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Annual Report Tuarascáil Bhliantúil 2017 Annual Report 2017 Tuarascáil Bhliantúil 2017 ISBN: 978-1-904291-57-2
annual report tuarascáil bhliantúil 2017 Annual Report 2017 Tuarascáil Bhliantúil 2017 ISBN: 978-1-904291-57-2 The Arts Council t +353 1 618 0200 70 Merrion Square, f +353 1 676 1302 Dublin 2, D02 NY52 Ireland Callsave 1890 392 492 An Chomhairle Ealaíon www.facebook.com/artscouncilireland 70 Cearnóg Mhuirfean, twitter.com/artscouncil_ie Baile Átha Cliath 2, D02 NY52 Éire www.artscouncil.ie Trophy part-exhibition, part-performance at Barnardo Square, Dublin Fringe Festival. September 2017. Photographer: Tamara Him. taispeántas ealaíne Trophy, taibhiú páirte ag Barnardo Square, Féile Imeallach Bhaile Átha Cliath. Meán Fómhair 2017. Grianghrafadóir: Tamara Him. Body Language, David Bolger & Christopher Ash, CoisCéim Dance Theatre at RHA Gallery. November/December 2017 Photographer: Christopher Ash. Body Language, David Bolger & Christopher Ash, Amharclann Rince CoisCéim ag Gailearaí an Acadaimh Ibeirnigh Ríoga. Samhain/Nollaig 2017 Grianghrafadóir: Christopher Ash. The Arts Council An Chomhairle Ealaíon Who we are and what we do Ár ról agus ár gcuid oibre The Arts Council is the Irish government agency for Is í an Chomhairle Ealaíon an ghníomhaireacht a cheap developing the arts. We work in partnership with artists, Rialtas na hÉireann chun na healaíona a fhorbairt. arts organisations, public policy makers and others to build Oibrímid i gcomhpháirt le healaíontóirí, le heagraíochtaí a central place for the arts in Irish life. ealaíon, le lucht déanta beartas poiblí agus le daoine eile chun áit lárnach a chruthú do na healaíona i saol na We provide financial assistance to artists, arts organisations, hÉireann. local authorities and others for artistic purposes. We offer assistance and information on the arts to government and Tugaimid cúnamh airgeadais d'ealaíontóirí, d'eagraíochtaí to a wide range of individuals and organisations. -
Katie Martin
Katie Martin Some fact´s at first… When and where were you born? I was born in Coventry, England on the 1st of September 1980. Your height? 5’ 7 ½ . What is your favourite food? Seafood and Pasta Your favourite music? Chart music and R´and´ B. Joss Stone, maroon 5, Lucie Silvas, Kelly Clarckson, etc. Your favourite movie? „Notting Hill“, „My best friends Wedding“, „Stepmom“. Julia Roberts is my favourite actress. Your favourite city / place in the world, you have visited so far? Cape town in South Africa is my most favourite place in the whole world. Do you have any hidden talents, we don’t know about? I have a Diploma in make up artistory for film and television. What’s the most treasured moment in your life, so far? My most treasured moment in the Show is dancing in Hyde Park with Feet of Flames and also performing Lead for the first time. About your family… Please tell us something about your parents - what do they do for their living? Do they dance as well? My dad is an engineer and my mom is a nurse. My mum is also an amazing Irish Dancing teacher and was my very first teacher. Do you have any brothers or sisters? How old are they? Do they dance, too? What do they do for their living? My brothers name is Thomas and he is 23 years old. He is also in Troupe 1. Is it hard for you, to be apart from your family for such a long time while touring? How often are you able to travel back home again? It can be hard but because we have been touring for so many years we´re use to it now. -
2014–2015 Season Sponsors
2014–2015 SEASON SPONSORS The City of Cerritos gratefully thanks our 2014–2015 Season Sponsors for their generous support of the Cerritos Center for the Performing Arts. YOUR FAVORITE ENTERTAINERS, YOUR FAVORITE THEATER If your company would like to become a Cerritos Center for the Performing Arts sponsor, please contact the CCPA Administrative Offices at 562-916-8510. THE CERRITOS CENTER FOR THE PERFORMING ARTS (CCPA) thanks the following current CCPA Associates donors who have contributed to the CCPA’s Endowment Fund. The Endowment Fund was established in 1994 under the visionary leadership of the Cerritos City Council to ensure that the CCPA would remain a welcoming, accessible, and affordable venue where patrons can experience the joy of entertainment and cultural enrichment. For more information about the Endowment Fund or to make a contribution, please contact the CCPA Administrative Offices at (562) 916-8510. MARQUEE Sandra and Bruce Dickinson Diana and Rick Needham Eleanor and David St. Clair Mr. and Mrs. Curtis R. Eakin A.J. Neiman Judy and Robert Fisher Wendy and Mike Nelson Sharon Kei Frank Jill and Michael Nishida ENCORE Eugenie Gargiulo Margene and Chuck Norton The Gettys Family Gayle Garrity In Memory of Michael Garrity Ann and Clarence Ohara Art Segal In Memory Of Marilynn Segal Franz Gerich Bonnie Jo Panagos Triangle Distributing Company Margarita and Robert Gomez Minna and Frank Patterson Yamaha Corporation of America Raejean C. Goodrich Carl B. Pearlston Beryl and Graham Gosling Marilyn and Jim Peters HEADLINER Timothy Gower Gwen and Gerry Pruitt Nancy and Nick Baker Alvena and Richard Graham Mr. -
The Roots and Routes of Irish Step Dancing: Issues of Identity and Participation in a Global World Catherine E
studying culture in context The roots and routes of Irish step dancing: issues of identity and participation in a global world Catherine E. Foley Excerpted from: Routes and Roots Fiddle and Dance Studies from around the North Atlantic 4 Edited by Ian Russell and Chris Goertzen First published in 2012 by The Elphinstone Institute, University of Aberdeen, MacRobert Building, King’s College, Aberdeen, AB24 5UA ISBN 0-9545682-7-3 About the author: Catherine Foley is course director of the MA in Ethnochoreology and the MA in Irish Traditional Dance Performance at the Irish World Academy of Music and Dance, University of Limerick; she also supervises doctoral research (academic and practice-based) at the Academy. She is Founding Chair Emerita of Dance Research Forum Ireland, Director of the festival, Tráth na gCos, and Project Leader of the National Dance Archive of Ireland. Copyright © 2012 the Elphinstone Institute and the contributors While copyright in the volume as a whole is vested in the Elphinstone Institute, copyright in individual contributions remains with the contributors. 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. 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/. 11 The roots and routes of Irish step dancing: issues of identity and participation in a global -
Celtic Thunder Legacy on Tour Across the US
ISSUE 25 VOLUME 5 Proudly Serving Celts in North America Since 1991 SEPTEMBER/OCTOBER 2016 THE BIGGEST Gaelic Games event in North America took place in Seattle on the weekend of September 2-4, 2016 with over 1,500 players and 85 teams from across the USA, Canada and the Caribbean competing. [Pictured above] Seattle Mayor Ed Murray [second from right] presents the Championship Trophy to Donie Breathnach, captain of the San Francisco Naomh Padraig hurling team after they won the North American Sen- ior Hurling Championship final. Pictured on the left is Seattle BREAKING GROUND by Norfolk, England artist, Rob Barnes. Police Chief Kathleen O’Toole and Irish Consul General Philip [Read more about the artist inside on page 2] Grant on the right. [Read more on pages 20, 21 & 23] Walking the Path at Samhain Into the Twilight of the Year OME would At Samhain, that path rises, careens, By CYNTHIA WALLENTINE motivates, tears down, and drives us on. argue that a Order is lost, but structure remains – it path that can- At Samhain, whose bonfires burn will push, drag, or pull even the ridicu- brightly at dusk on October 31, the year lously stubborn to their fate. not be seen descends to its finish. S Those not gripped entirely by the expe- does not ex- In the ashes of that same fire, on No- rience may instead find destiny, the con- ist. But vision is only one vember 1, the Celtic New Year is born, scious transformation of the cultivated IRELAND’S O’Donovan brothers are the latest Olympic Internet along with the winter season. -
Hotte Isabelle 2006 Memoire.Pdf
JL1)j.3LÔ. z Université de Montréal Une étude comparative des danses traditionnelles et de leur musique d’accompagnement entre les cultures galles (écossaise et irlandaise) et québécoise par Isabelle Hotte Département d’anthropologie Faculté des arts et des sciences Mémoire présenté à la Faculté des études supérieures en vue de l’obtention du grade de M.aftre ès Sciences en anthropologie Décembre, 2006 ©, Isabelle Hotte, 2006 ç j ‘k LKJI O \yCl) Université (IIh de Montréal Direction des bibliothèques AVIS L’auteur a autorisé l’Université de Montréal à reproduire et diffuser, en totalité ou en partie, par quelque moyen que ce soit et sur quelque support que ce soit, et exclusivement à des fins non lucratives d’enseignement et de recherche, des copies de ce mémoire ou de cette thèse. L’auteur et les coauteurs le cas échéant conservent la propriété du droit d’auteur et des droits moraux qui protègent ce document. Ni la thèse ou le mémoire, ni des extraits substantiels de ce document, ne doivent être imprimés ou autrement reproduits sans l’autorisation de l’auteur. Afin de se conformer à la Loi canadienne sur la protection des renseignements personnels, quelques formulaires secondaires, coordonnées ou signatures intégrées au texte ont pu être enlevés de ce document. Bien que cela ait pu affecter la pagination, il n’y e aucun contenu manquant. NOTICE The author of this thesis or dissertation has granted a nonexciusive license allowing Université de Montréal to reproduce and publish the document, in part or in whole, and in any format, solely for noncommercial educational and research purposes. -
Fairy and Folk Tales of the Irish Peasantry, by 1
Fairy and Folk Tales of the Irish Peasantry, by 1 Fairy and Folk Tales of the Irish Peasantry, by William Butler Yeats This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Fairy and Folk Tales of the Irish Peasantry Author: William Butler Yeats Editor: William Butler Yeats Release Date: October 28, 2010 [EBook #33887] Language: English Fairy and Folk Tales of the Irish Peasantry, by 2 Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK FAIRY AND FOLK TALES *** Produced by Larry B. Harrison, Brian Foley and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.) FAIRY AND FOLK TALES OF THE IRISH PEASANTRY. EDITED AND SELECTED BY W. B. YEATS. THE WALTER SCOTT PUBLISHING CO., LTD. LONDON AND FELLING-ON-TYNE. NEW YORK: 3 EAST 14TH STREET. INSCRIBED TO MY MYSTICAL FRIEND, G. R. CONTENTS. THE TROOPING FAIRIES-- PAGE The Fairies 3 Frank Martin and the Fairies 5 The Priest's Supper 9 The Fairy Well of Lagnanay 13 Teig O'Kane and the Corpse 16 Paddy Corcoran's Wife 31 Cusheen Loo 33 The White Trout; A Legend of Cong 35 The Fairy Thorn 38 The Legend of Knockgrafton 40 A Donegal Fairy 46 CHANGELINGS-- The Brewery of Egg-shells 48 The Fairy Nurse 51 Jamie Freel and the Young Lady 52 The Stolen Child 59 THE MERROW-- -
CRAN Biography 09
www.cranmusic.com [email protected] CRAN are a unique group in the Irish folk-music world with their highly-individualistic approach and a bewildering array of styles and repertoire. Each member of the trio already had international reputations in their own fields before the band was formed. Desi Wilkinson had become a major force in the field of Irish flute-playing, both at home and abroad; Sean Corcoran was known internationally as one of the leading singers in the Hiberno- English and Gaelic traditions and also as a researcher and teacher; Ronan Browne had not only carved out a name for himself as one of the leading lights among the younger generation of uilleann pipers but he was already giving master-classes in Europe and the U.S.A. CRAN's concert performances are a dazzling display of technical virtuosity combined with fun and humour, banter and stories. The core of their repertoire is their native Irish material - bubbling dance music or haunting slow airs on flute and pipes, and vocals ranging from the highly- ornamented sean-nós songs of Conamara to the rollicking port a'bhéil or mouth music of Donegal. Their Hiberno-English song repertoire (songs from Ireland in English) covers the entire gamut from the old story- telling "long ballads" to lively comic songs of "pure divilment and rascality". They also include material from the related Scots-Gaelic tradition and from the other Atlantic Celts, the Bretons. Discography : Black Black Black Claddagh Records CC63CD 1998 Lover’s Ghost Black Rose Records BRRCD003 2001 Music from the Edge of the World Black Rose Records BRRCD004 2002 The Crooked Stair (’93 Re-release) Black Rose Records BRRCD001 2005 RONAN BROWNE Discography : (uilleann pipes, flutes, The South West Wind - Claddagh,1988 vocals) The Drones & the Chanters - Claddagh, 1994 "One of the finest pipers Riverdance - Celtic Heartbeat, 1994 Afro Celt Sound System I - Real World, 1996 of his generation. -
Trinity Irish Dance Study Guide.Indd
● ● ● ● ● Photo by Lois Greenfield. About the Performance The Performance at a Glance Each of these different elements can be the basis for introducing students to the upcoming performance. Who are the Trinity Irish Dance Company? Trinity Irish Dance Company were formed in 1990 by Mark Howard in an effort to showcase Irish music and dance as an art form. The company is made up of 18- 25 year olds, and has received great critical and popular acclaim from audiences throughout the world. They have performed all over the world, and have collaborated with many notable contemporary choreographers and musicians. Trinity holds a unique place in the dance world, offering a highly skilled presenation of progressive Irish step dance. Who is Mark Howard? Mark Howard is the founder and artistic director of the Trinity Irish Dance Company, and choreographs much of the company’s work. Born in Yorkshire, England, and raised in Chicago, Mark Howard began dancing at the age of nine, and later went on to become a North American champion Irish dancer. He started the Trinity Academy of Irish Dance at the age of 17, and dancers from this school have won 18 world titles for the United States at the World Irish Dance Championships in Ireland. Howard wanted to find a way for his dancers to do more than just compete for tropies and prizes, so in 1990 he founded the Trinity Irish Dance Company as a way to showcase Irish music and dances as an art form. Mark Howard continues to choregraph new works for the company, and he has expanded his independent career to work in theater, television, concert and film. -
School Show Study Guide
420 East Packer Avenue Bethlehem, PA 18015-3179 (610) 758-2787 www.ZoellnerArtsCenter.org School Show Study Guide: Wednesday, March 13, 2019 at 10:00am Baker Hall at Zoellner Arts Center USING THIS STUDY GUIDE Dear Educator, On Wednesday, March 13, your class will attend a performance by Murphy’s Celtic Legacy, at Lehigh University’s Zoellner Arts Center in Baker Hall. You can use this study guide to engage your students and enrich their Zoellner Arts Center field trip. Materials in this guide include information about the performance, what you need to know about coming to a show at Zoellner Arts Center and interesting and engaging activities to use in your classroom prior to and following the performance. These activities are designed to go beyond the performance and connect the arts to other disciplines and skills including: Dance Culture Expression Social Sciences Teamwork Choreography Before attending the performance, we encourage you to: Review the Know before You Go items on page 3 and Terms to Know on pages 9. Learn About the Show on pages 4. Help your students understand Ireland on pages 11, the Irish dance on pages 17 and St. Patrick’s Day on pages 23. Engage your class the activity on pages 25. At the performance, we encourage you to: Encourage your students to stay focused on the performance. Encourage your students to make connections with what they already know about rhythm, music, and Irish culture. Ask students to observe how various show components, like costumes, lights, and sound impact their experience at the theatre. After the show, we encourage you to: Look through this study guide for activities, resources and integrated projects to use in your classroom. -
Myths and Legends of the Celtic Race by Thomas William Rolleston
The Project Gutenberg EBook of Myths and Legends of the Celtic Race by Thomas William Rolleston This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at http://www.gutenberg.org/license Title: Myths and Legends of the Celtic Race Author: Thomas William Rolleston Release Date: October 16, 2010 [Ebook 34081] Language: English ***START OF THE PROJECT GUTENBERG EBOOK MYTHS AND LEGENDS OF THE CELTIC RACE*** MYTHS & LEGENDS OF THE CELTIC RACE Queen Maev T. W. ROLLESTON MYTHS & LEGENDS OF THE CELTIC RACE CONSTABLE - LONDON [8] British edition published by Constable and Company Limited, London First published 1911 by George G. Harrap & Co., London [9] PREFACE The Past may be forgotten, but it never dies. The elements which in the most remote times have entered into a nation's composition endure through all its history, and help to mould that history, and to stamp the character and genius of the people. The examination, therefore, of these elements, and the recognition, as far as possible, of the part they have actually contributed to the warp and weft of a nation's life, must be a matter of no small interest and importance to those who realise that the present is the child of the past, and the future of the present; who will not regard themselves, their kinsfolk, and their fellow-citizens as mere transitory phantoms, hurrying from darkness into darkness, but who know that, in them, a vast historic stream of national life is passing from its distant and mysterious origin towards a future which is largely conditioned by all the past wanderings of that human stream, but which is also, in no small degree, what they, by their courage, their patriotism, their knowledge, and their understanding, choose to make it. -
Justice for the Forgotten
Justice For The Forgotten TRANSCRIPTS OF OUR CONTRIBUTIONS TO THE JOINT OIREACHTAS SUB COMMITTEE ON THE BARRON REPORT INTO THE BOMBING OF KAY'S TAVERN, DUNDALK | 27th SEPT 2006 | HOME | Joint Committee on Justice, Equality, Defence and Women's Rights Sub-Committee on the Barron Report Dé Céadaoin, 27 Meán Fómhair 2006 - Wednesday, 27 September 2006 Public Hearing on the Barron Report | PAGE 1 | PAGE 2 | PAGE 3 | PAGE 4 | The Sub-Committee met at 9.45 a.m. Sub Committee Members Present: Deputy Seán Ardagh (Fianna Fáil), Senator Maurice Cummins (FineGael), Deputy Kathleen Lynch (Labour), Senator Jim Walsh. (Fianna Fáil) Deputy Máire Hoctor (Fianna Fáil) Deputy Finian McGrath (Independent) Deputy Seán Ó Feargháil (Fianna Fáil) DEPUTY SEÁN ARDAGH IN THE CHAIR. Chairman: The sub-committee heard yesterday from the families of the victims of many of the incidents referred to in the report. Today we will hear from other witnesses to assist in our consideration of the report. The order in which the sub- committee will take witnesses is set out in the schedule, which is being circulated. Senator J. Walsh: I apologise for being late. I raised an issue yesterday regarding identifying witnesses. If we are not going to name people or ask questions----- Chairman: I will not accept this query in public. We will go into private session. If necessary, I will ask all the witnesses to withdraw and we will then discuss the matter. Senator J. Walsh: I have one question. Can those who should not be mentioned be numbered so that when members ask questions, we will all know about whom we are talking? At least then there will be clarity in the replies.