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Institutional and Social Teaching, Learning and Performing of Irish Traditional Music in Ennis, County Clare 1961-1980 Geraldine Cotter Submitted to the University of Limerick in fulfilment of the requirements for the degree of Doctor of Philosophy July 2013 Supervisor: Dr. Aileen Dillane Copyright © by Geraldine Cotter All Rights Reserved i ii This work is dedicated to my parents Eddie and Dympna Cotter, my husband John, and three children Meadhbh, Cillian and Oisín. Le grá mór. iii iv TABLE OF CONTENTS DECLARATION……………………………………………………………………vi ABSTRACT …………………………………………..............................................vii ACKNOWLEDGMENTS………………………………………………………....viii LIST OF FIGURES…………………………………………………………………………….x LIST OF APPENDICES……………………………………………………………………..xiv Chapters 1. Introduction…………………………………………….....1 2. Identifying the Matrix: Ennis in the 1950s………………37 3. The Institutionalisation of the Transmission of Irish Traditional Music in Ennis …..........................................86 4. Practice as Learning…………………………………….143 5. Knowing and Practice…………………………………..210 6. Practice as Meaning…………………………………….247 Bibliography……………………………………………318 Appendices A to H……………………………………...340 v DECLARATION I hereby declare that this thesis has been composed by me, that it is my own work and that it has not been submitted by me for any other degree or professional qualification. _________________________________ ________________ Geraldine Cotter Date vi Title: Institutional and Social Teaching, Learning and Performing of Irish Traditional Music in Ennis, County Clare 1961-1980 Author: Geraldine Cotter Supervisor: Dr. Aileen Dillane ABSTRACT Ennis, County Clare in the west of Ireland, is now considered to be one of the principal strongholds of traditional Irish music practice in the world. During the 1970s, traditional music practice became a ‘living tradition’, becoming increasingly relevant to Ennis musicians and to the life of the town in general. However, prior to 1961, music practice in the town appears to have been limited to a few musicians, many of whom had roots in rural areas. A history of unbroken effective teaching since then has contributed to this transformation. In this thesis, I address the emergence of the formalization of the transmission of traditional music through educational means i.e. the setting up of the first institutionally led class in 17/4/1961. I examine the conditions which led to it, looking at the ideological foundations which underpinned the introduction of this formal structure. I focus principally on the institutional bodies through which it occurred; namely the Clare Vocational Education Committee and Comhaltas Ceoltóirí Éireann. This class was particularly significant in that it was the first such class for the teaching of traditional Irish dance music to be recognized by the Department of Education. Since then there has been a steady increase in the number and diversity of class contexts, to meet the demands of growing student numbers and changes in society. I trace the connections between it and subsequent classes in Ennis and its hinterland. Formal classes in the 1970s were primarily concerned with teaching the fundamentals of music theory and practice. I examine the pedagogic strategies employed by the teachers. In addition, as students progressed and became more accomplished in their instruments and their interest increased, it was inevitable that opportunities to perform would follow. I examine the music teachers roles, as bridge builders between the community and the classroom; and in facilitating learning by experiencing and taking part in a living tradition within the community, looking at the ways the formal classroom based learning of a tradition became a gateway for less formal experiential learning within the community. Therefore, focussing on both the formal and informal transmission of knowledge, I examine how, why and what type of musical knowledge was formally taught, and what knowledge was taken for granted. While opportunities to participate in established community practices could be anticipated, changing economic and social conditions, the emergence of cultural tourism, together with the growing numbers of musicians in Ennis, became a stimulus for the development of new performance contexts and practices, which in turn contributed to the reshaping of the identity of Ennis, from being a place largely devoid of traditional music to becoming a place internationally known and recognised as a major hub of the tradition. vii ACKNOWLEDGEMENTS This has been a long and sometimes arduous journey, one that I am certain I could not have completed without encouragement, and the practical and moral support of many people. Firstly I wish to acknowledge the many extraordinary people who are referenced in this thesis. It was their actions that inspired this. I was privileged to have grown up in Ennis at a very special time and to have crossed paths with such exceptionally generous people; mentors, teachers, musicians, neighbours and friends. Theirs was a story that needed to be told. A special thank you to all the people I interviewed. Their insights reinforced the specialness of this time. Sadly a number have passed away since doing so; Brendan McMahon and Sonny Murray, solas na bhFlaitheas ar a n’anamnacha (the light of Heaven on their souls). I would also like to acknowledge all those who corresponded with me and who generously shared their personal memories. Thanks to Seán Reid Junior for his generosity in sharing personal files and memories of his father, and to Kerry Barrett for giving me access to his father Tom’s private papers. This work would not have come to fruition without my supervisor Dr. Aileen Dillane, who motivated me, and guided me, always making me believe that I could do it. I can never thank her enough for her support and especially for her kindness during some very challenging times. I am especially indebted to my good friend Gearóid Ó hAllmhuráin who guided me through the early stages and helped me to contextualise it. Thanks to: Helen O’Shea for her insights and enthusiasm when I undertook the topic; to Terry Moylan and Na Píopairí Uilleann for giving me access to Seán Reid’s Papers; to Jim Lyons and Gerry Lyons for giving me access to the Minutes of the Clare Vocational Education Committee meetings; to John Fitzpatrick Cork VEC; to Labhrás Ó Murchú, Comhaltas Ceoltóirí Éireann who was always at the other end of the phone when I needed to clarify anything; to Pat Liddy, Micheál Ó Riabhaigh and Frank Whelan, Cois na hAbhna and members of Comhaltas Ceoltóirí Éireann in County Clare for their support; to the staff of Clare County Library especially Library Headquarters and the Manse, and University of Limerick library; Áine Hensey and Oidhreacht an Chláir; and Scoil Samhradh Willie Clancy. People who proofread- my daughter Méadhbh Boyd, Orfhlaith Ní Bhriain and Máire Neville, I am very appreciative that they made time to do this tedious work. I am very grateful to Jack Talty and Áine Bird for all their assistance, especially technical help putting it together at the end; and to my son Cillian Boyd for compiling the maps. viii I would also like to thank and acknowledge Professor Micheál Ó Súilleabháin, my initial supervisor, who encouraged me to do this. Thanks also to Niall Keegan, for his contribution to the early stages of my research. Thank you also to the other staff members of the Irish World Academy of Music and Dance. I am especially grateful to Professor Jane Edwards for her encouragement and assistance. To my good friends, Eileen O’Brien, Maeve Donnelly, Máire Ní Ghráda, Ann Quinlivan, Ailís Aylward, Francis Shanahan, who shared many cups of coffee with me, prayed, were always at the other end of a phone when I needed encouragement, and never lost faith in me. Thanks also to my fellow researchers through the years, who encouraged me to keep going- Gabriella Hanrahan, Méabh Ní Fhuartáin, Tim Collins, Mary Nugent, Verena Cummins, Jimmy O’Brien Moran, Matt Cranitch, Máire Breathnach, Deirdre Ni Chonaoile, Nicholas Carolan, Máire O’Keefe, Colin Quigley, Aoife Granville and Fintan Vallely. Thanks also to Beta and Peadar O’Loughlin, Berrie McMahon, Seán McKiernan, Maria Casey, Chris Hendrie, Nandy O’Sullivan, Pat Talty, Mary Behan, Deirdre O’Brien Vaughan, Paul Brock, Eoghan Neff, Seán Spelissy, Christopher White, PJ Kelly and Suzanne Kelly for their support; to the Saturday night team John Rynne, Laura Ugar, PJ King, and Annmarie McCormack; to Mary McNamara, Andrew McNamara, Charlie Harris, Liam Lewis, Kieran Hanrahan, Ceoltóirí na Mainistreach and the Shaskeen family for the many tunes that gave me relief from the work. A special thanks to all the students I taught over the years, especially the BA and MA piano and keyboard students of the Irish World Academy of Music and Dance, whom I taught from 2002-2012. I learned as much from you as you did from me. On a personal note, my legendary parents Eddie and Dympna, who in their stride entertained the many ‘strays’ that all seven of their children brought home during the fleadhs. A special thanks to Mam, my first piano teacher, who started the ball rolling on a musical pathway for all the family, and Dad who never minded taxiing us here, there and everywhere for musical events. I am sure they are both very pleased that I have finally completed this work. A huge thanks to Eamonn and Mary, Assumpta and Brian, Róisín and Vincent, Eimear and Joe, Enda and Jan, Harriet and my nieces and nephews, who have indulged my one track mind for the past number of years. I am also in no doubt that my late brother Ciarán has been watching over me and guiding me along the way. Closer to home my terrific children Meadhbh, Cillian and Oisín who kept me focussed and put up with my absences and many mood swings. What can I say about my wonderful husband John, for whom no words can adequately express thanks; for accessing numerous resources, including many rare books, for his unwavering support and patience in holding the fort through it all.

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