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Gaelic Scotland – a Postcolonial Site? in Search of a Meaningful Theoretical Framework to Assess the Dynamics of Contemporary Scottish Gaelic Verse
eSharp Issue 6:1 Identity and Marginality Gaelic Scotland – A Postcolonial Site? In Search of a Meaningful Theoretical Framework to Assess the Dynamics of Contemporary Scottish Gaelic Verse Corinna Krause (University of Edinburgh) The late eighteenth and early nineteenth centuries saw what is known today as the Highland Clearances, which was in effect the forced migration of a large proportion of the population of the Scottish Highlands due to intensified sheep farming in the name of a more effective economic land use (Devine, 1999, pp.176-78). For the Gaelic speech community this meant ‘the removal of its heartland’ (MacKinnon, 1974, p.47). MacKinnon argues that ‘effectively this was to reorientate the linguistic geography of Scotland in reducing the Gaelic areas to the very fringes of northern and western coastal areas and to the Hebrides’ (1974, p.47). Yet, it was not economic exploitation alone which influenced the existence of the Gaelic population in a most profound way. There was also an active interference with language use through the eradication of Gaelic from the sphere of education as manifested in a series of Education Acts from 1872 onwards. Such education policy ensured the integration of the Gaelic speech community into English-language Britain (MacKinnon, 1974, pp.54-74). Gaelic Scotland therefore had its share of experiencing what in postcolonial literary studies is identified as the ‘two indivisible foundations of imperial authority - knowledge and power’ (Ashcroft, Griffiths and Tiffin, 1995, p.1; referring to Said, -
Gaelic Barbarity and Scottish Identity in the Later Middle Ages
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Enlighten MacGregor, Martin (2009) Gaelic barbarity and Scottish identity in the later Middle Ages. In: Broun, Dauvit and MacGregor, Martin(eds.) Mìorun mòr nan Gall, 'The great ill-will of the Lowlander'? Lowland perceptions of the Highlands, medieval and modern. Centre for Scottish and Celtic Studies, University of Glasgow, Glasgow, pp. 7-48. ISBN 978085261820X Copyright © 2009 University of Glasgow A copy can be downloaded for personal non-commercial research or study, without prior permission or charge Content must not be changed in any way or reproduced in any format or medium without the formal permission of the copyright holder(s) When referring to this work, full bibliographic details must be given http://eprints.gla.ac.uk/91508/ Deposited on: 24 February 2014 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk 1 Gaelic Barbarity and Scottish Identity in the Later Middle Ages MARTIN MACGREGOR One point of reasonably clear consensus among Scottish historians during the twentieth century was that a ‘Highland/Lowland divide’ came into being in the second half of the fourteenth century. The terminus post quem and lynchpin of their evidence was the following passage from the beginning of Book II chapter 9 in John of Fordun’s Chronica Gentis Scotorum, which they dated variously from the 1360s to the 1390s:1 The character of the Scots however varies according to the difference in language. For they have two languages, namely the Scottish language (lingua Scotica) and the Teutonic language (lingua Theutonica). -
Gaelic Scotland in the Colonial Imagination
Gaelic Scotland in the Colonial Imagination Gaelic Scotland in the Colonial Imagination Anglophone Writing from 1600 to 1900 Silke Stroh northwestern university press evanston, illinois Northwestern University Press www .nupress.northwestern .edu Copyright © 2017 by Northwestern University Press. Published 2017. All rights reserved. Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 Library of Congress Cataloging-in-Publication data are available from the Library of Congress. Except where otherwise noted, this book is licensed under a Creative Commons At- tribution-NonCommercial-NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/4.0/. In all cases attribution should include the following information: Stroh, Silke. Gaelic Scotland in the Colonial Imagination: Anglophone Writing from 1600 to 1900. Evanston, Ill.: Northwestern University Press, 2017. For permissions beyond the scope of this license, visit www.nupress.northwestern.edu An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high-quality books open access for the public good. More information about the initiative and links to the open-access version can be found at www.knowledgeunlatched.org Contents Acknowledgments vii Introduction 3 Chapter 1 The Modern Nation- State and Its Others: Civilizing Missions at Home and Abroad, ca. 1600 to 1800 33 Chapter 2 Anglophone Literature of Civilization and the Hybridized Gaelic Subject: Martin Martin’s Travel Writings 77 Chapter 3 The Reemergence of the Primitive Other? Noble Savagery and the Romantic Age 113 Chapter 4 From Flirtations with Romantic Otherness to a More Integrated National Synthesis: “Gentleman Savages” in Walter Scott’s Novel Waverley 141 Chapter 5 Of Celts and Teutons: Racial Biology and Anti- Gaelic Discourse, ca. -
The Royal National Mòd 2019 Media Evaluation Report
The Royal National Mòd 2019 Media Evaluation Report researched by T +44(0)131 718 6600 E [email protected] W www.pressdata.co.uk A 9-10 St Andrew Square, Edinburgh, EH2 2 AF Royal National Mòd 2019 Overview Table of contents Page 3: Executive Summary/media type Page 4: Tonality Page 5: Breakdown of coverage Page 6: Share of voice Page 7: Spokespeople Page 8: Coverage by day Page 9: Coverage by source Page 13: Appendix I: Online Page 15: Appendix II: Press Page 22: Appendix III: Broadcast Page 23: Appendix IV: Social media Page 24: Methodology Royal National Mòd 2019 Executive Summary Coverage by media source Overall there were 248 pieces of coverage identified for Royal Items OTS Article Rating Mòd 2019; 184 press items, 41 online items, 12 broadcasts and 11 social media items. National Quality 24 2,166,648 57.7 National Mid-Market 8 515,944 61.9 The chart below shows the breakdown of coverage by media National Popular 4 1,249,000 50.0 type, according to the number of items. Regional Daily 29 3,314,363 60.7 Weekly Paid 110 2,193,116 61.4 Weekly paid press items were the most prominent source in Weekly Free 1 42,181 60.0 terms of reporting (44.0%), whilst online sources generated Trade Press 2 15,000 65.0 the most Opportunities to See (OTS or reach ) at (92.5%) mainly Consumer Press 5 230,030 57.0 as a result of online coverage predominantly featuring on high Regional Television 2 887,277 60.0 reach sources including uk.yahoo.com, bt.com. -
College of Piping and Drumming Bass & Tenor Drum Booklet 1
Royal New Zealand Pipe Bands’ Association EDUCATION GROUP College of Piping and Drumming Bass & Tenor Drum Curriculum and Guidelines December 1999 Booklet 1 Intermediate & Advanced INTERMEDIATE CERTIFICATE BASS AND TENOR DRUMMING SYLLABUS SECTION ONE -THEORYAND KNOWLEDGE (a) Requirements for Preliminary and Elementary Theory. (b) Understand the use of (i) accent and (ii) rhythm. (c) Understand (i) tempo and (ii) time. (d) Recognise time signatures of tunes played by the examiner which may include;2 4 (e) march, 2 4 hornpipe, 4 4 march, 4 4 strathspey, 3 4 march, 2 2 reel, 6 8 march, 6 8 jig. (e) Identify written up beats and down beats. (f) Present three tunes (of four parts each) written correctly by the candidate, in 2/4 march 4/4 strathspey 2/2 reel time signatures respectively, which incorporate the embellishments and groups of the Preliminary, Elementary and Intermediate Certificates. In addition present a 6 8, 9 8, or 12 8 march (also of four parts, and also written out by the candidate). SECTION TWO -PRACTICAL (a) Correctly play exercises on a hard surface. The candidate will be asked to perform one of the two intermediate exercise sheets chosen by the examiner from Bass & Tenor Drumming Booklet 3 (Intermediate Certificate). (b) Demonstrate how to tune a bass drum. (c) Play by memory the 68' 98, or 128 march, and the march strathspey and reel presented above (on the drum). OPTIONAL SECTION THREE -FLOURISHING (a) Swing notation to be understood and performed: - alternate figure 3 - forward cartwheel - forward cartwheel with flicks - figure of 8 - double forte variation (b) Correctly play exercises on a hard surface. -
THE ORIGINS of the “Mccrackens”
THE ORIGINS OF THE “McCrackens” By Philip D. Smith, Jr. PhD, FSTS, GTS, FSA Scot “B’e a’Ghaidhlig an canan na h’Albanaich” – “Gaelic was the language of the Scottish people.” The McCrackens are originally Scottish and speakers of the Scottish Gaelic language, a cousin to Irish Gaelic. While today, Gaelic is only spoken by a few thousands, it was the language of most of the people of the north and west of Scotland until after 1900. The McCracken history comes from a long tradition passed from generation to generation by the “seannachies”, the oral historians, of the Gaelic speaking peoples. According to tradition, the family is named for Nachten, Lord of Moray, a district in the northeast of Scotland. Nachten supposedly lived in the 9th century. In the course of time a number of his descendants moved southwest across Scotland and settled in Argyll. The family multiplied and prospered. The Gaelic word for “son” is “mac” and that for “children” is “clann” The descendants of Nachten were called by their neighbors, the Campbells, MacDougalls, and others the “Children of the Son of Nachten”, in Gaelic “Cloinne MacNachtain”, “Clan MacNachtan”. Spelling was not regularized in either Scotland or America until well after 1800. Two spellings alternate for the guttural /k/-like sound common in many Gaelic words, -ch and –gh. /ch/ is the most common Scottish spelling but the sound may be spelled –gh. The Scottish word for “lake” is “loch” while in Northern England and Ireland the same word is spelled “lough”. “MacLachlan” and “Mac Loughlin” are the same name as are “Docherty” and “Dougherty”. -
Gaelic Language Plans Audit - September 2020 Renewed Plans from 2018 Onwards
Gaelic Language Plans Audit - September 2020 renewed plans from 2018 onwards Contents 01 - City of Edinburgh Council Plan 2018-22 08 - North Ayrshire Council 2019-2024 02 - Cairngorms National Park Authority Plan 2018-2022 09 - Perth and Kinross Council 2018-2022 03 - Creative Scotland 2019-2022 10 - Scottish Parliament 2018-2023 04 - Glasgow City Council 2018-2022 11 - The Highland Council 2018-2023 05 - Historic Environment Scotland 2018-2023 12 - University of Aberdeen 2019-2024 06 - National Galleries Scotland 2018-2023 13 - University of Glasgow 2018-2021 07 - National Libraries of Scotland 2019-2024 14 - University of Highlands & Islands 2018-2023 City of Edinburgh Council Plan 2018-22 Strategic Priority 1 Sustainable: Gaelic is visible, encouraged and has a sustainable future within the City of Edinburgh Lead Service area and key Actions By when partners Economy, Culture Work with Scottish Government and its agencies to support their promotion of Gaelic within entrepreneurship, Economic Develpment, Culture, Bòrd 2022 and Communities and the creative, cultural and heritageindustry in Edinburgh. na Gàidhlig, VisitScotland and HIE Strategic Priority 3 Encouraged: The city’s Gaelic culture and arts are nurtured and preserved sociall and economically Lead Service area and key Actions By when partners Culture and Ensure Gaelic communities have the opportunity to access the culture website. Culture Ongoing communities Support the Gaelic community to promote access to Gaelic Cultural material for example Film locations, Arts Culture/Marketing Edinburgh Ongoing and Historical sites (eg. Makar’s Court) and continue to support local artists’ networks and arts development. Further develop partnerships with national bodies (for example EventScotland) to promote the city’s Gaelic Culture and External Relations Ongoing culture and history both nationally and internationally. -
Bass Tenor Chapter 3
A-CR-CCP-914/PW-001 Canadian Cadet Organizations Pipe Band – Bass Drum and Tenor Drum Reference Manual Chapter 3 Bass Drum and Tenor Drum – Level Three Chapter 3 – Table of Contents Tempo Page (BPM) Section 1 Technique Exercises Flourishing Symbol Chart N/A 3-1-1 Butterfly Flourish 72 3-1-2 Crossover Flourishes 72 3-1-3 Stall Flourishes 72 3-1-4 Flourish Combinations 72 3-1-5 Cut Off Placements N/A 3-1-6 Section 2 Repertoire 2/4 Quick March Bass Drum Beating 96 3-2-1 2/4 Quick March Flourishing Routine 96 3-2-2 3/4 Retreat March Bass Drum Beating 96 3-2-4 3/4 Retreat March Flourishing Routine 96 3-2-5 4/4 Quick March Bass Drum Beating 96 3-2-6 4/4 Quick March Flourishing Routine 96 3-2-7 6/8 Quick March Bass Drum Beating 96 3-2-8 6/8 Quick March Flourishing Routine 96 3-2-9 9/8 Retreat March Bass Drum Beating 96 3-2-11 9/8 Retreat Flourishing Routine 96 3-2-12 6/8 Slow March Bass Drum Beating 60 3-2-13 6/8 Slow March Flourish Routine 60 3-2-14 Advance and General Salute Bass Drum Beatings 96 3-2-15 Advance and General Salute Flourishing Routine 96 3-2-16 Vice-Regal Salute Bass Drum Beating 60 3-2-17 Vice-Regal Salute Flourishing Routine 60 3-2-18 Jig Bass Drum Beating 120 3-2-19 Jig Flourishing Routine 120 3-2-20 Reel Bass Drum Beating 120 3-2-21 Reel Flourishing Routine 120 3-2-22 Strathspey Bass Drum Beating 132 3-2-23 Strathspey Flourishing Routine 132 3-2-24 3- 1 A-CR-CCP-911/PW-003 Technique Exercises Tenor Drum Symbol Chart Level 3 Flourish / Technique Symbol Butterfly Flourish Crossover Flourish Reverse Crossover Flourish Front Stall Flourish Reverse Stall Flourish Crossed Arm Stall Flourish 3-1 -1 Butterfly Flourish 1 2 3 4 3-1-2 Crossover Flourishes 5 6 7 8 3-1-3 Stall Flourishes 9 10 11 12 Crossed Arm Stall Flourishes are generally used to indicate the start and end of a tune. -
Scottish Gaelic
1 Scottish Gaelic Claire Nance Lancaster University [email protected] Roibeard Ó Maolalaigh University of Glasgow [email protected] 2 Scottish Gaelic Introduction Scottish Gaelic is a minority language of Scotland spoken by approximately 58,000 people, or 1% of the Scottish population (Census 2011). Here, we refer to the language as ‘Gaelic’, pronounced in British English as /ɡalɪk/, as is customary within the Gaelic-speaking community. In Gaelic, the language is referred to as Gàidhlig /kaːlɪc/. Gaelic is a Celtic language, closely related to Irish (MacAulay 1992, Ní Chasaide 1999, Gillies 2009). Although Gaelic was widely spoken across much of Scotland in medieval times (Withers 1984, Clancy 2009), the language has recently declined in traditional areas such as the western seaboard and western islands of Scotland and is now considered ‘definitely endangered’ by UNESCO classification (Moseley 2010). Analysis of the location of Gaelic speakers in Scotland and maps from the most recent Census in 2011 can be found in National Records of Scotland (2015). Figure 1 shows the location of Gaelic speakers in Scotland as a percentage of the inhabitants aged over three in each Civil Parish who reported being able to speak Gaelic in the 2011 Census. <INSERT FIGURE 1 ABOUT HERE> A dialect of Gaelic in East Sutherland was once described as a prototypical case of language obsolescence (Dorian 1981) but the language is now undergoing significant revitalisation measures (e.g. McLeod 2006). These include the introduction of nursery, primary and secondary immersion schooling in Gaelic, as well as adult learning classes, more university degree courses, and many other public and private initiatives. -
Scottish Gaelic Style Guide
Scottish Gaelic Style Guide Contents What's New? .................................................................................................................................... 4 New Topics ................................................................................................................................... 4 Updated Topics ............................................................................................................................ 4 Introduction ...................................................................................................................................... 5 About This Style Guide ................................................................................................................ 5 Scope of This Document .............................................................................................................. 5 Style Guide Conventions .............................................................................................................. 5 Sample Text ................................................................................................................................. 6 Recommended Reference Material ............................................................................................. 7 Normative References .............................................................................................................. 7 Informative References ............................................................................................................ -
Identity in Gaelic Drama 1900-1949 Susan Ross University of Glasgow
Identity in Gaelic Drama 1900-1949 Susan Ross University of Glasgow Michelle Macleod and Moray Watson have described drama and prose fiction as being ‘in the shadow of the bard’ in terms of their place in the canon of Gaelic literature. (2007) Analysis and review of the extant drama materials show, however, that the Gaelic playwright Tormod Calum Dòmhnallach (Norman Malcolm MacDonald), 1 was right in saying in 1986 that ‘Gaelic theatre […] has been in existence for longer than many of us suspect’. (MacDonald 1986: 147) It is believed that the first Gaelic play (fully in Gaelic, rather than bilingual English with Gaelic) was performed by the Edinburgh University Celtic Society in 1902 although it is no longer known which play or sketch was performed. (Macleod and Watson 2007: 280) In the first decade of the twentieth century, Còisir Chiùil Lunnainn (London Musical Choir) also performed plays at their annual concert in London.2 This article looks at the first half of the twentieth century, when stage drama in Gaelic was being created, to investigate how Gaelic playwrights represented Scottish Gaels and their culture in this new art form. In terms of their artistic merit, Gaelic plays between 1900 and the Second World War are not generally held in high esteem, having previously been described as ‘outstanding neither as to quantity or quality’. (MacLeod 1969: 146) Despite this, there is value in what they reveal about identity and attitudes of the writers, many of whom were prominent figures in the Gaelic movement. An overview of some of the principal themes and tropes of the drama of this period will be presented, considering in particular how the writers negotiate what it meant to be a Gael in the early twentieth century. -
Issue 333 Fall 2004
B.C. PIPERS’ ASSOCIATION NewsletterNewsletter Simon Fraser University Pipe Band 2004 World Drum Corps Champions FALL 2004 ISSUE NO. 333 BC Pipers’ Association Newsletter • Fall 2004 1 B.C. PIPERS’ ASSOCIATION B.C. Pipers’ Association Newsletter FALL 2004 Newsletter ISSUE NO. 333 Robert MacNeil Editor • Bonnie Ridout Design Editor • An Affiliated Association of the Jan Mattock Royal Scottish Pipe Band Association Contributing Editor and Member of the • Alliance of North American Pipe Band Associations Sharon Hampson Advertising • FALL 2004 Melissa Maxwell Cover Design • FEATURES Bob Dunsire World Pipe Band Championships Results ....................................................................... 4 Webmaster BCPA Developmental Grants .......................................................................................... 7 • BCPA 2004 Grand Aggregate Standings ....................................................................... 10 Summer Journal - Piping Hot Summer Drummer ........................................................ .13 International Solo Results ............................................................................................. 15 Newsletter Distribution Promotions List ............................................................................................................. 16 Bill and Sharyn Elder Keith Highlanders Trip to Scotland ............................................................................... 18 • CD Review - 90 Years on the Beat - Vancouver Police Pipe Band .............................