The Highland Village Gaelic Folklife Magazine

HIGHLANDVILLAGE.CA VOLUME 17 • NUMBER ONE

A' Comharrachadh 60 Bliadhna Celebrating 60 Years

Mar is Léir Dhomh Fhìn | As I See It Soraidh Slàn le Deagh Chàirdean Dèante le Làimh | Handmade Gaelic, Social Learning and the World Farewell to Good Friends Weaving in Gaelic Nova Scotia: Tartan or Overshot? 2019 Scholarship Winner Are you looking for your Cape Breton ancestors?

Sinnsearachd Stòras na h-Òigridh | Treasures of Youth Scholarship Fund provides financial support and assistance to up-and-coming Nova Scotia youth between the ages Có ris a tha do dhàimh? of five and twenty-one, who are keen to advance Who are your relatives? their skills in the Gaelic tradition including: fiddle, Fiddler Kaj Ubdy, of Christmas pipes, piano/guitar accompaniment, language, Island was awarded a $1,000 Roots Cape Breton is a research service storytelling, song, and dance. scholarship. for those in search of their connection Kaj has proven a commitment to Cape Breton. With our knowledge The Fund welcomes donations. A downloadable to the rich Scottish Gaelic tra- of sources and local history plus our brochure with details and a pledge form is available ditions of Cape Breton. research library, we have information on our website. Donations may also be made on to cover most of the Island. Fill in line through Canada Helps. your details on our research form, click submit and we will reply with our estimate. www.treasuresofyouth.ca

Visit us at: Like us on Facebook Treasures of Youth Fund www.rootscapebreton.com

Or e-mail your requests to: [email protected]

Commun Baile Ghàidheal na h-Albann Nuaidh | Nova Scotia Highland Village Society

Board of Trustees (as of June 2019) — Gordon Campbell, Blacksmith; Aileen MacLean, Animator; Basil MacLean, Southside Whycocomagh/Stellarton; Dan Chiasson, Baddeck Animator/Farmer; Jessica MacLean, Student Animator; Paul (Vice President); John Hugh Edwards, Ross Ferry; Madeline MacLean, Carpenter; Pauline MacLean, Manager of Collections/ Harvey, Estmere; Betty Lord, Howie Centre (Treasurer); Genealogist; Stacey MacLean, Ban-chleasaiche; Logan Quentin MacDonald, Washabuck (Secretary); Jodi MacDonnell- MacLellan, Student Animator; Katherine MacLeod, Manager Scott, Coxheath; Vince MacLean, Northside East Bay; Donnie of Interpretation; Shay MacMullin, Coordinator of Cultural MacNeil, Beaver Cove; Wilf MacNeil, Johnstown; MA (Murdock) Experiences; Alyssa MacNeil, Visitor Centre Clerk/Animator; MacPherson, Creignish (President); Melissa Nicholson, Anne MacNeil, Visitor Centre Clerk/Animator; Beth MacNeil, Baddeck; Meaghan O’Handley, Grand Narrows; and Michelle Animator; Cody MacNeil, Student Animator; Jamie Anne Smith, Skye Glen. MacNeil, Student Animator; Janet MacNeil, Administrative Assistant; Kaye Anne MacNeil, Animator; Laura MacNeil, Staff (2019 Season)— Colleen Beaton, Animator; Kalen Animator; Sandy MacNeil, Farm Hand; Tim MacNeil, Manager Bonaparte, Student Animator; Amber Buchanan, Ban- of Operations; Vicki Quimby, Animator/Textile Consultant; chleasaiche; Grace Campbell, Student Animator; Pauline Lauren Readman, Animator; Colin Watson, Cleasaiche; Lili Campbell, Animator; Rodney Chaisson, Director; Zoie Watson, Student Animator; Phillip Whyte, Student Animator; Chaisson, Student Animator; Marie Chehy, Animator; Emily and Phyllis Williams, Animator. Clegg, Coordinator of Agricultural Renewal & Costumes; Patricia Gaudley, Custodian; Catherine Gillis, Animator; Contractors (2019) - Linda Crockett (Fundraising Advisor); and Brendan Higgins, Labourer; Jamie Kennedy, Blacksmith; Max MacDonald (Marketing Coordination) Hannah Krebs, Ban-chleasaiche; Cecelia Laing, Animator; Emily MacDonald, Animator; Emily MacDonald, Ban-chleasaiche; Volunteer Programmers (2019) - Quentin MacDonald, HV Day Sadie MacDonald, Visitor Services Coordinator; Ed MacDonell, Producer. Cleasaiche; David MacKenzie, Groundskeeper; Hoss MacKenzie,

2 Vol 17 No.1 an rubha Clàr-Innse | Inside This Issue ©2020. All content is copyright of the Nova Facal bhon Neach-stiùiridh | From the Director’s Desk 4 Scotia Highland Village Society, unless A' Comharrachadh 60 Bliadhna | Celebrating 60 Years otherwise noted. 6 An Rubha (The Point) is published in Iona, Mar is Léir Dhomh Fhìn | As I See It Nova Scotia, Canada by Commun Baile Gaelic, Social Learning and the World Ghàidheal na h-Albann Nuaidh | Nova Scotia Highland Village Society. Comments, 7 suggestions and contributions are Naidheachd a’ Bhaile | The Village News welcome. O 'n Uair Sin | Then till Now

Contact: Sgeul ri Aithris | The Story Telling Tradition 8 4119 Rathad 223 | 4119 Highway 223 Gun Dòchas Oidhche | Without a Night's Wish Sanndraigh | Iona Alba Nuadh | Nova Scotia Guthan | Phone: 902-725-2272 Naomh Eòs is Deagh Bhiadh | 9 Toll Free: 1-866-4GAELIC | 1-866-442-3542 St. Joseph’s Blessing & Good Food Facs | Fax: 902-725-2227 Currac a' Rìgh | The King's Hood [email protected] www.highlandvillage.ca 10 Facebook: Highland Village Museum ‘Mac-Talla’ Twitter: @highlandv An Similear | The Chimney Instagram: highland_village YouTube: Highland Village Museum Soraidh Slàn le Deagh Chàirdean | 12 Editorial Committee: Farewell to Good Friends Amber Buchanan, Rodney Chaisson, Hannah Krebs, Pauline MacLean, Stacey Ag éirigh air Òrain | An Rubha Song Selection 14 MacLean, Katherine MacLeod, and Shay Nighean Donn Bhòidheach | Beautiful Brown-haired Maiden MacMullin. 15 Contributors: 'San Taigh-Chéilidh | In the Céilidh House Rodney Chaisson, Hannah Krebs, Emily Nighean Bhàn Ghrùlainn | The Fair-haired Maiden of Grùlainn MacDonald, Ryan MacDonald, Susan MacFarlane, Lorrie MacKinnon, Stacey Seinn fo Sgàil nan Geugan Uaine | 16 MacLean, Katherine MacLeod, Shay MacMullin, Beth MacNeil, Hannah Songs from the Greenwood MacNeil, Hector MacNeil, Janet MacNeil, An Tulach Bhòidheach | The Pretty Hillock Vicki Quimby and John Shaw. An Gàidheal Portmhor | Scotch Music 17 Layout: Òran Mhic an Tòisich | Ode to Whiskey, John of Badenyon Sam Stein

Printing: Dèante le Làimh | Handmade 18 City Printers Weaving in Gaelic Nova Scotia: Tartan or Overshot?

Concept: 20 Seumas Watson Ás an Tasg-lann | From the Archives Tha Mise fo Mhulad air Tulaich gun Uaill | Front Cover: I am Depressed on a Hill without Pride Hughie B. MacNeil and John Malcolm MacNeil peel logs for the first Highland 22 Village Museum building in 1962. Abbass Léirmheas | A Book Review photo from the Highland Village Collection. Play It Like You Sing It: The Shears Collection of Bagpipe Culture and Dance Music from Nova Scotia ISSN# 1914-6043 Comunn Ar Rùin | Our People 23 Mailed under Canada Post Canadian Publication Mail Product Sales Agreement. Acknowledgements & Accolades #41257540

an rubha Vol 17 No.1 3 Facal bhon Neach-stiùiridh | From the Director’s Desk A' Comharrachadh 60 Bliadhna | Celebrating 60 Years

ix decades ago, this past November, impressed the committee. the efforts of volunteers, a log building Sthe Nova Scotia Highland Village By March 1956, the nsass site selec- (the first museum) and outdoor stage Society was born. An incorporation char- tion committee had narrowed the options were constructed. Artifacts were acquired ter, signed by Hugh F. MacKenzie, Earl down to a site in Pictou County or a site on for display in the new log museum. The MacInnis, William McCormack, Rev. A.D. Cape Breton Island. After lengthy discus- first annual Highland Village Day concert MacKinnon, Major C.I.N. MacLeod, Rev. sions, a tie vote, and continued debate, the was held to raise money for the construc- A.A. Ross, and Stephen MacKinnon, was following motion was passed: "...that the tion and operation of the Village. The fol- approved and stamped by the Registrar of first Highland Village be on Cape Breton lowing year Stephen Rory MacNeil was Joint Stock Companies, officially incorpo- Island, and a second Highland Village be in hired as the first curator to look after the rating the Society under the Societies Act Pictou County." It was reported that at the collection and encourage more donations. of the Province of Nova Scotia. This was meeting a cheque from millionaire Cyrus By the late 1960s, the Highland Village as a significant milestone in the history of Eaton for building the Highland Village we know it today began to take shape. Baile nan Gàidheal | Highland Village, as was torn in half after the announcement During the decades that followed, the it provided the structure from which the that Cape Breton was chosen over Pictou unwavering commitment and pure tenac- Highland Village would be established, County. ity of the Society's board, volunteers and developed, and grown. With the decision made that the supporters ensured that the Highland The concept of a Highland Village in Highland Village would be located in the Village dream became reality. Funding was Nova Scotia dates back to 1938. Then Nova centre of Cape Breton Island, the Grand accessed for both operations and projects. Scotia Premier Angus L. MacDonald vis- Narrows & District Board of Trade and The first operational grant was received ited the United Empire Exhibition in from Victoria County in 1971. Period Glasgow, Scotland where he saw an buildings were added to the site, some exhibit called "The Clachan," which was of which were relocated from other a replica of a "typical" Highland village communities on the Island. Artifacts that showed "the buildings and condi- were gathered from all over eastern tions of life during the 18th and early Nova Scotia. As the period museum 19th centuries" in Scotland. The Premier took shape, costumed interpreters and his delegation were inspired to see were hired to share the history of the the development of a similar attraction Gaels with visitors. here in Nova Scotia, to promote and In addition to physical buildings and preserve the province's Scottish Gaelic artifacts, the Society also focused on heritage. the intangible aspects of the Gaelic With the onset of World War II, the story, in particular, language, culture concept of a Highland Village here in and kinship. A Highland Village Pipe Nova Scotia was shelved. In the early Band toured communities all over 1950s, representatives of the Nova Nova Scotia. A Gaelic language pro- Scotia Association of Scottish Societies gram was developed, providing train- (NSASS) met with Premier MacDonald ing for staff. Cultural programming to discuss a number of initiatives was offered. Highland Roots (now related Scottish heritage, including the Roots Cape Breton) family history cen- Highland Village proposal. Unfortunately, Hon. Rodney MacDonald, Minister of Tourism and tre was introduced to help those doing Culture (left) and Bruce MacNeil, Highland Village Society MacDonald passed away a few months President (centre) sign the proclamation to officially rec- genealogical research. A Gaelic pre-school after the meeting, and as a result the pro- ognize the Highland Village as a part of the Nova Scotia program was also offered at the museum ject lost a key supporter. Undeterred, the Museum on June 17, 2000. The event was emceed by Jim for several years. By the late 1980s, the St. Clair (right). Association decided to champion the pro- Highland Village site and programming ject, and established a site selection com- were well established. mittee in 1955 to oversee a province-wide the Iona community quickly got to work The 1990s saw a focus on renewal, competition to select a host community to make the Highland Village a reality. including physical improvements to for the museum. They identified the location for the the site, targeted marketing, increased The Grand Narrows & District Board of museum at Hector's Point in Iona, an old museum standards, and lobbying efforts Trade responded with a proposal for the farm site that became abandoned in 1937 to have the Highland Village become a pro- Highland Village to be located in Iona. when its former owner Stephen Urban vincial museum. While much was achieved Their pitch was that the area was 99% MacNeil passed away. With the coopera- during this period, declining operational of Highland descent; land was availa- tion of Stephen Urban's heirs, the land was budgets and increased operational costs ble with "Highland ambiance" and great transferred to the nsass which held on to made it a difficult decade for the Village's views of the Bras d'Or Lake; and Gaelic lan- the property until after the incorporation board and staff. This hard work paid off, guage and other customs were all prac- of the Nova Scotia Highland Village Society though, after a popular Cape Breton fid- tised and very much alive in the area. The in 1959. dler, who sat on the black house roof for presentation to the site selection com- Now that the project had land, legal the "Funky Museum Roadshow", became mittee was made entirely in the Gaelic structure and supportive people, it Minister of Tourism and Culture for language by Hugh F. MacKenzie and needed money to create and construct the Nova Scotia. That takes us to our next Rev. A.D. MacKinnon, a move which Highland Village. In 1962, primarily through milestone.

4 Vol 17 No.1 an rubha 20 Years in the Nova Scotia Museum The Next Chapter

Forty-seven years after Nova Scotia We are not done. There are many oppor- Premier Angus L. MacDonald expressed tunities ahead for Baile nan Gàidheal. Last his support for the Highland Village, fall, the Board of Trustees adopted our lat- Nova Scotia Tourism and Culture Minister est strategic plan. The plan has five main Rodney MacDonald (that popular fiddler goals: (1) strengthen and share the Gaelic Leanaibh dlùth ri cliù bhur sinnsir. from Inverness County) officially declared Nova Scotia Story through innovation and Highland Village a part of the Nova Scotia modern-day living culture; (2) develop Museum family. That milestone took place innovative human resources policies and Commun Baile Ghàidheal na h-Albann 20 years ago on June 15, 2000. practices that will assist with recruiting Nuaidh | The Nova Scotia Highland Becoming a part of the Nova Scotia and retaining team members; (3) build on Village Society was incorporated on Museum was a game changer for the existing programming to create an inter- November 3, 1959 under the Societies Highland Village. New resources enabled active cultural site filled with immer- Act of Nova Scotia. Its purpose was to us to focus efforts on growing and deep- sive, relevant and dynamic experiences; construct and operate an outdoor folk ening our animation & interpretation, our (4) pursue creative industry and communi- museum dedicated to the Scottish Gaelic cultural programming, community out- ty-based partnerships to address challeng- culture in Nova Scotia. reach and capacity building. The presence ing factors including staff succession and of Gaelic language and cultural arts grew housing shortages, while pursuing oppor- Since 2000, the Nova Scotia Highland in all aspects of Highland Village program- tunities for growth; and (5) enhance the Village Society has operated ming. Interpretation evolved from third visitor experience through site logistics Baile nan Gàidheal | Highland Village, person descriptions of history and arti- and visitor-centric tour options. We'll have A Part of the Nova Scotia Museum, in facts to first-person animation focused more on the implementation of this plan partnership with the Nova Scotia on telling the story of the people and the in future issues of An Rubha. Museum (Department of Communities, Gaelic worldview. We added new events To better enable Baile nan Gàidheal to Culture & Heritage). and programs including Gaelic feast days, meet its operational needs and future and workshops. We also provided leader- growth, we are implementing the most ship in the Gaelic community with the cre- ambitious site development program in ation of the Stòras a' Bhaile Gaelic Folklife our history. The $3.6 million program will School; published An Rubha; created online see the completion this spring of a new resources including the Céilidh air Cheap washroom building on the top of the hill Breatunn virtual museum site, Cainnt mo as well as a new building to house shin- Mhàthar (with the NS Gaelic Council), and gle mill equipment from the Cash Family An Drochaid Eadarainn; sponsored Finlay in Irish Cove. Over the next two years, MacLeod introducing the Total Immersion we will construct a new welcome centre Plus teaching method to Nova Scotia with improved public and support spaces, Our vision is to be the leading Gaelic (which became Gàidhlig aig Baile); and including exhibitions, library/archives, arti- folklife centre, recognized in Nova much more. Our current name and brand, fact storage and a new year-round mul- Scotia, nationally and internationally as Baile nan Gàidheal | Highland Village: Made ti-purpose space. These improvements will an essential institution for continuing of Stories, was adopted. We also made better position us to increase the visitor development and representation of a international headlines by moving the for- experience and expand our service offer- vital and sustainable Gaelic community. mer Malagawatch Church across the Bras ings. Stay tuned for more news on this d'Or Lake to our site. exciting project. Our mission is to grow as a Gaelic All of this activity and hard work has In closing, I wish to salute everyone folklife centre that bilingually nurtures, paid off. We have increased engagement who played a role in the Highland Village communicates and celebrates the with our community, through visitation, story over the years, including our board heritage and cultural identity of Nova volunteerism, and partnerships. We are members, staff, volunteers, partners, sup- Scotia’s Gaelic community. recognized internationally for our work porters and visitors. Our story is one of with Gaelic interpretation and outreach. determination driven by the spirit of a peo- We are a member of Association of We have received awards from Destination ple and pride of place, and the rich legacy Nova Scotia Museums (ansm), Canadian Cape Breton and multiple Trip Advisor handed down to us from our ancestors. Museums Assoc. (cma), Heritage Cape Certificates of Excellence. We achieved Móran taing dha 'n a h-uile duine. Thank you Breton Connection, Council of NS a score of 90.8% in the 2017 Association everyone for your support over the past Archives (cnsa), Genealogical Assoc. of of Nova Scotia Museums Evaluation 60 years. NS (gans), Cape Breton Genealogical & Program, the highest of any museum in Historical Association, Assoc. of Living the province. 2019 marked a new visita- History, Farms and Agricultural Museums tion milestone for Highland Village with (alhfam), Celtic Heart of North America Rodney Chaisson, Marketing Cooperative, Tourism Industry 25,980 visitors. It was the third consec- Director of the Highland Village. utive year of record visitation and the Assoc of NS (tians), Baddeck & Area fifth consecutive year of visitor growth. A more in-depth history of the development and Business Tourism Assoc. (babta), Sydney first 40 years of the Highland Village, prepared by & Area Chamber of Commerce, Strait We are incredibly proud of what we have Cheryl Sullivan for the 40th Anniversary of the achieved over these past two decades with Society, can be found in the Winter 2000 issue of Area Chamber of Commerce, and the the support of, and in partnership with, Naidheachd a' Chlachain, available on our website. Cape Breton Partnership. the Province of Nova Scotia. an rubha Vol 17 No.1 5 Mar is léir dhomh fhìn | As I See It Gaelic, Social Learning and the World

iven our own unique history, that Up until the last two decades or so, technology has played its part, providing GGaelic should have survived into the questions such as these have served as universal access through digital archives to present day in Nova Scotia in all its rich- effective conversation stoppers whenever the oral traditions of areas where they have ness of expression and transmitted cultural the subject of Gaelic came up. It was sel- gone out of usage. skills is a remarkable achievement. From dom pointed out that in the past, activities What we are experiencing now in Nova the experience of recording traditions in through the language from rural agricul- Scotia is by no means unique. Other endan- Gaelic communities all over Cape Breton ture to Sunday sermons put plenty of food gered language/culture groups throughout since the early 1960s, it is clear that the on tables; that government-funded provi- the world have begun to question the wis- efforts and dedication of ordinary Gaelic sion for Gaelic culture in Nova Scotia was dom of ethnocide (the systematic eradi- speakers over generations (and often in primarily a replication of British Victorian cation of a smaller culture by a dominant humble circumstances) have made the state culture of little relevance to Gaeldom one), noting that issues of cultural diversity crucial difference in maintaining a unique anywhere; and that while it is true that are the mental equivalent of the present culture and language regardless of out- change is inevitable, the important ques- global issues of biodiversity. Akin to this are side policies. Gaeldom is a culture whose tion is who benefits? emerging issues of social damage resulting monuments are not primarily in the form More recently, things have begun to from linguistic and cultural repression — a of inspired architecture, or even expressed change. With support from government list that can be easily replicated in former through visual arts. Instead, they have and institutions within the Province a series Gaelic speaking areas here at home. At the existed in the minds of the common people, of effective programs have appeared, view- root of these disasters is the imposed ide- carried with them everywhere, as songs, ing Gaelic tradition as based on the same ology that 'only one way of living is cor- tales, tunes, folk beliefs and their associ- ‘brilliant social culture’ that has sustained rect' and it has had a devastating effect ated registers of language, all of it trans- it in small communities. An informal, on Nova Scotia Gaelic communities as mitted and renewed by constant social socially centred approach, emphasizing well as hundreds of other small but vital contact. Such oral traditions have been the participation through the language in a groups throughout the world. The solution intellectual lifeblood of the community. variety of activities featuring local culture for endangered cultures seems to lie in the The wealth of songs, stories and music, instead of top-down ‘book learning’, has strengthening of traditions from the inside, often time-tested over centuries, has been produced some dramatic results. Although each according to its own style. transmitted in the rich social context of the the number is small, people have gained (or From the Lakota-Ogalala Tribe of South taighean céilidh | ceilidh houses. The céilidh regained) the ability to function through Dakota: ‘I asked an elder once, “How can house with its local legends, songs incorpo- the language and once again become part we preserve our culture?” His response rating social commentary and humour, and of their own culture. Traveling around for- was, “You have not understood your own the all-pervasive web of genealogy has been mer Gaelic speaking areas of the province, question: we need our culture to preserve a primary forum of mutual exchange and the number of people from that genera- us.”’ support, as well as a training ground for tion speaking Gaelic is surprising. Younger the young in how their society functions. people of the post Gaelic generation(s) Dr. John Shaw, Honourary Fellow, School of Scottish Studies, University of Edinburgh. These events took place in every Gaelic set- have come to feel more grounded, and tlement; their focus was on the life of the older people are respected. Information community with an emphasis on cultural continuity, rather than the nostalgia and retrospection often portrayed by patronis- ing writers little acquainted with Gaeldom. In this Gàidhealtachd the legacies of insti- tutional learning and values imposed from the outside, combined with widespread economic hardship, have led to hard ques- tions within the communities themselves that are familiar to most readers and should not be ignored. Some examples:

'What's this Gaelic business good for any- way? It never put food on the table.'

'Gaelic culture is backward looking. What does it have to offer the present or the future?'

What’s all the fuss about? Isn’t Gaelic cul- ture already provided for?'

'Don’t you see that things change? They can't remain static. That's the way the world is.' Stóras a' Bhaile | Gaelic Folklife School: Stóras a' Gheamhraidh participants with John enjoying a hike during the Gaelic immersion week held near Halifax, February 2020.

6 Vol 17 No.1 an rubha Naidheachd a’ Bhaile | The Village News On 'n Uair Sin | Then till Now

ovember 3rd, 2019 marked our 60th not only into their own past but that of Nanniversary as the Nova Scotia their ancestors. Highland Village Society. Much has The Village continued to grow and vis- changed since 1959 but the desire to share itation to the site increased allowing for our story as Gaels, as well as our language more guides to be hired. Guides contin- and culture has remained strong. ued to educate visitors about Gaelic life in The first visitors to the Highland Village third-person until the early 2000s. were welcomed in the 1960s to a small log Shortly after joining the Nova Scotia building. Curator, Stephen Rory MacNeil, Museum in 2000, the Highland Village was hired and an operating grant was began to look at how we presented our obtained. This building housed artifacts Gaelic story, our language and our culture on display, many of which were locally to visitors. Consultant John Vereka was donated. This was the first step in how the hired to begin the process of shifting our tangible stories of the Nova Scotia Gaels presentation from third-person interpre- were told. As years went on, more build- tation to first-person animation. This ini- ings were added to the Village, and more tial process took place over the space of artifacts were collected. Board member, two years, with John training staff in 2007 Anna ‘Hector’ MacNeil weaving in the MacDonald House. Bert MacLeod, played an important role in and again in 2008. His work led to a new gathering many of the artifacts that still approach on how we told our Gaelic story saw tangible interpretation take a step make up much of the collection today. to the visitors in a way that immersed back and allowed for intangible culture to In the early years, visitors were invited them in the experience on site. In 2011, be the primary focus, bringing our Gaelic to explore the houses and farm at the consultant Peter Pacey was then brought culture and language to the forefront. Village. In the beginning, there was no in to further the animation training. Peter Visitors now feel as though they are walk- chronological timeline for visitors to fol- worked with staff for three consecutive ing into the homes of our ancestors where low, like there is today. Guides in the years to complete the transition to full they can make a céilidh | a house visit as houses greeted guests as they entered and first-person animation with staff. they learn about daily life through songs, shared their stories, in a form of third-per- As a result of this transformation, ani- stories and anecdotes shared by anima- son interpretation. They would provide mators portray a character in a par- tors. Our story on site currently begins in historical accounts of the houses and ticular time period that allows them the early 1800s and ends in the 1920s. buildings while visitors learned interest- to animate daily life rather than sim- As yet another season quickly ing details about the artifacts. Some of our ply interpreting historical facts. Visitors approaches, we are in the process of first guides were Kathleen MacLean, Anna are welcomed to suspend their disbe- designing a new visitor centre. We have 'Hector' MacNeil, Mary Dan D. MacNeil lief as they travel through four eras of spent much of the 2020 winter looking at and Rita MacDougall. These women were time while they hear stories of Gaelic life how we can continue to provide the visitor deeply steeped in their own cultural her- from the Gàidhealtachd of Scotland to the with the best possible experience at Baile itage and provided visitors with a glimpse Gàidhealtachd of Nova Scotia. This shift nan Gàidheal. The new centre will include an introductory exhibit. We hope that this exhibit will help set the stage for visitors before they make their way on site, by pro- viding them with a framework, and out- lining key factors, that led to our Gaelic Nova Scotia story. Animation on site will remain the same with first-person charac- ters telling the stories and folklore of our people. We hope, by providing a better context of the story before emigration, it will heighten visitor experience and their understanding of who the Gaels are. The last component of the new centre will be an exit exhibit. This exhibit will help to tell the rest of our story onward from 1925 to the present. This is currently a missing piece in our interpretation. We hope that telling our stories and what has led us to where we are today will help the visitor to better understand who we are as Gaels and why it is so important to main- tain our culture.

Photo credit: Tom MacLeod. Tom Photo credit: Katherine MacLeod, Past NSHVS Board memeber, Bert MacLeod Kathleen MacLean in the MacIver-Nash House. Manager of Interpretation.

an rubha Vol 17 No.1 7 Sgeul ri Aithris | The Storytelling Tradition Gun Dòchas Oidhche | Without a Night's Wish

he common belief held by Gaels con- © Photograph by Frances MacEachen fuil. Tha thu air do ghearradh suas." Agus, cerning an spiorad beò | the living spirit T 's ise a rinn e. 'S e a' spiorad aice. cautions against making wishes after dark. Agus tha 'ad ag ràdhainn ma chuireas If a person dared to do so, saying "I wish tu dòchas 's an oidhche ort fhéin gun I was at the dance" or "I wish I had a bot- téid agad a bhith an àiteigin airson cron a tle", the consequences could be dire. A per- dheanadh nam biodh tu ann. son would be sure to follow any wishes made after dark with an utterance of pro- Seigheag: Agus gu dé a bu chòir dhut a tection like 'Gun dòchas oidhche.' The fol- bhith 'g ràdhainn? lowing story was recorded from Annag ni'n Iain Alasdair 'ic Aonghais Ailean | Anna A: Gun toil oidhche. MacKinnon of Sight Point, a wonderful mentor and champion of Gàidhlig. S: Agus chuala mi cuideachd, "Gun dòchas Shay visiting with Anna at Broad Cove Banks in 2019. oidhch'."

A: Bheireadh Da (a h-athair), "Gun dòchas Annag: Uill, tha mi 'dol a dh'innse an naid- a bh' air an nighinn, ach co dhiubh, chaidh oidhche." heachd seo mu dheidhinn Ceannadach a a h-ainmeachadh. Chaidh esan a dh'ionn- bha á Rubh' an t-Seallaidh agus ghluais 'ad saidh an danns. Agus nuair a ràinig e sios gu Inbhir Nis. Bha 'ad a' fuireach a' sin. an danns ... Bha na gillean ag obair 's a' mhéinn. Fear a Translation bha seo, bha caraid aige. Agus bha 'ad glé Thuirt ise ris an toiseach, "Geall mheasail air a chéile. Ach thuit, bha seach- dhomh nach danns thu còmhla rithe!" Anna: Well, I'm going to tell a story about dain eile a bha seo agus gun do dh'fhàs ise a Kennedy man who was from Sight Point tinn. Cha robh i 'faireachdainn math idir. "Geallaidh," thuirt e. and they moved to Inverness. They were Bha danns shuas na Coal Mines agus co living there. The boys were working in the dhiubh bha 'ad an deaghaidh a bhith bru- Dar a ràinig e an danns, có bha roimhe mine. This fellow, he had a girlfriend. And idhinn mu dheidhinn an danns. Bha an aig an danns ach an té a bha seo. Agus dé they were very fond of one another. But dithis a' dol a dhol ann. rinn e ach thug e 'dhanns i. Dhanns e, cha it happened this week that she took sick. Co-dhiù, bha esan a' studaigeadh gu chreid mi car tric, còmhla rithe. She wasn't feeling well at all. There was a robh e 'dol a dhol ann. Fhathast, bha e 'dol Ach co dhiubh, air a' rathad dhachaigh, dance up in the Coal Mines (Mabou) and dh'ionnsaidh an danns. Ach, bha ise tuil- thachair e air a spiorad, aig a' charaid aige. anyway they were after talking about the lidh 's brònach airson a dhol ann. dance. They were both going to go. Chaidh esan astaigh dh'ionnsaidh an Agus thuirt i ris, "Dhanns thusa còm- Anyway, he was thinking that he was taigh aca 's thuirt i, bha 'ad a' bruidhinn hla ris an nighinn a dh'iarr mis' ort going to go. Still, he was going to the agus thuirt ise ris, "Chan eil thu 'dol a gun danns còmhla rithe." dance. But, she was too grieved to go. dh'ionnsaidh an danns a-nochd 's na Coal He went to their house (the girlfriend's Mines." Agus thuirt e, "Cha do dhanns." parents' house) and they were speaking and she said, "You are not going to the 'S thuirt e, "Tha." Thuirt i, "Dhanns!" Thuirt i, "Tha fhios dance tonight in the Coal Mines." agam-asa gun do dhanns thu còmhla Thuirt i, "Chan eil mi airson thu dhol rithe." Agus thuirt i, "Dh'iarr mis' ort And he said, "Yes, I am." ann." gun dhanns còmhla rith' 's chaidh thu 'nam aghaidh." She said, "I don't want you to go." Agus, thuirt e, "Carson?" Agus thuirt e, "Cha do dhanns! Cha do And he said, "Why?" Agus, thuirt i, "Uill, chan eil mis' a' dhanns mise còmhla rithe ..." faireachdainn ro .." And she said, "Well, I'm not feeling Agus thionndail i air! Bha i 'ga bhualadh so...' (he interrupts) "Uill, bheil thu tuillidh 's tinn gus a le 'dùirn. Agus bha e air a ghearradh. Bha dhol ann?" thuirt e. fùil a' tighinn ás a' chraiceann aige leis a' "Well, are you too sick to go?" he said. phronnadh a thug i dha. Agus thuirt e cha Agus thuirt i, "Tha. Agus chan eil mi mhór nach d' rinn i an gnothach air, nach And she said, "Yes. And I don't want airson thusa dhol ann." do chuir i crìoch air leis cho fiadhaich 's a you to go." bha i. Agus, thuirt e, "Uill, tha mise airson a Agus cha b' urrainn dha sian a dheanadh And he said, "Well, I want to go." dhol ann." dhi. Bha do spionnadh aice. Cha ghab- hadh sian deanadh dhi. Bha i fairis air a She said, "Well, I want to stay at the Thuirt i, "Uill, tha mis' airson a dh'fhu- h-uile sian a rinn e. Cha mhór nach robh e house. But anyway," she said, "if you ireach aig an taigh. Ach co dhiubh," toirt suas mu dheireadh. Agus, mar e rinn are going to go, there is one girl I don't thuirt i, "ma tha thu 'dol a dhol ann, Dia, fhuair e falbh. want you to dance with, if you go." tha aon nighean nach eil mise airson Agus bha e tachairt air pàirt dha 'n 's gun danns thusa còmhla rithe, ma fheadhainn a bha 'dol a dh'obair dha 'n And I don't remember what her name théid thu ann." mhéinn a' mhadainn ud. Agus bha 'ad was, but anyway, she was named. He went a' faighneachd dheth, "Dé ach Dia nan to the dance. And when he arrived at the Agus chan eil cuimhn' agam dé an t-ainm gràsan a dh'éirich dhut-as? Tha thu làn dance...

8 Vol 17 No.1 an rubha She said to him in the first place,"Promise you defied me.” of blood. You're scraped up." And that's me that you won't dance with her!" what she did. It was her spirit. And he said, "I didn't. I didn't dance And they say that if you put a wish on "I promise," he said. with her ... " yourself that you'll travel, you'll be in a place to do harm if you're there. So when he got to the dance, who was And she turned on him! She was striking ahead of him but this girl. And what did he him with her fists. And he was wounded. Shay: And what should you say? do but he took her to dance. So, he danced, He was bleeding with the pounding that I believe, with her quite often. she gave him. He said she nearly did him A: Without a night's wish. But anyway, on the way home, he met in, she nearly finished him, she was so her spirit, his (girl) friend's spirit. wild. S: And I've also heard, "Without a night's And he couldn't do anything to her. She wish." And she said to him, "You danced with was so powerful. Nothing could be done the girl I asked you not to dance with." to her. She excelled against everything he A: Da (Anna's father) would say that, did. He almost gave up at the end. As fate "Without a night's wish." And he said, "I didn't." would have it, he got away. And he met some of the fellows on the This story was recorded, transcribed & She said, "You did!" She said, "I know way to work the next morning. And they translated by Shay MacMullin, Ban-chleasaiche | you danced with her." And she said, "I were asking him, "What in the name of the Cultural Experiences Coordinator. asked you not to dance with her and God of Graces happened to you? You're full

Naomh Eòs is Deagh Bhiadh | St. Joseph's Blessing & Good Food Currac a' Rìgh | The King's Hood

uair a bha sinn a’ bruidhinn ris na *Coltach ri iomadh rud eile, bu tric a bha an hour and a half. Pierce the pudding Nseann Ghàidheil mu dhéidhinn biadh modhannan bìdh ann gun mheudachd nan with a needle to prevent the stomach from (airson Na Drochaide), chuir gach neach stuthan. B' ann o ghlùin gu glùn a chaidh bursting. When it is cooked, spoon it out cudthrom air nach rachadh rud sam bith an toirt seachad. Gheobhte beagan do dhi- onto a plate and enjoy. Or slice and fry it a dholaidh; mar a thuirt Alasdair mac ofar o thaigh gu taigh. and put it on the table with potatoes and Sheòrais 'ic Iain 'ic Iain, "bha a’ h-uile sian turnip, or with a piece of bread or a roll. 'deanamh feum." Dh'innis Alasdair mu dhéi- Translation dhinn biadh coltach ris a' mharag gheal *No quantities were provided for this agus 's e Currac a’ Rìgh an t-ainm a thug hen talking about food with Gaelic recipe — like many other things, recipes 'ad oirre. Chleachd 'ad stamag bheag as a’ Welders (for An Drochaid Eadarainn), were learned from knee to knee, and would mhàrt mar a chleachadh 'ad na caolain all emphasized that nothing would be vary a little from person to person. leis na maragan. Bhiodh 'ad 'ga lìonadh le wasted when food was prepared. In an uinneanan, salann, piopair, geir agus min- interview with Alex George MacLean, he To listen to the interview with Alasdair choirce, min bhuidhe neo buntàta. Bu tric talks about a dish similar to white pudding Sheòrais discussing Currac a' Rìgh, please a ghabhadh 'ad seo aig àm na Nollaig. known as Currac a’ Rìgh (The King’s Hood/ visit http://www.androchaid.ca/currac-rìgh Hat), in which a small cow's stomach Modh bìdh: Currac a’ Rìgh would be used as a casing. The stomach Written by Seumas Watson based on would be filled with onions, salt, pepper, interview with Alex George MacLean by Maodal bheag fat, and either oatmeal, cornmeal or pota- Shay MacMullin and Emily MacDonald. Uinneannan toes. This dish would often be enjoyed at Translated by Shay MacMullin, Salann Christmastime. Piobar

Geir Recipe: Currac a' Rìgh © Photograph by Ryan MacDonald Min-choirce (Mura bi min-choirce air làimh, nì min-bhu- King's Hood (the small stomach) idhe air neo buntàta a’ chùis.) onions salt Glan 's tiormaich a’ mhaodal. Measgaich pepper na stuthan eile ann am bobhla. Lìon a’ suet or lard mhaodal leis na stuthan agus dùin i le oatmeal sreang. Càirich i ann am pana-rostaidh 's a (If you don't have oatmeal on hand, corn- bheil uisge goileach. Leig leatha bruich mu meal or potatoes will do.) thuaiream uair gu leth. Dean toll oirre le snàthad los nach sgàin a’ mhaodal. Nuair Clean and dry the stomach. Mix the other a bhios i bruichte, tog le spàin i agus ingredients in a bowl. Fill the stomach with càirich air truinnsear i. Air neo slisich the ingredients and close with a string. 's fraighig i agus cuir air a’ bhòrd i le buntàta Put it in a roast pan filled with boiling agus tuirneapan, air neo sgonn do dh’aran, water. Let it cook (on the stove) for about na rola. Alex George MacLean at his house in Gabarus Lake.

Is treasa dithis a’ dol thar na fad’ o chéile. Two should stay together when crossing a ford. an rubha Vol 17 No.1 9 An Similear sibh 's a' Mhac-Talla. Bha meaghar math October 14, 1893 aige agus tàlann neo-chumanta deanamh rann, agus is duilich leam nach fheil móran ha coinneamh-chonnsachaidh aca ann dhiubh an diugh ri faotuinn, oir cha do Ban ceàrn air choir-eiginn de 'n eilein seo. sgriobhadh riamh iad. Chaidh iad gu tìr Air oidhche àraid 's e a' cheist a bh' aca: na dì-chuimhne, chaidh esan a bhàthadh "Có a 's fheàrr an similear no 'n stòbh?" 'S aig caolas an Narrrows Mhór mu dhà ann 's a' Ghàidhlig a bha 'n connsachadh bhliadhna us iad a' pilleadh bho Shidnidh a dol air adhart. Labhair fear do 'm b' le bàta luchdaichte le gual. ainm Ailean MacGhill'Eathain air taobh an Chan eil móran naidheachdan agam ri Illustration by Emily MacDonald

t-similear anns na briathribh a leanas: innse ás an oisinn iomallach seo do Cheap © Breatuinn, ach feumaidh mi aideachadh Mo shimilear gur laghach thu, gu bheil comh-thional a' Bhàgh an Iar aig 'S gur loinneil leam do dheann; an àm seo a chur dorran orm le bhi cho Is tu nach fàgadh tinn mi foillaiseach a briseadh air an deicheamh Ged a bhithinn ìseal fann. àithne, le bhi toirt gairm dha 'r ministear a 'S ann thàirneadh tu gach fòtus bhuam tha ro mheasail againn fhìn. Am mach 'measg cheò nam beann, Bha mi ro thoilichte litir fhaicinn ann Cha dug thu fàth air gearan dhomh, 's a' Mhac-Talla bho "Khatag" mo sheann 'S cha dealaich mi riut ann. ban-chompanach sgoile a tha 'nise còmhnuidh an Columbia Bhreatunnach. A' bhocsa ghreannaich iaruinn; Tha i 'nochdadh nach do dhì-chuimhnich i Gur a h-iargainneach do ghreann an cànan a labhair sinn gu tric ri chéil' aig Le t' amhaich chaoil gun eireachdas, taigh-sgoile bonn na bruthaich. You would not leave me unwell Tha spògan dubha, lorcach ort, Though I would be weak and low. Mar mhathan olc nan gleann; "Cia cho sgapta 's am bi sinn measg You would draw each ailment from me 'S chan fhaigh mi deàrrsadh soluis dhùthaichean céin, Out to the mist of the mountains, bhuat Tha smuaintean ar cridhe mar ghathan You never gave me cause to complain, Ged bhristinn riut mo cheann. na gréine And I will not part with you. A' gearradh troimh 'n astar 's a' sracadh An urrainn neach sam bith innse dhuinn troimh 'n cheò. You gloomy iron box; càit' a robh am fear a rinn na rannan seo 'S 'gar giùlain 's an spiorad gu làithean Your angry look is afflictive a' fuireach? ar n-òig." With your unbecoming slender neck, You have black, deformed paws, Bho Amhainn Dhennis 'S e seo a' chiad litir Ghàidhlig a sgrìobh Like a wicked bear of the glens; October 28, 1893 mi riamh agus mìle beannachd air Mac- And I don't get a gleam of light from Talla bho 'n d' ionnsaich mi am beagan you A charaid ionmhuinn, seo fhéin. Buaidh us piseach air gach àm! Though I would break my head on you. 'S fhad' o 'n tha dùil agam focal a chur do d' ionnsuidh, ach an diugh, nuair thàinig Is mise, do bhana-charaid dhìleas. Is anyone able to tell us where the man Mac-Talla agus a chunnaic mi ceist air a E.D., October 21 who made these verses was living? faighneachd a b' urrainn dhomh fhreagairt, smuainich mi nach deanainn dàil na b' fhaide. Translation From River Denys Tha sibh faighneach air son Ailean October 28, 1893 MacGhill'Eathain a chur ri chéile na rannan The Chimney mu 'n t-similear. Feudaidh mi innse gum b' October 14, 1893 My dear friend, e dlùth choimhearsnach dhomh bha ann. Rugadh e ann an Colla agus thàinig e dha hey held a debate in some areas of this It's been a long time since I've intended 'n dùthaich seo 'na ghille òg. Bha e 'na Tisland. On this particular night, the to write to you, but today, when Mac-Talla sgoilear math Gàidhlig agus bha toil mhór question they had was: "Which is better, arrived and I saw the question asked that I aige an cànan sin a bhi air a chumail suas. the chimney or the stove?" The debate was was able to answer, I thought I would not Bha e fad an aghaidh cuid de nithean ùr conducted in Gàidhlig. A man by the name delay any further. an latha 'n diugh, agus choisinn sin dha an of Allan MacLean, who took the side of the You are asking about Allan MacLean who rann a dheanmh mu 'n t-Similear oidhche chimney, said in these words: put the verses together about the chimney. thachair dha bhi ann 's a' choinneamh- I can tell you that he was a close neighbour chonnsachaidh a bha ann an taigh-sgoile My chimney you are fine, of mine. He was born in Coll and he came 's a' choimhearsnachd seo mar dh'ainmich Your swiftness is splendid to me 10 Vol 17 No.1 an rubha to this country when he was a young boy. I was so pleased to see the letter in Mac- While reading Mac-Talla in the Store at Baile nan He was a good Gàidhlig scholar and he Talla from "Katag", my old school friend Gàidheal as part of our regular animation on had a great desire for that language to be who is living in British Columbia now. She site, the Cleasaichean | Cultural Animators came maintained. He was completely opposed to shows that she didn't forget the language across this excerpt. Though written in 1893, there is still frequent commentary about whether the the new things of today which prompted we so often spoke together at school at the stove or the chimney is the finest, among staff and him to make a verse about the chimney foot of the hill. visitors alike. One might also consider the impact the night he happened to be in the debate of modernity on Gaelic language and way of life at the schoolhouse in the community, as "How greatly dispersed we are among reflected in this piece. you mentioned in Mac-Talla. He had a foreign countries, good vocabulary and an uncommon talent Our hearts' thoughts are like sunbeams An excerpt from Mac-Talla translated & edited to make verse, and I regret that there Cutting through the distance and by Shay MacMullin, Ban-chleasaiche | Cultural aren't many of them to be found today, tearing through the mist. Experiences Coordinator with many thanks to because they were never written down. And carrying us in spirit to the days of Stacey MacLean and Mary Jane Lamond. They've gone to the land of forgetfulness. our youth." Mac-Talla, published in He drowned at Grand Narrows about two Sydney, Nova Scotia, was years ago when they were returning from This is the firstGàidhlig letter I have ever the longest running Gaelic Sydney with a boat laden with coal. written and a thousand blessings on Mac- weekly paper and ending as I don't have much news to tell from this Talla from which I learned the little written a bi-weekly (1892-1904). Eòin remote corner of Cape Breton, but I must here. I wish you good luck! Aonghais Chaluim | Jonathan admit that the West Bay congregation at G. MacKinnon was a life-long this time is angering me by so obviously Your faithful friend, promoter of Gaelic and was involved in other publications breaking the tenth commandment (Thou E.D., October 21 including Gaelic translations shalt not covet.), with giving our own very of English literature. much esteemed minister an invitation.

MAR CHUIMHNEACHAN | DEDICATION FOR JOAN DUAIS CLIÙTHA | AWARD OF MERIT

Joan & John Gillis sing at the Highland Village with Jim Watson. Rodney Chaisson, Charlie Cash and NSHVS President, M.A. MacPherson.

It is with sadness that we acknowledge the passing of Joan ni'n Iain Each year since 1979, the Nova Scotia Highland Village Society honours Steabhain Theàrlaich Alasdair an t-Saoir | Johnena "Joan" Gillis. Joan was those who have been strong supporters and promoters of the Village, and a great friend and supporter of the Highland Village and the Central the culture and identity of Nova Scotia Gaels. Our 2019 Duais Cliùtha | Award Cape Breton community. Born and raised in Washabuck in the musical of Merit was awarded to Charlie Cash of Irish Cove, in recognition of his MacKenzie family, Joan was a tradition bearer noted for step dancing and support of the Highland Village through the donation of his family carding singing. She was generous to share her talents whether it be at a house mill, encouraging the donation of the other family mills from his brothers céilidh, around the milling table, or on the Highland Village stage. Joan (shingle and grist), and his efforts in preserving the stories and material volunteered with a variety of organizations in our community, including culture of those mills, which served Gaelic communities all over eastern serving on the Highland Village board. In 2000, Joan was presented with Cape Breton Island. the Highland Village Volunteer Award for her many contributions to the organization (which included making many bottles of chow for our codfish suppers). Joan will be remembered for her love of her community and culture, her generosity, and her great sense of humour. Sìth dha

The Nova Scotia Highland Village Society gratefully acknowledges the support of its government partners. In addition to our core funding from the Province of Nova Scotia through the Department of Communities, Culture & Heritage (Nova Scotia Museum), support has also been received from:

Government of Canada through the Atlantic Canada Opportunities Agency, Departments of Canadian Heritage, and Employment & Social Development Canada;

Nova Scotia Departments of Transportation & Infrastructure Renewal, Labour and Advanced Education, Iomairtean na Gàidhlig | Office of Gaelic Affairs.

Municipality of Victoria County through District 1 and the Recreation & Tourism Department. an rubha Vol 17 No.1 11 Soraidh Slàn le Deagh Chàirdean

m bliadhna, chaill saoghal na Gàidhligdithist ghaisgeach, dithist bhràithrean-fala a chur seachad am beathannan a' studaigeadh A air cànan is dualchas nan Gàidheal agus a' toirt seachad an t-aon ionnsachaidh do dhaoine eile mu 'n timcheall.

This year, the Gaelic world lost two heroes, brothers who spent their lives studying the language and culture of the Gaels and passing that learning on to others around them. Born in Barra Glen, a small Gaelic Community close to Iona, Cape Breton Island, Rod C. and Jamie MacNeil were proud to say that they were of Barra descent.

Chaidh Ruaraidh MacNìll a bhreith ann no 'gabhail òran aig a' chléith-luaidh. Cha an 1924 ann an Gleann nam Barrach agus do dh'fhàs Ruaraidh riamh sgìth dhe bhith chaidh àrach 's a' cheart àite. Thogadh e air a' toirt na h-uimhir dha choimhearsnachd a' bhaile-fearainn còmhla r' a thriùir bhrài- agus cha robh oidhrip-choimhearsnachd threan is còignear pheathraichean. Chaidh ann nach do chuir e taic ris thar nam bli- Ruaraidh dha 'n airm nuair a bha e fichead adhnachan, a' toirt a staigh gu h-àraid, bliadhna, a' seòladh à Halifax air Oidhche Baile nan Gàidheal agus Roinn-Smàlaidh na Nollaig, 1944, a' tilleadh dhachaigh Shanndraigh. Cluinnear seinn Ruaraidh air aig deireadh a' chogaidh ann an 1945. an CD, Còmhla Cruinn. Gheibhear tuilleadh Choinnich e ri a bhean, Éilidh, nuair a bha dhe 'n t-seanchas aig Ruaraidh air Cainnt e 'g obair 'na mheacanaig ann an Toronto is Mo Mhàthar. phòs iad ann an 1953. Ann an 1957, chaidh iarraidh air tilleadh dhachaigh a choim- Born in 1924, Rod C. was a steadfast

© Photograph by Ryan MacDonald head as deaghaidh a' bhaile-fearainn. Thill supporter of his community and of the e a Ghleann nam Barrach còmhla ri Éilidh Gaelic language and culture that he cher- Ruaraidh Iain Dhòmhnaill agus an teaghlach agus chuir iad seachad ished. A veteran of the Second World Sheumais Dhòmhnaill Òig am beathannan a' sin, a' togail sianar do War, Rod C. spent a number of years in Iain Ruaraidh theaghlach agus a' cumail fear dhe na Ontario before returning to Barra Glen tuathnasan a bu bhuadhmhoir anns an with his wife, Helen, to take over the sgìre sin. family farm. Steeped in the culture, tradi- Rod C. MacNeil 'S iomadh duine a fhuair fàilt' is furan aig tions and values of his community, Rod C. doras-taighe Ruaraidh agus Éilidh. Na dhu- gave tirelessly to his church and to local Chaidh Ruaraidh agus Seumas MacNìll ine fialaidh, laghach, socair, bha Ruaraidh organizations, particularly the Nova Scotia a bhreith 's a thogail ann an Gleann nam an còmhnaidh deiseil cuideachadh a thoirt Highland Village Society and the Iona Barrach, baile beag Gàidhealach faisg air do dhuine sam bith a bha 'sìreadh ionn- Volunteer Fire Department. A singer of no Sanndraigh ann an siorramachd Bhioctoria sachaidh anns an dualchas agus anns small ability, Rod C. was equally comforta- air Eilean Cheap Breatainn. Bhuineadh iad a' chànan a bha e daonnan a' meas cho ble performing with the Gaelic choir, sing- do shliochd nam Barrach air ana dà thaobh luachmhor. Leis an stòras do dh'fhios a bha ing onstage with the Iona Gaelic Singers dha 'n teaghlach. 'S ann a mhuinntir Bhàgh aig Ruaraidh, thàinig iomadh duine thuige or taking the lead on a song at the milling a' Chaisteil, Ceap Breatainn, a bha an thar nam bliadhnachan a' lorg fiosrachaidh table. Learners of all stripes will miss his athair, Iain Dan MacNìll (Iain Dhòmhnaill air eachdraidh na coimhearsnachd gu h-io- gentle, easy manner and his enthusiastic Sheumais Dhòmhnaill Òig Iain Ruaraidh), nadail. 'S e seinneadair air leth a bh' ann encouragement and support. Rod C.'s sing- agus chaidh am màthair, Anna Catrìona an Ruaraidh. Bha a ghuth binn ceart cho ing can be heard on the CD, Còmhla Cruinn. NicNìll a bhreith 's a thogail ann an Gleann freagarrach a' seinn anns a' chòisir, air an He can also be heard online at Cainnt Mo nam Barrach fhéin. àrd-ùrlar le Seinneadairean Shanndraigh, Mhàthar.

12 Vol 17 No.1 an rubha Farewell to Good Friends

as deaghaidh bliadhna eile air a' bhaile- sam bith a bhiodh a' feuchainn ri òran a fearainn, chuir e roimhe gun rachadh e thogail agus fhuair iomadach ionnsaiche dha 'n fheachd-adhair agus thòisich e 's meantor fialaidh, puingeil, dìleas ann an an dreuchd, teicneolaiche-dealain. Phòs Seumas. Cluinnear seinn Sheumais air an e Louise NicNìll às a' Chùl Bheag, baile CD, Còmhla Cruinn. beag faisg air Gleann nam Barrach, ann an 1953 is thog iad ochdnar do theagh- Jamie MacNeil was born in 1929 and lach. Dh'fhàg e am feachd-adhair ann grew up on the family farm in Barra Glen. an 1972 is thill e dhachaigh do Cheap He spent twenty-one years in the Royal Breatainn. Dh'obraich e an uair sin anns Canadian Air Force as an electronics tech- a' Phlant-Stàilinn ann an Sudnaidh gus a' nician and then went on to work at the bhliadhna, 1989, nuair e leig e seachad a Sydney Steel Plant where he retired in dhreuchd. 1989. A lifelong learner, Jamie devoted him- Riamh 'na dhuine tuigseach, tùrail, self to a study of Gaelic and had a deep rinn Seumas sgrùdadh mionaideach air understanding of the language, songs, a' chànan is air an dualchas. Mar a rinn music and dance. Jamie's love for Gaelic e air na h-innleachdan-dealain anns an songs and Gaelic singing made him a val- Seumas Iain Dhòmhnaill fheachd-adhair, sin mar a rinn e air a' uable and valued addition to any occasion Sheumais Dhòmhnaill Òig Ghàidhlig fhéin, a' dèanamh sgrùdaidh where people gathered to celebrate in song. Singing at a céilidh, session, concert Iain Ruaraidh air gach mìr dhi, a' sìreadh tuigse iomlan oirre. A dh'aindeoin na tuigse domhain, or milling frolic, Jamie took pleasure in farsaing a bh' aige fhéin, bha Seumas sharing the songs that he held close to his Jamie 'John Dan' MacNeil riamh 'na fhear-ionnsachaidh. Bha e heart. That pleasure extended to helping others learn the songs as well, and many a glé eòlach cuideachd air a' cheòl 's an learner benefited from Jamie's careful and Rugadh Seumas MacNìll anns a' bhliadhna dannsa. Bha an cànan, na dòighean-lab- thorough mentoring. Jamie's singing can 1929 ann an Gleann nam Barrach agus 's ann hairt is mion-diofaran a' chànain luachm- be heard on the CD, Còmhla Cruinn. a' sin a fhuair e àrach. Bha Seumas naoidh hor dha ach b' e na h-òrain a bu phrìseile bliadhna deug nuair a dh'fhàg e am baile- dha chridhe. Aig céilidh, seisean, con- fearainn airson na ciad uair is chaidh e gu sart, no luadhadh, far a robh na h-òrain Eilean a' Phrionnsa a dh'obair aig tuathanach 'gan gabhail, bhiodh Seumas ann agus e Written by Hector MacNeil. Hector is a noted ann a' sin. A' bhliadhna as deaghaidh sin, air a dhòìgh. Leis a' spéis a thug e dha storyteller, singer and Gàidhlig mentor who lives rinn e cùrsa anns an innleachdas ann an na h-òrain, bha e daonnan deònach is between Castle Bay and Sydney River. Halifax. Thill e gu Gleann nam Barrach agus déidheil cuideachadh a thoirt do dhuine

Photos left to right : 1) 50th anniversary celebration of NSHVS. (l-r) Rod C. MacNeil, Jamie MacNeil, Mickey MacNeil, Hector MacNeil and Maxi MacNeil. 2) Rod C. at his home in Barra Glen. 3) Jamie attending an afternoon event at the Highland Village. 4) Rod and Jamie with their sister, Marie, in Iona. 5) Jamie and Rod C. along with other memebrs of the Iona Gaelic singers perfoming at a Highland Village Day Concert.

an rubha Vol 17 No.1 13 Ag éirigh air Òrain | An Rubha Song Selection Nighean Donn Bhòidheach | Beautiful Brown-haired Maiden

fonn chorus Hug hoirionn ho ro bha ho, Hug hoirionn ho ro bha ho, Nighean donn, bhòidheach; Beautiful, brown-haired maiden; Hug hoirionn ho ro bha ho. Hug hoirionn ho ro bha ho.

Gura mithich dhomh gluasad It's time that I begin, Agus cuairt thoirt air òran. and attempt to compose a song.

Los gu seinn mi do bhuadhan So I can sing of your virtues

Photograph by Janet MacNeil Bho 'n a fhuair mi ort eòlas. Since I have made your acquaintance. Rod C with grandchildren, Hannah and Rory MacNeil. Tha thu modhail, ciùin, sìobhalt'. You are mannerly, gentle, courteous. o anyone that knew him, he was TRod C., but to me, he was Grampa. Tha thu rìomhach, neo-phròiseil. You are elegant and unpretentious. He was my hero and I was his 'dear little Hannah.' Grampa taught me so many life Tha thu iriosal, stuama, You are humble and meek, skills. I know how to bake biscuits, make Smiorail, fuasgailteach, seòlta. Spirited, open-minded, skilful. a real Cape Breton cup of tea and most of all, to be kind and respectful to all those I meet. When I was a toddler, he would Inntinn shoilleir gun fhoill innt', A bright mind without a fault in it, lay on the kitchen floor with me while 'S tha thu coibhneil an còmhnuidh. You are always kind. we watched the fire in the wood stove. He would sing, tell stories and just simply 'S do chòmhradh glan, suairce, It's your pleasant, good-natured speech, spend time with me. I was amazed with his Chuir na h-uaislean an tòir ort. That sent the men in pursuit of you. stories and so proud of his kindness and willingness to help others. It didn’t mat- ter who they were or what they needed. Tha do phearsa deas, dìreach, Your appearance is handsome, perfect, He and Gramma opened their hearts and Cuimir, fìnealt', grinn, beòthail. Neat, refined, alluring, vivacious. their home to anyone in need. I have heard countless stories from people he helped Falt dualach, trom, cuachach, Hair thick with waves and curls, along the way. Each one held a special place in Grampa’s heart, just as he holds Mu d' ghuaillean an òrdugh. Neatly about your shoulders. in mine. Because of his dedication and pas- sion for his Gaelic culture and heritage, I Gura binn leam bhith t' éisdeachd It is sweet listening to you continue to keep this passion alive in my Nuair a ghleusas tu 'n t-òrgan. When you put the organ in tune. studies and life. I would like to share with you one of my favorite songs he learned from his mother’s singing, Nighean Donn Meur a chuireas an sgrìobhadh A finger that expresses language Bhòidheach. I had the pleasure of singing Cainnt bhrìoghail an òrdugh. Of meaning and beauty. this with him many times and it remains one of my most treasured memories. Deanamh fuaigheal le snàthaid, Sewing with a needle,

Nighean Donn Bhòidheach was composed Chan eil fàillinn 'ad eòlas. There is not a flaw in your skill. by Dòmhnall MacPhàrlain | D.D. MacFarlane of Southwest Margaree and was printed in Leat bu mhiannach 's a' Chéitean In May you would long Smeòrach nan Cnoc 's nan Gleann | The Songster of the Hills and Glens, compiled by Bernard Gillis Tional spréidhe thar lòintean. to gather the cattle over the meadows. and the Rev. Dr. P.J. Nicholson, edited by Hector MacDougall, 1939. Bhith 'gan iomain do 'n bhuaile, Herding them to the cattle fold, Seinn dhuanagan bòidheach. Singing to them pretty little songs. Hannah MacNeil is a grade 8 student at Sgoil Mhic Fhraing a' Chaolais and volunteer at Baile nan Gàidheal. Song translated by Hannah Krebs and Shay MacMullin.

14 Vol 17 No.1 an rubha 'San Taigh-Chéilidh | In the Céilidh House Nighean Bhàn Ghrùlainn | The Fair-haired Maiden of Grùlainn

fonn chorus Thug mi rùn, 's chuir mi ùidh I loved and I was attentive 'S an té ùir a dh’fhàs tlàth; To the young girl who was gentle in upbringing Maighdeann chiùin dh'an tig gùn, A modest maiden who suits a gown, Cha b' e 'n t-ìongnadh leam d' fhàilt'. It was no wonder that I made you welcome. Photograph by Lorrie MacKinnon

hen I think of Jamie, I think of how 'S ann an Grùlainn fo 'n Sgùrr My love lives in Grùlainn (Eigg) Wpresent he was at everything. He was at every immersion event at Colaisde Tha mo rùn 'gabhail tàimh; Under the peak. na Gàidhlig | the Gaelic College, every mill- Maighdeann ùr a tha ciùin, She is fair and placid ing frolic, every Gaelic event at Féis an Eilein. 'S i mo rùn-sa thar chàich. She is my choice above all others. He had a wry sense of humour — I remem- ber the first Gaelic immersion week at St. Gun do bhruadair mi 'n raoir I dreamed last night, beloved, Ann's and how hard it was to stick to Gaelic — we were all standing around and not sure A bhi 'd choibhneas a ghràidh, That I was in your affectionate company; what to say next, "Well, well...". "Tobar," 'S 'n uair a dhùisg mi a m' shuain When I awoke out of my deep slumber, was his reply (tobar being the Gaelic word B' fhada bhuam thu air sàl. You were far away from me on the sea. for a well). And although he could appear gruff at times, he had a core kindness — Tha do shlios mar chanach lòin Your side is white like meadow cottongrass I remember being low on gas and need- ing to drive back from Christmas Island to No mar eala òig air tràigh; Or like a young swan on the beach; the Gaelic College, and not realizing there Gruaidh a 's deirge na 'n ròs, Your cheeks are redder than the rose, were no gas stations that would be open at Beul a 's bòidhche nì gàir'. Your mouth smiles beautifully. the time of night I was going through. He insisted on my coming to Boisdale and he Pearsa dhìreach gun chearb, Your frame is erect, without defect, filled my tank and refused to take a penny. He never availed himself of the 'free for Aghaidh mheanbh-dhearg a ghràidh; Your face slightly blushing, beloved; native speakers' opportunities, but always Mar ghath gréine 's an fhairg' Like a sunbeam on the ocean insisted on making a financial contribu- Tha do dhealbh a measg chàich. Is your outstanding figure amongst others. tion to any event he attended. Jamie had learned a lot of songs which Dosan lìobharra, réidh, A glossy, well-arranged fringe he shared at the milling table. A favourite song, which was always requested late in 'S e gu h-éibhinn a' fàs; Growing delightfully the night at the Gaelic immersions, was Tha e sìos ort 'na chléit, In pendant strands on your forehead the fun song Òran na Mohawks. I never 'S air gach té bheir thu bàrr. Excelling all women. heard anyone else sing it. It was made by Iagan Iain Òig MacPhee. His people were 'N uair a rachainn-sa gu féill, When I would go to a Fair, the original settlers on the property which they sold to Peter MacLean's father Jack Bu leat fhéin seud no dhà; I would buy a jewel or two for you; when they moved back to the Highlands 'S bhiodh tu cinnteach a gùn You would be sure to receive a gown as a result of the 1909 Glace Bay Miners' As na bùithean a b'fheàrr. From the best shops. strike and the fallout from it. Although Jamie sang this song at the Ged bu leamsa le còir Although I possessed, by right, Gaelic College late at night, most peo- ple would not think of that song when Na tha dh'òr anns a' Spàinnt, All the gold in Spain, they think of Jamie's repertoire. One of Liùbhrainn bhuam e le deòin I would give it up willingly his milling table songs was Nighean Bhàn Air son pòig' o 'n té bhàin. For a kiss from the fair-haired maiden. Ghrùlainn. This version was published in Gaelic Songs in Nova Scotia from the sing- Dh'aindeoin tuaileis luchd-bhreug, In spite of slanderous liars, ing of Hugh MacKenzie. It is also found in An t-Òranaiche. It is a somewhat formulaic Tha gach céill riut a' fàs, You are prudent in all things love song, but we always enjoyed hear- Tha thu fìrinneach, réidh, You are truthful and rational ing Jamie sing it, and lament its, and his, O 'n là cheum thu air làr. Traits that remained with you absence from the milling table. From your first steps.

Lorrie MacKinnon is a Gaelic enthusiast living in Oakville, Ontario.

an rubha Vol 17 No.1 15 Seinn fo Sgàil nan Geugan Uaine | Songs from the Greenwood An Tulach Bhòidheach | The Pretty Hillock

his song was composed by Eàirdsidh Sheumais | Archibald MacKenzie of Christmas Island. You Twould often hear Seumas Iain Dhòmhnaill Sheumais Dhòmhaill Òig Iain Ruairidh | Jamie John Dan MacNeil sing this song as he sat around many milling tables all over Cape Breton. Jamie was partial to this song because it extolled the beauty of 'the Grand Narrows', better known today as the Barra Strait. This was a place Jamie knew very well growing up in nearby Barra Glen. Jamie would make a great effort to help anyone learning Gaelic songs. I learned the chorus of this song from Jamie. He would sit across the milling table from anyone and make sure that they knew the words to the choruses. Jamie and I lived in the same area and would often travel together to milling frolics and to the Gaelic Society in Sydney. We were invited to sing Gaelic songs at a fundraising con- cert for Highland Village hosted by Don Hyslop in the Annapolis Valley. We made the trip along with Jamie’s wife, Louise. While we were at the concert, Louise went to a nursery to pick up a magnolia tree that I wanted. Now, many years later, when the tree blooms in spring, I think back to that trip and the many trips, good times and Gaelic songs we shared together. Gun robh fois ann an sìth.

Beth MacNeil is a Gaelic singer and animator at Baile nan Gàidheal. Transcription and translation published in Fad air Falbh as Innse Gall | Beyond the Hebrides, Fergusson. fonn O, gur toil leam, e gur toil leam, 8 Bhiodh an smeòrach air bhàrr géige 4 You would see north of the Narrows O, gur toil leam fhìn an t-àite; A' seinn gu h-éibhinn madainn bhlàth- Where there are the lofty uplands; gheal, 'S toigh leam fhìn an tulach bhòidheach You'd be seeing Edward's glen there, Air am b' òg a fhuair mi m' àrach. Agus banarach na buaile Le cuid duanag a' toirt bàrr air. Where are people rich and friendly. 1 Fhir a shiubhlas do na Narrows, Thoir mo shoraidh-sa gu m' chàirdean, 9 Nuair a thigeadh àm na buana, 5 Early comes the kindly summer 'S innis gu bheil mi fo mhulad Cha bhiodh tuathanaich air fàillinn; Filling up the fields with flowers, 'Caoidh na tulaich rinn mi fhàgail. Gheibhteadh gruth ann agus uachdar, And your woods are clothed in beauty — Feòil nan uan agus buntàta. Often I've been shaded by them. 2 Siod an tulach a tha briagha, Leam bu mhiann gu sìorraidh tàmh 10 Gheibhteadh 'n t-àran còirce brìgheil, ann; Gheibhteadh 'n t-ìm ann agus càise, 6 Lovely are your winding valleys, Far am bheil na daoine ciatach Gheibhteadh sùbh ann agus ùbhlan, Pretty are your sunny farm-lands, Sìtheil, rianail mar na bràithrean. 'S cha bhoidh caomhnadh air a' Where they're growing oats and barley, bhlàthaich. 3 Bu bhòidheach chitheadh 7 Wheat that's golden, and potatoes. Loch Bhras d'Or Early you'd see the lively people Air an seòl na luingeas àlainn; chorus Oh, I love it, eh, I love, Agus bàtaichean na smùide Go to work there in that region - Oh, how much I love the place there; 'Gearradh shùrdagan 's an t-sàile. Youthful lads will use the harrow, How I love the pretty hillock Grey old men will sow the grain there. 4 Chitheadh Taobh-a-Tuath a' Chaolais Where I lived when I was youthful. Far am bheil na raointean àrda, 8 There'll be robins in the tree-tops, Chitheadh siud 's Gleann Chlann 1 He who travels to the Narrows Sweet their songs on sunny mornings, Ìomhair Take my greetings to my friends there, Far 'm bheil daoine fialaidh, saoibhir. And the milk-maids with the cattle Tell them that I am sad now Singing ditties will surpass them. 5 'S tràth a thig an samhradh cùirteil, Longing for the hillock that I left. Chuir nam flùrs gu dlùth 'ad phàircean; 9 When there comes the time for reaping 'S do choill' fo thrusgan rìomhach, 2 It's a hillock that is handsome, Then the farmers won't be wanting; 'S tric a bha mi fhìn fo sgàile. I would love to live there always, Curds and cream then would be found there; Where there are such pleasant people, 6 Tha do ghlacan lurach, fiarach, Flesh of lamb and dry potatoes. 'S bòidheach, grianach, do chuid Quiet, peaceful, just like brothers. phàircean; 10 You'd find oatmeal bread that's Far am fàs an còirce 's eòrna, 3 'Twas pretty seeing Lake Bras d'Or wholesome, Cruithneachd òr-bhuidh' 's am buntàta. Filled with sails of graceful vessels, You'd find butter there and cheeses; And with the steamboats as they 7 'S moch a chitheadh sùrd air daoine You'd find berries there and apples, travelled 'Dol gu saothair air an àite, Buttermilk there'd be in plenty. Gillean òga 'dol a chliathadh, Cutting capers through the water. 'S bodaich liathadh 'cuir a' ghràin dhaibh.

16 Vol 17 No.1 an rubha An Gàidheal Portmhor | Scotch Music Òran Mhic an Tòisich | Ode to Whiskey, John of Badenyon

ran Mhic an Tòisich is a Gaelic song with a well-travelled melody. The air is shared with a widely known reel, often simply dubbed the Òfirst of the 'Old-Time' Wedding Reels, usually played on A, in addition to being played as a G minor strathspey by the name John of Badenyon. While numerous versions of this song exist, they generally seem to follow the storyline described by Aonghas Eòghainn Aonghais | Angus Gillis of Mabou Harbour in his account of how Òran Mhic an Tòisich came to be:

Bha banais 'dol a bhith an Albainn trup, am measg beinn an Albainn. T here was to be a wedding in Scotland one time, in the mountains Is bha blaze a' dol ro 'n choillidh, blaze dhe na craobhan, bho chraobh of Scotland. And there was a blaze going through the forest, a blaze gu craobh. Agus chuir 'ad an gille òg a bha seo, cha do dh'òl e boinne of the trees, from tree to tree. And they sent this young lad, he had riamh, chuir 'ad e a dh'iarraidh galan rùma is coinnlean airson na never drunk a drop, they sent him to fetch a gallon of rum and can- banais. Thachair e air duine air mullach na beinne, té dha na bein- dles for the wedding. He met a man on the top of the mountain, one nean seo, agus each is diallaid is buideal cóig galan aig' air a chùl, is of these mountains, with a horse and saddle and a five gallon cask tha sheans gun robh an ceangal an deaghaidh fàs car las. Ach thàinig behind it, and it seemed that the tie was after getting kind of loose. an gille òg suas, thug e tacan a' bruidhinn, is thug a' fear air an eich... But the young fellow came up and talked to him for a spell, and the bha stoban... sin tap na spigot, a bh' air a' bharaille. Bha slige aige man on the horse gave… there was a stoban… that's a tap or a spigot, 'na phòcaid, cha robh soitheach no glainne no cupa ann ach slige. on the barrel. He had a shell in his pocket, there wasn't a vessel or Theireadh 'ad fhéin, na seann daoine, ris - 'an t-slig' a chreach sinn', glass or cup, just the shell. They would call it, the old people, 'the 'the dish that robbed us.' Ach co-dhiù, lìon e do dh'uisge beatha e, is dish that robbed us'. But anyway, the man filled it with whiskey that bha e air a tharraing dùbailte, bha e cho math dìreach a ghabhadh a had been distilled twice, it seems it was as good as it could be. The bhi, tha seansa. Ghabh an gille e, chaidh e 'na cheann, is bha a' fear young fellow drank it and it went to his head, and the other man was eile cho fialaidh 's thug e dha té h-eile an ceann tacain, is té h-eile, so generous and he gave him another drink after a spell, and another is té h-eile. Is a Dhia, mu dheireadh, seo agad an deireadh aige - bha one and another one. And by God, finally, here's how it ended - there bodach a' fuireach shìos an grunnd an uillt, is bha e eagalach math was an old man living down at the end of the brook, and he was gu bàrdachd, is dh'inns an gill' òg dha a' stòraidh is ceann goirt air an a terribly good poet, and the young fellow, told him the story and ceann a dhà na trì làthaichean agus rinn am bodach an t-òran dha is about the headache he had for 2 or 3 days. And the old man made seo agad mar a bha e a' falbh... this song for him and this is how it went…

Among the published versions of this song are Cuach Mhic'Ill'Anndrainn in Brigh an Òrain, and Cuach Mhic-'Ill-Andrais in An t-Òranaiche. In Traditional Celtic Violin Music of Cape Breton, Dunlay and Greenberg suggest this melody may be related to that of another Gaelic song as well, Tha Dùthrachd mo Chridhe Dhuit, found in the Gesto Collection. It also appears that there was once a port-a-beul belonging to this tune, though we have yet to obtain a complete version of it. In any case, it is clear that this melody has long been enjoyed by the Gaels in a variety of forms. Whether known as John of Badenyon, Òran Mhic an Tòisich, or the First Wedding Reel, this melody and the story associated with it exemplifies the interconnectedness of Gaelic song, music and storytelling traditions. Written, transcribed & translated by Hannah Krebs, Ban-chleasaiche | Cultural Animator. Edited by Shay MacMullin. © Cape Breton Gaelic Folklore Collection, Gaelsteam

Keith Norman MacDonald's Skye Collection, housed in the MacLean Collection at Baile nan Gàidheal. an rubha Vol 17 No.1 17 Dèante le Làimh | Handmade Weaving in Gaelic Nova Scotia: Tartan or Overshot?

carpenter and made the looms for the said that almost every family had some, women." whether draped over the back of a couch Early weaving was utilitarian. It had to or tucked away in a trunk. Worn-out pieces be done quickly and plainly, out of a neces- were being used as dog beds or doormats. sity to provide warm clothing, blankets, Stories were told of horses wearing colour- and other textiles in the new, colder cli- ful overshot blankets, being tied up out- mate. As families were more settled, how- side churches in the wintertime. Because ever, there was time to revive the more of the strong association of tartans with complicated patterns and there was room the Highlands of their ancestors, and later, for more artistic expression from the Nova Scotia, she had expected to see a weaver. Overshot was the perfect choice. lot of plaids. She said, "One would prob- It's a weave that is made up of a tabby ably expect to find many of the old tartan (plain) background, with an extra, thicker, setts in Cape Breton homes. This is not so… weft thread shot over the ground threads Most of the early settlers were not accus- to make a more intricate pattern. These tomed to tartan weaving." pattern threads were usually wool, dyed Other researchers were not finding with indigo or other colours. The ground much tartan either. Harold and Dorothy threads were fine linen, then usually cot- Burnham of the Royal Ontario Museum did ton, when it became available. extensive work with 19th century textiles of Overshot bed coverings (coverlets) were eastern Canada. Their book, Keep Me Warm more practical than it would seem. While One Night, includes many examples from A favourite overshot pattern known as Monmouth flocks of sheep in the settlements were the Highland settlements in Nova Scotia. small at first, and wool was in short sup- Later on, Eveline MacLeod, from St. Ann's, eaving was a crucial part of the ply, an overshot weave would have been worked extensively to document what- Wculture of the Gaels, both in the very warm for the amount of wool it had ever 19th and early 20th century weaving she Highlands and in the new settlements of in it. There would have been a single layer could find throughout Cape Breton and the eastern Nova Scotia and Cape Breton. But of wool that shot over and under the linen Antigonish and Pictou areas. the patterns (drafts) that weavers claimed or cotton ground threads, trapping air in Like Mackley, they were finding a lot of were brought over with their families from between, somewhat like a thermal blan- overshot coverlets. Overshot was a perfect Scotland were not, as one might imagine, ket. It would have required only about technique for weaving on the looms the tartan setts. They were what were known half as much wool as an all-wool blan- Gaels had built. Only a very few of these as 'overshot' patterns. It has been said that ket. Besides the coverlets, as time went looms had come over with weavers from overshot weaving was the truly traditional on, overshot designs also began to appear the Highlands, but the new ones were type of weaving for the Gaels in Nova on tablecloths, carpets, or as a decorative made following the original design. They Scotia. border on clothing. Weaving these items, had four harnesses (that controlled the Somewhat fortuitously, the Industrial along with the more plain, but necessary, patterns), with four treadles (that deter- Revolution that began in the late 18th cen- household towelling, blankets, and home- mined the order of the patterns). This tury had been slow to affect the remote spun (drògaid and clò mór) continued in allowed the fairly complicated overshot Highlands and Islands. Domestic weav- many rural homes throughout the 19th cen- designs to be woven in the home without ing was still necessary, so the Gaels were tury and into the early 20th century. the need for a larger, professional loom. arriving in the new lands already familiar By the mid-20th century, however, very Looms used in the neighbouring Acadian with the skills for making the cloth that few women were still weaving on the old communities of Cape Breton normally had they would need to survive. Many men had looms in their homes and the traditional only two harnesses, preventing an over- been weavers before emigration, but some patterns were in danger of disappearing. shot pattern from being woven on them. women also had been weaving in their Fortunately, there was, at the same time, For this reason, although overshot was own Highland communities, supplying the a growing interest by researchers in pre- common in the Gaelic communities, it textiles needed by their families and neigh- serving what could still be found of the old would have been rarely seen amongst the bours. weaving methods and the textiles of the Acadians. When men became engaged in the 19th century. But overshot was not exclusive to exhausting work of clearing land and Florence Mackley was perhaps the most Scottish weavers. This technique was also farming in the Nova Scotian wilderness, important collector of such information seen scattered throughout much of Europe, women took over most of the weaving, in Cape Breton. She was able to visit with but there is no evidence of it appearing those with the appropriate skills teaching elderly weavers who had grown up in fam- anywhere in North America before the other women, until eventually there was ilies that had raised sheep and grown flax. arrival of the Scottish in the second half of a loom in almost every home and weav- These women held memories of the old the 18th century. Dorothy Burnham, author ing was just another domestic chore. As ways of life and had learned to weave from of The Comfortable Arts, has extensively Mrs. Dan MacLeod, of Loch Lomond, Cape an earlier generation of women. She pub- researched the origins of overshot and Breton, told Florence Mackley, author of lished Handweaving in Cape Breton in the feels that it was brought over by "…those Cape Breton Coverlet Patterns, "The women 1960s, detailing what she had learned. hardy settlers who came by the thousands began to weave. They held on to the drafts. What she found most often when she from the Lowlands, the Highlands, the My father came from Harris. He was a visited the homes of the Gaels in Cape Isles, and Northern Ireland." Breton, was overshot coverlets. She Certainly, by the 19th century it had 18 Vol 17 No.1 an rubha find some of the second coverlet woven. Possibly she thought that the fairies had been at work." That young girl went on to become a weaver in her own right, and was one of Mackley's most important informants. She loved weaving coverlets and wove well over a hundred in her long lifetime. Customers supplied her with the warp materials and their own handspun and dyed wool yarn, and she wove the coverlet for a payment of five dollars. It is not surprising, then, that the pre- ponderance of overshot weaving should be considered a significant part of the culture of the Gaels in Nova Scotia, with the weav- ing of it lasting well into the early 20th century. Today, however, tartan, which has become so inextricably linked with A' bheart-fhigheadaireachd | the floor loom was often found in the loft over kitchens in the the identity of Nova Scotia, often seems to Nova Scotia Gàidhealtachd. have taken over as the only truly Scottish cloth in the minds of visitors to the prov- become primarily associated with settlers favourites — Monmouth, True Love's Vine, ince. Although tartan has its own complex of Scottish descent, even though it seemed Chariot Wheels, England (or London) history within the Highlands, it was not a to have died out in Scotland itself by the Beauty, or Olive Leaf — woven in a vari- weave of high priority for the Gaels at the 20th century. MacLeod states in her book, ety of colours and with local pattern var- time of settlement, and is a relatively more Celtic Threads, "Wherever Scottish peo- iations. recent arrival here in the province. Both ple settled, Pictou County, Cape Breton, Much overshot was woven at home Mackley and MacLeod worried about the Kentucky, the Carolinas, the eastern town- for the family, but there were also itiner- legacy of overshot weaving in Nova Scotia. ships of Quebec or Glengarry, Ontario, the ant weavers, who travelled from house to Mackley made a concentrated effort to use same patterns are found. Sometimes the house, and weavers who wove in their the old overshot patterns in the weaving names are different and regional patterns homes for other families in exchange for a that she did in her own shop in Sydney. have developed, but, generally the patterns small payment. Mackley, in Handweaving She stated that she wanted visitors to take are similar throughout the Scots diaspora in Cape Breton, tells of one itinerant home items of handweaving in 'authentic' of North America." weaver who inadvertently taught another Cape Breton patterns. When Mackley asked the weavers about weaver — Mrs. Munroe of Whale Cove, And MacLeod always tried to promote the many different overshot patterns, they Cape Breton, to weave overshot: overshot weaving. She mused in Looms and showed her worn strips of paper on which "Mrs. Munroe's mother, Mrs. Lore: "I have always wondered why tartan lines and numbers indicated the order of MacQuarrie, wove clothing materials, weaving became the predominant weave... the threads. These are known as threading drugget and other items for the home. The Overshot is the real Heritage weave of the 'drafts.' All the women she asked insisted coverlets for the family were woven by Scottish Pioneer. They brought their cher- the drafts had come from Scotland with an itinerant weaver, Catherine MacIsaac. ished patterns to Cape Breton and hun- their families. Most could pinpoint the This weaver had two coverlets to weave dreds of coverlets were woven from home years of arrival (most often between the for the MacQuarrie family. She had com- spun, home dyed yarn. The patterns have 1820s and 1840s), and origins, for exam- pleted one and was going to do the sec- been lost in Scotland but are well pre- ple, Harris, Lewis, the Uists, or Tiree — ond one when she returned home after the served and documented here." almost all from the western Highlands and Christmas holidays. While the weaver was Islands. These patterns had been given fan- weaving the first coverlet she was being Vicki Quimby is a researcher, textile consultant, ciful names such as Rose in a Bush, watched very carefully by the daughter and animator at Baile nan Gàidheal. Carts and Wheels, Ladies Delight, or even of the house. Imagine her surprise when Images used in this article can be found in Keep Me Warm Nights. And there were she returned to the MacQuarrie home, to 'Looms and Lore' by Eveline MacLeod.

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Like us on Facebook Follow us on Instagram Follow us on Twitter Highland Village Museum @highland_village @highlandv an rubha Vol 17 No.1 19 Ás an Tasg-lann | From the Archives Tha Mise fo Mhulad air Tulaich gun Uaill | I am Depressed on a Hill without Pride

This song is contributed by The Beaton Institute, a cultural heritage archive mandated to preserve the social, economic, political, and cultural history of Cape Breton Island. The Stòras Gàidhlig Cheap Breatuinn collection houses many records pertaining to Gaelic Nova Scotia. Móran taing | Many thanks to our friends at the Beaton Institute, Cape Breton University.

chumail rithe. Uaireannan, rachadh i a relations, the Calum Gobha MacLeans. dh'fhuireach le Ruairidh Chaluim Ghobha, Catrìona Iain Ruaidh and her husband an nàbuidh as fhaisg' air làimh is a co-ogha lived on the monadh, a term which in air taobh a màthar. Uireannan eile dh'fhu- Scotland meant high-lying, often uninhab- iricheadh i aig co-ogha eile Seoc Pheadair ited moorland. Life was difficult for the Chaluim Ghobha 'nas fhaisg' air Eilean na older couple and Catherine's songs speak Nollaig fhéin ach fhathast 's a' Chùl. Bha of a constant battle with the elements, Jack pòsd' aig Annag Mhìcheil Nìll Mhìcheil poor land and physical limitations due a bhuinneadh do chloinn Aonghuis á Bàgh to age. a' Chaisteil. 'S e Annag gu sònraichte a Following her husband's death, ghabh suim ás na h-òrain aig Catrìona Iain Catherine relied more heavily on the sup- Ruaidh. A réir Annag, bhiodh Catrìona 'ga port of neighbours and relatives. She meas fhéin mar bhàrd is dh'aontaich i ri would at times be helped by or live with òrain a theagasg do dhaoine cho fad 's gum her cousin Ruairidh Chaluim Ghobha, one of biodh iad aca gu ceart, gun mhearachd neo her closest neighbours on Beinn Theàrlaich. dearmad. Dh'ionnsaich Annag beagan de She would also spend considerable na h-òrain a rinn Catrìona Iain Ruaidh ach lengths of time living with her other Peadar còmhla ri 'mhàthair, Annag Mhìcheil Nìll bha i a' cantail gu robh fada a' bharrachd cousin John "Jack" MacLean (a brother to Mhìcheil, agus a phiuthar, Màiri aig an taigh mu 1917. air sin a rinn i cuideachd (Peutan T-561). Ruairaidh Chaluim Ghobha) on land which Peter with his mother, Annie MacLean, and sister Mary at the family home c. 1917. Photo used with permission. Dh'ionnsaich Annag co-dhuibh aon dhiubh he had purchased in a less-remote region dha mac Peadair Seoc Pheadair, 's e siud of Rear Christmas Island. John "Jack" ha Catrìona Iain Ruaidh, neo Catrìona Òran 's i air a Làmh a Shiachadh neo mar gu MacLean was married to Annie MacInnis, BBean Iain Ruaidh mar a theirte càch tric is minig a dh'ainicheas daoine e, Bha mi formerly of Castle Bay. It was Annie who rithe, 'na bàrd ainmeil, cliùteach 's a sgìre Raoir gu Sunndach, Sunndach. took an interest in the songs of Catrìona a h-àrach, sin Paraiste Eilean na Nollaige. Chan eil tiotal air a thoirt seachad le Iain Ruaidh. Mrs. MacLean says that Rugadh athair Catrìona ann an Uibhist Annag Mhìcheil Nìll Mhìcheil air clàr sam Catherine was illiterate but referred to her- a Deas is thathar a ràdh gu robh e fhéin bith ris an do dh'éisd mi ach 's e a' chiad self as a bàrd and offered to teach Annie a math gu deanamh òrain. Thàinig e dha loidhn', "Tha mise fo mhulad air tulaich few of her songs providing that they would 'n sgìreachd 's a' bhliadhna 1821 's bea- gun uaill." 'S ann mu dheoghainn fìor be remembered without any mistakes. gan as a dheoghaidh sin, phòs e Curstaidh dhroch gheamhradh a tha an t-òran, agus Mrs. MacLean learned some songs from ni'n Alasdair a' Ghobha MacGhill'Eathain bha Catrìona Iain Ruaidh a' strì airson cru- Catherine but states that she had made a bha 'fuireach air Beinn Thearlaich ach a bha am falach 's an t-sneachda. Tha many more (Beaton Institute T-561). Annie (Beinn Eskasoni). Phòs Catrìona fhéin Iain barrachd air aon chlàr aig Ionad a' Pheutain taught her son, Peter Jack MacLean the Ruairidh "Gilleonan" fear do chloinn Nìll ach seo an an té far am bi Annag a' gabhail song titled Song About When She Sprained aig a robh taigh air iar-chrìochan a' phara- an t-séisd; uaireannan, cha leigeadh i le Her Wrist, but more commonly known as iste. Tha e coltach gun do phòs iad nuair a duine a clàradh mur a robh cuimhn' aice I Was Merry, Merry Last Night. bha iad nas sinne na feadhainn eile oir cha air an t-séisd. The song featured here is not given a title robh clann aca is tuigidh daoine, le bhith but begins with the line, "I am depressed 'cluinntinn a bàrdachd mus do phòs i, gu atherine MacNeil, also known as on a hill without pride." It is sung to the robh i fo chùram mu 'n aois aice 's i lorg CCatrìona Iain Ruaidh or Catrìona bean air Ma Phòsas Mi Cha Ghabh Mi Té Mhór and céile (Peutan T-122). Dh'fhuirich Catrìona is Iain Ruairidh, was a well-known and uses the same chorus. The song concerns Iain air Beinn Theàrlaich air oir Cùl Eilean respected bard who lived in the far east- a difficult winter experienced onBeinn na Nollaig agus Eskasoni gu math faisg ern part of the Highlands, Rear Christmas Theàrlaich in which a haystack the bard air teaghlach na Goibhnean — muinntir Island. Catherine's father was born in had been tending to was buried in snow màthar Catrìona. South Uist and came to Cape Breton in and difficult to access. Several recordings Dh'fhuirch a' chàraid air a' mho- 1821. She married Iain Ruairidh "Gilleonan" of Annie MacLean singing this song exist nadh — facal aig an robh mìneachadh car MacNeil, a native of Barra who was one of but this is the only one in which she sings sònraichte 's an t-Seann Dùthaich ach the later settlers in Rear Christmas Island. the chorus; Mrs. MacLean would some- freagarrach dha 'n fhearann ùr cuideachd, The couple seems to have married late in times refuse to let a collector record a song sin talamh àrd aig àrd na beinneadh far life and remained childless. Indeed, one if she couldn't remember the chorus. nach fhuiricheadh mòran de dhaoine. Bha of Catherine's songs composed prior to beatha gu math doirbh aig an dithisd 's her marriage speaks of her growing anx- tha bàrdachd Catrìona a' deiligeadh ri cus- iety concerning her marital status as she Written, edited, and translated by Stacey pairean a leithid beatha chruadail is duilg- gets older (Beaton Institute T-122). Iain MacLean, Ban-chleasaiche | Cultural Animator headasan na seann aoise. and Catherine settled on Beinn Theàrlaich at Baile nan Gàidheal and Gaelic Language As deoghaidh bàs an duin' aice, bha | Charles' Mountain (today known as Specialist at the Beaton Institute. Transcription Catrìona nas motha is nas motha an Eskasoni Mountain) on land also occu- provided by Digital Archive of Scottish Gaelic (DASG). urrachd ri nàbuidhean airson taic a pied by relatives of Catherine's mother's

20 Vol 17 No.1 an rubha fonn chorus Ma phòsas mi, cha ghabh mi té mhór If I marry, I will not marry a large lady Ma dh'fhaodas mi, cha ghabh mi té mhór If I may, I will not marry a large lady Cha phòs, cha taobh, cha ghabh mi té mhór I won't marry, I won't have, I won't take a large lady 'S ro bheag an té dh'fhóghnas dhomh-sa. It's a petite lady that would suit me.

Tha mise fo mhulad air tulaich gun uaill I am dejected on a hill without pride 'S e 's fàth dhomh bhith tuiream le truimead an fhuachd. The heaviness of the cold is the cause of my lament Cha dean mi car tuilleadh 's mi 'n diugh air toirt suas, I can't move any longer today, I give up Le gaoth a' tuath 's i reòta. With the freezing north wind.

'N àm éirigh 's a' mhadainn gun teine gun tuar, Waking in the morning without fire, with foreboding Bidh gaoirean nam bhonnaibh bheireadh crith air an t-sluagh. The shivering of my feet causes all to shake 'S e gainnead a' chonnaidh bh' oirnn iomadach uair, It is the lack of wood that we have often experienced A thug an droch uair seo oirnne. That has landed us in difficult times.

'S iomadh là frionasach bh' agam bha fuar, Many vexingly cold days I have spent A chaidh mi dhan choillidh a ghearradh le tuaigh. Going to the forest with an axe to fetch wood Na deòir gu frasach a' cathadh le'm ghruaidh, The pouring tears winnowing my cheeks 'S nach b' aithne dhomh bualadh seòlta. Such that I didn't notice the swift blows.

A-nis bho 'n a tha mi air glasadh air aois, Now since I have greyed with age M' aodann air seacadh air choltas an aoig. My face has withered away revealing a countenance of death Bhon thrèig mi bho 'n tapachd a bh' agam bho thùs, Since I have betrayed the wisdom I once had Cha seòl mo shùil ach sgleòta. My eyes are foggy and of little use.

'S tha sinne nar breislich le eagal mun sprèidh, We are confused and worried about the cattle Am beagan dhiubh th' againn gun téid iad fo fheum. What few we have, they might be of no use Bidh sgeula na creiche dhuinn uile gu lèir Stories of their ravagement have us all A bhith anns an éis an-còmhnaidh. Left eternally in need.

Tha cruach air a' mhaisidh a rinn sinn dhuinn fhìn. There's a haystack on the marsh that we made for ourselves Chan urrainn dhomh chantail gun tarraing sinn i; I can't say that we can get to it Le doimhneachd an t-sneachda falach gach nì, With the depth of the snow hiding everything O mhullach ar cinn gu ar brògan. From the tops of our heads to our shoes.

Tha mis' anns a' mhonadh a-muigh anns na cùil, I'm on the high ground far in the Rear Fad' o gach duine bha cuideachadh leam. Far from anyone who ever helped me B' e tarraing an eallaich a dh'aindeoin gach cùis, It's lugging burdens, regardless of the situation A dh'fhàg mise brùite, leònte. That has left me disconsolate and wounded.

'S a chàirdean uileag 's a chuideachd mo ghaoil, My dear friends, neighbours and family, Gur tric bha nam chomann gu carthanntach, caomh; Who kept company with me in the spirit of charity and kindness Nuair bhitheamaid 's a' bharant fo bharran nan craobh, When we were in the security and protection of the tree tops Gun togamaid fonn nan òran. We would raise a tune and sing.

'S truagh nach robh mise cho math ris na bàird, It's a pity that I am not as talented as the bards Bha 'n dùthaich na siorrachd a' dèanamh nan dàn. That are in the land of eternity making songs Gun tugainn dhaibh iorram a mhaireadh gu bràth I would compose a song that would be everlasting Nuair shloinneadh iad bàird gam chòmhradh. When they would name the bards speaking with me.

an rubha Vol 17 No.1 21 Léirmheas | A Book Review Play It Like You Sing It: The Shears Collection of Bagpipe Culture and Dance Music from Nova Scotia

other sources and titles. The Highlanders Farewell to Ireland, most The first chapter concen- commonly known today as the strathspey trates on 73 tunes that Highland Harry. This subsequently became represent the contents of a very popular reel in Ireland. a manuscript belonging There are another five chapters arranged to a Cpt. Angus J. MacNeil according to the different regions of Nova (1867-1918) who died from Scotia from Cape North and Ingonish, the pandemic Spanish Pictou, and crossing the water to Codroy flu. As Barry states, some Valley, Newfoundland. The final chap- of the tunes were taken ter has an interesting title, Fiddle Tunes from Scottish published from the Piping Tradition, recognising the collections and the rest shared repertoire that allowed fiddlers to from MacNeil's own rep- expand the range of the pipe tunes and the ertoire from Cape Breton. pipers to be able to top and tail them (or I sometimes wonder jump the octave in sessions with fiddlers). have before me two beautiful books, what settings MacNeil had in his manu- I love the artwork by Janet MacDonald — I Volume One and Two of Play It Like script since the tunes throughout have the books are worth buying for the paint- You Sing It with the secondary title of The been arranged by Barry himself, the extent ing and the title alone Play It Like You Sing Shears Collection of Bagpipe Culture and of which is not clear. Maybe I am being a It | Cluich e mar a Sheinnear e. Idiomatic Dance Music from Nova Scotia by Barry touch pedantic knowing that many pipers, Gaelic originally prefixed performances on W. Shears. Volume One deals with his- including myself, make a tune 'our own' by pipes and clarsach | harp only with a' seinn tory, culture and images with great detail way of small divergences from that heard na pìoba | singing the pipes, and a' seinn na and wonderful portraits and sketches of or seen notated. The more variants of a clàrsaich, but cluich na fìdhle | play the fid- many different families of piper-musicians tune extant I believe indicates the extent dle or any other instrument. from the late 19th and early 20th centu- of its popularity. Chapter 2 introduces Alex My desire is that the contents of these ries. The research has been clearly rigor- Currie (1910-1988) followed by 135 tunes publications be re-absorbed by their read- ous covering histories of the MacIntyres, that presumably contain the 50 tunes ers: historians, musicians and singers —it Beatons, Camerons, the Keppoch and that Barry had collected from Alex him- will have enlightened us all to these rich Benbecula Campbells, Gillises of Margaree self. Interestingly the tune An Caimbeulach matrixes between song, pipes and fiddle. (my own relations), Hendersons, Beatons, Dubh, adapted to the melody of Roy's Wife The words of the puirt-á-beul | mouth music MacDonalds, MacGillivrays, MacKinnons, of Aldivalloch (or The Ruffian's Rant), was published here for the first time bestow the MacLeans, MacMillans, MacNeils, probably the first satirical piece of poetry melody with yet another poetic and rhyth- MacPhersons, MacPhees, MacQuarries, written by, arguably, our greatest Gaelic mic snapshot in words that dance along Mathesons, Morrisons, Nicholsons, poet, Alasdair MacMhaighstir Alasdair | the fiddle and down the pipes — each with Stewarts, Sutherlands, MacKays and Alexander MacDonald of Moidart. He wrote different inflections. So the notated text to MacIsaacs. I list these families simply to this while a very young man playing devil's the puirt-á-beul on the opposite page can show how the book itself provides the evi- advocate in defence of a Campbell sheep at best, only be an approximation. I read a dence of such a widespread dissemination stealer. The words were of a high register, dilemma a mainstream piper had, in Alba | of piping throughout Nova Scotia and Cape but not of the infra dig level suggested by Scotland, about there being 'too many ver- Breton. the port-á-beul text akin to 'Stick your nose sions' of a particular tune; the zenith of In a special chapter on early bagpipe up the dog's arse!' So it would appear this the music aesthetic presumably being that making, one family of MacIsaacs came to melody became the vehicle for much satire there should only be one version. settle near Loch an Fhuamhair | Giant's Lake, and invective! A final suggestion — that you award Guysborough County from Smirisary in Interesting too is The Campbells are yourself with the latest CD, released by Glenuig in 1843. They were Angus Bàn and Coming link to The Wedding that was in Greentrax recordings, from the archives of his family, including his young son Alasdair Inverlochy. These little differences occur in the School of Scottish Studies No. 28 Bàn who made a set of pipes for himself. the oral tradition at times but the cheery Dhannsadh gun Dannsadh | Dance-Songs of The writer of the article in Mac-Talla, with Gaelic song to this is about a wedding in the Scottish Gaels, as well as a copy of Dr. the nom-de-plume of An Tuathanach Ruadh, Inveraray, Argyll. However, with the rais- K.N. MacDonald's (1901) compilation Puirt- states that this was the first time he had ing of the Highland Regiments and the rec- à-Beul published by Taigh na Teud. The CD heard pipes played. I am glad to see this ognition of pipers as a crucial part of this and book were edited by Dr. William Lamb included in this compilation, having Barry's military imperialist expansion post 1756, it and along with Play it Like You Sing It pro- earlier piping history book Dance to the became The Campbells are Coming, coming vide an inestimable source of joyous Piper (2008) some of which has been repub- as it did from the heart of Campbell coun- music. Thank you, Barry. lished and expanded here. I hope he will try. But another old version of the same include the extant photograph of Angus Bàn melody is the song An Sean Duine in Gaelic and son Alasdair Bàn MacIsaac in the next Ireland and, in reel time, it becomes one This review was written by Ailean Dòmhnullach, from edition. variant of Mrs. MacLeod of Raasay. One Glenuig, Scotland, a Gàidhlig speaker, piper, composer, Volume Two is much more voluminous commonly finds that if a tune is good in musical director, instructor and lecturer. Play It Like You than Volume One and contains a feast of one rhythmic genre, it will be good in Sing It was published in 2018 by Bradan Press. 249 tunes, many of them with associated them all, but there will be a preference! Gaelic song texts and cross references to A good example of this, I think, is tune 87 22 Vol 17 No.1 an rubha Comunn Ar Rùin | Our People Acknowledgements & Accolades

Tapadh Leibh-se Gu Mór McKinnons Harbour; Lorne Gushue, Yellowknife; Shears and in memory of Rod C. MacNeil); Jim St. Commun Baile Ghàidheal na h-Albann Nuaidh | Vince MacLean, Washabuck; Betty MacNeil, Clair, Mull River (in memory of Seumas Watson); The Nova Scotia Highland Village Society grate- Estmere; Cora MacNeil, Irish Vale; Eddie MacNeil, Beth Toomey & Roger Smith, Christmas Island (in fully acknowledges the support of many individ- Christmas Island; Melinda MacNeil, Florida; and memory of Leon Toomey); and West Kings District uals and organizations: Lynn & Sharon Pollock, Sydney. High School, Auburn, NS.

Project & Marketing Partners Sustaining Membership Treasures of Youth Financial Contributions (2019) Cape Breton Centre for Craft & Design; Cape Lawrence Glenn, Newport, RI. Rodney & Charlene Chaisson, Ottawa Brook; Breton University (Beaton Institute & Centre Charlie & Sandra Ellis, Little Narrows, NS; Jill for Cape Breton Studies); Celtic Colours Festival Financial Contributions (2019) Franklin/Jill's Chocolates, Iona; Calum MacLean, Society; Celtic Heart of North America; Colaisde Gordon & Vera Campbell, Stellarton; Pius & Dartmouth; Gillis MacNeil, McKinnon's Harbour; na Gàidhlig | The Gaelic College; Central Cape Pauline Campbell, Jamesville; Cape Breton Lisa & Boyd MacNeil, Sydney; Mary Leigh MacNeil, Breton Community Ventures; Comhairle na Regional Library, Sydney (in honour of Hector Christmas Island. Gàidhlig | Nova Scotia Gaelic Council; Community MacNeil); Charlie & Marie Cash, Irish Cove; Foundation of Nova Scotia; Destination Cape Rodney & Charlene Chaisson, Ottawa Brook; Rev. Congratulations Breton Association; Eskasoni Cultural Journeys; Fern Chapman, Castle Bay; Peter Cook, Starks, To staff member Kaye Anne MacNeil on her 35 Féis an Eilein; Fortress of Louisbourg; Grandona ME; Brenda Dunphy, Whycocomagh; John Hugh years service to the NS Highland Village Society. Legion, Branch 124, Iona; Iomairtean na Gàidhlig Edwards, Ross Ferry; Catherine Gillis, North | Office of Gaelic Affairs; Iona Heights Inn | Jill’s Sydney; Betty Lord, Howie Centre; Florence Retirements Chocolates; Musique Royale; Municipality of MacDonald, East Lake Ainslie; Leo MacDougall, We extend our best wishes and gratitude to Sadie Inverness County, Municipality of Victoria County, Washabuck; John James MacEachern, Sydney/ MacDonald who has recently retired from our NSCAD University; St.FX University (Angus L. Mabou; Aynsley MacFarlane, Baddeck; Wayne staff team after 25 years of service. All the best to Macdonald Library); and Sgoil MhicFhraing a’ and Ann MacKay, Whycocomagh; Hugh & Linda her as she moves on to the next chapter. Chaolais | Rankin School of the Narrows. MacKinnon, Benacadie; Pauline MacLean, East Lake Ainslie; Alex & Mary MacLeod, Iona; Stuart Sympathies Farm Program Partners MacLeod, Northside East Bay; Jack MacNeil, Big To the families of Ann MacIntosh of River Dell Corbett, Grand Mira (‘Mira Jean’ Clydesdale Pond; James MacNeil, Benacadie; Kaye Anne Denys, who was supportive of the moving of the Horse); Bruce Aikman, Middle River (Highland MacNeil, Benacadie; Liz MacNeil, Iona (in mem- Malagawatch Church to the Village and instru- Cattle); and Sarah Nettleton/Rockloaf Farms, ory of Dan E. MacNeil); Michael J. MacNeil, mental in organizing the annual service each Arichat (sheep). Jamesville; Murdell MacNeil, Iona; Wilf & Betty summer at the Village; Murdock "Buddy Allan MacNeil, Johnstown; M.A. MacPherson, Creignish; Austin" MacNeil of Gillis Point, who was a great Artefact & Archival Donations (Since June 2019) David & Marion Newlands, Markdale, ON; Connie enthusiast of our local square dance tradition; and Sally Cameron, Middle River; Charlie Cash, Irish Nicholson, East Bay; Melissa Nicholson, Baddeck; Bhionsant MacFhionghain | Vincent MacKinnon, Cove; Jerry Chaisson, Pictou; Bruce DeYoung, River and Lakeside Pastoral Charge, River Denys; beloved Gàidhlig tradition bearer of Gillisdale. Sydney; Mary Dunbrack, Halifax; Patricia Gaudley, Barry Shears, Royston, BC (in memory of Margaret

Help us share Nova Scotia’s Gaelic language and heritage by joining the Nova Scotia Highland Village Society! Join us and support Nova Scotia’s Gaelic language and folklife Membership Plus: traditions by becoming a member of the Nova Scotia Highland Individual: $30.00* & Family: $40.00* per year (one household). Village Society. Membership is open to anyone. In addition to general membership privileges, Membership Plus members get:

Members can: • Free admission for the year to the Highland Village • Attend general meetings; *excludes special events & programs not part of regular admission • Elect the Board of Trustees; • 20% discount in the Highland Village Gift Shop • Receive An Rubha, our Gaelic Folklife Magazine; • Membership Plus fees are not tax deductible • Receive notices for events. Sustaining & Lifetime Memberships Ask about our Sustaining & Lifetime Memberships General Memberships: • Sustaining Membership - $200 per annum Individual: $10.00* & Family: $20.00* per year (one household). • Lifetime Membership - $1000 *Income tax receipts are issued for general memberships.

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Type of Membership : ______na h-Albann Nuaidh Membership - Ballrachd

An Comunn Baile Ghàidheal An Comunn Baile Ghàidheal Return to: Highland Village, 4119 Hwy. 223, Iona, NS B2C 1A3 | Fax: 902-725-2227|E: [email protected] Eachdraidh, Cànan, Nòs is Dualchas - History, Language, Tradition and Heritage an rubha Vol 17 No.1 23 4119 Rathad 223, Sanndraigh, Alba Nuadh, B2C 1A3, Canada 41257540 4119 Highway 223, Iona, NS B2C 1A3, Canada