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Mo Stór É Mo Leanbh: Story, Meaning, and Relationship in Irish Traditional Lullabies

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Mo Stór É Mo Leanbh: Story, Meaning, and Relationship in Irish Traditional Lullabies Mo Stór é Mo Leanbh: Story, Meaning, and Relationship in Irish Traditional Lullabies Ciara McKusker Thompson, B.M., M.A. Submitted to the University of Limerick in Fulfilment of the requirements for the Degree of Doctor of Philosophy November 2020 Supervisor: Dr SAndra Joyce Declaration The following dissertAtion is entirely of my own composition And has not been submitted for the AwArd of Any degree At Any other University. I have been granted cleArance by the University of Limerick Ethics Committee to conduct this reseArch, And All informAnts named have given their consent. Doctoral Candidate: Ciara McKusker Thompson Signed: ________________________________ Date: _________________________________ Abstract LullAbies Are some of our first musicAl And sociAl interactions, often rooting deep in memories that stAy with people throughout their lives. They Are A valuable Aspect of bedtime routines, contributing to A strong sense of security And the shared experience of primAry relAtionships for both child And Adult. LullAby practices Are Also An orally transmitted embodiment of intAngible culture And the narrative of the cAregiver. Spanning generations of cultural And societAl development, lullAbies have consistently facilitAted relAxation And encApsulAted intricAcies of emotional expression, cultural identity, And relAtionship through their stories And practice. Despite these valuable Attributes, An Assumed narrative of delicAcy, smAllness, And simplicity has followed these songs, And they have continued to occupy little space or Attention over the centuries. This reseArch challenges such narratives, to explore the wellsprings of unspoken potency and potentiAl of lullAbies within the Irish song tradition. Observed by Leslie DAiken in The Lullaby Book, “Not by creAture comforts exclusively does A baby flourish And flower. The mAjority of mothers know this instinctively, And they Also know that reAring An infant must have its creAtive side, its poetry” (DAiken 1959:7). Who creAtes this infant-directed poetry, And does it function for the child Alone? Caregiving cAn be incredibly demAnding, Aggravating, And Anxiety-inducing, As well As fulfilling, heAling, And freeing. If we consider lullAbies As A cAregiver’s poetry, As DAiken suggests – literary devices of storytelling, expression, Aesthetic enjoyment, And engagement – A microcosm of varied And complex meAning cAn be interpreted within these songs. Through An ethnomusicologicAl And song studies-based investigation, the stories of lullAbies cAn be dissected to highlight AreAs of darker, more sinister narratives that express deviAnce from societAl norms, As well As incredibly strong elements of bonding, resilience, And heAling. Through these intimAte, often private musicAl outlets of story, cAregivers cAn bare intense feelings of love, feAr, And frustration. They cAn confront And confide Aspects of belief, And Affirm, As well As disAffirm the intricAte relAtionships that comprise their world on An individual, community, And cultural level. OrientAtion with such structures cAn further contribute to feelings of belonging And/or isolAtion. Therefore, in considering the multi-lAyered meAnings of Irish traditional lullAby stories, this study yields A weAlth of informAtion on traditions, beliefs, And perspectives within the Irish context. The relAtionships reflected in these lullAby narratives cAn be considered A cAtAlyst to reveAl the profound And continuous importAnce of traditional lullAby songs And singing for one’s sense of belonging And wellbeing. Acknowledgements There are a great many individuals and entities to acknowledge for their contributions and aid in bringing this study together. I am thankful for the ongoing support of the University of Limerick’s Irish World Academy of Music and Dance; Arts, Humanities and Social Science’s department; Graduate Research Office; Glucksman Library; and Aonad na Gaeilge (Irish Language Centre). I particularly would like to acknowledge Ciara Considine, Pól Ó Flatharta, and Ailbha Nic Giolla Chomhaill from Aonad na Gaeilge for their interest and guidance in aspects of translation and interpretation of the Irish language within this study. I have the greatest appreciation for the advice, contributions, engagement, and material provided over the years by the Kommission für Volksdichtung (International Ballad Commission), the International Council for Traditional Music, the Irish Traditional Music Archives, The National Library of Ireland, The National Folklore Collection (University College Dublin), The Association for Cultural Equity who hold the Alan Lomax Archives, Cartlanna Sheosaimh Uí Éanaí (The Joe Heaney Archives), and Áras Shorcha Ní Ghuairim (Sorcha Ní Ghuairim outreach centre) (National University of Ireland, Galway). I would like to make particular mention of Lillis Ó Laoire and Mícheál MacLochlainn, in association with National University of Ireland, Galway. When approached, Ó Laoire and Mac Lochlainn both showed great enthusiasm and encouragement of my work and provided me with abundant resources that have furthered my research tremendously. I am thoroughly indebted to my interviewees and personal correspondences for this research, and am beyond grateful for your willingness to share with me your perspectives, experiences, and cherished memories surrounding lullabies. I would like to give particular mention to Eilís Ní Shúilleabháin and Gearóidín Bhreathanach for their detailed overview of the lyrics of these songs, in interview, and their input regarding the Irish translations. I additionally would like to highlight Mary McLaughlin, Róisín Ní Ghallóglaigh, and Kara O’Brien for their insights within and outside of our interviews, and their consistent support and engagement as colleagues, friends, and song scholars. I would also like to give heartfelt thanks to my academic and personal support network. To the administrative and academic staff at the Irish World Academy of Music and Dance, my colleagues in the Traditional Song as Cultural Heritage Research Cluster, the Táighde Dámh Chruinne Éireann postgraduate research forum, and my fellow doctoral candidates, with whom I have shared space, thought, and support in the Academy’s Research Room. Thank you to my friends, family, and colleagues for cheering me on throughout this process and sending good thoughts, hugs, and chocolates my way whenever it was needed. To my husband Brendan Benoit, for telling me the truth whenever I need to hear it (even if I may not want to), and for all his love, support, and enthusiasm in the lows, highs, and in-between’s of this research. To my mother Shauna McKusker, for her bravery in taking on early editing and pushing me to keep going. After weeding out thousands of ‘therefore’s’, ‘furthermore’s’, and ‘nevertheless’s’, if she is as ruthless with her gardening as she is with her editing, she is in for a bumper crop! To Hollie Adams, who – equally bravely – took on editing at the last hurdle, to get it over the finish line. Last, but most definitely not least, immeasurable thanks are in order for my supervisor Dr Sandra Joyce. I have been incredibly fortunate to be able to call Dr Joyce my mentor across the length of this study. She has been nothing but supportive and encouraging of my work, and her expert and detailed guidance has always been delivered with the most kind and compassionate intentions. Thank you so much for absolutely everything Sandra! The impact of all these individuals and organisations on this project and my development as a researcher is copious, and by no means overlooked. Míle buíochas for all of your knowledge, direction, and support. I would like to dedicate this work to my parents and grandparents, who – from the beginning – have continued to instil in me a curiosity and love of the weird, the wild, and the wonderful through story and song. Table of Contents Introduction ............................................................................................................................... 1 0.1 The importance of small things .................................................................................................. 1 0.2 Autoethnographic Background: Defining Researcher and the Field ..................................... 2 0.2.1 ‘Vespers’ ............................................................................................................................................... 2 0.2.2 Locating the Researcher and the Research ........................................................................................... 6 0.2.3 Locating the Field ................................................................................................................................. 9 0.2.3.1 Textually Speaking ..................................................................................................................... 10 0.2.3.2 Contextually Speaking ................................................................................................................ 12 0.3 Informing Fields ........................................................................................................................ 15 0.4 Irish Traditional Music, Songs, and Lullabies ....................................................................... 16 0.4.1 Lullabies of Irish Traditional Song ..................................................................................................... 20 0.5 The Focus Lullabies .................................................................................................................
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