Tuarastyl Vleinoil Annual Report
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Manx Traditional Dance Revival 1929 to 1960
‘…while the others did some capers’: the Manx Traditional Dance revival 1929 to 1960 By kind permission of Manx National Heritage Cinzia Curtis 2006 This dissertation is submitted in partial fulfilment of the degree of Master of Arts in Manx Studies, Centre for Manx Studies, University of Liverpool. September 2006. The following would not have been possible without the help and support of all of the staff at the Centre for Manx Studies. Special thanks must be extended to the staff at the Manx National Library and Archive for their patience and help with accessing the relevant resources and particularly for permission to use many of the images included in this dissertation. Thanks also go to Claire Corkill, Sue Jaques and David Collister for tolerating my constant verbalised thought processes! ‘…while the others did some capers’: The Manx Traditional Dance Revival 1929 to 1960 Preliminary Information 0.1 List of Abbreviations 0.2 A Note on referencing 0.3 Names of dances 0.4 List of Illustrations Chapter 1: Introduction 1.1 Methodology 1 1.2 Dancing on the Isle of Man in the 19th Century 5 Chapter 2: The Collection 2.1 Mona Douglas 11 2.2 Philip Leighton Stowell 15 2.3 The Collection of Manx Dances 17 Chapter 3: The Demonstration 3.1 1929 EFDS Vacation School 26 3.2 Five Manx Folk Dances 29 3.3 Consolidating the Canon 34 Chapter 4: The Development 4.1 Douglas and Stowell 37 4.2 Seven Manx Folk Dances 41 4.3 The Manx Folk Dance Society 42 Chapter 5: The Final Figure 5.1 The Manx Revival of the 1970s 50 5.2 Manx Dance Today 56 5.3 Conclusions -
Nu-Nordic Band Samling Give Taste of Our Past
www.iomtoday.co.im Isle of Man Examiner, Tuesday, November 1, 2011 13 MANX SHIP FIRST TO VISIT QUAKE MUSIC AND CULTURE STRICKEN JAPANESE PORT, page 15 CULTURAL MIX: The members of new Nordic band Samling, centre, at the Cooish were, from left, Naomi Harvey from Scotland, guitarist Tom Oakes from Devon, and Anne-Sofie Ling Vadal from Norway. They seek to com- bine traditional music from Norway, left, with Gaelic music from the Hebrides, right. Anne-Sofie told me: ‘It truly was a great experience for me personally to come to the Isle of Man, with all it’s links to Norway! I will definitely come back and spend a bit more time there to explore both the musical, history and culture links’ Nu-Nordic band Samling NORDREYS (Earldom of give taste of our past Orkney) THERE was a taste of a new gen- by Simon Artymiuk ensemble, there was also a real treat when Australian-born singer Sophia SUDREYS re of music at this year’s Coo- (Kingdom of part of an impressive Scandinavian At- Dale sang a solo Manx Gaelic song ac- Mann and ish concert – although it was lantic empire stretching from Denmark companied by Tom. She explained that the Isles) also a reminder of ancient links to Greenland. Even the Normans who on her visits to the island some years which, though forged long ago, took control of England after the Battle ago she had often encountered on Port continue to have resonance in of Hastings in 1066 were descendants Erin beach a little boy who every year of Danish raiders living in France. -
Manx Gaelic and Physics, a Personal Journey, by Brian Stowell
keynote address Editors’ note: This is the text of a keynote address delivered at the 2011 NAACLT conference held in Douglas on The Isle of Man. Manx Gaelic and physics, a personal journey Brian Stowell. Doolish, Mee Boaldyn 2011 At the age of sixteen at the beginning of 1953, I became very much aware of the Manx language, Manx Gaelic, and the desperate situation it was in then. I was born of Manx parents and brought up in Douglas in the Isle of Man, but, like most other Manx people then, I was only dimly aware that we had our own language. All that changed when, on New Year’s Day 1953, I picked up a Manx newspaper that was in the house and read an article about Douglas Fargher. He was expressing a passionate view that the Manx language had to be saved – he couldn’t understand how Manx people were so dismissive of their own language and ignorant about it. This article had a dra- matic effect on me – I can say it changed my life. I knew straight off somehow that I had to learn Manx. In 1953, I was a pupil at Douglas High School for Boys, with just over two years to go before I possibly left school and went to England to go to uni- versity. There was no university in the Isle of Man - there still isn’t, although things are progressing in that direction now. Amazingly, up until 1992, there 111 JCLL 2010/2011 Stowell was no formal, official teaching of Manx in schools in the Isle of Man. -
NAMA Convention 2014 IOM Program
yss a d g n h i ! Y NAMANorth american manx association We’re back! Isle of Man 2014 52nd North American Manx Association Convention July 3rd - 7th 2014 This is_____________________________________’s copy She dty vea dy valley -- Welcome home It gives me great pleasure to welcome you all “home.” Every year, in small groups scattered across the vastness of North America, we gather to celebrate the bond that brings us together, our Manx heritage and kinship. Now, for these SE91 few days in July, we are fortunate to be able to rekindle these friendships in the place where £6.55 it all began: Our homeland, Ellan Vannin, the Isle of Man. Whether your ancestor voyaged to the New World as an Elizabethan settler, or left behind a tholtan in the 1800s, or shipped out as a G.I. bride, we North American Manx all carry a piece of the Island in our hearts. And as the Manx in our blood thins out, we now welcome a new group of members, those who have come to love the Isle of Man for itself. To those members, we are delighted you have made the trip to discover what it is we find special about this unique and beautiful place. SE41 £6.60 Thank you for making the journey back. I’m sure you will enjoy all we have planned for you this action-packed Tynwald weekend. Please know that none of it would have been possible without the help and support of the local community, to whom we extend our Limited edition of deepest thanks. -
Manx Language Strategy 2017 - 2021 Strateysh Son Y Ghaelg 2017 - 2021 Manx Language Strateysh Son Strategy Y Ghaelg 2017-2021 2017-2021
Manx Language Strategy 2017 - 2021 Strateysh son y Ghaelg 2017 - 2021 Manx Language Strateysh son Strategy y Ghaelg 2017-2021 2017-2021 Manx Language Network Jeebin “Thinking back over the years I can’t remember a 6me when there was this much excitement and involvement with reviving Manx Gaelic, and I think it’s a great service to the Island now, and also for posterity.” Manx Language For All Gaelg son dy chooilley pheiagh !1 Manx Language Strategy 2017 - 2021 Strateysh son y Ghaelg 2017 - 2021 CONTENTS: Foreword Roie-raa …………………………………………………………………………………..………. 3 Introduction Goan Foslee Manx Language Yn Ghaelg ..……..………………………….……………..……………………………………. 4 Manx Language Network Members Olteynyn Key Stakeholders Parteeyn ………………………………………………………………………………………….. 5 Theme 1: Appropriate and Accessible Resources Cooish 1: Stoo-ynsee cooie ta ry gheddyn dy h-aashagh …………………………….. 7 Theme 2: Manx as an Important Part of National and Cultural Identity Cooish 2: Gaelg myr ayrn scanshoil jeh enney ashoonagh as cultooroil ……………8 Theme 3: Manx for the Manx Speaking Community Cooish 3: Gaelg son y theay Gaelgagh………………………………………………..….10 Theme 4: Lifelong Learning of Manx from Early to Later Years Cooish 4: Ynsagh fud bea voish lhiannooaght dys shenn-eash………………….……..11 “Learning is a treasure that will follow its owner everywhere; learning Manx isn’t just about language it’s about history, learning about the places we live, understanding why things are done the way they are and most importantly a pride and iden6ty of being part of the Isle of Man.” !2 Manx Language Strategy 2017 - 2021 Strateysh son y Ghaelg 2017 - 2021 MINISTERS’ FOREWORD ROIE-RAA In many ways, the Manx language is one of the Island’s success stories, both na:onally and interna:onally. -
GD No 2020/0062
Tuarastyl Vleinoil ANNUAL REPORT 2019/2020 of the Manx Heritage Foundation Undinys Eiraght Vannin ta dellal trading as Culture Vannin fo’n ennym Culture Vannin Incorporating the report Goaill stiagh tuarystal y Ving of the Gaelic Broadcasting Ymskeaylley Ghaelgagh Committee www.culturevannin.im Our year in numbers Nyn vlein ayns earrooyn EXISTING FILMS: The Secret 1800s Bank Vault in Castletown views OUR MOST POPULAR FILM 1,023,828 ONLINE HAD OVER NEWLY UPLOADED: The Isle of Man’s first 1 million UFO sighting? 3,067 views views during the year ON FACEBOOK: Chibbyr Vreeshey: St. Bridget’s Well at the Nunnery 20,600 views Videos added to YouTube 1,546,477 views videos newly uploaded 200 (making a total of 652 videos now available) 158,827 hours of viewing followers to our main Culture Vannin Twitter account, 3,648 with 1,598,000 impressions new audio files Listens in the past year: have been released Over 10,100 224 on SoundCloud (total of 522 now +3,522 on BandCamp available) =13,600 increase in Likes on our #culturevannin 19% main Facebook page images released 323 on Flickr Across our accounts: Facebook Twitter combined likes of pages and total followers on Twitter 14,444 members of groups on Facebook 7,698 across three accounts 1 CULTURE VANNIN ANNUAL REPORT 2019/2020 Contents Cooishyn sthie 03 SOME WORDS FROM OUR CHAIR 04 GOAN VEIH’N CHAAIRLIAGH AIN 05 WHO WE ARE AND WHAT WE DO 06 QUOI TA SHIN AS CRE TA SHIN JANNOO DEVELOPMENT WORK OBBYR VISHEE 07 SOME HIGHLIGHTS 08 PAART DY HALLEEYN CRONNAL A SUCCESS STORY FOR OUR VA COURYN Y VLEIN -
Celtic Canons Craft and Craftsmen İn
Cinzia Yates British Forum for Ethnomusicology Conference 2008 Celtic Canons: Craft and craftsmen in Manx traditional music This paper will explore the relevance of craft as a canon forming force in the traditional music of the Isle of Man. In particular, it will invoke William Weber’s conception of canon in the western art tradition (2001), a conception that places craft as one of the central elements in canon formation and that relates craft to the craftsmanship of highly accomplished but usually professional composers. However, in Manx traditional music ‐ where authorship is usually unknown ‐ it would appear that Weber’s connection of craft to composer is not directly applicable. However, this paper will explore diachronically the relationship between craft and craftsmanship in the collection rather than in the composition of a relevant canon. In this respect, it will document the principal collectors and it will discuss the main arrangers of Manx traditional music. It will also look at the final stage of canon formation by focusing upon the folk revival where craftsmen were involved in the re‐ dissemination of earlier collected work. Further, the paper will consider the significance of craft and craftsmen for the modern Manx canon, paying especial attention to the role of connoisseurs in this matter. In sum, the paper will, once again, place craft at the centre of canon formation. In contrast to Weber, however, it will highlight the perception of craft and evaluate its meaning for a canonizing body. Canon Any discussion of canon is wrought with difficulties as a single definition of canon has not yet been agreed upon. -
Pdf Shop 'Celtic Gold' in Peel
No. 129 Spring 2004/5 €3.00 Stg£2.50 • SNP Election Campaign • ‘Property Fever’ on Breizh • The Declarationof the Bro Gymraeg • Istor ar C ’herneveg • Irish Language News • Strategy for Cornish • Police Bug Scandal in Mann • EU Constitution - Vote No! ALBA: COM.ANN CEILTFACH * BREIZH: KFVTCF KELT1EK * CYMRU: UNDEB CELTA DD * EIRE: CON RAD H GEILTE AC H * KERNOW: KtBUNYANS KELTEK * MANNIN: COMlVbtYS CELTIAGH tre na Gàidhlig gus an robh e no I a’ dol don sgoil.. An sin bhiodh a’ huile teasgag tre na Gàidhlig air son gach pàiste ann an Alba- Mur eil sinn fhaighinn sin bidh am Alba Bile Gàidhlig gun fheum. Thuig Iain Trevisa gun robh e feumail sin a dhèanamh. Seo mar a sgrìohh e sa bhli adhna 1365, “...dh’atharraich Iain à Còm, maighstir gramair, ionnsachadh is tuigsinn gramair sna sgoiltean o’n Fhraingis gu TEACASG TRE NA GÀIDHLIG Beurla agus dh’ionnsaich Richard Pencrych an aon scòrsa theagaisg agus Abajr gun robh sinn toilichte cluinntinn Inbhirnis/Inverness B IVI 1DR... fon feadhainn eile à Pencrych; leis a sin, sa gun bidh faclan Gaidhlig ar na ceadan- 01463-225 469 e-mail [email protected] bhliadhna don Thjgheama Againn” 1385, siubhail no passports again nuair a thig ... tha cobhair is fiosrachadh ri fhaighinn a an naodhamh bliadhna do’n Righ Richard ceann na bliadhna seo no a dh’ aithgheor thaobh cluich sa Gàidhlig ro aois dol do an dèidh a’Cheannsachaidh anns a h-uile 2000. Direach mar a tha sinn a’ dol thairis sgoil, Bithidh an t-ughdar is ionadail no sgoil gràmair feadh Sasunn, tha na leana- air Caulas na Frainge le bata no le trean -
Language Ideologies in Corpus Development for Revived Manx
Studia Celtica Posnaniensia, Vol 2 (1), 2017 doi: 10.1515/scp-2017-0006 SCHOLARSHIP AND LANGUAGE REVIVAL: LANGUAGE IDEOLOGIES IN CORPUS DEVELOPMENT FOR REVIVED MANX CHRISTOPHER LEWIN University of Edinburgh ABSTRACT In this article the role of different ideological viewpoints concerning corpus development within the Manx revival movement in the second half of the twentieth century is explored. In particular, the work of two prominent figures is examined: the Celtic scholar Robert L. Thomson, who published extensively especially on Manx language and literature, and also contributed to the revival, particularly as editor of several pedagogical resources and as a member of the translation committee Coonceil ny Gaelgey, and Douglas Fargher, a tireless activist and compiler of an English-Manx Dictionary (1979). Broadly speaking, Thomson was of a more preservationist bent, cautious in adapting the native resources of the language and wary of straying too far from attested usage of the traditional language, while Fargher was more radical and open especially to borrowing from Irish and Scottish sources. Both were concerned, in somewhat different ways, to remove perceived impurities or corruptions from the language, and were influenced by the assumptions of existing scholarship. A close reading of the work of these scholar-activists sheds light on the tensions within the revival movement regarding its response to the trauma of language death and the questions of legitimacy and authenticity in the revived variety. Particular space is devoted to an analysis of the preface of Fargher’s dictionary, as well as certain features of the body of the work itself, since this volume is probably the most widely consulted guide to the use of the language today. -
Tynwald 20 Mar 2012 the Chief Minister: No, Thank You
Manx Heritage Foundation Members approved 8. The Chief Minister to move: That in accordance with section 1(2) of the Manx Heritage Foundation Act 1982, Tynwald approves the appointment of the following persons as members of the Manx Heritage Foundation – Miss Patricia Skillicorn Mr Liam O’Neill Dr Brian Stowell The Deputy President: We turn now to Item 8, Manx Heritage Foundation. I call on the Chief Minister to move. The Chief Minister (Mr Bell): Mr Deputy President, the Council of Ministers is pleased to nominate Miss Patricia Skillicorn, Mr Liam O’Neill and Dr Brian Stowell for appointment as lay members of the Manx Heritage Foundation. As Hon. Members will be aware from the information circulated regarding these appointments, the individuals proposed by Council have extensive experience and skills relevant to the work of the Foundation and were selected following an open and transparent public appointment recruitment process. The Manx Heritage Foundation Act requires the Foundation, amongst other things, to promote and assist in the permanent preservation of the cultural heritage of the Island. Miss Skillicorn and Dr Stowell are previous lay members of the Foundation and Council are pleased to propose that they are appointed to the Foundation for another term. Dr Stowell will be well-known to Hon. Members through his pioneering and tireless work to promote the teaching and use of Manx language. This includes writing Manx language courses and presenting programmes on Manx Radio. Miss Skillicorn is a leading figure in local historical circles, being a lecturer to students on the MA course in Manx Studies, participating in research programmes on the Island’s experience in World War I and a published author of titles mixing social history and memoires. -
A Comparative Reading of Manx Cultural Revivals Breesha Maddrell Centre for Manx Studies, University of Liverpool
e-Keltoi: Journal of Interdisciplinary Celtic Studies Volume 2 Cultural Survival Article 4 5-8-2006 Of Demolition and Reconstruction: a Comparative Reading of Manx Cultural Revivals Breesha Maddrell Centre for Manx Studies, University of Liverpool Follow this and additional works at: https://dc.uwm.edu/ekeltoi Part of the Celtic Studies Commons, English Language and Literature Commons, Folklore Commons, History Commons, History of Art, Architecture, and Archaeology Commons, Linguistics Commons, and the Theatre History Commons Recommended Citation Maddrell, Breesha (2006) "Of Demolition and Reconstruction: a Comparative Reading of Manx Cultural Revivals," e-Keltoi: Journal of Interdisciplinary Celtic Studies: Vol. 2 , Article 4. Available at: https://dc.uwm.edu/ekeltoi/vol2/iss1/4 This Article is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in e-Keltoi: Journal of Interdisciplinary Celtic Studies by an authorized administrator of UWM Digital Commons. For more information, please contact open- [email protected]. Of Demolition and Reconstruction: a Comparative Reading of Manx Cultural Revivals Breesha Maddrell, Centre for Manx Studies, University of Liverpool Abstract This paper accesses Manx cultural survival by examining the work of one of the most controversial of Manx cultural figures, Mona Douglas, alongside one of the most well loved, T.E. Brown. It uses the literature in the Isle of Man over the period 1880-1980 as a means of identifying attitudes toward two successive waves of cultural survival and revival. Through a reading of Brown's Prologue to the first series of Fo'c's'le Yarns, 'Spes Altera', "another hope", 1896, and Douglas' 'The Tholtan' – which formed part of her last collection of poetry, Island Magic, published in 1956 – the differing nationalist and revivalist roles of the two authors are revealed. -
Music by Kiaull Liorish/ Words by Fockleyn Liorish
www.culturevannin.im www.manxmusic.com KIAULL MANNINAGH JIU Mee Houney 2017 November manx music today Everyone was ‘Maynrey’ at the 2017 Bree workshop weekend! Last weekend, students from different corners of the Island came together at Douglas Youth Arts Centre for the 11th annual Big Bree Workshop Weekend. Under the tuition of Caitlin Bennett, Caroline Helps, Cairistiona Dougherty, Cinzia Yates, Greg Joughin and Chloe Woolley, the talented youngsters enjoyed an intensive two days getting creative with Manx culture, including an impromptu outdoor ceili! The workshops had a Hop tu naa theme this year, and culminated in a showcase concert on the Sunday afternoon. Pharrell Williams (or should it be Quilliams?!) would’ve be very impressed by the opening number of the concert - led by top Mollag, Greg Joughin, all of the Bree students and tutors performed hit song, Happy... but in Manx! With lots of happy clapping and vocal harmonies, Maynrey got the audience in the mood for a ‘fabulous’ (quote from one of the dads) concert! The folk group took to the stage next, with Manx trad tune, “Hie Mee Stiagh” and they were followed by the Bree Singers with “She Lhong Honnick Mee”. Next up was the fiddle group, Ny Fiddleryn, who performed two pieces from the Fiddyl book - dance tune “Eunyssagh Vona”, followed by Katie Lawrence’s beautiful piece “Tune for Grandad” which left a few people teary-eyed in the audience. A group of singers then came on with “Jinny the Witch” (sung to a new tune composed by Caz Dougherty) & “Hop tu naa” in Manx Gaelic.