Irish Music, Song and Dance
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Irish Travellers, the Cinema and (Anti-)Traveller Racism
GRUNERT FILM JOURNAL 1 (2010) Between discrimination and glorification: Irish Travellers, the cinema and (anti-)Traveller racism Andrea GRUNERT University of Applied Sciences, Bochum, Germany “There’s a bit of a Traveller in everybody of us,” says John Riley, the male protagonist in Mike Newell’s Into the West (UK/IRL, 1992), to his twelve-year-old son Tito, who has asked him whether the Travellers are Cowboys or Indians. This evasive answer is matched by the film’s happy ending, which masks the fact that the film presents the Travellers as Ireland’s Indians: an excluded and forgotten minority living on the social margins. Today an estimated 23,000 Travellers live in the Republic of Ireland, 15,000 in Great Britain and 7,000 in the United States of America. Their Irish origins have been the object of speculation. Some writers trace them back to landowners made homeless during Cromwell’s campaign in Ireland or during the Great Famine of the mid-nineteenth century; others argue that Travellers have dwelt in Ireland since the Middle Ages. These nomads have their roots in Ireland and must be distinguished from Gypsies, even if they share many similar customs. In the past, they played an important role as messengers in isolated rural areas. The term “tinker,” which today has negative connotations, refers to one of their main occupations, tinkering. Industrialisation and modern technology have destroyed this economic basis of their life. Having been forced to adapt to new social Page 1 GRUNERT FILM JOURNAL 1 (2010) and economic conditions, Irish Travellers or Pavee1, as they now call themselves, have found new occupations such as collecting scrap. -
5 to 9 Years of Giving Marion Abrams ’77 Janet E
Donors who have given consistently to UMass Amherst are recognized as members of the Loyalty Circle. This Circle gratefully acknowledges those have made gifts for at least five years. Their generosity has provided invaluable support to all aspects of academic and student life. Following are Loyalty Circle members listed by years of giving: 5-9; 10-24; and 25+. * Deceased James & Aiche Abraham % % Parent Leonard & Kathleen Abraham > Current faculty, staff, or emeritus faculty Neal B. Abraham & Donna L. Wiley HA Honorary alumnus or alumna Allen & Pamela Abrahamson % HON Honorary degree recipient Fred and Donna Abrahamson % S Stockbridge alumnus or alumna Alan Abrams % & Laura Abrams % Arnold B. Abrams ’66 Kristin B. (Kanter) Abrams ’07 Linda J. Abrams ’76MEd 5 to 9 Years of Giving Marion Abrams ’77 Janet E. Aalfs ’79 Howard D. Abramson ’83, ’88MS % & Lisa I. Abramson % John & Sara Aalto % Rebecca A. (Crapser) Abramson ’96 Peter H. Aalto % & Margaret A. Aalto % Robert & Claudia Abramson % Ray Aaronian ’87 Jessica L. (Sciortino) Abreu ’02 Winifred R. Aaronian ’85 Paul M. Abreu ’90 Robert Abair & Mary M. Abair Matthew R. Abt ’02 Charles & Rosemary Abati % Victor H. Abularach ’79MS Janice M. Abatiello % Hayat N. Abuza Maureen (Duffy) Abber ’83 Mauro & Janet Accomazzo % Brandon R. Abbott ’93, ’09MS M. Ellen (Wilson) Accorsi ’62 Bruce J. Abbott % & Patricia Abbott % Bernardo E. Acebal ’85 & Zahira M. Acevedo-Crespo ’87 % Curtis T. Abbott % & Irene M. Fordon-Abbott % Diane C. Acerra ’89 Gordon Abbott, Jr. Dharma R. Acharya ’85MS Jessica L. Abbott ’03 Pamela Acheson Robert G. Abbott % & Sheila F. Abbott % Robert and Frances Acheson % Stephanie J. -
Mountain Road D
Mountain Road (D maj) traditional Irish Reel. transcribed and arranged by Frank Weber, learned from banjo and fiddle player Uli Schmidt in 2000 Recordings: Julia, John & Billy Clifford: Star of Munster Trio - Music from Sliabh Luachra, Vol. 2 (1977); Paddy Keenan & Paddy Glackin: Doublin (1978); Noel Hill & Tony Linnane (1979); Craobh Rua: Not a Word About It (1990); Sharon Shannon: Sharon Shannon (1991); Four Men and a Dog: Shifting Gravel (1993); Ceolbeg: An Unfair Dance (1993); Oige: Live (1994); Skellig: 5th St. Patrick's Day Celebration Festival (1994); Frankie Gavin, Arty McGlynn & Aidan Coffey: Irlande (1994); Andy McGann & Paddy Reynolds with Paul Brady (1994); Joe Ryan: An Buachaill Dreoite (1995); Denis Murphy: Music from Sliabh Luachra (1995); Laurence Nugent: Trad. Irish Music on Flute and Tin-Whistle (1996); John Doherty: The Floating Bow (1996); Liam O'Connor & Lisa Aherne: The Awakening (1996); Kevin Burke: In Concert (1998); Hanz Araki & Finn MacGinty: Traditional Irish Music (1999); Pat O'Connor: The Green Mountain (2000); Rattlin' Strings: No Stoppin' (2000); Abbey Céilí Band: Bruach an tSulain (2000); Pat O'Connor: The Green Mountain (2000); Lámh ar Lámh - Many Hands (2000); Brendan Lynch: Tunes from the Hearth (2000); Paddy Keenan & Tommy O'Sullivan: The Long Grazing Acre (2001); Michael Gorman: The Sligo Champion (2001); Public House Céilí Band: Go Figure (2001); Michael Sexton Céilí Band: Mad the Dance, Vol. 1 (2002); Con Moynihan with Denis O'Connor: Sunday after Mass (2003); Con Durham: Champions of Ireland - Uilleann -
TUNE BOOK Kingston Irish Slow Session
Kingston Irish Slow Session TUNE BOOK Sponsored by The Harp of Tara Branch of the Association of Irish Musicians, Comhaltas Ceoltóirí Éireann (CCE) 2 CCE Harp of Tara Kingston Irish Slow Session Tunebook CCE KINGSTON, HARP OF TARA KINGSTON IRISH SLOW SESSION TUNE BOOK Permissions Permission was sought for the use of all tunes from Tune books. Special thanks for kind support and permission to use their tunes, to: Andre Kuntz (Fiddler’s Companion), Anthony (Sully) Sullivan, Bonnie Dawson, Brendan Taaffe. Brid Cranitch, Comhaltas Ceoltóirí Éireann, Dave Mallinson (Mally’s Traditional Music), Fiddler Magazine, Geraldine Cotter, L. E. McCullough, Lesl Harker, Matt Cranitch, Randy Miller and Jack Perron, Patrick Ourceau, Peter Cooper, Marcel Picard and Aralt Mac Giolla Chainnigh, Ramblinghouse.org, Walton’s Music. Credits: Robert MacDiarmid (tunes & typing; responsible for mistakes) David Vrooman (layout & design, tune proofing; PDF expert and all-around trouble-shooter and fixer) This tune book has been a collaborative effort, with many contributors: Brent Schneider, Brian Flynn, Karen Kimmet (Harp Circle), Judi Longstreet, Mary Kennedy, and Paul McAllister (proofing tunes, modes and chords) Eithne Dunbar (Brockville Irish Society), Michael Murphy, proofing Irish Language names) Denise Bowes (cover artwork), Alan MacDiarmid (Cover Design) Chris Matheson, Danny Doyle, Meghan Balow, Paul Gillespie, Sheila Menard, Ted Chew, and all of the past and present musicians of the Kingston Irish Slow Session. Publishing History Tunebook Revision 1.0, October 2013. Despite much proofing, possible typos and errors in melody lines, modes etc. Chords are suggested only, and cannot be taken as good until tried and tested. Revision 0.1 Proofing Rough Draft, June, 2010 / Revision 0.2, February 2012 / Revision 0.3 Final Draft, December 2012 Please report errors of any type to [email protected]. -
ICTM Ireland Annual Conference 25-26 February 2017, Maynooth University Keynote Speaker: Jeff Todd Titon Sponsored by the Anthro
ICTM Ireland Annual Conference 25-26 February 2017, Maynooth University Keynote speaker: Jeff Todd Titon Sponsored by the Anthropological Association of Ireland Conference Programme Saturday, 25 February 9.00am Registration 9.30am Welcome address 9.45am 1A. Music Revival Michalis Poupazis 1B. Collections from 19th Century (chair) Ireland Seán McElwain (chair) “Revival or Reclamation” “In Search of ‘Patrick Quin – The John Millar, University College Dublin Armagh Harper’ (1745-1812?)” Sylvia Crawford, Dundalk Institute of Technology “Singing Þjóðtrú: Nordic Folklore in “The Déise Music Archive: An Viking and Folk Metal” exploration of one Irish region’s musical George Nummelin, SOAS, University of legacy” London Christopher Mac Auliffe, Waterford Institute of Technology “Let’s put up a stage: Experiencing “Reimagining Bunting: Belfast’s Lost Speyfest and a Scottish Music Revival” Sounds” Daithí Kearney and Adèle Commins, Conor Caldwell, Queen’s University Dundalk Institute of Technology Belfast 11.15am Tea/coffee 11.30am 2A. Cultural Sustainability (a) Daithí 2B. Music and Memory Steve Coleman Kearney (chair) (chair) “Cultural and Environmental “Antonis’ Wedding: The Moment, The Sustainability in Florianopolis, Brazil” Music and Rites Between Tradition and Jamie Corbett, Brown University Modernity in Cyprus” Michalis Poupazis, University College Cork “The UNESCO resilience-based “Can I walk Beside You? Life Before approach to safeguarding of intangible and After the Woodstock Music and cultural heritage (ICH) in Jordan: a case Arts Fair, 1969” study on audiovisual archiving in the Cormac Sheehan, University College Hashemite Kingdom of Jordan” Cork Sabrina Maria Salis, UNESCO 12.30pm 3A. Film. Singing Hari Bolo in a north east Indian village: A Praise music tradition revived by Jyosna La Trobe, Independent Scholar 1.00pm Lunch 2 2.00pm 4A. -
The Rose Magazine Issue 5
THE ROSE MAGAZINE #5 1 The Rose Magazine Issue #5 • October 2018 Contents: Writing / Artwork Front Cover. Horse by David Conway / Page 3. Sex Education On Bishop Street by Berni Dwan / 4. Snaggletooth by Paul Whyte / 10. The Greatest Play In History by Jack Haworth / 15. Falling by Julie De Abreu / 16. Changeling by Sarah Healy / 19. Pearse's Cottage by Clarise E. Reichley / 20. Ancestor.com by Jane Burn / 22. Arise by Louise Gambrill / 23. Gone to the Dogs by Elaine Lennon / 30. Leander by Ross Thompson / 32. A Light For All Seasons by Gillian Dalton / 33. Sea Sister by Cathal Kehoe / 45. In A Very Small Room by Aisling Le Gros / 46. My Da Had Two Faces by Matthew Doyle / 54. Night Jungle by Myrto Papadaki / 55. Rising Star by Lisa Verdekal / 59. The Slincin by R.H. Hildige / 72. Featured In This Issue 2 Sex education on Bishop Street Berni Dwan The girls on the ganger are garrulous; munificent multitaskers, lifting rows of biscuits while sharing bawdy banter. Others inspect new-baked produce, rejecting imperfections. The garrulous girls swap tales of gynaecology & obstetrics; I listen, horrified. Accounts from the maternity ward fused with sickly scents of warm confectionary, dull the appetite; I am shaken & stirred. Domestic potboilers, confessional yarns, starry-eyed mythologies, all mischievously dealt for scrutiny. I am schooled in shibboleths from Drimnagh & Donnycarney; anecdotes from Crumlin & Coolock; fables from Finglas & Fairview. My education is complete. Henceforth, all my romances will be Platonic. That summer at Jacob's biscuit factory forces me to consider the single life. -
November 2017
November Irish Music & 2017 Dance Association Samhain The mission of the Irish Music and Dance Association is to support and promote Irish music, dance, and other cultural traditions and to insure their continuation. Irish Music and Dance Association Annual Meeting Inside this issue: Sunday, December 3, 2017 3 pm IMDA Honors Will Kenny 4 Dubliner Pub, 2162 University Avenue, St. Paul, MN Agenda includes election of board members and officers. OepnMic Night 4 All are welcome and encouraged to attend. Decade of Dance Award 6 Give to the Max 2017 on November 16 Support the Irish Music and Dance Association with your donation to the IMDA Educational Grant Program through scheduled giving. Available November 1 -15, with daily $500 Golden Tickets awarded each day of schedule giving. This is an incentive to encourage you to give early and often! The Irish Music and Dance Association was able to fund eight stu- dents of the traditional arts of Ireland in 2017, thanks to the generosity of our community. This is the largest cohort of recipients in the history for the program! 2017 IMDA Educational Grant recipients: .Musicians and Singers Aja McCullough Beers and Becky Bollinger .Bagpiper Michael Breidenbach, St. Paul .Dancer and dance teacher Beth Pitchford, St. Paul .Fiddler Caroline Priore, Kenyon .Flautist Ava Sackaroff, St. Paul .Fiddler Mary Vanorny, Farmington .Dancer Annie Wier, Inver Grove Heights Won’t you lend a hand again this year? https://www.givemn.org/organization/Irish-Music-And-Dance-Association TUNE OF THE MONTH Our Tune of the Month editor, Amy Shaw, has been contributing to the IMDA Newsletter for twelve years. -
Boundary Crossings
BOUNDARY CROSSINGS New Scholarship in Irish Studies Edited by Michaela Marková, Radvan Markus, Hana Pavelková and Kateřina Jenčová Prague Centre for Irish Studies, Charles University 2012 Copyright ©, Michaela Marková, Radvan Markus, Hana Pavelková and Kateřina Jenčová, 2012 Copyright © of individual works remains with the authors Academic readers: Prof. Hedwig Schwall, Dr Ondřej Pilný, Dr Pádraig Ó Liatháin All rights reserved. This book is copyright under international copyright conventions. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the copyright holders. Requests to publish work from this book should be directed to the publishers. Cataloguing in Publication Data Boundary Crossings: New Scholarship in Irish Studies. Edited by Michaela Marková, Radvan Markus, Hana Pavelková and Kateřina Jenčová.—1st ed. p. cm. ISBN (pb) 978-80-260-0798-2 1. Irish Studies. 2. Irish Literature. I. Marková Michaela, Markus Radvan, Pavelková Hana, Jenčová Kateřina. II. Title. Printed in the Czech Republic by PB Tisk. Cover design by Zuzana Prokopová. Copy editor Linda Jayne Turner. Typeset by OP. ISBN 978-80-260-0798-2 CONTENTS Acknowledgements 5 Introduction 7 Radvan Markus “Bits of Broken Pottery”: Metahistorical Elements in Thomas Flanagan’s Historical Novel The Year of the French 16 Maciej Ruczaj Beyond the Boundaries of the Self: Padraic Pearse’s The Singer 30 David Vichnar From Inheritors to Survivors: Joyce, Kiely, McGahern, Banville and Muldoon 44 Nils Beese “Closed Communities”: Kafka in the Criticism and Late Poetry of Louis MacNeice 62 Florence Impens “A Very European Poet”: European Intertextuality in Derek Mahon’s The Yellow Book 74 Daniela Theinová “My Dream Sister”: Irish Women Poets Deconstructing the Muse 87 Michaela Marková Perspectives of Motherhood in Kate O’Riordan’s Involved: A Privileged Position or an Imposed Social Role? 98 Hana Pavelková “And Yes.. -
Ortha an Ghreama As a Lesser-Known Irish Traveller Narrative: Citation: M
Firenze University Press https://oajournals.fupress.net/index.php/bsfm-sijis Ortha an Ghreama as a Lesser-known Irish Traveller Narrative: Citation: M. Ó hAodha (2020) Ortha an Ghreama as Symbolic Inversion and Resistance a Lesser-known Irish Trav- eller Narrative: Symbolic Inversion and Resistance. Sijis Mícheál Ó hAodha 10: pp. 167-192. doi: http://dx. University of Limerick (<[email protected]>) doi.org/10.13128/SIJIS-2239- 3978-11759 Copyright: © 2020 M. Ó hAodha. This is an open access, peer-re- Abstract: viewed article published by Irish folk tradition includes a long-established discourse whereby the formerly Firenze University Press (https:// nomadic or semi-nomadic group known as Irish Travellers, who comprise oajournals.fupress.net/index.php/ a tiny minority within Irish society are depicted not only as quintessential bsfm-sijis) and distributed under “outsiders” but also as a projective mechanism for the hates and fears of the the terms of the Creative Com- settled (non-Traveller) community. Th is essay examines a counter-tradition in mons Attribution - Non Commer- Irish oral tradition that rejects these essentialist and reductionist representa- cial - No derivatives 4.0 Interna- tional License, which permits tions and constructs Travellers very diff erently. Th is alternative portayal sets use, distribution and reproduc- Travellers within a very diff erent discourse, one where they serve as a coun- tion in any medium, provided ter-hegemonic undercurrent in Irish society that remains symbolically central the original work is properly despite attempts at its suppression. Th is more radical and nuanced discourse, cited as specifi ed by the author one whereby that which is initially deemed lowly or subordinate is inverted or licensor, that is not used for and becomes paramount, is circumscribed within the traditions of symbolic commercial purposes and no inversion and holy wisdom as long-established in other European countries. -
The Album and the Musical Work in Irish Folk and Traditional Music, Ca
The Album and the Musical Work in Irish Folk and Traditional Music, ca. 1955–70 Adrian Scahill Éire-Ireland, Volume 54, Numbers 1 & 2, Spring/Summer 2019, pp. 17-45 (Article) Published by Irish-American Cultural Institute DOI: https://doi.org/10.1353/eir.2019.0005 For additional information about this article https://muse.jhu.edu/article/725523 [ Access provided at 3 Nov 2020 16:25 GMT from Maynooth University ] Adrian Scahill The Album and the Musical Work in Irish Folk and Traditional Music, ca. 1955–70 In this article I explore the interrelationship between the introduc- tion of the long-playing record (or LP) into Ireland, the impact of the traditional and folk revival, and the emergence of the concept of a musical work within traditional music. The invention of long- playing records in the 1950s affected how record labels, musicians, and consumers conceptualized different musical styles, and it shaped the structure of recorded music (Montgomery 3; Keightley, “Long Play” 380). The LP came to be associated with serious music of ar- tistic worth that was aimed at an adult market. In the same decade the first long-playing records of Irish traditional or folk music were issued during the first phase of the revival. Irish revivalist musicians and activists of the 1950s and 1960s had a number of broad aims that included, but were not limited to, ensuring that this music was appre- ciated as serious and artistic by a wider audience in Ireland, making high-quality recordings of the music, and presenting the music in a professional and more artistic manner. -
The Parameters of Style in Irish Traditional Music
THE PARAMETERS OF STYLE IN IRISH TRADITIONAL MUSIC Niall Keegan, University of Limerick 1 Style is an important but elusive concept in the world of traditional Irish music. As a young traditional flute player growing up in St. Albans, England, I heard the words of flute style bandied about at fleadhs, concerts and sessions but didn’t really understand them despite being exposed to a rare generation of musicians in and around London. In 1990 I took the opportunity to undertake a research degree at University College, Cork with the stated, naive and far too ambitious idea of producing an account of the different regional styles of flute playing within traditional Irish music. My initial period of research was by far the most fun and I travelled the country and received the seemingly limitless generosity and hospitality of many flute players. However, my initial goal of establishing a categorical structure where certain regional styles could be defined in much the way musicologists would define historical styles of classical composition by the use of certain of techniques very quickly proved to be unattainable. One man’s east Galway style, was another’s Clare style was another woman’s Sligo style. Very soon I realised that the problem wasn’t with the words and conceptual structures of traditional musicians and their inadequacies (as is implied in the findings of musicologists such as George List (1994, 1997) and closer to home, Fionnuala Scullion (1980)). I concluded that the problems was my expectation of discovering a scientific, Aristotelian categorical structure where every category has a limited list of attributes and a well defines border to separate it from others. -
People Will Ask What Has Happened to the Pecker Dunne
”And people will begin to wonder What has happened to Pecker Dunne?” Qualitative Research Exploring Traveller Music in County Carlow Commissioned and published by: St. Catherine’s Community Services Centre St. Joseph’s Road Carlow Ireland Tel: +353 (0)59 9138700 Fax: +353 (0)59 9138701 E-mail: [email protected] www.stcatherinescarlow.ie Research undertaken by: Sibyl Kehoe Masters in Educational Science Tel: 087 6141484 E-mail: [email protected] The title of this report is taken from the last lines of a popular Traveller song, written and performed by Pecker Dunne. His lyrics reflect much of what was said in the focus group interviews. I feel these lines represent what is happening to Traveller music. St. Catherine’s Community Service Centre, 2008 1 WEXFORD My family lived in Wexford town, stopped travelling and settled down, Though my father kept a horse and car, we lived within the town, The people there misunderstood, or they did not know our ways, So with horse and car, back on the road, I began my travelling days. My father was called the Fiddler Dunne, and I’m a fiddler too, But although I often felt his fist, he taught me all he knew, I know I’ll never be as good, and yet I feel no shame, For the other things my father taught, I am proud to bear his name. He taught me pride and how to live, though the road is hard and long, And how a man will never starve, with a banjo, fiddle or song, And how to fight for what I own and what I know is right, And how to camp beside a ditch on a stormy winter’s night.