AN RUBHA Leanaibh dluth ri cliu bhur sinnsir

Naidheachd a’ Chlachain TIP Language Learning The Bull’s Complaint n a

e An Muileann Dubh L c a M e

n Nòs is Fonn i l u a P y b

Church Move Album o t o h P and more... http://highlandvillage.museum.gov.ns.ca VOL. 9 # 1 - AN GEAMHRADH/WINTER 2005/06 GIFT SHOP/Taigh nan Annasan

O n o u r s he l v es . ..

NEW!! NORTH AMERICAN TRADITION SERIES FROM ROUNDER RECORDS: Natalie & Buddy MacMaster: Alex Francis MacKay: Gaelic in the Bow Traditional Music From Cape Breton Island & Joe Peter MacLean: Back of Boisdale $21.95 EA. $21.95 EA.

Caroline Stellings’ children’s story: NEW!! from Frank Macdonald The Malagawatch Mice and the Church Effie Rankin’s book on the songs of A Forest for Calum Allan the Ridge - As a’ Bhràighe that Sailed - $11.95 EA. $24.95 EA. (Beyond the Braes) - $22.95 EA.

MORE GREAT BOOKS!

History titles: Dunn’s Highland Settler, Grant’s Highland Folk Ways, John Lorne Campbell’s A Very Civil People, and others... Arts & Culture titles: Margaret Bennett’s Scottish Customs, John Shaw’s Brìgh an Òran (Songs of Lauchie MacLellan), An Leabhar Mòr/The Great Book of Gaelic, and more... Genealogy titles: All Call Iona Home, Mabou Pioneers, A West Wind to East Bay, To the Hill of Boisdale, MacDougall’s History of Inverness County, “Eoghan Dubh” (Hugh & Mary MacEachen, Mabou), Cuir is Buan (Glendale), and more... Fiction: Second Sight by Meg Henderson, Butterflies Dance in the Dark by Beatrice MacNeil, and others...

From Sìol, a reprinting of Sinclair’s classic An t-Òranaiche (The Gaelic Songster) $55.95 EA. (with CD) Yes! We ship what we sell!

For more information phone (902) 725-2272 or e-maill: [email protected] AN RUBHA VOL. 9 # 1 - AN GEAMHRADH/WINTER 2005/06

© 2005 Nova Scotia Highland Village Society AN RUBHA (THE POINT) is published in 4inside From the Director’sthis Deskissue… Iona, Nova Scotia, Canada twice each year by Rodney Chaisson by the Comunn Clachan Gàidhealach na h-Albann Nuaidh/Nova Scotia Highland Village Society. Comments, sug- 5 Dedication gestions and contributions are welcome. by Jim St.Clair

Mailing Address: 4119 Rathad/Highway 223 6 The Bull’s Complaint: A Cape Breton Flyting Iona NS B2C 1A3 by Seumas Watson Canada 7 New Rounder Records titles feature Cape Breton Fiddle Location: 4119 Rathad/Highway 223 Masters Hector’s Point Iona, Alba Nuadh/Nova Scotia 8 Eadarainn; a Rona Lightfoot Recording A Review by Seumas Watson Guthan/Telephone: (902) 725-2272 Facs/Fax: (902) 725-2227 9 Cash’s Carding Mill - Textile Production in Rural Cape Breton Internet: by Vicki Quimby [email protected] http://highlandvillage.museum.gov.ns.ca 10 Naidheachd a’ Chlachain - The Village News Editorial Committee: Rodney Chaisson, Jim Watson, Pauline 12 Church Move Photo Album MacLean & Joanne MacIntyre 14 An Muileann Dubh: Story and Tune Contributors: Rodney Chaisson by Dr. Seósamh Watson Shamus MacDonald Pauline MacLean 15 Mar is léir dhomh: Viewpoint Jean MacNeil by Seumus Watson Vicki Quimby Jim St.Clair Claire Wastle 16 TIP Language Learning in Nova Scotia Jim Watson by Seamus Watson Dr. Seósamh Watson

Layout: 18 Nòs is Fonn: Song Recording Project Rodney Chaisson by Shamus MacDonald

Printing: 20 The Minniehaha & New Acquisitions City Printers Limited, Sydney by Pauline MacLean Colophon: NAIDHEACHD A’ CHLACHAIN (THE VILLAGE 21 Ach an Cuan: Sabhal Mór Ostaig Student at Highland Village NEWS) is created in Quark XPress™ 6.5 by Claire Wastle for Mac OS X on a Macintosh PowerBook G4. Most of the photo- Front cover photo: Pictured here are Michael MacKenzie, son of David and Arlene MacKenzie, graphs are digital images taken with an Olympus C4000-Z digital camera. Christmas Island and Raven Hachi, daughter of Connie Nickerson and Gerald Hachi, Sydney. They are dressed in traditional Oidhche Shamhna (Halloween) costumes while plying for treats during an historical re-enactment in the Highland Village taigh dubh (black house). By the old Gaelic way of reckoning significant times of the year, winter’s beginning was Oidhche ISSN # 1201-4974 Shamhna, known in English as All Saints Eve, or Halloween. Gaels in Cape Breton have kept this night of seasonal change to the present with customs brought to the island from the Scottish Mailed under Canada Post Canadian Highlands two centuries ago. The Village marks this Celtic calendar event with the special pro- Publications Mail Product Sales gram Oidhche Mhór nam Bòcan (The Great Night of Ghosts.) Photo by Pauline MacLean. Agreement #854441 Page 4 AN RUBHA

RodneyFro Chaissonm the Director’s Desk elcome to a newly freshened publica- has also acknowledged the importance of Nova Scotia Highland Village Society Wtion from the Nova Scotia Highland Gaelic language and culture in Nova Scotia, Village Society. We have a new name accom- and has begun making investments in its The Nova Scotia Highland Village Society panied with content and design enhance- reconstruction. A Gaelic affairs office has (Comunn Clachan Gàidhealach na h- ments. An Rubha will pick up where been established in Mabou. The Gaelic Albann Nuaidh) was incorporated on Naidheachd a’ Chlachain left off in 2002 with Activities Fund is a $100,000 a year funding November 3, 1959 under the Societies Act news on the activities of the Society and arti- program for community groups was set up. A of Nova Scotia. Its purpose was to con- cles inspired by Gaelic cultural heritage in formal agreement was signed between the struct and operate an outdoor folk muse- Nova Scotia. An Rubha means “the point” Province of Nova Scotia and the Highland um dedicated to the Gaelic culture in in reference to the physical location of our site Council of Scotland to work on mutually Nova Scotia. on Hector’s Point (Rubha Eachainn). beneficial projects, an objective of which is This is our first publication in four years. Gaelic language development. There are For that I apologise. Since the Winter other initiatives as well. 2001/2002 issue of Naidheachd a’ Chlachain, The Highland Village is working hard the last one published, we have been with other community groups, individuals, immersed in an ambitious program of strate- institutions and government on the recon- gic planning and change. This has involved a struction of Gaelic language and culture. Our The vision of the Highland Village reorganization of staffing, significant site involvement is not only a critical part of our Museum/An Clachan Gàidhealach is to be development activities, substantial interpre- mandate, it enables us to give back to our internationally acknowledged for advanc- tive and cultural programming development, community, as well as ensure that cultural ing research, fostering appreciation, learn- and more. In all of that activity, our semi- resources exist in the future. Finlay ing and sharing authentic Gaelic language annual publication got lost. MacLeod’s Total Immersion Plus (TIP) and heritage while serving a vibrant With An Rubha, we are renewing our methodology presents the Gaelic community Gaelic cultural community. commitment to producing a quality publica- with a vehicle for language growth (p16). tion highlighting Gaelic heritage and updat- Our renewed commitment to Gaelic lan- The mission of the Highland Village ing our members on activities of the Society. guage and culture is certainly evident on site. Museum/An Clachan Gàidhealach, a liv- This publication will be produced twice a Scheduled céilidhs, increased language skills ing history museum, is to research, collect, year. An editorial team has been established and usage, more storytelling and song ses- preserve and share the Gaelic heritage and internally to aid with the publication process. sions, special events and programs with culture of Nova Scotia and represent it Our inaugural issue of An Rubha sets enhanced language and cultural content are accurately and vibrantly. the tone for what we hope to be the future of all working towards our interpretive goals and this publication - seanchas and other examples vision for the museum. These representations The Highland Village Museum/An of intangible culture from Nova Scotia’s and presentations will increase considerably Clachan Gàidhealach is a part of the Nova Gaelic heritage; research and articles prepared over the next few years with new investments Scotia Museum Family (Nova Scotia’s by staff; contributions from internationally in skit development, and research on tradi- Provincial Museums), Department of acknowledged researchers and academics; tional crafts and other aspects of Gaelic life. Tourism, Culture & Heritage. The Nova new initiatives and activities regarding Gaelic This work is being aided by tourism develop- Scotia Highland Village Society operates renewal in Nova Scotia (& internationally); ment monies from the NS Department of the site on behalf of the Province. update on Highland Village news, a photo Tourism, Culture & Heritage. album, and more. Significant energies have also been I hope you enjoy An Rubha, its content focused on improving the material represen- and format. We are very interested in your tation on site. The addition of the former feedback. Submissions are also welcomed. See Malagwatch United Church (p 12) to our site page 3 for all of our contact information. and the acquisition of the Cash carding machinery (p 9) have expanded not only the tangible presence of Gaelic life on our site, The Society is a member of Comhairle na they also present us with exciting potential Gàidhlig (Gaelic Council of NS), National The past few years have been busy yet for programming and interpretation. In addi- Trust of Scotland, CLI, Gaelic Society of rewarding for the Society. In 2000, we tion, we have also been undertaking research Inverness (Scotland), Federation of NS entered into a new relationship with the to improve the representation of material cul- Heritage (FNSH), Canadian Museums Province of Nova Scotia, through the Nova ture in each of our period buildings. Assoc. (CMA), Iona Connection Heritage Scotia Museum, for the operation of the The Highland Village has come a long Coop., Council of NS Archives (CNSA), Highland Village. This new relationship and way in the past few years. We are beginning Genealogical Assoc. of NS (GANS), Cape status, has provided the operation with many to see returns for our hard work and determi- Breton Genealogy & Heritage Society, new opportunities that did not exist previous- nation. As the tourism sector and the rural Interpretation Canada, Assoc. of Living ly. It has provided us with a direct increase in economy experiences significant change over Historical Farms and Agricultural financial resources (increase in budget) as well the next few years, the Village is better posi- Museums (ALHFAM), American Assoc. for as indirect access to other perks (joint mar- tioned to adapt and grow. We will be more State & Local History (AASLH), Tourism keting, oil & postage prices, computers, truck, connected with our community. We will be Industry Assoc. of NS (TIANS), Baddeck & and other resources). better able to meet the needs of the experi- Area Business Tourism Assoc. (BABTA), In addition to a renewed commitment to ence seeking visitor. There’s still a lot of work Destination Cape Breton Assoc., and our operation, the Province of Nova Scotia to do. We are up to the challenge Grand Narrows & District Board of Trade.

Volume 9 Number 1 An Geamhradh/Winter 2005/2006 AN RUBHAUBHA Page 5

JimD St.Clairedication Nova Scotia Highland Village Society ver the past few years we have lost many So it is that we all grew in our presence Ofriends; our last remaining founder, Fr. with him as we realized that he was not only Board of Trustees Alex A. Ross, great supporters and Gaelic a skillful master of a ship, but also a caring tradition bearers such as Mary Margaret and insightful member of a crew, who tried to Kathleen MacKenzie, Antigonish (Pres.) MacLean (who served on our board for many see the good in all - the hopeful possibilities. David Newlands, Mid. Musquodoboit (VP) years), Johnny Williams of Melford, and He led too often by example rather than by Catherine Ann Fuller, Baddeck (Secretary) many others. All of these individuals were ego or personal ambition. We enjoyed the Janet Gillis-Hussey, Ironville (Treasurer) important to the Gaelic culture and to the light touch that he brought to difficult times Highland Village. We miss all of them. - as he for instance delighted in the sugges- Donald Beaton, Little Narrows Two years ago, this past November, we tion of staff at the Highland Village that a bit Dawn MacDonald-Gillis, Barrachois were hit particularly hard with the sudden of rope braided would do for a time for his Steve MacDonald, Whycocomagh passing of our then President Brian Hussey. lost hair. Jamie MacDonald, Antigonish Brian was a wonderful supporter of the Faith - and - hope - and love - thus, we loved him - his gentle ways - his cheerful Hoss MacKenzie, Gillis Point Highland Village, of its vision, its staff, and its potential for growth and celebration of greeting - his interest in the future - we loved Paula MacNeil, Sydney Mines Gaelic language and culture. At his memori- his confidence that life on Cape Breton Walter MacNeil, Sydney/Grand Narrows al service, Jim St. Clair, former board mem- would improve for all - that his health would Hugh Webb, Antigonish ber and a past president of the Society, read a be better - his confidence that the Daniel Chiasson, Baddeck (Ex-officio) tribute he prepared. He has given us permis- Malagwatch Church would indeed move sion to include it to share. Brian has left is across his beloved Bras d’Or Lakes. We Marven Moore, NS Museum (Ex-officio) mark on all of us. He is greatly missed. This rejoiced in his capacity to include all in his issue of An Rubha is dedicated to Brian and life - the young singers and musicians - love Staff the many friends we have lost over the past grew around him - as a particular blessing to few years. us all in his and Janet’s love which made us all ADMINISTRATION happy - and we can only continue to say to Rodney Chaisson, Director A TRIBUTE TO BRIAN HUSSEY one another that love never dies - and that Janet MacNeil, Administrative Assistant FAITH,HOPE &LOVE ABIDE nothing separates us from the love of God. INTERPRETATION “Faith - hope - love - these three abide In each of our hearts, there is an image of and the greatest of these is love” - “blest be James Watson, Manager Brian - a personal and emotion-stirring one - the ties that bind our hearts - the fellowship Joanne MacIntyre, Chief Interpreter whether we are wife and best friend or chil- of kindred minds is like to that above. When Colleen Beaton, Interpreter dren or mother or close relatives or co-work- we are called to part, it gives us inward pain, Marie Chehy, Interpreter ers or participants in activities or friends. but we shall still be joined in heart and hope to meet again. Catherine Gillis, Interpreter That image may be summed up with Brian the Sailor in our mind, the sailor with Home now is the sailor, home from the John MacDonald, Blacksmith all the attributes of a person skillfully guiding sea and safe from the storms of life. Aileen MacLean, Interpreter a boat - weather it be an actual sailboat or a Brian - we love you - beannachd leat agus Beth MacNeil, Interpreter piece of electronic equipment or a discussion soraidh leat. Soraidh leat agus beannachd leat. Debi MacNeil, Interpreter about policy or a social gathering or a time of Amen. learning (recently in Gaelic and Museum Kaye Anne MacNeil, Interpreter Studies) - his hand on the tiller is steady. Jean MacNeil, Interpreter Brian Hussey, Faith he had in the goodness of life - in HV Day 2003 Vicki Quimby, Interpreter/Textile Coordinator the belief in prayer (and he did receive unex- RESEARCH &COLLECTIONS pectedly the answer to his) - in the trust that Pauline MacLean, Genealogist & things could be worked out - in his faith in the vision of justice voiced by the United Collections Manager Church - in his confidence that change could VISITOR CENTRE SERVICES/GIFT SHOP occur through discussion or medical services Gerry MacNeil, Senior VC Clerk or indeed through laughter and comradeship Sadie MacDonald, VC Clerk - the faith he had that his work as “party-line” organizer helped Cape Breton be a stronger OPERATIONS and more unified place. James Bryden, Manager The faith led to hope - hope in his mar- Tim MacNeil, Maintenance riage with Janet - that it would be a deep and David MacKenzie, Grounds real bonding - and it was - that hope that blossomed in our midst, those of us on the PROJECT &STUDENT STAFF 2005 Highland Village Board where the romance Amber Bondy (intern), Jeff MacDonald, began; and where he delighted as well in the Shannon MacKenzie, Samantha good relationships between people. MacKinnon, Brendan MacMillan, Emily The hope so evident in him that the lives Redden, Jenna Redden & Claire Wastle of his sons would be full and happy - and we all hope that.

An Geamhradh/Winter 2005/2006 Volume 9 Number 1 Page 6 AN RUBHA

SeamusThe Watson Bull’s Complaint: A Cape Breton Flyting

he following introductory text and song, ‘S e an tarbh ghabh an tamailt (“If blessed by fortune, I will leave this TÒran an Tairbh (The Bull’s Song), is ‘S e cho mór as a bharail place. There is nothing here but poverty reported here as written in the Stephen Nuair a chunnaic e ‘n airneis and ill repair. I’ll go to Christmas Island. Angus Beaton’s Gaelic song collection (avail- ‘S na cabraichean cama They will take mi there in a vehicle, but able in the Highland Village library).The gist Bha mi eòlach ‘s a’ mhór-roinn MacKinnon says there are good Highland of the story is the rough reaction of a bull to ‘S iomadh àit’ ann ‘s na dh’fhàn mi folk there. Oh, my ruination.”) his being yoked to work on a farm in Mull Leithid do threogalais neònach River, Inverness County. The bull, called Cha deachaidh riamh chuir air m’amhaich [*Final three verses from Susan Norwood manu- Cameron Croft, is sent to another farm in the ‘S mi Cameron Croft script and printed in Bàrdachd á Albainn Christmas Island district. In the Gaelic tradi- Nuaidh edited by C.I.N. MacLeod.] tion of flyting, the composer of the first song, (That was the insulted bull, and he so con- Dan S. MacDonald, is responded to by a ceited, when he saw the equipment and Christmas Island bard, Hughie MacKenzie. the crooked poles. (He said), “I’ve lived in many places around the province, and the The words for Hughie’s song in response, like of this plowing harness was never put Òran An Tairbh, is edited from a transcription around my neck. I am Cameron Croft.”) by the late John Joe MacKenzie (Jonaidh Song composed by Dan S. MacDonald Eairdsidh Dhòmhnaill Bhig), Rear Christmas (Miramachi), Mull River for the bull they had * “Mìle marbhaisg do ‘n t-saoghal Island. In noting the song, John Joe describes over there called “Cameron Croft.” He turned on ‘S an rud tha daonnan an dàn dhuinn Cameron Croft as addressing his circum- Dan S. one day and nearly killed him. Joe, Dan Bha mi eòlach air uaisle stances from his new home in Christmas S’s brother, would be trying to work the bull. He ‘S na h-uile h-àite ‘s na thàmh mi Island parish. (the bull) was not used to that kind of yoke and O’n a thànaig mi ‘n taobh seo didn’t work very good. He was shipped over to Do ‘n chrò ri cùl Mhàbou In the year 1935, the farmers in the area of Christmas Island, and someone over there made Cha ghabh iad rium ach mo dhìol Benacadie, Highlands and Rear Christmas a song in reply. S.J. MacKinnon was the agricul- ‘S iad ‘g a m’ riasladh le Gàidhlig Island grouped together and organized an tural man at the time. (Stephen Angus Beaton Aig fear mu seach.” “Agricultural Society.” Their first project was the manuscript.) purchase of a pure bred bull. Hearing that a Mr. (“Curse the world and our inescapable MacDonald in Mabou had a registered Guernsey Òran an Tairbh fate. I knew the gentry wherever I lived. for sale, a couple of the boys went over and made le Dòmhnall S. MacDhòmhnaill Since coming the way to a pen in back of a purchase. MacDonald told them not to trust the Mabou, I’m only tolerated and tortured animal, as he had attacked him one day he ‘S ann a thuirt Eòsaph ri athair with Gaelic by one man after another.) hitched him to the harrows. Feuch an toir thu dhomh seòladh Before they left, he sang a song for them which Chan eil mi eòlach air an achfhuinn * “Ach, ochoin mar a thachair he composed in defamation of the animal. He Bhith ‘ga cuir air an t-seòrs’ ud Gura truagh mar a dh’éirich challenged anyone in Christmas Island Parish to Nuair a dh’éibheas mi “haw” ris Bha mi eòlach an Kentville compose a better one. This was the inspiration for Nì e tionnadh ‘nam coinneimh Bhithinn tric air na féilltean this song, a copy of which appeared in the ‘S nuair a chanas mi “woh” ris ‘S bhiodh luchd nan ad bhìbhir Antigonish Casket at that time. (MacTalla nan Nì e stiùireadh do ‘n choille Daonnan sìobhalta, réidh rium Cùl manuscript) ‘S cha dean e stad ‘S mun chaill mi na h-adhaircean Bha na mnathan orm spéiseil Òran an Tairbh (Joseph said to his father “Try and put me ‘S a h-uile neach.” le Eòghan MacCoinnich on the right track. I’m not familiar with the gear used for that kind (of beast). When I (“Woe as it happened and pitiful the cir- Guma slàn leis na fearaibh holler haw to him, he turns to face me and cumstances. I was well known in Kentville Thug mi thairis ás Mabou when I call whoa he makes for the woods where I often attended the fairs. People ‘S e mo dhùrachd dhaibh sonas and won’t stop.”) wearing beaver hats were civil to me and, A bhi màille gu bràch riuth’ before my horns were shorn, women treat- Gun robh mise fo chùram Thuirt athair ‘s e ‘freagairt ed me with affection as did everyone.”) Mi ri bùraich ‘s a’ rainich Dean an dòigh bh’aca ‘n Albainn Ann an toiseach an Dùdlachd ‘S cha robh mirean dheth cearbach * “Ach le beannachd an fhortain ‘S mi ‘nam chrùban ‘s an bhàthaich Cuir bogha mu amhaich Nì mi ‘n t-àite seo fhàgail Am measg nan cearc Agus braidean ‘s dealg ann Chan eil ann ach a’ bhochdain Ceangail daingean an t-earball Agus móran droch càradh (Farewell to the men who brought me over Is an sin, leig air falbh e Théid mi dh’Eilean na Nollaig from Mabou. I wish them eternal happi- ‘S mo bheannachd leis Bheir iad ann mi an carbad ness. I was in dire straits at the beginning Ach tha Mac Fhionghuin a’ nochdadh of December, kicking (?) and bellowing (His father replied, “Do it the way it was Gu bheil stoc gu math Gàidhlig ann and crouched in the byre among the done in Scotland and it worked without O mo chreach.” hens.) fault. Put a yoke around his neck with a collar and pin. Tie the tail securely and then let him go to it. He has my blessing.)

Volume 9 Number 1 An Geamhradh/Winter 2005/2006 AN RUBHAUBHA Page 7

The Bull’s Complaint continued... Thug mi còrr ‘s trì bliadhn’ New Rounder Records titles feature A Rìgh, bu chianail a bha mi Ri obair ‘gam riasladh Gann do bhiadh ‘s gun mi làidir Cape Breton Fiddle Masters ‘S e bhi ‘treabhadh ‘s a’ cliathachadh Rinn mo liathadh ‘s a chnàmh mi wo recent Rounder label record- ‘S mi ‘faicinn spréidh muigh air na raoin- Tings to check out by those with a tean taste for older styles of Cape Breton ‘S iad a’ glaodhaich, “Bheil nàir’ ort fiddling have been made from the Ri obair daimh?” playing of Joe Peter MacLean (Eòs Theàrlaich Eòis), Boisdale, Cape (I was more than three years, God I was Breton County and Alex Francis pathetic, at harrying work. Scarce of food Mackay (Alastair Aonghais Iain), and weak, plowing and harrowing aged Kingsville, Inverness County. and wasted me while I saw herds on the MacLean and MacKay are Gaelic meadows calling out, “Are you ashamed speaking fiddlers versed in the music doing the work of an ox?”) of Cape Breton’s Scottish community since childhood and exceptional in ‘S e MacDhòmhnaill an duine their depth of repertoire. MacKay is Nach dean mi furan gu bràch ris accompanied by Queensville via Thug mi ionnsaidh air turas Washabuck piano player Gordon An dùil gun cuirinn gu bàs e (Lighthouse) MacLean, who also Cha dugadh e biadh dhomh appears with Joe Peter MacLean ‘S e bu mhiann leis mo chàineadh along with Paul Wukitsch and Janet Cameron. The CDs are titled Back of Boisdale ‘S rinn a bhràthair dhomh òran (MacLean) and Gaelic in the Bow (MacKay). ‘S cha bu chòir chuir ‘s a’ phaipear cha robh e ceart Rounder Records is an independent label with a history of insightful tradi- (MacDonald is the man whom I will never tional recordings since its founding by codially greet. I assaulted him once three folk music advocates in 1970. Its expecting to end his life. He would not home base is Cambridge, feed me. His wish was to humiliate me Massachusetts. The company, now and his brother made a song that should- with a catalog of titles exceeding n’t have been put in the paper. It wasn’t 3,000, remains active in the field and right.) is currently working in cooperation with the Library of Congress to reis- Gur e Fionnladh** an t-uasal sue the series Folk Music of the United A tha suirce ‘na nàdur States. Originally initiated in 1942, Gura h-e ghabh an truas dhiom the series recordings were made avail- Nuair a chual’ e mo chàradh able to the public from the Library’s Thuirt e rium, “ Na biodh bròn ort Archive of Folk Culture . Tha daoine còir anns an àite ‘S mun tig deireadh na bliadhna Back of Boisdale and Gaelic in the Bow Nì thu diochuimhn’ air Mabou include extensive biographical infor- A rinn do chreach mation on both fiddlers in addition to tune selections. CDs should be available at usual outlets (including the Highland Village (Finley is the worthy who is gentle by Gift Shop) and the Rounder catalog can be accessed on-line at www.rounder.com. nature. He is the one that who felt sorry for me when he heard of my plight. He said to me, “Don’t be depressed. There are kindly men in the place and before the year’s end you will forget Mabou that was your ruina- tion.”) (I am now as I would wish to be. I got ** [Note: Fionnladh Eachainn Fhionnlaidh, Tha mi nisd mar ‘s math leam warm quarters and proper justice, with (MacCoinnich), airneo Fionnladh Fhuair mi cairtealan blàtha no word of punishment, or abusive talk. (MacGill’Fhinnein) Beataig] Agus taghadh a’ cheartais Although I am only thin, it is my present Gun ghuth (air) smachadh no càineadh opinion that before spring comes Translations by Seumas Watson. Ged nach eil mi ach tana Cameron Croft will be comely in appear- Tha mi ‘m barail an dràsda ance.) Mun tig toiseach an earraich Gum bidh dreacha agus ailleachd Air Cameron Croft

An Geamhradh/Winter 2005/2006 Volume 9 Number 1 Page 8 AN RUBHA

AE Reviewada byr Jima iWatsonn; a Rona Lightfoot recording outh Uist’s storehouse of Gaelic culture an Treobhaiche, recorded and edited by John Shas produced notable exponents far out of Lorne Campbell, was published in Gaelic proportion to its population. Cape Breton’s (1972) and stands as a Scottish Gaelic classic relationship to this island of musicians, poets, in the genre of Ireland's An t-Oileánach by singers and storytellers goes back to Tomás Ó Criomhthainn. As well as singing, Highland emigration, and many Nova Scotia Kate MacDonald's childhood was filled with The CD's seventh cut offers a lament for families can trace descent to Uist Gaels cross- music. Her father, Neil Campbell, and broth- an unidentified MacDonald, likely learned ing the Atlantic in the early nineteenth cen- er Angus were both pipers. At the age of 29, from Rona's mother tury. Reputedly, the first Gaelic song com- Kate became the wife of another piper, Bean Eairdsidh Raghnaill. (It is reported in the School of posed in Cape Breton was made by South Archie MacDonald (Eairdsidh Raghnaill 'ic Scottish Studies publication Tocher, issue 27.) Uist man Mìcheal Mór (MacDonald) who Ruairidh 'ic Raghnaill), and was henceforth , track 8, is a dandling song for an praised Judique’s natural bounty by the shores identified socially by her husband's abbreviat- 'Ille Bhàin infant who has yet to walk. It begins with the of Northumberland Strait in 1775. Lately, ed patronymic. They had a family of four line, Cape Breton fiddlers and step-dancers have boys and three girls. Two of them, Neil and 'Ille Bhàin, Bidh Do Làmh air a h-Uile . (Fair-haired lad you'll have your participated as instructors at the annual Rona, were noted for their piping. Rona was Maighdean hands on every girl.) Tha Mo Bhreacan Fliuch South Uist Gaelic music event Ceòlas. described by the late Dr. Donald Archie fo 'n Dìle is familiar to all who’ve ever attend- Among those tutoring in the 2005 Ceòlas MacDonald as "... probably the finest woman ed a Cape Breton milling frolic. Rona’s air is program was Rona Lightfoot whose music piper Scotland has ever produced." a dead-ringer for that of late Inverness and songs are rooted in her native South Uist, The only surprise about Rona Lighfoot's County singer, Seonaidh Aonghais Bhig but not unfamiliar to Cape Breton Island. CD Eadarainn is that more of her piping and (Johnny Williams) and an excellent reminder It often happens in the world of Gaelic song representations haven't appeared in an that being a vocalist does not mean that one culture that individuals who are quietly extended recording format prior to now. Her can sing Gaelic songs. respected in every day circles don’t seek com- repertoire is about generational transmission. Cut, 11 from gives us mercial popularity. These are the kind of At present, there are fewer and fewer per- Eadarainn puirt á , two reels, artists that seldom surface as performers with formers of Gaelic music and song who could beul Ruidhealadh Cailleach ris a’' and followed by box office currency, although they might be call on the deep wells of home and family tra- Bhalg Eadarainn Mòr Ruadh the (12) and in the position of doyen to their junior con- dition in a similar way. piobrach Cùmha Alasdair "Ial, Ial" ars' a' Chailleach (13), another port á beul set in temporaries. Rona Lightfoot could be Eadarainn contains fourteen tracks of pip- reel time and learned by Rhona from her described as such a person, culturally influen- ing and singing. The cuts selected give the mother. The concluding track (14) is a set of tial, but perhaps less well known to the larg- CD a book like quality through their variety jigs played on the Highland pipes. er public. The CD production titled of types. Tracks 10, 12 and 14 feature Rona's It is clear that Eadarainn has been a care- Eadarainn can’t help but bring attention to pipe playing with a fine example of can- ful production concerned for Rona the importance of her representations. ntaireachd for strathspey and reel on track 6 Lightfoot’s understanding of standards for To appreciate Rona Lightfoot’s songs and and a lament on track 12. The rest of the CD Gaelic presentations. Underlying the CD piping selections on Eadarainn, it is helpful is comprised of vocal selections giving sam- from beginning to end is a sense that this to consider her family as Uist natives in the ples of Rona's own depth of musical tradition material is communal property. Its delivery is former territory of Clan Ranald’s sphere of and a wide range of Gaelic songs’ usages in direct without affectation, or pretensions. Gaelic influence. Rona’s mother was Kate cultural expression. These include songs for These qualities are enhanced by Rona’s own MacDonald (née Campbell), perhaps better milling and dandling, humorous songs, puirt stamp in approaching songs and making know as Bean Eairdsidh Raghnaill, an out- á beul and a lament. music as the rare person who plays an instru- standing Gaelic singer and key informant for Track one is titled Mo Nighean Chruinn ment and also sings. Piping here is reminis- the School of Scottish Studies. (See Tocher, Donn air Bharraibh nan Tonn. It is described cent of older styles of Cape Breton fiddling, issue 27.) Kate was born into a household at in the liner notes as being a courting song. played without haste and with a strong idio- Garryhellie in 1897 where she was immersed Cape Bretoners will recognize the melody as syncratic flavor. in the songs, music and stories of an island that to a sailing song still known in the island Musical arrangements are supportive of prodigious in its Gaelic culture. titled Tha M'inntinn Trom 's Cha Tog Mi the far greater importance of voice and the Rona Lightfoot’s maternal grandmother, Fonn. The second song is an excellent òran song being sung. Back up musicians and Mòr Campbell, spoke little English and is luaidh that speaks in the first person of a vocalists are some of Gaeldom's best. reported to have been an extraordinary Gaelic young woman's animosity towards a com- Appearing on are Deidre singer in all ways and a considerable source petitor for the love of a man for whom she Eadarainn Graham, , Iain MacDonald, whistle for Kate's own song repertoire. (The author- has a fancy. The fourth cut is a piping selec- clàrasch and flute, Carol-Anne MacKay, accordion, ity of Mòr on the meanings of obscure Gaelic tion named as Maol Donn, perhaps more Allan Henderson, fiddle and piano and words in songs brought her family to refer to commonly known as MacCrimmon's Maighread Stewart and Annag MacInnis as her as “The Dictionary.” She died at the age Sweetheart. Speculation is that it was com- backup singers. The liner notes for of 102.) Kate MacDonald's paternal aunt, posed by a 17th century Clan Ranald Piper. Eadarainn are informative and of high quality, reporting Catrìona Campbell, also contributed signifi- The fifth track here gives Rona singing Cuach in both Gaelic and English. The list of cantly to the songs she knew. Of course there MhicGhill'Anndrais, a conversation between acknowledgments is also impressive with a were others, from whom songs were learned two men who meet on the way to a wedding special thanks to Rena MacLean, widow of in the company of the day. party.They sit to have a drink from the keg of Alastair MacLean (brother to Calum and On Kate's maternal side again, her uncle whisky one is carrying to the event with the Sorley) who was the first to record was Angus MacLellan, well known South result that neither the whisky or the men Bean Eairdsidh Raghnaill in 1951. Uist storyteller whose autobiography Saoghal arrived at the wedding.

Volume 9 Number 1 An Geamhradh/Winter 2005/2006 AN RUBHAUBHA Page 9

VickiCa Quimbysh’s Carding Mill

“People would bring their wool and they had a machine that would card it, and the wool comes out in rolls. Makes it easy for the women who were doing the spinning.” (Hilda MacDonald, Cape Breton’s Magazine, No. 12, pg.15)

or most of the 19th century, the mak- ing of cloth and clothing was a neces- Fsary and time-consuming task for women of rural Cape Breton families. Most of the work was done in the home with hand tools such as carders, spinning

wheels, spindles, and looms. n o s s

The process of carding was essential. i a Before wool can be spun into yarn for h C

y knitting or weaving cloth, it must be e n d

carded, that is made into rolls (rolagan) in o R

preparation for spinning. Hand carders y b

were wooden paddles with metal teeth o t o embedded in leather. The wool was h brushed out between the metal teeth, a P small bit at a time, and as the combing Charlie Cash with his grandfather’s equipment, in its new home at the Highland Village. progressed, was transferred from one carder to the other until the fibres were thoroughly aligned. The direction of the a leather backing fitted with wire teeth, munity of Irish Cove, Cape Breton in the carders was then reversed and a roll was reminiscent of the material used in hand early 1800’s. He bought the machinery, “doffed off,” that is, slipped off the carders. As the wool passes through the manufactured by E. C. Cleveland in carder. These were motions that were machine, these cylinders grab the wool Worcester, Massachusetts, from a Mr. repeated over and over until there were in one direction and release it in the Chisholm in Loch Lomond, Cape Breton. finally enough rolls for spinning. other, the tangled fibres of wool becom- It was originally powered by water, As the century progressed, so did the ing brushed and aligned. using a 21-foot-high man-made dam. advent of machinery into rural industry. This mill is made up of three separate Later, a gas-powered engine, called a Gristmills, sawmills, and horse-drawn parts. In the front is the picker. Its cylin- one-lunger was added, to be used when mowers saved hours of back-breaking der conceals a spike-toothed drum the water supply was inadequate. Over labour needed for grinding, sawing, or which fluffs and loosens the clean wool. time, the operation was expanded to cutting hay. Carding mills, too, could The breaker cards make up the middle include a shingle mill, sawmill and a save a family much effort. A mill could section of the mill. In this machine, the gristmill. produce as many rolls in one hour as a wool is transferred to the feed rolls Residents of the surrounding areas woman could in one day using hand which feed the wool to the tumbler and would send their wool to the mill by carders. These rolls were more even in onto the main cylinder. The main cylin- road and by boat. It had to arrive at the thickness than any made by hand, allow- der carries the wool along to the smaller mill clean and washed and some people ing them to be spun up much more cylinders called workers and strippers. even dyed their wool before they sent it. quickly. The wool is removed by the first worker Late summer and fall were the busiest The census of 1851 shows that 6 weav- and deposited back onto the main cylin- times at the mill, when over a thousand ing and carding mills were operating in der by the first stripper. Then the main pounds of wool was carded in a month. various parts of the island. One of the cylinder passes it to the next worker and Each customer’s wool was carded sepa- more well-known of this period was stripper, etc. This series of rollers oper- rately and weighed at the end for pric- Glendyer Mills near Mabou, where dye- ates in the same direction, but at different ing. In 1880 the price was 3 cents per ing and fulling services were available as speeds due to larger and smaller diame- pound; by 1900 it was 5 cents; and by well as the carding. By 1891, there were ters. Next, a fancy uses long bristles to 1933, 8 cents per pound. 21 carding and fulling mills in operation fluff the wool up on the main cylinder so Frank’s son, Tom, took over the card- in Cape Breton. One of these was Cash’s that a doffer can remove it and, finally, ing business in 1921 and ran it until 1946. carding mill in Irish Cove. These mills the comber takes the wool off the doffer. By this time, fewer families were spin- were largely water-powered and were The last section of the mill, the finish- ning wool and there was little demand often combined with other types of mills, ing cards, consists of essentially the same for the rolls. Thereafter, it was operated such as sawmills, gristmills, or shingle machinery, but with finer teeth. Also, only occasionally for custom work. mills. batts for stuffing quilts could be pro- Charlie Cash, Tom’s son, who worked A carding machine, developed from a duced instead of rolls. the mill with his father, wanted the card- 1748 patent, and changing little since Cash’s carding mill was purchased ing mill to be preserved and experienced 1773, consists of several rotating drums second hand in 1883 by Frank Cash, an by future generations. He has graciously of different sizes. These are covered with Irish immigrant who settled in the com- donated it to the Highland Village. An Geamhradh/Winter 2005/2006 Volume 9 Number 1 Page 10 AN RUBHA

Naidheachd a’ Chlachain - The Village News

he 2004 and 2005 seasons have seen Museum in the fall of 2004. He Tthe interpretive program successfully instructed a one-week training expand the Village’s material collection, course for fluent speakers of daily site-animation, staff training and Gaelic who wish to become TIP community outreach contributing to Gaelic teachers. He also visited the renewal in Cape Breton and on the main- homes of parents who speak land. Gaelic to their children or who Material and animation additions would like their children to hear include the acquisition of Soay sheep, a more Gaelic in the home. primitive domestic animal associated with Returning in the spring of 2005, the black house, and the initiation of MacLeod ran an extended “Barvas ware” pottery making, also in con- trainers’ course in Grass Cove text to Hebredian black houses. Significant for two weeks. With Gaelic larger projects were relocation of the Activities Program Assistance, Malagawatch Church to the hill (see photo Jeff MacDonald, Kingsville, was album on page 12) and setting into opera- subsequently placed on staff for tional use, Cash’s Carding Mill, generously the 2005 season and conducted MacDonald House céilidh for Eilean nan Òg donated by Charlie Cash of Middle Cape daily classes integrating staff with Iona Gaelic Singers & Mary Jane Lamond (see article by Vicki Quimby on page 9). An training, and site interpretation on-going activities schedule was also estab- through Gaelic. Instruction for the public nan Òg program. The twice weekly after- lished with demonstrations of home crafts was also offered free of charge. noon céilidh sessions were a favorite of visi- and cultural representations featured daily. Highland Village was pleased to wel- tors again and were very well attended. Notably on the side of staff training and come new interpretive staff members over Sessions introduce Gaelic storytelling, song community outreach is the success and the past two years. Aileen MacLean joined and dancing at the MacDonald House and spread of interest in a new immersion ped- costumed guide staff in summer of 2004. gave visitors and opportunity to socialize in agogy introduced to Nova Scotia by She brings with her pottery skills, initiating a Gaelic cultural environment. Scotland’s Finlay MacLeod, Chief the barvas ware interpretation, and is cur- Scottish summer student Claire Wastle, Executive of CNSA, the Gaelic Preschool rently researching the Highland basket from Sabhal Mór Ostaig, has returned to the Council in Scotland. MacLeod has devel- making tradition. Catherine Gillis came on site for a second year through the oped a teaching methodology called Total board in the summer of 2005 as an excellent Memorandum of Understanding with the Immersion Plus (TIP) for adult learners of addition to animation staffing with a flair Highland Council and the Province of Gaelic. The approach is a stress-free and for acting in skits Nova Scotia. Claire and confidence-building language learning pro- portraying traditional Soay Lambs her eight year old son gram based on the co-ordination of speech Gaelic folklore. Robb were assets to on- and action. MacLeod claims TIP can bring Joanne MacIntyre site animation and human joined the staff as resource development. Chief Interpreter in Both speak Gaelic fluent- 2005. Joanne, a ly and nicely profile the Gaelic learner, singer language while communi- and step dancer has cating as they work in cos- brought multi-task- tume around the site. ing skills to her posi- They served as inter- tion while creating an preters and tutors, with on-going activities Claire helping regular schedule with staff members and Robb demonstrations of assisting in each of the home crafts and cul- Làithean Sona programs tural representations for children. They also featured daily. All three have gone a long contributed to Highland Village communi- way to contribute to living interpretation at ty outreach in Christmas Island as cultural the Highland Village. resource people at the weekly Féis an Eilein The presence of Gaelic language and Gaelic Camp for Children. Dr. John Gibson, culture at the core of Highland Village ani- Research on and off the site by Vicki Guggenheim recipient speaks on the mation continues to develop measurably. Quimby has produced good results with Cape Breton piping tradition The availability of Jeff MacDonald to train much information acquired on the subject staff in Gaelic language skills while assist- of the Gaels’ customs and methods in pro- children or adults to a functional level of ing with interpretation points has been a ducing cloth. Vicki’s research has also Gaelic conversation in 200 hours. For more considerable help. Many of this year’s stu- resulted in discovering other references on TIP see article on pages 16 & 17. dent staff are keen to learn Gaelic and come which will be helpful in interpreting aspects Finlay visited Nova Scotia for two weeks with step-dancing skills. Three of the stu- of material culture with a view towards at the invitation of the Highland Village dent staff had completed the annual Eilean future exhibits. Her research was the foun-

Volume 9 Number 1 An Geamhradh/Winter 2005/2006 AN RUBHAUBHA Page 11 Highland Village celebrated the reprinting of An t-Òranaiche: The Gaelic Songster by Truman Matheson with a book launch and Gaelic song session. An extensive collection of popular Gaelic songs well known to Gaels on both sides of the Atlantic, An t-Òranaiche was collated and first published by Archibald Sinclair, Glasgow, Scotland in 1879. The book became a valued reference work for many households in Scottish Nova Scotia and well worn copies of the original remain in use to the present. Matheson and his collaborators are to be congratulated for making An t-Òranaiche once again widely avail- able to the public. Copies are avail- Interpreter Marie Chehy makes biscuits with particpants of able at the Highland Village gift Làithean Sona, our children’s program. shop. dation of Wool Processing in Gaelic Nova Finally, Highland Village wel- Scotia, a seventeen minute documentary comed Amber Bondy, a Museum prepared by the Nova Scotia Department of Management and Curatorship intern for a Education and now viewable in Cash’s term of fifteen weeks. Amber completed a Carding Mill or available through our gift post-graduate certification course with Sir shop. Sandford Flemming College, Peterborough, Evening presentations continued to be Ontario. Her focus of expertise is exhibit an off-hours attraction for the community creation. She demonstrated exceptional of interest in Gaelic historical and cultural competence in designing orientation panels themes. We were pleased to host Laurie for the visitor centre foyer. MacKinnon, researcher of Cape Breton The bi-lingual panels are divided into Gaelic songs, Dr. Seósamh Watson, Chair of three themes: Highland History and Modern Irish, Emigration, Settlement University College of in Nova Scotia and Dublin, Dr. John Maintaining Nova Gibson, Guggenheim Scotia’s Gaelic recipient, Dr. John Heritage. The exhibit is Shaw, Senior Lecturer, an excellent addition to School of Scottish the Village’s interpreta- Studies University of tion capacity. Edinburgh, Dr. Donald Complementing guide- MacGillvray, Cape lines contained in the Breton University, Dr. Cole and Kennedy Wilson McLeod, Senior Report 2003, it provides Lecturer, Department of visitors with a general Celtic, University of introduction to Gaelic Edinburgh, Rona Nova Scotia and the Lightfoot, piper and themes they will outstanding South Uist encounter while touring traditional singer, and the hill. Dr. Margaret Bennett, Amber also created (top) Interpretive staff learn how to make tradi- folklore researcher and an information board tional baskets from Donna Manual (top left). author of books and Sir. Sandford Fleming College intern for the forge explaining (middle) Clydesdale horse “Doc” helped articles on Scotland and Amber Bondy with her completed exhibit. the central aspect of iron- out on site this summer courtesy of Canada’s Gaelic tradi- work to rural life among Greg Gillis, Grand Mira North. tion. Gaels while bringing (bottom) Highland Cattle courtesy of Charles The Village was pleased to serve as host attention to the work of Village ironworker and Sharon MacDonald, Northwest Arm. for BBC Radio nan Gàidheal during an John MacDonald. We are grateful for her October 2004 recording session that com- contributions. tions based on Sàth ‘s Iomairt: A Five Year bined Gaelic singers and musicians from The initiative of all staff committees, and Action Plan for Gaelic Development 2001 - Cape Breton and Scotland. The all-Gaelic individual employees should be cited for 2006. Highland Village’s objective to ninety minute program was mc’d by exceptional commitment to the interpreta- become a living-history museum of Mabou’s Effie Rankin and BBC’s Kenny tion of Gaelic life at Highland Village. “acknowledged excellence” is advancing as MacIver. Titled Céilidh an Eilean Cheap Their suggestions have been innovative and we continue to concentrate on the storyline Breatainn (A Cape Breton Ceilidh), the pro- numerous. that distinguishes this museum from others duction was broadcast to an international Interpretive programming for 2004 - in the province while contributing to its cul- listening audience on New Year’s Eve 2004. 2005 has been well in keeping with projec- tural community.

An Geamhradh/Winter 2005/2006 Volume 9 Number 1 Page 12 AN RUBHA

1 Church Move Photo Album

n the fall of 2003, the Highland Village undertook its most ambitious project ever; the Irelocation and restoration of the former Malagawatch United Church (Malagawatch Union Presbyterian Church 1874-1925). The project captured local, national and interna- tional headlines. The 2000 sq. ft. church was moved 2 km by road in Malagawatch, 14 nau- tical miles across the Bras d’Or Lakes to Iona, and then 1.5 km by road to the Highland Village site. Once on site, the Highland Village began the process of restoration. The church officially opened to the public in July 2004. Since then it has been used for site interpreta- tion, services, weddings, concerts and other presentations. The Society thanks the River & Lakeside Pastoral Charge for donating the building. The project was financed by Enterprise Cape Breton Corporation, Donner Canadian Foundation, Municipality of Victoria County and many individual donations. Special thanks to Walter MacNeil, who chaired the process, Les MacIntyre for ensuring a safe move, Guy MacLean for bringing the Donner Canadian Foundation on board, Wayne MacIntosh for funding advice, Jimmy & Donna MacNeil for the wreath that guided the church on its journey, and many others. A plaque has been placed in the church foyer with the names of all those involved in the process.

2 4

5

3 Photos: (1) Malagawatch Church, from Clara Dennis collection, Nova Scotia Archives & Records Management, no date.

(2) Malagawatch United Church, summer 2002.

(3) Leaving original site in 6 Malagwatch.

(4) Coming round the bend in Malagawatch to meet the barge.

(5) Being loaded on the barge.

(6) Sailing in the River Denys Basin.

All photos by Rodney Chaisson unless otherwise noted.

Volume 9 Number 1 An Geamhradh/Winter 2005/2006 AN RUBHAUBHA Page 13

7 12

8 13

9 14

10

Photos: (7) Docked in Iona next to St.Columba Church. (8) Docked at the Iona wharf. 11 (9) Disembarking in Iona. (10) Travelling up Highway 223 to Highland Village. (11) New home at Highland Village Museum. (12) Moving to its new foundation (13) A crowning touch: a new steeple. (14) A new promotional icon for the museum. (l-r) Shannon MacKenzie, Robb Wastle & Jeff MacDonald. Photo by Wally Hayes, Nova Scotia Tourism.

An Geamhradh/Winter 2005/2006 Volume 9 Number 1 Page 14 AN RUBHA

DAr.n Seósamh M uWatsonileann Dubh: Story and Tune ighland Village was very pleased to host Celtic culture in Gaelic literature and seachad air a’ mhuileann a bha seo ’s HDr. Seósamh Watson with wife Dr. explored the influences of Celtic society on dh’fhairich ’ad port cho slick ’s a dh’fhairich Vivian Hick and daughters, Rhonwyn and literary figures writing in their native lan- 'ad riamh. O, bha am port, bha e cho slick ’s Rhiannon for the third annual Joe Neil guages. cha … cha ghabhadh ... cha ghabhadh gun MacNeil Memorial Lecture in the summer The following was recorded by Seósamh stad ‘ad dh’éisdeachd ris. Bha ’ad a’ feitheadh of 2004. Watson from the recitation of the late John ris a’ phort ’s a’ feitheadh ri … gu’n tigeadh Watson is no stranger to Cape Breton hav- Allan Beaton (Iain Ailean mac Iain ‘ic am port gu ceann. ’S cha robh am port a’ tigh- ing conducted surveys of Gaelic dialects on Raghnaill) of Broad Cove Marsh, Inverness inn gu ceann no crìoch. the island complementing similar work he County in July, 1983. The story explains the ’S fa dheireadh thuirt an sagart ris an fhear has done in Ireland and Scotland. His aca- making of a reel known as Am Muileann eile, “Tog rith’,” thuirt esan. “Bidh sinn demic interests include folklore and Gaelic Dubh, or The Devil’s Mills in English. anmoch ’son an fhear a tha slack,” thuirt esan. storytelling. As a fluent speaker of Irish and “’S e an Donas tha siod,” thuirt esan, “agus e Scottish Gaelic, Dr. Watson has collected and JOHN ALLAN BEATON ‘feuchainn ri sinn a chumail air n-ais. Agus published in both dialects for academic jour- BROAD COVE MARSH tog rithe! Cha n-fhaod sinn a bhith ‘g éis- nals and field related publications. Recorded by Seósamh Watson July 1983 deachd leis a’ phort.” He has worked extensively to record the Thog ’ad rithe ’s dur a rànaig 'ad, bha 'ad folklore of the Bluestacks Mountains in south Iain Ailean Peaton: ... Ann an Gàidhlig ... ’s e anmoch. Bha an .... fear a bha ’ad ’ dol a County Donegal, where he established a Muileann Dubh a’ Logadair. Agus an naid- choimhead air, bha e marbh. ’S dh’ionnsaich major collection of Gaelic stories from the heachd a bh’air a’ phort ... an t-ainm bhon a ’ad am port an oidhche sin agus sin am port. recitation of the late Mrs. Mary Moy (Máire thug ’ad ... An rud a thug orr’ an t-ainm seo a ’S e Devil’s Mills a th’ac’ air ann am Beurla. Rua, bean Uí Mhaí). Máire Rua was also a thoirt air, Muileann Dubh a’ Logadair. ’Se Muileann Dubh an Logadair a bh’air ann fine exponent of traditional Irish Gaelic Bha fear a’seo ’s bha e ... bha e slack. Null an Gàidhlig. singing as practiced in her area. In addition to ’s a’ gheamhradh a bh’ann, ’s chaidh e dh’iar- his work in Ireland and Cape Breton, raidh an t-sagart. Agus start e air n-ais leis an Seósamh Watson: Gu dé am facal mu Seósamh Watson recorded many of the last t-sagart. Agus bha a’ fear eile, cha robh móran dheireadh? Gaelic speaking folk in Scotland’s Black Isle ùin’ aig’ airson a bhi bhi beò agus bha e airson and Easter Ross region cabhag a dhèanamh. Iain Ailean Peutan: Tha seans’ gur e siod an Watson’s presentation theme was the Celtic Agus bha a’ sagart a bha seo agus a’ fear t-ainm a bh’air a’... air far a’ robh Muileann Spirit in Gaelic Literature. Through readings eile, bha ’ad uamhasach measail air ceòl, meas an Logadair. Bha ... ga b’e dé bh’ann ‘s a’ and lecture, he examined expressions of gàbhaidh ac' air ceòl. Agus bha ’ad a’ dol Logadair cha n-eil fhios a’m ach ’s e

From The Athole Collection of the Dance Music of Scotland, Volume I, page 44. Compiled and arranged by James Stewart Robertson. Published by MacLachlan & Stewart, London, 1883.

Volume 9 Number 1 An Geamhradh/Winter 2005/2006 AN RUBHA Page 15

An Muileann Dubh continued... SMeumasa rWatson is léir dhomh Muileann Dubh an Logadair a bh’ ac’ air a’…bh’ac’ air a’ phort. Ga b’e dé a’ ... tha he Nòs is Fonn song collection project However, styles of communal singing, in seansa guru ga b’ e càit’ a’ robh ... càit’ a’ robh Tcompleted for Highland Village keeping with retraction of the Gaelic lan- am muilleann, ach sin an naidheachd a bh’ac’ Museum by Shamus MacDonald has been a guage, have been reduced to a handful of pro- air a’ phort, co-dhiù agus … ’s e Devil’s Mills valuable addition to the museum’s library ponents who naturally perform the art as they a th’ac’ air a’ phort ann am Beurla. resources. While the future of Gaelic singing learned it in their formative years. In districts as a social practice continues in popularity where there have been distinct regional Translation among small numbers of appreciative listen- singing styles and singers, such as Framboise, The Black Mill: Story and Tune ers and singers, the purpose and communal the North Shore, Iona, Christmas Island and aspects of Gaelic singing are in danger of South West Margaree - little remains today John Allan Beaton: In Gaelic it’s called slipping from sight. Highland Village and the except for the Iona Gaelic singers. Muileann Dubh a’ Logadair. This is the story public of interest can be grateful to the Iona Communal singing in the Gaelic context behind the tune ... the name they gave it ... Gaelic singers and the late Johnny Williams refers to people gathered together for the what made them call it Muileann Dubh a’ for contributing their cultural skills, songs purpose of sharing songs. These songs are of Logadair. and perspectives on Gaelic singing to a several types, perhaps now the most usual of There was this fellow and he was pretty recording project that can be accessed for ref- which are work songs which were sung while sick. It was over around wintertime and he erence by groups and individuals desiring to cloth from the loom was milled by hand to (another fellow) went to get the priest and he research, or maintain this non-performance full it. Other genres include sailing songs, started back with him. The other fellow did- stage tradition. laments, elegies, love songs, satires and songs n’t have much time to live, so this fellow The musicality of Nova Scotia’s Gaelic cul- of comedy often locally composed. The wanted to make haste. The priest and this ture, Cape Breton fiddling and step-dancing singing of songs communally is a practice fellow were very fond of music, terribly fond in particular has been acknowledged by inter- originating with Highland immigrants who of music. national audiences for decades. Musicians settled in Nova Scotia during the early to And they were going by this mill and they exemplifying this special sound range in gen- mid-nineteenth century. heard as nice a tune as they had ever heard. erations from Buddy MacMaster to Ashley As a tool for cultural development, it is Oh, it was so slick. You couldn’t but stop to MacIssac, household names who continue to important that this vehicle of artistic expres- listen to it. They waited and waited for the play Cape Breton music around the world. sion and highly social form of song presenta- tune to an end, but, well, there was no con- The province’s Gaelic song tradition, is, or tion remains a vibrant part of modern Gaelic clusion or ending to it. has been, represented by performers like Nova Scotia. To this end, Highland Village At last the priest said to the other fellow, Mary Jane Lamond, The Barra MacNeil’s has compiled sound recording of the reper- “Get going. We’ll be late for the sick man. and The Rankin Family, who have also toires of the Iona Gaelic Singers and That’s the devil there and he’s trying to keep received their share of recognition. Although Inverness County singer Seonaidh Aonghais us back. Get going! We can’t be listening to some would distinguish song, music and Bhig. Criteria for selecting these singers was the tune.” And they took off! dance as separate enterprises, these expres- based on their song corpuses which are, per- And when they arrived, they were late. sions of Gaelic culture have existed as inte- haps, the most extant remaining in Nova The fellow they were going to see was dead. grated entities in Scottish communities to the Scotia. And they learned the tune that night and present. The performers mentioned above, As a museum focused on interpreting that’s the tune. In English it’s called Devil’s among many others, have all been directly Gaelic Nova Scotia through the language and Mills. Muileann Dubh a’ Logadair was its influenced by experiencing the Gaels’ shared culture of the Gaels, we are inspired by their name in Gaelic. music, dance and song in their own homes or good will and commitment to Cape Breton’s Cape Breton communities. unaccompanied song tradition. Seòsamh Watson: What was that last word? “Scotch” music’s instrumental side contin- - Seumas Watson ues to show strength and is publically evident. John Allan Beaton: Likely that was the name of the ... where Muileann Dubh a’ Logadair was. Whatever an Logadair was, I don’t know. But Muileann Dubh a’ Logadair was what they called the tune. First turn Second turn:

[ Note: in ‘Logadair’ we may have the cor- (The moor hen’s nest is in the black mill, (The black mill is pitching, the black mill is ruption of an original form, cf. the Lochaber the black mill, the black mill. The moor pitching and eager for dancing.) placename, Achluacharach, in Gley Roy.] hen’s nest is in the black mill at summer time.) A Port á Beul Setting For Am Muileann An darna car: Dubh Tha 'm muileann dubh air thurraban, tha A' cheud char: 'm muilean dubh air thurraban Tha 'm muileann dubh air thurraban 's a' Tha nead na circe fraoich anns a' togairt dol a dhannsa mhuileann dubh, 's a' mhuileann dubh Tha nead na circe fraoich anns a' mhuileann dubh as t-samhradh

An Geamhradh/Winter 2005/2006 Volume 9 Number 1 Page 16 AN RUBHA

STeumasIP Watson Language Learning in Nova Scotia l i e N c a M

n a e J

y b

o t o h P

Ranald MacKenzie (centre) of Mabou practices TIP teaching with (left to right) Kaye Anne MacNeil, Benacadie, Bernard Cameron, Mabou & Kathleen MacDonald, Kingsville.

otal Immersion Plus teacher training ing them more opportunities to hear parents initial focus was on pre-school education Tand presentation series was co-ordinat- and elders speaking Gaelic in non-institu- through the medium of Gaelic. Today, ed by the Highland Village Museum and tional settings like the home. CNSA offers early Gaelic education in 120 the Gaelic College. Financial support for As a method that places an onus on using playgroup settings serving more than 2,000 the initiative was provided by the co-operat- language in natural surroundings, Total children and has become an international ing institutions and the Culture Division of Nova Scotia Tourism, Culture and Heritage Immersion Plus holds promise as an effective resource for parents and schools engaged in through the Gaelic Activities Program. course offering for adult Gaelic learners in Gaelic language development. Finlay MacLeod, Director of Comhairle Nova Scotia. Responding to inquiries from To meet the growing need for adult nan Sgoiltean Àraich (The Gaelic Pre-school Highland Village in the spring of 2004, Gaelic speakers in Scotland, CNSA has cre- Council CNSA), in conjunction with the CNSA director Finlay MacLeod expressed a ated the Total Immersion Plus program to staff of CNSA, has developed an innovative generous interest in visiting Nova Scotia to bring adults to fluency as quickly as possible. immersion program for adult Gaelic learn- demonstrate the methodology and train The program is designed to accommodate ers. CNSA is a Gaelic educational organiza- tion that has been in the van guard of estab- Gaelic instructors in its techniques and appli- parents, educators, linguists and mature lishing Gaelic medium pre-schools cations. Highland Village Museum and the learners. It also features comfortable incorpo- throughout Scotland since the 1970s. Gaelic College took this opportunity to initi- ration of older Gaelic speakers as resources The CNSA adult course, titled Total ate an inaugural project to compliment their for its curriculum. In this way community Immersion Plus (TIP), is based on the prin- respective mandates for advancing the based Gaelic speakers can become part of the ciples of Total Physical Response, conceived province’s Gaelic language and culture. TIP learning experience and develop con- by Dr. James Asher. Adaptations of Dr. tributing skill sets that can be on-going. Asher’s pedagogy are now in use internation- Total Immersion Plus: A New Approach The Total Immersion Plus methodology ally, with notable success documented among to Teaching Adults Gaelic From CNSA contains two components: 1) teacher train- the indigenous peoples of Hawaii and New ing, 2) adult immersion programming. Zealand. In view of the Scottish demand for Comhairle nan Sgoiltean Àraich (CNSA) is The environment for TIP classes is a nat- fluent adults in multiple social roles, CNSA’s an independent organization dedicated to ural one, and if possible a home setting is pre- vision is to leaven the learning environment teaching and preserving the Gaelic language. ferred. Through the course’s methods, lan- for children in Gaelic medium schools by giv- Established with four playgroups in 1982, its guage is taught without the aid of written

Volume 9 Number 1 An Geamhradh/Winter 2005/2006 AN RUBHA Page 17 l i

materials, nor is note taking, or reading e N c

allowed. The pedagogical premise is to syn- a M thesize the early experiences of childhood n a e during which language is acquired effortless- J

y b ly through exposure. o t o

CNSA objectives for its approach to h Gaelic immersion for adults are as follows: P

1. To take adult students to a Gaelic conver- sational level within a 200 hour time span or less. The underlying rhythm of the whole learning course is that language acquisition occurs speedily. 2. To develop adult language of the home and community, so as to enable students to converse in Gaelic naturally and easily with their children, other members of their fam- ily and the wider community.

Week One: Teachers’ Training Course, Grass Cove, Cape Breton (29/11 - 3/12) Finlay MacLeod, Chief Executive of CNSA in Scotland explains the Total Immersion Plus methodology to student tutors at a workshop in Grass Cove in April 2005. Week one, the first phase of TIP teacher training, was presented to trainers by CNSA Week Two: Presentations and Information Scotland through outlets such as CBC, Director Finlay MacLeod from November Sessions (4/12 - 10/12) provincial newspapers and West Highland 29th to December 3rd. Sessions were held in Free Press. the private home of Jean and Duncan Week two of Finlay MacLeod’s working visit MacNeil of Grass Cove, Victoria County, to Nova Scotia was spent delivering a series TIP PHASE TWO AND FOLLOW-UP Nova Scotia. Daily orientations ran from 9:30 of presentations on topics related to adult Teacher training for Total Immersion Plus AM - 4:30 PM. Instruction was entirely immersion planning and developing Gaelic pre-schools. Sessions were well attended encompassed two weeks of orientation. The through the medium of Gaelic. Sixteen indi- with over one hundred and forty participants final segment of teacher training phase one, viduals representing adult educators, public turning out to hear Finlay MacLeod speak held on December 5th, was a group session school teachers and language learners were on language learning programs and method- conducted in English and inclusive of learn- present for Total Immersion Plus training. ologies for adults and children. ers and tutor trainees. Feedback was very The MacNeil home provided an excellent positive, and participants agreed unanimous- and natural environment for TIP training. Some general results arising from this ly that TIP was an excellent approach to Gaelic language teaching with potential for Sessions were divided between a finished initiative are as follows: effectively increasing the number of Gaelic basement area, modeled as a recreation area * Introduction of an innovative language speakers in Nova Scotia. with sewing room and laundry, and the main- training program for adult Gaelic learners Subsequent to the introduction of TIP floor of the house, which included a kitchen to Nova Scotia. teacher training in the fall of 2004, Finlay and living room. MacLeod returned to Nova Scotia and con- From Day one, the tone was set for Gaelic * Advancement of human resource devel- ducted two additional weeks of training in immersion training as Finlay MacLeod opment goals through acquiring new Iona in April 2005. This session was spon- sored by Comhairle na Gàidhlig with assis- declared the entire MacNeil household as a approaches to teaching adults Gaelic in a community setting. tance from the Gaelic Activities Program of Gaelic only place. The one exception was the Nova Scotia Tourism, Culture & Heritage. living room space, designated as the “English * Provision of cultural outreach to interested The success of this new language teach- Room”, where students were briefed on ses- community members concerned with ing method has been demonstrated by well sion content and allowed periodic opportuni- Gaelic language renewal in Cape Breton. attended classes in Glendale, Christmas ties to speak English. These included public school teachers, Island, Little Narrows, Baddeck, Sydney, Week-long sessions consisted of orienta- parents, potential Gaelic teachers, organi- Iona and St. Anns. The fall of 2005, brought MacLeod once tion on the pedagogic principles of Total zational members and the general public. again to Halifax for an additional two weeks Immersion Plus, detailed explanation of * Increased institutional liaison with indi- of teacher training on the mainland of Nova CNSA handbooks for use by instructors and viduals, organizations and institutions Scotia. This was followed with a strategic demonstrations of the actions and language within Nova Scotia and Scotland pursuing planning session in Port Hawkesbury to for- of the methodology. Learners assisted in the Gaelic development. mally organise the future for Gaelic language presentation of lessons prepared by trainee teaching in Nova Scotia through the TIP tutors as students receiving instruction. * Significant image building for Gaelic lan- methodology. guage through media coverage of Total Immersion Plus Nova Scotia and in

An Geamhradh/Winter 2005/2006 Volume 9 Number 1 Page 18 AN RUBHA

ShamusNòs MacDonald is Fonn: Song Recording Project he following account is a brief review of Niall Mór - Highland Hill) and Cùmha do Twork completed at the Highland Village Mhìcheal Murphy (composed by Donald Museum/An Clachan Gàidhealach, aimed at MacNeil - Dòmhnall Bharra - Red Point). recording a sampling of the Gaelic song reper- Of special interest to the collection are a toire and communal singing style maintained in number of songs which are ascribed to members central Cape Breton. An index of all the songs of Scotland’s bardic elite such as John MacLean and song fragments which have been collected (Iain mac Ailein) and Duncan MacIntyre is also included. The project was titled Nòs is (Dunnchadh Bàn). These include Bithibh Fonn and funded by the Province of Nova Eutrom ‘s Togaibh Fonn, Òran Seachran Seilge and Scotia under the aegis of the Gaelic Activities Hò Ro Gun Togamaid Hùgan Fhathast. It is also Program. significant to note those songs which are specif- As a group, singers in the Iona and ically associated with the musical tradition of Christmas Island region draw on a rich Gaelic Barra: Annag a Ghaoil, Hao ill o and ‘ S Moch an song tradition once found throughout much of Diugh Gun d’Rinn mi Gluasad are good exam- (L-R) Maxie MacNeil, northern Nova Scotia. Today however, they also ples. As the Iona and Christmas Island region Peter MacLean & John Gillis represent the best remaining native-born exam- was settled primarily by emigrants from this ples of this tradition generally and as a distinc- island, and because in-migration subsequent to pipers and fiddlers - and their links - are fea- tive regional-style in particular. Over the course settlement has been negligible, the song corpus tured in the Nòs is Fonn collection, as is infor- of nine informal gatherings held at the in the area continues to display a connection to mation about dancers and fighting at dances. A Highland Village during the spring of 2005, Barra despite generations of separation, a fact discussion about local traveling people from the seven singers were recorded. All of these indi- reflected in John Lorne Campbell’s Songs first half of the twentieth century has been viduals have a long-standing dedication to the Remembered in Exile. recorded as well. song traditions of the area and are well versed in The informal approach taken to recording During research, informants supplied a num- its cultural heritage. Contributors were: encouraged informants to fall into the well- ber of Gaelic expressions and proverbs, various established routine of a house visit where so important calendar customs, including those * Johnny Gillis: ( Jamesville) Iain mac Ruairidh many aspects of oral culture were historically associated with New Year’s Eve (Oidhche Nìll Iain Bhàin transmitted. As a result, a broad range of topics Challain) and All Souls’ Day (Latha nam * Peter MacLean: (Rear Christmas Island) were discussed and are reflected in the record- Marbh). Information about local superstitions Peadar Jack Pheadair mac Caluim Ghobha ings. Historical information regarding the song- and popular beliefs was recorded, together with * Jamie MacNeil: (Boisdale) Seumas Iain singing tradition in the central Cape Breton a taboo connected with the water in which eggs Sheumais Dhòmhnaill Òig Iain Ruairidh area and its social contexts are well represented are boiled; the root of the following expression * Maxie MacNeil: (Highland Hill) Calum mac and add considerably to the value of research. recalled by Joe Neil MacNeil (Eòs Nìll Bhig) in Dhòmhnaill Aonghais Iain Aonghais Eòin Whenever possible we have also recovered the Sgeul gu Latha, ‘S ann orra chaidh uisge nan * Mickey MacNeil: ( Jamesville) Mìcheal Eòin patronymics of local tradition-bearers, singers uighean bho fhear liath gu leanabh; The egg-water Chaluim Sheumais Mhòir and bards who have passed away. Discussions came down on them from the white-haired man * Rod C. MacNeil: (Barra Glen) Ruairidh Iain about the local practice of jigging tunes and to the infant. Sheumais Dhòmhnaill Òig Iain Ruairidh singing puirt-á-beul have also been recorded, A number of interesting accounts of active * Jim Watson: (Highland Village Manager of with two full examples: Dòmhnall Beag an t- divination, the evil eye and a remedy for the evil Interpretation) Seumas mac Sheumais Sheumais Siùcair and Calum Crubach. Finally, background eye (silver water, uisge-airgid) have been record- * Johnny Williams: (Melford) Seonaidh information on the composition of a number of ed as well. As we might expect, stories about Aonghais Bhig, nach maireann songs inspired by local topics, including Màiri forerunners and the second-sight were readily Lurach (composed by Malcom Gillis - Calum supplied by informants, along with many A total of seventy songs was recorded from Eòghain - South West Margaree) and Gearain humorous anecdotes, testifying to the continued the above singers. While many songs are not nam Maighdean (composed by Hughie vitality of these forms of entertainment among complete, they supply sufficient melodies and MacKenzie - Eòghan mac Eairdidh Sheumais - Gaelic speakers. Accompanying the above, we sample verses to be considered ample for our Rear Christmas Island) adds considerably to the have also collected a number of traditional purpose. Numerous song fragments were also interest of the collection as a whole. Gaelic folktales including Biorachan Beag agus recalled during our meetings. On a number of Although research was specifically concerned Biorachan Mór, Cailleach nan Cnò and Di-Luain, occasions more complete versions of these songs with songs, a great deal of local history and folk- Di-Màirt. were recovered in subsequent recording sessions lore was recorded as were many stories. Though by no means exhaustive, this collec- after singers were encouraged to think about Consequently, this study is far more reflective of tion provides a good overview of the Gaelic missing verses at home. Of the fourteen song the traditional oral culture of the Iona and song tradition and oral culture of central Cape fragments presently included in this collection, Christmas Island area than one might expect for Breton at the beginning of the 21st century. it is likely more complete versions could be a song collection. Moreover, the quality of infor- recovered with additional time and research. mation we received on several topics also shows *Shamus MacDonald, Halifax, holds a Master’s Although many of the songs represented in the potential for further recording aimed at degree in Scottish Studies from the University of this collection are well-known throughout other aspects of the oral tradition. Edinburgh. His full report and recordings of the Gaelic Nova Scotia, various local compositions Though our research aimed to elicit informa- Nòs is Fonn project are available through the are also included. Several of these are of high tion on the historical context of the singing tra- Highland Village Library. Funding for the project quality and were praised by the singers, includ- dition in central Cape Breton, setting this in a was provided by the Gaelic Activities Program ing two laments; Cùmha do Dhòmhnull larger culture framework was equally important through the Culture Division of the Department of (composed by Neil MacNeil - MacFhionghain to our study. To that end, accounts of early Toursim, Culture and Heritage.

Volume 9 Number 1 An Geamhradh/Winter 2005/2006 AN RUBHA Page 19

Nòs is Fonn: A’ Chonair Mhuire deanamh fuaim A dh’àraich ‘ad òig thu Two Selected Song Texts with Translations ‘S gun chuir e chuairt le aithreachas (You were never criticized behind your back (My brother Mick deserted me. He jumped and always lighthearted. You got that man- 1. Òran na Stàrr out on the hill. The rosary beads were rat- ner from your mother who reared you as a tling as he said them in repentance.) child.) Singer: Peter MacLean (Peadar Jack Pheadair mac Caluim Ghobha), Rear Christmas Island Nuair a thig astaigh a’ mhìos Màirt Bha thu cridheal sunndach Théid mi choimhead air an Sàr [Yazier] ‘S sgiobalt’ air an ùrlar Hillean ò hillean ì Nì mi bargan ris gu dàil Nuair thionndas tu do chùl rium Hillean ò hillean ò Airson Chevrolet na Pontiac Bidh mo shùil ort an còmhnaidh Fàl li lé s’ na ho rò ì (When the month of March comes, I’ll go (You are cheerful, happy and nimble on the Gu dé nì mi mur faigh mi thu see Yazier (the car dealer.) I’ll make a bar- dance floor. When you turn your back to (What will I do if I can’t have you.) gain with him right away to buy a Chev or me, my eye will never leave you.) Pontiac.)

Gum bidh cuimhn’ agam gu bràth *[Note: Calum Ruadh Dhòmhnaill Bhàin Mo nighean donn a’chuailein Air a’ bhliadhn’ a fhuair mi ‘Starr MacDhòmhnaill] Gur h-òg a thug mi luaidh dhut Cha robh ban-sgoilear ‘s an àit Cha doir ‘ad idir bhuam thu Nach dug a làmh ‘s a’ ghealladh dhomh ***Recorded by Shamus MacDonald. Transcription Ma dh’fhuasglas an t-òr ort (I’ll never forget the year I got the Starr. There and translation by Jim Watson. It is unclear who (I have loved you since I was young, my wasn’t a school mistress around who didn’t made this local song, although Peter MacLean was brown haired girl of tresses. If gold will free give me her hand and promise.) certain that it was composed in the Christmas you, they will never take you from me.) Island area, possibly a collaboration between Clann Choinnich ‘s na cnuic ud shuas Eòghan Eairdsidh Sheumais (Hughie MacKenzie) Mo nighean donn nam blàth-shùil Bidh iad a’ fochaid orm ‘s gach uair and Jonaidh Eairdsidh Dhòmhnaill Bhig (Johnny ‘S òg a thug mi gràdh dhut Gu tric a thug mi ‘ad mun cuairt MacKenzie). It seems that the owner of Starr was Cha b’ann air na sràidean Le truas anns a’ Phontiac Dan Joe Sheumais Eòghain (MacNeil). Chaidh t’àrach a ’s òige (The MacKenzies up there from yonder hills (I have loved you since I was young, my will mock mi every time. Out of pity, they 2. Mo Nighean Donn Bu Laghach Thu brown haired girl with the tender gaze. You often drove me about in the Pontiac.) weren’t raised on the streets as a child.) Singer: Johnny Williams (Seonaidh Aonghais Gura h-ann feasgar anmoch Di luain Bhig), Melford Mharbhainn iasg na mara dhut Chaidh mi dh’àite Chaluim Ruaidh* Shiubhlainn long nan crannagan A dh’iarraidh dà chaor’ ‘s uan Mo nighean donn bu laghach thu Cha bhiodh goideas (*?) arain ort ‘S bidh tuasaid ann mur faigh mi iad Ho rò b’e mo roghainn thu (*goideadh) (Late Monday evening I went to Red ‘S mo nighean donn bu laghach thu Cho fads a mhaireas dhomhsa Malcolm’s place to get two sheep and a ‘S mo roghainn thus’ air bhòichead (I would catch the fish of the sea for you and lamb. There will be a row if I don’t get them.) (You are comely my brown haired girl. sail the masted ship. There will be no need Ho rò you are the one that I chose. You for stealing bread as long as I live.) A’ dol sios an turn cham are fetching my brown haired girl. I Chaidh an tuainealaich ‘nam cheann choose you for your beauty.) ‘S tha do chainnt a mhàthair Bha mi treun nuair a bha mi beò A bheireadh siod ort m’ fhàgail (?) ‘S e Seumas Eòghain is athair dhomh Gur fhada leam-s’ an geamhradh Na biodh idir nàir’ ort (Going down the crooked turn, my head Gos an tig a’ samhradh A Mhàiri ‘s tu bòidheach began to spin. Being alive, I was brave. Sin nuair a bha‘n t-àm (Your talk, mother, has left me this way (?). Seamus Eòin is my father.) Nuair a gheall mi do phòsadh Do not be ashamed Mary. You are lovely.) (The winter is long while waiting for sum- Dh’éibh an t-innseanach “Let go. mer. That’s when I promised you marriage.) Cha n-eil aon ‘s an àite I’m afraid she’ll burst, explode.” A bheireadh idir bàrr ort Leum mi air a’ running board ‘S thig ‘ad as gach àite Nam biodh ort a dh’àird’ ‘S cha mhór nach d’rug a’ lasair orm. Far mullach nam beann àrda A dhà na trì òirlich (The Indian hollered “Let go. I’m afraid she’ll A choimhead ort a Mhàiri (There isn’t one in these parts that could bust, explode. I jumped on the running Gur àsan tha gòrach place themselves higher than you, if you board and was nearly caught by the (They (suitors) come from every direction, were two or three inches taller in height.) flames.”) from the mountain tops, to see you Mary. *This last verse is a humorous Gaelic play on They are misguided.) words. **Alternative verse Gun tig ‘ad far nam munaidhean *Self recorded by Johnny Williams.Transcribed and ** Dol amach Bheinn Iain Bhàin Cho lìonar ris na cuileagan translated by Jim Watson. A song well known Chaidh an carbad orm ‘na smàl A choimhead air mo chruinneag-s’ throughout Gaelic Cape Breton, Johnny Williams’ Gum b’e an t-innseanach an tràll Nuair a chluinneas ‘ad mu bòichead setting is sung with a slow tempo and his own styl- Nach dànaig ‘gam cuideachadh (When they hear of her beauty, they come ized ornamentations. A version of this song con- (On the way to Fair John’s Mountain, the car from the moorlands as thick as flies to see taining only three verses is reported in Story and went to pieces on mi. The Indian deserted my sweetheart.) Song from Lochness-side (pg 250), published in and wouldn’t give me a helping hand.) 1914 and reprinted by the Gaelic Society of Cha chualas do chùl-chàinidh Inverness in 1982. Mig mo bhràthair, théich e ghuam Cridheal mar a b’àbhaist Gun do leum e air a’ bhruaich Thug thu sin bho t’mhàthair

An Geamhradh/Winter 2005/2006 Volume 9 Number 1 Page 20 AN RUBHA

PaulineThe MacLean Minniehaha & New Acquisitions

he following piece came from the scrapbook Tof Mrs. Katie Bell (MacDougall) MacKenzie who lived in Boston but was orig- inally from Lake Ainslie. It describes a trip on the Minniehaha, a boat used at Lake Ainslie during the latter part of the 1890s to the early 1900s. Though there is no date or author on the clipping, it seems to have been a very festive outing. The scrapbooks were loaned to the Lake Ainslie Historical Society by Myrtle MacDougall, a relative of Katie Bell.

THE FIRST SAILING OF THE MINNIEHAHA

A most noteworthy event took place in the quiet vicinity yesterday when the Minniehaha ploughed, for the first time the beautiful waters of Lake Ainslie. While the bay and harbour, creeks and nooks of Cape Breton, in virtue of their position and com- mercial relation with the rest of the world The Minniehaha on Lake Ainslie, c. 1900 were frequented from early years by the sail and steam of foreign countries, the crystal waters of Lake Ainslie were destined to McGregor, father of the Rev. Donald Marie Bryden Bradley, Castle Bay remain blank until her own enterprising McGregor, and the late lamented Murdock Catherine Bryden, Castle Bay sons should honor and decorate her unri- McGregor, a student for the ministry, who Clarence Calder, Ainslie Glen valed charms with such floating facilities died before completion of his college years. Jean Clough, Ontario and our less picturesque inlets so long and so From such reflection s one can see the truth Peter Ferguson, Whycocomagh luxuriously enjoyed. The industrious tillers of Byronís lines. Yvonne Fox, Port Hastings of her soil have long and patiently awaited Lawrence Fraser, Sydney and anxiously watched for this eventful day. “...... ! On whose arbitrary wing Kaye Garland, Middle River It is not surprising, therefore, that the The varying hours must flag or fly, Alexis Gillis, Jamesville Minniehaha yesterday received along the Whose hardy winter, fleeting spring Robert Hayden, Mulgrave line such hearty greetings and loud saluta- But drag or drive us on to dye” Elizabeth Henderson, Benacadie tions. The flying of flags, the firing of guns Rev. Robert & Sadie Latimer, Truro and the waving of handkerchiefs by her cot- Returning from those melancholy sidelines Don Lohnes, Halifax tagers were expressions of congratulations as into which we have unconsciously drifted, Florence MacCuspic, Hunter’s Mountain well as indicators of welcome. Amidst such let me hit my text on the head- The first trip Annie MacDonald, Washabuck rejoicing this neat yacht shot out from of the Minniehaha on Lake Ainslie was a Ken MacDonald, Sydney Argyle wharf and steamed down east side of rich and joyous feast of ..... fat things. Stanley MacDonald, South Cove Scotsville where we were piloted by Mr. Needless to say, that both gratitude and con- Eric MacKay, Ontario MacFarlane through the narrow, but deep gratulations are justly due the McMillan Ian MacKinnon & the Port Hastings and winding river of Margaree to Scotsville Bros. For this enterprise, which will be a Volunteer Fire Department bridge which was covered with the sur- benefit to our business men, a support to the Murdock MacLeod, Baddeck Bay rounding people, who, in response to her traveling public and a source of pleasure to Buddy MacNeil, Iona whistle, came to give the Minniehaha a tourists that come to enjoy the various sports Duncan MacNeil, Grass Cove cheerful reception. From thence, we steered and ...... Scenery of Lake Ainslie. Rev. Joe A. MacNeil, Shunacadie along the beautiful pro——— shores —— Yours truly, Regis MacNeil, Baddeck ———- and to Loch Ban, Strathlorne (Author missing from newspaper Sadie Marie MacNeil, Ottawa Brook where we took bearings for Argyle, our article) Christine MacPhie, West Bay point of starting, thus closing a circuit of Donnie Matheson, Little Narrows about 40 miles, which in fact was all that DONORS - ARTIFACTS & ARCHIVAL ITEMS Laurie Pietrie, Creignish Rear pleasant associates, delightful ride and River & Lakeside Pastoral Charge charming scenery could make. Among the The Highland Village wishes to thank our Art Robertson, Orangedale serious thoughts of the occasion would nat- donors for their generous gifts of artifacts Brian Sheppard, Sydney urally suggest, to a reflective mind was the and archival items (2002 to 2005). Gault Smith, Hillsborough fact that of all our forefathers, who first set- South Haven Community Hall tled here and with hard and rustic toil left us Bruce Allen, Marion Bridge Bev Webber, Tor Bay such verdant skills only one has been spared Angus Archibald Ferguson, Sydney John Walker, Truro to see a steam boat on the lake and one is the Bonnie Bowman, Ottawa Brook John & Diane Williams, Middle River venerable and much respected Mr. Sally Boyle, Mabou

Volume 9 Number 1 An Geamhradh/Winter 2005/2006 AN RUBHA Page 21

CAlairec hWastle an Cuan: Sabhal Mór Ostaig Student at Highland Village

nder the auspices of the shùilean dha ‘n luchd-tadhail, Memorandum of Understanding a’ bruidhinn mun chànan agus Ubetween the Government of Nova Scotia a’ freagairt nan cèist aca. Chòrd and the Highland Council, Scotland, seo rium gu mòr agus thachair Highland Village was able to return mi ri tòrr dhaoine inntinneach. Sabhal Mór Ostaig student Claire Wastle Taobh a-muigh a’ on-site as a costumed animator and com- Chlachain, bha mi a-null ann munity worker. Printed here bi-lingually an Eilean na Nollaig gu tric far is Claire’s final report on completing her an robh mi ag obair le Fèis an term at Hector’s Point, Iona. Eilean. A-rithist, bha mi gu sònraichte an sàs le prògram na Aithisg mu dheireadh bho cloinne. An seo, bha mi a’ Claire Wastle aig A’ Chlachan cleachdadh Gàidhlig gu tric ‘s Ghàidhealach, Ceap Breatainn mi a’ feuchain ri beagan 25mh den Lunasdal 2005 Gàidhlig, abairtean feumail is faclan freagarrach, a theagasg Cha ghabh e creidsinn gur e a-màireach a dhaibh. Chòrd seo rium gu bhios na là mu dheireadh againn aig A’ mòr. Rinn mi duilleagan spòr- Chlachan. Dh’fhalbh aon sheachdain deug sail sa Ghàidhlig – wordsearch- seachad ann am priobadh na sùla. A-rithist, es msaa – a b’ urrainn dhaibh chòrd an ùine a tha sinn air cur seachad ann cleachdadh a-rithist ‘s a-rithist. an Ceap Breatainn rinn gu mòr – fàgaidh Mar oileanach nam mead- sinn àite is daoine sònraichte fhèin. han, bha mi gu math fortanach Claire Wastle A thaobh obair, tha mi a’ creidsinn gun cothrom fhaighinn a bhith a’ deach cùisean glè mhath. Bha mi an sàs le dol timcheall còmhla ri muin- mòran thachartas shuas air a’ chnoc – ag ntir Media nan Eilean a bha a- obair sna taighean, sa ghàrradh, leis na beat- null bhon Eilean Sgitheanach airson prògram Dhunnchaidh is Dunnchadh MacNìll (Còbh haichean agus fiù ‘s còmhla ris a’ ghobha a chlàradh mu dheidhinn Fèis an Eilean air- an Fheòir), Raghnall MacCoinnich is Sìne anns a’ cheàrdaich. A bharrachd air sin bha son BBC Alba. NicCoinnich (Mabou) agus Pat Bean mi an sàs am prògram na cloinne ris an Taobh a-muigh obair, bha sinn glè thrang Pheadair is Peadar MacNìll (Boisdale) aig a canadh iad Na Làithean Sona. Tha am prò- fad na h-ùine. Chaidh sinn an siud ‘s an seo, bheil an taigh far a bheil ar cridheachan a’ gram seo ann a h-uile Diciadain, nuair a thig air feadh an eilein, bho ceann seachain a chur fuireach. clann dhan Chlachan airson là a chur seachad sinn seachad ann am Mabou còmhla ri Mòran taing dhuibh uile! nar measg. Am bliadhna-sa, bha mi gan toirt Raghnall MacCoinnich agus a theaghlach. a-muigh dhan choille far an robh iad ag gu ‘dannsa ceàrnag’ ann an Glencoe, gu Final Report from Claire Wastle at The ionnsachadh ciamar a bha cùisean airson cuairt ann am bàt’-iasgaich is mòran rudan Highland Village, Cape Breton muinntir na h-imriche nuair a ràinig iad math eile. Agus thachair sinn ri mòran 25 August 2005 Ceap Breatainn bhon Ghàidhealtachd còrr is caraidean ùra! dà cheud bliadhna air ais. Thog mi mòran dhealbh a-rithist, agus tha It’s unbelievable that tomorrow will be Shìos, far a’ chnuic, bha mi ag obair air mi an-dòchas gun cùm mi a’ dol leis an our last day working at the Village. pròiseact còmhla ri Amber Bondy agus tha làrach-lìn a thòisich mi mar phàirt den chùr- Eleven weeks went by so quickly. Once mi toilichte ràdh gu bheil an taisbeanadh aice sa agam an-uiridh anns an robh mi a’ again, our time in Cape Breton has been deiseil nise, a’ crochadh air a’ bhalla san ionad cruthachadh làraich a’ cleachdadh dealbhan a’ happy, fruitful and very special. fàilteachaidh is e a’ coimhead snog is fios- Chlachain. A bharrachd air sin tha mi air With regards to work, things have rachail. Cuideachd, bha mi ag obair air òraid sgeulachd chloinne a thòiseachadh, sa gone very well. I have been involved in a thug mi seachad a-raoir mun t-Sabhal Ghàidhlig, mu beathaichean a’ Chlachain. many activities on the Hill including Mhòr agus ag ionnsachadh aig foghlam àrd- Bliadhna air ais, thuirt mi gum bu toigh working in the building, in the garden, ìre tro mheadhan na Gàidhlig. leinn tilleadh. Thill sinn gu dearbh agus ‘s e with the animals and even with the Am bliadhna-sa, tha mi air a bhith a’ cuairt uabhasach fhèin math a bh’ ann. Tha blacksmith in the forge. As well as that, I cleachdadh Gàidhlig fada nas trice le luchd- fios againn gu bheil sinn air a bhith gu math have been involved with the regular obrach a’ Chlachain na bha mi an uiridh. fortanach airson dà thrup a dhèanamh tar- Wednesday childrens’ programme when Thàinig piseach air mòran dhiubh on a saing a’ Chuain Mhòir dhan A’ Chlachan children come to spend the day on-site. thòisich iad air an dòigh theagaisg ùr a Ghàidhealach. Chan eil mi cinnteach cuin no This year I have been taking them out to chleachdadh. ciamar, ach tillidh sinn a-rithist. the woods to teach them about the situa- Agus chanainnsa cuideachd, gun robh mi Bu toigh leam an cothrom seo a chleach- tion faced by emigrants when they a’ bruidhinn fada na bu trice ri luchd-turais dadh airson taing mhòr a thoirt do: Roinn na arrived in Cape Breton from the mun chànan fhèin, mun oidhirp a tha air a Turasachd, a’ Chultair agus an Dualchais, Gàidhealtachd. dhèanamh na làithean-sa ‘son a’ chanain a Comhairle na Gàidhealtachd, Rodney Off the Hill, I worked on a project shabhaladh (an seo ann an Alba Nuadh agus Chaisson (Fear-stiùiridh a’ Chlachain), with Amber Bondy and I’m happy to air ais san t-Seann Dùthaich) agus cùisean Seumas Watson (Fear-stiùiridh an report that her exhibition is now hanging mar sin. Tha mi fhìn a’ creidsinn gur e obair Taisbeanaidh), muinntir a’ Chlachain, Fèis on the wall in the reception centre where fìor chudthromach a tha seo, airson cuideigin an Eilein (Eilean na Nollaig), Media nan continued on page 22... a bhith air a’ chnoc, a’ cur a’ chànainair Eilean (An t-Eilean Sgitheanach), Sìne Bean An Geamhradh/Winter 2005/2006 Volume 9 Number 1 Page 22 AN RUBHA

and again. fromClaire page Wastle 21 continued... I took lots more photos this year and hope to carry on building the website that I started as part of my course last it looks nice and is informative. I also year at college using photos of the worked on a lecture that I gave last night Village. As well, I have started writing a on Sabhal Mòr and studying at degree children’s Gaelic story based on the ani- level through the medium of Gaelic. mals at the Village. This year, I have used more Gaelic As a media student I was particularly with the Village staff than I did last year. fortunate to get the opportunity to Many of them have benefited from the spend time out with the film crew from new teaching method that is being used. Media nan Eilean who were over from And I would also say that I have spent Skye recording a programme about the an even greater amount of time this year Fèis for BBC Scotland. talking to visitors about Gaelic – the lan- Away from work, we were constantly guage itself, the state of it and the current busy. We visited here and there, the attempts to stabilise and revive it. I per- length and breadth of the island, from a sonally believe that this is really impor- weekend in Mabou with Ronald tant work, for someone to be visible up MacKenzie and his family, to a square on the Hill, promoting the language and dance in Glencoe, to a fishing boat answering the numerous questions that trip…the list is endless. And we met lots visitors ask. I have thoroughly enjoyed Robb Wastle of news friends too! meeting and talking to a huge variety of A year ago I said that we would will- people and giving them an in-sight into ingly return. We did indeed return and it the language and cuture. Jim Watson and all the staff at the was a really great trip. I know that we Away from the Village I again worked Highland Village, Fèis an Eilein are very lucky to have made two trips with Fèis an Eilean over in Christmas (Christmas Island), Media nan Eilean (Isle across the Big Sea to The Highland Island and was particularly involved of Skye), Jean and Duncan MacNeil Village. I’m not sure when or how, but with their childrens’ programme where I (Grass Cove), Ronald and Sìne we will return again! Gaelic and tried to teach them some basic MacKenzie (Mabou) and Peter and Pat I would like to take this opportunity phrases and vocabulary. I have made MacNeil whose lovely Iona cottage has to thank: The Department of Tourism, some fun worksheets for them, word- become our home from home. Culture and Heritage Nova Scotia, The searches etc, which can be used again Thank you all! Highland Council, Rodney Chaisson, TAPADH LEIBH-SE GU MÓR.

The Nova Scotia Highland Village Society Catherine Godwin Rod C. MacNeil acknowledges the support of many indi- Grant Thornton Christine MacPhie viduals, organisations and governments Highland Heights Inn Wallace MacRae for their unwavering support of the Harold Higgins The McCabe Family Highland Village and its work. Icon Communications Janet McCabe Irene King Mabel F. McCutchen * Province of Nova Scotia - Departments Frances Langille James & Rilla McLean of Tourism, Culture & Heritage, Rev. Elizabeth Lemon Theresa Morrison Transportation & Public Works, and Charles MacDonald Donald Munro & Wendy Bergfeldt Office of Economic Development M.L. (Peggy) MacDonald Blair & Rose Oake * Enterprise Cape Breton Corporation Steve & Dianne MacDonald Mary Schwartz * Human Resource & Skills Dev. Canada Edmund MacEachern & family Fred H. Seely * Tourism Atlantic/ACOA Ann K. MacIntosh David F. Sobey * Municipality of Victoria County Hector MacKenzie James St.Clair * Donner Canadian Foundation Guy MacLean Richard & Anne Stivers * Highland Council, Scotland Vince & Charlotte MacLean Steve Sutherland Nicole MacLennan Doris Tiney Other financial contributors: Roderick MacLennan John Vines Pat Bates W. E. (Bill) MacLennan The Wellington Residents Martin Boston Marilyn G. MacLeod The Wellington Council Annie Buchanan Mary K. MacLeod Susan Wright Janet Buchanan Ian MacNeil CBC Cape Breton Jamie MacNeil Thanks also to all who donated artifacts Janet Cameron Jean & Columba MacNeil and archival material (see page 20), to Kathleen Campbell Jim MacNeil & Debi DeCecco those who helped out at our many Heather Capstick John P. MacNeil fundraising events and programs, to Rodney & Charlene Chaisson Katherine MacNeil those attending our programs or visiting Danny & Nancy Chiasson Kaye Anne MacNeil our site, and everyone else who in some Bill & Janette Embery Maxie & Joan MacNeil way supported the Highland Village. Yvonne Fox Michael A. (Jack) MacNeil

Volume 9 Number 1 An Geamhradh/Winter 2005/2006 MEMBERSHIP - BALLRACHD AN COMUNN CLACHAN GÀIDHEALACH NA H-ALBANN NUAIDH Interested in Nova Scotia’s Gaelic language and heritage? Join the Nova Scotia Highland Village Society. The Nova Scotia Highland Village Society is incorporated as a non-profit Society under the Societies Act of the Province of Nova Scotia, and a registered charity with the Canada Revenue Agency. The Society is made up of a membership which elects the Board of Trustees (from their ranks) to operate the Society on their behalf. Members can attend meetings, elect the Board, sit on commit- tees, receive and approve annual reports including audited financial statements, receive An Rubha (semi-annual newsletter), receive notices for events, and feel a sense of pride in contributing to Nova Scotia’s Gaelic Culture. Membership is open to anyone.

GENERAL MEMBERSHIPS Individual - $15.00* per year. Family - $25.00* per year. (one household) * Income tax receipts are issued for general memberships.

NEW MEMBERSHIP CATEGORY - MEMBERSHIP PLUS Individual - $25.00** per year Family - $40.00** per year. (one household) In addition to general membership privileges, membership plus members get free admission to the Museum (excludes special events & programs) 10% discount in the Highland Village Gift Shop ** Membership plus fees are not tax deductible and include 15% HST.

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Return to Highland Village, 4119 Highway 223, Iona, NS, B2C 1A3 - Fax: (902) 725-2227 - E-mail: [email protected]

EACHDRAIDH, CÀNAN, NÒS IS DUALCHAS - HISTORY, LANGUAGE, TRADITION AND HERITAGE

Volume 9 Number 1 Coming this winter to a computer near you... Céilidh air Cheap Breatunn: a virtual exhibit on the Gaelic culture of Cape Breton Island.

watch for it at www.virtualmuseum.ca

Explore the rich traditions of Cape Breton’s Gaels (Storytelling, Songs, Music and Dance) through unique Flash® based documentaries and video clips. Learn about the céilidh and seanchas traditions. Hear Gaelic phrases, and more...

Produced by the Nova Scotia Highland VIllage Society. Curated by Jeff MacDonald. Designed and programmed by Threeton.com. Funded by the Virtual Museum of Canada Investment Program.

Flash® is a registered trademark of Adobe Systems Incorporated. OFFICIAL LAUNCH WINTER 2006 AN RUBHA

Nova Scotia Highland Village Society

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