Albain.
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