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This Is a Self-Archived Version of an Original Article. This Version May Differ from the Original in Pagination and Typographic Details
This is a self-archived version of an original article. This version may differ from the original in pagination and typographic details. Author(s): Karjalainen, Noora Title: Imagined, remembered, gendered : Narratives of cosy other in the media representations of female folk singers Year: 2018 Version: Published version Copyright: © Kirjoittaja & SES 2019. Rights: In Copyright Rights url: http://rightsstatements.org/page/InC/1.0/?language=en Please cite the original version: Karjalainen, N. (2018). Imagined, remembered, gendered : Narratives of cosy other in the media representations of female folk singers. Etnomusikologian vuosikirja, 30, 66-91. https://doi.org/10.23985/evk.69076 Noora Karjalainen IMAGINED, REMEMBERED, GENDERED: Narratives of cosy other in the media representations of female folk singers This article examines the ways in which contemporary folk singers Julie Fowlis (Scotland), Muireann Nic Amhlaoibh (Ireland), Emily Portman and Kate Rusby (England) are constructed in the media as what I call the ‘cosy other’. Discussed here in relation to these Western European artists, I argue that my concept of cosy otherness derives from the internal other that is both European and foreign (Bohlman 2000: 189–193; Gelbart 2007: 64; McKerrell 2016: 126; O’Flynn 2014: 238). Unlike the conventional definition of a post-colonial other and the concept of an internal other, the cosy other is not ominous, competing, or negative. Rather, it appears charming and unthreateningly different with singular cultural traits such as a performance language other than English, a discernible regional dialect, or a pronounced regionalism. The cultural baggage accumulated over time – for example the troubled history of both Ireland and Scotland with England – is wrapped up in cosiness, niceness and nostalgia. -
Fómhar/Autumn 2016 Drámaíocht/Drama
Fómhar/Autumn 2016 Drámaíocht/Drama Ros na Rún 8.30pm Tuesdays & Thursdays from 6/9/16 (omnibus Sunday) The flagship drama series comes of age this season (the 21st) and is one of TG4’s best-loved programmes. It has engaging storylines that bring the leading characters through awkward situations and extreme jeopardy. There are many laughs along the way, the kindling of romance and consequent broken hearts for some but not all. The coming season will continue to delight, excite and engage audiences with cliffhanging drama, deception, deceit, death and of course romance and humour. In its unique natural style, Ros na Rún deals with the many social issues which face rural communities in today’s world and excels in the exposure of such matters with insightful writing and acting. Following on from the end of season showdown in the woods, audiences wait to see the fate of Bobbi Lee and Andy and will be intrigued to find out if he was left for dead. Tadhg, the series lynchpin is seriously threatened this season but will he get away with it, or must he spend the rest of his life looking over his shoulder? The season opens with much treachery and drama, and viewers will once again be glued to their seats as the season unfolds and death hits the coastal village, depriving the community of one of its long-time residents. Wakes and weddings are part of rural life and a Christmas wedding could be on the cards bringing the village some much needed romance and happiness. With tales of affairs, theft, controversial pregnancies, break-ins and break-ups viewers will have plenty to guess at and gossip about every Tuesday and Thursday night at 8.30pm on TG4 with the omnibus on Sundays at 10.30pm. -
Blas International Summer School of Irish Traditional Music and Dance
Blas International Summer School of Iris h Traditional Music and Dance Iris h World Academy of Music and Dance University of Limerick FIDDLE TUTORS JOHN CARTY John Carty is one of Ireland’s finest traditional musicians having been awarded the Irish Television station, TG4’s Traditional Musician of the Year in 2003. He joins previous acclaimed winners Matt Molloy (Chieftains flautist), Tommy Peoples (Master Fiddler), Mary Bergin (whistle player, Dordan), Máire Ní Chathasaigh (Harpist) and Paddy Keenan (Uilleann Piper), all of whom are considered to be the leading exponents of their instruments within the Irish tradition. Carty already has three solo fiddle albums, two banjo albums, two group albums and a sprinkling of recorded tenor guitar and flute music recordings under his belt so it’s little wonder he should have joined such elusive ranks. John is a tutor at the Irish World Academy. www.johncartymusic.com Blas International Summer School of Iris h Traditional Music and Dance Iris h World Academy of Music and Dance University of Limerick EILEEN O’BRIEN Eileen is the bearer of a musical dynasty which can be traced back through generations on both sides of her family, the legendary, O’Brien family from Newtown, Nenagh and her mother’s family, the Seerys from Dublin who were founder members of C.C.E. Eileen’s father, Paddy O’Brien established the B/C accordion-playing style in the 1950’s. His innovative style both as a musician and a prolific composer continues to have a profound influence on Irish traditional music. Eileen carries this musical tradition forward through performance, teaching and composition. -
Of Our Times Comhaimseartha
Irish World Academy of Music and Dance SPRING University of Limerick EARRACH Dámh Chruinne Éireann Rince agus Ceol OF OUR TIMES Ollscoil Luimnigh 2017 COMHAIMSEARTHA 2 INTRODUCTION BY PROFESSOR DON BARRY, UL PRESIDENT 4 FACULTY AND STAFF Contents 6 EMERITUS FACULTY 9 LUNCHTIME PERFORMANCE SERIES 19 TOWER SEMINAR SERIES 27 LOGOS SEMINAR SERIES 31 SPECIAL EVENTS 37 AG FÉACHAINT SIAR / RECENT EVENTS 45 BEALACH / COMMUNITY CULTURAL PATHWAYS 49 CÓNAÍ / ARTISTS IN RESIDENCE 53 TAIGHDE / RESEARCH 61 IRISH WORLD ACADEMY ENSEMBLES 63 SCHOLARSHIP AND AWARD RECIPIENTS 69 CLÁR / IRISH WORLD ACADEMY PROGRAMMES 72 OTHER PROGRAMMES AND ARTS OFFICES Credits General Editor: Dr Sandra Joyce Editor and Comhaimseartha Coordinator: Jennifer de Brún Text Editors: Fran Garry, Hannah Fahey Photography: Maurice Gunning Design: Joe Gervin Venue Coordinator: Melissa Carty Tuesday Lunchtime Performance Coordinator: Dr Sandra Joyce/Dr Niall Keegan Front cover: Máirtín O'Connor and Brendan McCarthy Wednesday Lunchtime Performance Coordinator: Jean Downey performing at the Irish World Academy Thursday Lunchtime Performance Coordinator: Lisa McLoughlin Photograph © Maurice Gunning Tower and Logos Coordinator: Dr Aileen Dillane Taighde/Research Editor: Professor Helen Phelan Students of the MA Contemporary Dance Performance Ag Féachaint Siar/Recent Events and Special Events Coordinator: Jennifer de Brún Photograph © Maurice Gunning IF WE SELECT THE LAWLESS EFFIGY AS OUR COVER CHOICE WE CAN HAVE A GOOD INNER COVER CAPTION TO 'EXPLAIN' IT HERE. IF WE SELECT THE LAWLESS EFFIGY AS OUR COVER CHOICE WE CAN HAVE GOOD INNER COVER CAPTION TO 'EXPLAIN' IT HERE. 1 IRISH WORLD ACADEMY OF MUSIC AND DANCE MUSIC AND DANCE OF ACADEMY WORLD IRISH INTRODUCTION UL continues to be the only third-level institution offering The research profile of the Academy is unparalleled dance on the island of Ireland and it is heartening to across the disciplines of music, dance and performing note that the Contemporary Dance stream of the arts. -
DÉ Haoine 22 MEÁN FÓMHAIR 2017 CULTURENIGHT.IE MUIREANN NIC AMHLAOIBH AMBASADÓIR OÍCHE CHULTÚIR NA GAELTACHTA the AMBASSADOR for CULTURE NIGHT in the GAELTACHT 2017
AN GHAELTACHT DÉ hAOINE 22 MEÁN FÓMHAIR 2017 CULTURENIGHT.IE MUIREANN NIC AMHLAOIBH AMBASADÓIR OÍCHE CHULTÚIR NA GAELTACHTA THE AMBASSADOR FOR CULTURE NIGHT IN THE GAELTACHT 2017 “MAR CHEOLTÓIR IS CUMADÓIR A MHAIREANN I GCORCA DHUIBHNE, TÁ DLÚTHCHEANGAL IDIR AN TEANGA, AN TÍDHREACHT, AGUS MO SHAOTHAR OIBRE AGUS PRIBHLÉID MHÓR DOMSA A BHEITH IM’ AM- BASADÓIR GHAELTACHTA”D’OÍCHE CHULTÚIR 2017.” Tá clú agus cáil ar Mhuireann Nic Amhlaoidh aon áit a bhfuil ceol Gaelach á sheinnt. Tógtha i nDún Chaoin, stáidsí an domhan bainte amach aici, gradaim bronnta uirthi, chomh compórdach ar scáileáin ‘s atá sí ar stáitsí, tá sí sa mbaile i gCorca Dhuibhne agus í art í dhá albam nua a sheoladh. Bí ag faire amach do Foxglove & Fuchsia sa Fómhair maraon le eisiú nua óna togra nua Aeons. “ONE OF THE EARTHIEST AND MOST DISTINCTIVE VOICES, NOT JUST IN TRADITIONAL CIRCLES, BUT ANYWHERE” Raised in Dunquin, surrounded by the tradition, singer and flute-player Muireann Nic Amhlaoidh has gone full circle, touring the world with Danú, presenting TV with long-time collaborator Julie Fowlis, receiving multiple awards, winning fans and musical collaborators along the way. Now re-immersed in the West Kerry Gaeltacht, she is on the cusp of launching two new albums –Foxglove & Fuchsia –a pared-back vocal album and a first album from Aeons. www.muireann.ie IMEACHTAÍ I DTÍR CHONAILL OÍCHE SCANNÁIN AMUIGH FAOIN AER Ionad/Venue: Ionas Oideachais Aosaigh & Oiliúna (An Sean Tec) Gort an Choirce Beidh scannáin, atá curtha le chéile ag daoine óga ón cheantair, a thaispeáint amuigh faoin aer. -
Narratives of Cosy Other in the Media Representations of Female Folk Singers
Noora Karjalainen IMAGINED, REMEMBERED, GENDERED: Narratives of cosy other in the media representations of female folk singers This article examines the ways in which contemporary folk singers Julie Fowlis (Scotland), Muireann Nic Amhlaoibh (Ireland), Emily Portman and Kate Rusby (England) are constructed in the media as what I call the ‘cosy other’. Discussed here in relation to these Western European artists, I argue that my concept of cosy otherness derives from the internal other that is both European and foreign (Bohlman 2000: 189–193; Gelbart 2007: 64; McKerrell 2016: 126; O’Flynn 2014: 238). Unlike the conventional definition of a post-colonial other and the concept of an internal other, the cosy other is not ominous, competing, or negative. Rather, it appears charming and unthreateningly different with singular cultural traits such as a performance language other than English, a discernible regional dialect, or a pronounced regionalism. The cultural baggage accumulated over time – for example the troubled history of both Ireland and Scotland with England – is wrapped up in cosiness, niceness and nostalgia. Studying this intermediate stage of otherness reveals the power structures within the popular music scene governing the female artists’ access to the field as well as their representation in the media. The material of the study comprises of articles, reviews and interviews written and published about these four singers who are all active and successful folk music artists, representing the 21st century Anglo-Celtic folk and traditional © SES & Noora Karjalainen , Etnomusikologian vuosikirja 2018, vol. 30, ss. 66–91. 66 https://doi.org/10.23985/evk.69076 IMAGINED, REMEMBERED, GENDERED music scene. -
Hanging out in Boston, Day by Day in Photographs, April 2007-April 2008
October 2008 VOL. 19 #10 $1.50 Boston’s hometown journal of Irish culture. Worldwide at bostonirish.com All contents copyright © 2008 Boston Neighborhood News, Inc. HANGING OUT IN BOSTON, Day by Day in Photographs, April 2007-April 2008 Jan. 1, 2008: More than five hundred brave souls took Boston organization, which also uses the day’s events a high of 38 before snow and rain arrived midday. part in the L Street Brownies annual plunge in Boston to raise money for local scholarships. Swimmers, who Photo copyright Bill Brett 2008. More photo- Harbor. One of Boston’s best-known rituals, the New were photographed from a Boston police boat in the graphs from his new book, “Boston: A Year in Year’s Day dip was the 104th such outing for the South harbor, caught a bit of a break: the temperature hit the Life,” Pages 16 and 17. ‘According to Tip’ is Coming Back The critically acclaimed “According to Tip,” written by Boston political com- mentator Dick Flavin, makes its return to the stage for a limited engagement at the Stuart Street Playhouse in Boston beginning Thurs., Oct. 9. Starring Tony and Emmy Award winning actor Ken Howard, at right, in the role of Tip, and directed by Rick Lombardo, “According to Tip” follows the historically unforgettable career of Cambridge’s own Thomas P. “Tip” O’Neill, whose last position in a long career in public service was as Speaker of the U.S. House of Representatives for seven of President Reagan’s eight years in office. Story, Page 14. -
Irish Music in Wellington: a Study of a Local Music Community
Irish Music in Wellington: A Study of a Local Music Community. by Donna Thurston A thesis Submitted for the Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Musicology 2010 New Zealand School of Music Wellington New Zealand ii TABLE OF CONTENTS Title Page …………………………………………………………………………...….i Table of Contents ………………………………………………………………….…ii Abstract ………………………………………………………………………………iv Acknowledgments …………………………………………………………………….v List of Figures ……………………………………………………………………….vii CHAPTER ONE: Introduction and Approaching the Craic………………..……1 Fieldwork Approaches……………………………………………………..….3 The Study…………………………………………………………………...…7 Literature…………………………………………………………………...….9 Terminology………………………………………………………………….12 Background Information………………………………………………....…..15 Irish Regional Styles…………………………………………………..……..18 Irish Music in New Zealand……………………………………………...…..20 Background of Sessions in Wellington………...………………….…20 Folk Festivals……………………………………………………...…24 The Ceol Aneas Irish Music Festival………………………….……..25 Thesis Outline………………………………………………………………..26 CHAPTER TWO: ‘Give us a Tune’: Examining the Instrumentation, Tunes and Vocal Music in the Molly’s and Kitty’s Sessions ………………………………….27 Exploring the Instruments: The Function and Authenticity of Melodic and Accompanying Timbres………….……………………………………...28 Melodic Instruments………………………………………………….29 Accompanying Instruments: Harmony………………………………31 Accompanying Instruments: Percussion …………………………….32 Case One: Molly Malone’s…………………………………………..33 Case Two: Kitty O’Shea’s……………………………………………34 -
Week of 1/28/98 DD—Wind That Shakes the Barley—Solas/Richard
Week of 1/28/98 DD—Wind that Shakes the Barley—Solas/Richard Stevens & Irish Phil. Week of 2/4/98 1. Call to Dance -Leahy 2. John Gaudi -Fairport Convention 3. Corrie Doon-Stramash 4. Rolling Hills-McCalman's 5. Croppy Boy-Liam Clancy & Irish Phil. 6. Sonny-Mary Black 7. Spanking Maggie from Ross-Street 8. Night Pat Murphy Died-Great Big Sea DD—9. Atlantic Reel-Brian McNeil DD—10. Atlanta Reel-Michael Omartin Week of 2/12/98—Celtic Love Songs for Valentine's Day 1. Take her in your in your arms-Geraldine Doyle 2. Have I told you lately that I love you-Delores Keane 3. Annie Laurie-Corries 4. Red is the Rose-Andy M. Stewart 5. Grace-Jim McCann 6. Don't Get Married Girls-Aoife Clancy 7. Peggy Gordon-Corries 8. Suil a Ruin-Connie Dover 9. Man is in Love-Waterboys 10. Nora-John Cavanagh (Green Caws) 11. I Useta Love Her-Saw Doctors Week of 2/18/98 1. Reels-Jan Journey-John Whelan 2. West Coast of Clare-Planxty 3. Landlord's Walk-Blair Douglas 4. Summer of '46-Robin Laing 5. Rising of the Moon-Clancy's & O'Connell 6. New York Girls-Steeley Span 7. Four Stone Walls-Capercaillie DD—8/9 Aililiu Na Gamhna-Iarla Lionaird/Solas 10. Craic & Porter Black-Dublin City Ramblers Week of 2/25/98 1. Indiana Drones-Davey Spillane 2. Gaelic Medley-Rankin Family 3. The Singer's House-Maura O'Connell 4. On the Mainland-Christy Moore 5. Medley-Pogues 6. -
Woman, Artist, Other. Female Folk Singers in the Media Jyväskylä: University of Jyväskylä, 2020, 100 P
JYU DISSERTATIONS 176 Noora Karjalainen Woman, Artist, Other Female Folk Singers in the Media JYU DISSERTATIONS 176 Noora Karjalainen Woman, Artist, Other Female Folk Singers in the Media Esitetään Jyväskylän yliopiston humanistis-yhteiskuntatieteellisen tiedekunnan suostumuksella julkisesti tarkastettavaksi yliopiston vanhassa juhlasalissa S212 tammikuun 23. päivänä 2020 kello 12. Academic dissertation to be publicly discussed, by permission of the Faculty of Humanities and Social Sciences of the University of Jyväskylä, in building Seminarium, auditorium S212, on January 23rd 2020 at 12 o´clock noon. JYVÄSKYLÄ 2020 Editors Helen Mäntymäki Department of Language and Communication Studies, University of Jyväskylä Päivi Vuorio Open Science Centre, University of Jyväskylä Copyright © 2020, by University of Jyväskylä Permanent link to this publication: http://urn.fi/URN:ISBN:978-951-39-8003-0 ISBN 978-951-39-8003-0 (PDF) URN:ISBN:978-951-39-8003-0 ISSN 2489-9003 ABSTRACT Karjalainen, Noora Woman, Artist, Other. Female Folk Singers in the Media Jyväskylä: University of Jyväskylä, 2020, 100 p. (JYU Dissertations ISSN 2489-9003; 176) ISBN 978-951-39-8003-0 (PDF) The aim of this dissertation is to show how the media representation of female folk singers is constructed. To find out what kinds of narratives emerge from it, it is important to understand that this media representation is based on processes of remembering and premediation. Methods of close reading and analysis were applied in examining concert and album reviews, interviews and articles written about four contemporary female folk singers: Julie Fowlis, Muireann Nic Amhlaoibh, Emily Portman and Kate Rusby. The findings show how deeply embedded in cultural memory the presentation of a female folk singer is and how extensively it is used in constructing media representation of these singers. -
Why I Sing the Songs I Sing: an Exploration Into the Creative Strands That Contribute to My Performance of Song
Why I Sing the Songs I Sing: An exploration into the creative strands that contribute to my performance of song. Karan Casey PhD Arts Practice Supervisor: Dr Sandra Joyce Professor Mick Moloney Course Director: Professor Helen Phelan Submitted to the University of Limerick September 2019 1 2 Abstract Why I Sing the Songs I Sing: An exploration into the creative strands that contribute to my performance of song. Karan Casey This thesis explores my role as a creative female voice within Irish folk and traditional music, dealing with questions relating to my creative process, the performance of social justice, orality, performativity and social activism. My two PhD performances provide the central inherent intellectual and emotional contributions to the philosophical considerations that this thesis formulates. The first chapter is a road map outlining arts practice methodological and theoretical approaches, situating the research primarily in my performances and in my auto-ethnographic writing. Also introduced are the more traditional research methods of ethnographic interviews, data from archival work, panel discussions and a questionnaire. The cultural framework and background of traditional singing was interrogated in Chapter 2 and contextualised by an overview of the literature on Irish traditional and folk song. I specifically explored the origins of political folk song as it forms a central part of my repertoire. I utilized my performances to explore further how performativity, orality, arrangement and the reworking of the songs is deeply embedded in my creative process. Chapters 3 and 4 involve an intensive interrogation of my two performances. Chapter 3 focusses on my first performance of traditional, folk and self-composed songs. -
U1 Journal 1-11.Indd
Art.Nr.: 1076 ... TradFesten und anderen Musikreisen mit dem EBZ Irland. I „Froh, dass wir II Die erste dabei waren“ „besondere EBZ-/ Clannad beim Temple Bar TradFest Gaeltacht-Reise“ Der lang und heiβ erwartete Wiederauftritt des Jahres 2011 von Clannad in Dublins Christ Church am 27. Januar bewies einmal mehr, wie bahnbre- zum Temple Bar chend die Arrangements und wie groβartig das harmonische Zusammenspiel der Band TradFest sind. Es war ihr erster Auftritt mit dem vollen Programm in 20 Jahren, mit Paul Brennan an (26.1. - 30.1.2011) Keyboard, Querflöte und Gitarre. sonderen Erlebnis. Hin und wieder rissen die Synthesizer die Musik in die Achtziger zurück, Clannad Die Anspannung war spürbar, als Moya als Überzogenes, Aufgemotztes echt cool war, Brennan mit dem wunderbar leichten Thíos aber das waren nur kurzzeitige Verirrungen. Was ist Glück? Cois Na Trá begann, Ciaran Brennan unter- Oberflächlich betrachtet kann man wohl be- stützte sie dabei am Kontrabass. Ein nahtloser Der Einzug des Chores Anúna durch das reits von Glück sprechen, wenn man eine Übergang zu dTigeas A Damsha gab der Band Mittelschiff dieses groβartigen Kirchenraums Flugreise nach Dublin unternimmt und al- schon zu Anfang die Gelegenheit, ihr harmo- war ein weiterer Höhepunkt. Michael les funktioniert reibungslos: Zum Beispiel kei- nisches Zusammenspiel zu demonstrieren McGlynns chorische Arrangements boten ne Flugstornierungen bei Aer Lingus in letz- – und das machten sie mit Bravour, Pol und Dúlamán den perfekten Hintergrund; als wei- ter Minute, weil man es dort tagelang nicht Moyas Stimmen dabei in einer traumwandle- terer Gast interpretierte Brian Kennedy mit schafft, sich mit seinen Mitarbeitern auf ver- rischen Innigkeit, wie sie wahrscheinlich nur seiner warmen vollen Stimme sehr bewegend nünftige Arbeitsbedingungen zu einigen.