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Crossing Over Ddle and Dance Studies from Around the North Atlantic 3 Crossing Over ddle and dance studies from around the north atlantic 3 Ian Russell edited by Anna Kearney Guigné Crossing Over Fiddle and Dance Studies from around the North Atlantic 3 The Elphinstone Institute Occasional Publications 7 General Editor – Ian Russell 1. After Columba – After Calvin: Community and Identity in the Religious Traditions of North East Scotland edited by James Porter 2. The Bedesman and the Hodbearer: The Epistolary Friendship of Francis James Child and William Walker edited by Mary Ellen Brown 3. Folk Song: Tradition, Revival, and Re-Creation edited by Ian Russell and David Atkinson 4. North-East Identities and Scottish Schooling The Relationship of the Scottish Educational System to the Culture of North-East Scotland edited by David Northcroft 5. Play It Like It Is Fiddle and Dance Studies from around the North Atlantic edited by Ian Russell and Mary Anne Alburger 6. Driving the Bow Fiddle and Dance Studies from around the North Atlantic 2 edited by Ian Russell and Mary Anne Alburger 7. Crossing Over Fiddle and Dance Studies from around the North Atlantic 3 edited by Ian Russell and Anna Kearney Guigné Elphinstone Institute Occasional Publications is a peer-reviewed series of scholarly works in ethnology and folklore. The Elphinstone Institute at the University of Aberdeen was established in 1995 to study, conserve, and promote the culture of North-East and Northern Scotland. Crossing Over Fiddle and Dance Studies from around the North Atlantic 3 Edited by Ian Russell and Anna Kearney Guigné The Elphinstone Institute, University of Aberdeen in association with the Department of Folklore, MMaP and the School of Music, Memorial University of Newfoundland 2010 Copyright © 2010 the Elphinstone Institute, University of Aberdeen, and the contributors While copyright in the volume as a whole is vested in the Elphinstone Institute, University of Aberdeen, copyright in individual contributions remains with the contributors. This work is licensed under the Creative Commons Attribution- NonCommercial-NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/4.0/. The moral rights of the contributors to be identified as the authors of their work have been asserted in accordance with the Copyright, Designs and Patents Act 1988. ISBN 0-9545682-6-5 Front cover photographs, ‘Pierre Schryer’ and ‘Anne Lederman’; back cover photographs, ‘Lawrence “Teddy Boy” Houle’, ‘Lesa Terry’, ‘Anne Lederman’, ‘Paul Anderson’, ‘Matt Cranitch, Alasdair Fraser, Richard Wood, Natalie Haas and James Fagan’ at NAFCo 2008 in St. John’s, Newfoundland’ all photographs © Duncan de Young, www.duncandeyoung.com Cover design by Natasha F. Collins, www.bluenotedesign.com Typesetting by the Elphinstone Institute Printed by Information Press Ltd Southfield Road Eynsham Oxford OX29 4JB UK www.informationpress.com First published in 2010 by The Elphinstone Institute University of Aberdeen MacRobert Building King’s College Aberdeen AB24 5UA UK www.abdn.ac.uk/elphinstone Dedicated to the memory of Séamus Creagh (1946–2009) Remembrance of Séamus Creagh (1946–2009) or many people, their first introduction to Séamus Creagh and his music was Fthe wonderful recording that he made with Jackie Daly in 1977, a record that has gone on to become a classic of the genre. Featuring the Sliabh Luachra repertoire and style of playing, it was generally assumed that both musicians came from that particular region in the southwest of Ireland. While this was true in Jackie’s case, being a native of Kanturk, County Cork, this was not the case for Séamus. He was born in Killucan, County Westmeath in 1946, where he first started to play music. In 1967, he made a ‘weekend’ trip to Baltimore in West Cork, and ‘never went home’! From then on, Cork became his home, although he did spend some time in London, as well as five years in Newfoundland. On his arrival in Cork, he embraced the indigenous traditions of the instrumental music of Sliabh Luachra, as well as the singing of the Cúil Aodha and Baile Mhúirne areas. His musical partnership with Jackie Daly brought him to the attention of a wider audience in the traditional music world. They became very well known through their stellar performances, both in concerts and sessions, and acquired the status whereby they were generally referred to simply by their first names, ‘Séamus and Jackie’. Although I had known Séamus during his early years in Cork, it was when he returned home from Newfoundland in 1993 that we began to meet and play more frequently together. We both were great admirers of the Sliabh Luachra unaccompanied fiddle tradition, with the twin-fiddle playing of Denis Murphy and Julia Clifford being a particular source of inspiration for us. We played many sessions together, and also performed at concerts and festivals. Among the highlights was our appearance at the Masters of Tradition Festival in Bantry, County Cork, in August 2005. Our performance on that occasion of three slides, ‘The Toormore’, ‘The Gneeveguilla’, and ‘The Gleanntán Frolics’, was subsequently included on the double-CD issued by RTÉ Lyric FM featuring recordings from the festival. In 2006, we played at the North Atlantic Fiddle Convention (NAFCo) in Aberdeen, an event which gave us the opportunity to meet and play with many other fiddle-players from a variety of traditions. A particularly poignant memory for me is our concert appearance in the Lemon Tree at lunchtime on the Sunday, the last day of the festival. Towards the end of our set, we invited Jerry Holland to play some tunes with us on stage. Sadly, both Séamus and Jerry are now gone from us. Little did I realise that this would be the last time that the three of us would play together. I often think about that occasion. Séamus was delighted when we were invited to play at NAFCo 2008 in St. John’s. For him, not only would we partake in a great event, but it also offered the opportunity to return to Newfoundland, the place where he had lived for five years, and where he had met and married Marie-Annick Desplanques. I have many vivid recollections of our concert appearances, workshops, and many sessions in St. John’s two years ago. A special memory is the day we went to Carbonear to play at the Princess Sheila NaGeira Theatre. Also featured on that concert were Alan Jabbour and Ken Perlman, Greg and Ray Walsh, Brenda Stubbert and Janine Randall, the Baccalieu Fiddlers, Pierre Schryer and Andy Hillhouse. On the journey there by bus, as we travelled through that lovely landscape, Séamus acted as our tour-guide, pointing out the various sights and places. Throughout the week that we spent in St. John’s, it became so obvious to me that Séamus was held in very high regard there, particularly by the musicians. From my conversations with them, as well as purely through observation, I became aware of the huge influence that he had exerted during the years that he lived there. Not only did he teach them tunes, he also instilled in them a great understanding and love of the music. And he achieved all this in his characteristically understated way. While Séamus never sought the limelight, his very presence at a concert or session was truly commanding. At the end of that unforgettable week in August 2008, before returning home to Ireland, we performed at the Newfoundland & Labrador Folk Festival in Bannerman Park, St. John’s. Séamus and myself had spoken on a number of occasions about recording an album together. This would very much feature unaccompanied twin-fiddle performances, something which would allow us to explore the various stylistic features of the Sliabh Luachra idiom. However, this was not to be. Still, I can hear that recording in my heart. The night before Séamus died, I was playing at a concert in Kanturk with his one-time colleague, Jackie Daly. From the stage, we spoke about Seámus, and played various sets of tunes associated with him. Jackie played ‘Her Mantle so Green’, an air that they had performed together so often. Even though the audience that night was saddened that his passing was imminent, nonetheless they were uplifted to have Séamus there through his music. The early phone-call the following morning brought the sad news. Brathaimíd uainn thú, a Shéamuis – Séamus, we miss you. Matt Cranitch, Cork, June 2010 Acknowledgements e would like to thank: all the authors for their contributions: Martin Lovelace, of W Memorial University’s Folklore Department, Beverley Diamond, director of the Research Centre for Music Media and Place, and Tom Gordon, Director, of the School of Music, who served as NAFCo 2008’s advisory team; Duncan de Young for use of his photographs of NAFCo 2008 in this publication; Thomas A. McKean for typesetting and shaping the layout; David Atkinson for the indexing; Frances Wilkins for the bibliography; our peer reviewers; and lastly the Social Sciences and Research Council of Canada, which funded the ‘Crossing Over’ conference. Contents Dedication..................................................................................................................... v 1 Crossing over Ian Russell and Anna Kearney Guigné ...........................................................................1 2 The fiddle at sea: tradition and innovation among Shetland musicians in the whaling industry Frances Wilkins ...............................................................................................................5 3 Emigrant Hardanger fiddlers from Valdres, Norway: their legacies at home and
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