GLAS LE FÁS 2 GLAS LE FÁS 3 EALAÍN CHLÚDAIGH COVER ART: AODÁN MONAGHAN 4 GLAS LE FÁS 5 Cruthaíonn Áras na bhFál an spreagadh do chomhrath. Mar gheall ar an spreagadh seo tá an gealltanas go n-athlonnófar postanna Faoin Leabhrán Seo About this booklet earnála poiblí sa Cheathrú Ghaeltachta. The Broadway Development creates a pulse for common prosperity. Tá an smaoineamh chun tosaigh go smior sa nádúr againn, ach Thinking ahead is very much part of our nature, but our With it comes the promise of the relocation of public sector jobs to the caithfidh obair s’againne díriú ar an chur i gcrích agus ar an chur i work must continue to be about implementation and Gaeltacht Quarter. bhfeidhm. Mar chaomhnóirí na Gaeilge agus an chultúir delivery. As custodians of the Irish Language and Ghaelaigh, caithfidh muid fosta bheith freagrach as na culture we must also account for the resources we use hacmhainní a úsáideann muid tríd an tairbhe do agus an tionchar by demonstrating clear community benefit and positive dhearfach shoiléir ar an phobal dá bharr a léiriú. Ach tá sin ina impact. But that is an equal challenge across chomhdhúshlán trasna an rialtais. Caithfidh an rialtais cruthú, Government. In allocating its resources it must agus é ag dáileadh acmhainní go bhfuil sé á dhéanamh le demonstrate equity in a manner that facilitates comhionannas a léiriú agus ar bhealach a ligeann do gach pobal achievement in all our communities. The Gaeltacht an chuid is fearr a bhaint amach ina áit féin. Is í triail litmis na Quarter is a litmus test of that commitment coimitminte seo ná an Cheathrú Ghaeltachta. Dlaoi mhullaigh ár n-iarrachtaí athnuachana is Tríd dul i gcomhairle le páirtithe leasmhara, cuireann an leabhrán Through stakeholder engagement this guide provides ea é nasc a dhéanamh le fuinneamh mhargadh treorach seo méaranna eolais soiléire ar fáil faoin chineál clear signposts for the kind of Gaeltacht Quarter people na hearnála poiblí. Ceathrún Gaeltachta atá daoine ag iarraidh a fheiceáil agus faoi wish to see and what developments are needed to na forbairtí atá a dhíth lena cur i gcrích. Cuimsíonn sé réimse bring that about. It captures a range of views and It is the cap stone of our regeneration effort to dearcthaí agus barúlacha a nochtann braistint d’fhéidearthachtaí opinions that reveal a sense of civic opportunity connect to the vigour of the public sector market. sibhialta chomh maith le léirthuiscint ar dhualgas sibhialta. Bhí na together with an appreciation of civic duty. Participants daoine a ghlac páirt ar bís le bheith ag amharc chun tosaigh le were keen to look forward with a focus on young fócas agus béim ar dhaoine óga mar thosaíocht. people a priority. Cuirtear na barúlacha chun tosaigh díreach mar a nochtadh iad. The views are recorded as they were expressed. Ár míle buíochas le gach duine a ghlac páirt sa phróiseas A big thank you to all of those individuals and groups comhairleach leathan seo agus leo siúd a thug barúil i scríbhinn, who participated in this wide ranging engagement nó a ghlac páirt sna ceardlanna. Is léir go bhfuil an chuid seo de process and to those who provided written submissions chathair s’againne lán físe, lán talainn agus lán coimitminte. Ag or who participated in the workshops. It is clear that rith taobh le taobh leis na barúlacha úra seo tá sraith ráiteas a this part of our city has considerable talent, rinneadh faoin Cheathrú Ghaeltachta le roinnt blianta anuas. commitment and vision. Running alongside the most recently recorded views are a series of statements made about the Gaeltacht Quarter of recent years. Tá fáilte roimh aiseolas ar an leabhrán seo tríd Feedback on the booklet is welcome, via [email protected] [email protected] 6 GLAS LE FÁS 7 Brollach Foreword Seans go measfaidh sibh go bhfuil sé rud beag aisteach go You may consider it odd that my introduction to Glas le Fás ndíríonn réamhrá s’agam ar leabhrán Glas le Fás ar Carl would concentrate on Carl Hardebeck who was born in Hardebeck, a rugadh i 1869 d’athair Gearmánach agus do 1869 to a Dutch father and a Welsh mother. He was raised in mháthair ón Bhreatain Bheag. Rugadh i gClerkenwell i Londain é the Clerkenwell area of London and began playing the agus thosaigh sé ag seinm an phianó mar a dúirt sé féin “ón am a piano, as he said himself, ‘from when he was able to reach bhí mé in ann an méarchlár a shroichint.”. the keyboard’. Nuair a chríochnaigh sé a chuid staidéar sa cheol, bhog sé go Béal After completing his studies in music, he moved to Belfast Feirste i 1893, ar dtús chuig Bóthar na hAolchloiche agus ar ball, in 1893, living first on the Limestone Road and later in Divis go Sráid Dubhaise áit a raibh sé ina chónaí ar shráid in aice le Street off the Falls in the Gaeltacht Quarter. Bóthar na bhFál i lár na Ceathrún Gaeltachta. It was here that he was first introduced to Irish music. At a B’anseo a chéadfhuair sé eolas ar an Cheol Ghaelach. A g coirm 1900 concert sponsored by the Gaelic League, Hardebeck cheoil i 1900, urraithe ag Conradh na Gaeilge, chuala Hardebeck heard a native speaker sing unaccompanied in Gaelic, and amhránaí dúchásach ag ceol go haonar i nGaeilge agus tháinig his entire outlook on Irish music was suddenly and athrú tobann agus athrú do-chúlghairthe ar dhearcadh s’aige ar irrevocably changed. He was captivated by the flow of an cheol Ghaelach. Bhí sé faoi dhraíocht le sruthú an fhoinn, le melody, the variations in rhythm and the perfection of the breachnuithe sa rithim, agus le foirfeacht mhírithe an cheoltóra. singer’s phrasing. Hardebeck decided there and then to Rinne Hardebeck rún ar an toirt go gcaithfeadh sé a shaol le cothú devote his life to the cultivation of this music. an cheoil thraidisiúnta. The whole direction of Irish musical thought at the time Bhí an treo iomlán san am sin dírithe ar thraidisiún cheol ‘ a bhí was towards the preservation of what was considered a lost caillte’ a chaomhnú. An rud a d’aithin Hardebeck é féin, áfach, go heritage. What Hardebeck realised was that Irish music was raibh an ceol Gaelach déanta de chuid mhaith stíleanna agus composed of many different genres and styles, all of them seánraí éagsúla, achan cheann acu logánta agus iad lonnaithe go vital and specific to a place and people, and he allowed smior ina n-áit dhúchais féin agus dá bpobal féin. Lig sé dó féin himself to be inspired by these — to be a composer rather dul faoi gheasa acu uilig agus lig sé dó féin bheith ina chumadóir than a musical pathologist. He found himself in the cheoil agus chan ina phaiteolaí ceoil. Fuair sé é féin ina mhionlach minority of one against an entrenched prejudice which aonair in éadan na claontachta daingne a bhí ag iarraidh an luach sought to negate the local and native wealth of oral a bhain le traidisiún béil agus saibhreas an bhéaloidis logánta a tradition and community. Here is what he wrote in chur ar neamhní. Seo an méid a scríobh sé faoin freasúra: reference to his opponents: ‘Tá muid leis an cheol béil álainn a bhfuil an tionchar ón Ghaeilge ‘We are to set aside all the beautiful vocal music, with the ar a rithim iontach, a chur ar leataobh – an tionchar sin atá influence of the Irish Language on its marvellous rhythm — ríthábhachtach. Tá muid leis na crotail a ghlacadh, na crotail atá that rhythm which is paramount. We are to take the husks fágtha againn de bharr míthuisceana agus bréagachta, de left to us by the misunderstanding and falsification, dheasca go bhfuil déistin ag na húdaráis seo ar an teanga agus ar because these authorities despise the language and its a cuid traidisiún, iad siúd nach bhfuil aon fhonn orthu fáil amach traditions, and have no desire to know it or to find out what faoin rud atá beo inár measc. Tá muid le cothú leis an rud atá is living among us to-day. We are to be nourished by the marbh seachas an rud atá lán beochta. An dtiocfadh linn rud ar dead instead of the living. Could anything be more absurd?’ bith níos áiféisí a shamhailt?’ The singer’s name that evening in 1900 was O’Conlon, and Ba é ainm an amhránaí an oíche sin i 1900 ná O’Conlon, cheol sé he spoke and sang in a dialect and tradition which differed agus labhair sé i gcanúint a bhí rud beag difriúil agus slightly and subtly but recognisably from those of other chaolchúiseach ó na canúintí sna ceantracha thuas thíos cósta na Irish-speaking areas up and down the coasts of Ireland, for hÉireann, mar bhí miondifríochtaí ach difríochtaí inaitheanta idir each parish and peninsula had its own particular style of na canúintí i ngach paróiste agus ar gach leithinis. Bhí go deimhin ornamentation and delivery. It was that particularity that a gcuid stíl féin, a gcuid máisiú féin agus a gcuid guthái l féin ar told Hardebeck that singers were not devices for the leith ag gach ceantar. Ba é an tsaintréitheacht sin a chur ar a recording and reproduction of old sounds, but important shúile do Hardebeck nárbh uirlisí iad na ceoltóirí a bhí ann le mediums of continuity, variation and improvisation — the seanfhuaimeanna a athrá ach gur meáin thábhachtacha very DNA of the heritage, consolidating but also evolving. 8 GLAS LE FÁS 9 leanúnachais, breachnaithe agus cumadóireachta iad – aigead dí- That nexus — of an integral and specific local ocsairibeanúicléasach (ADN) an dúchais, ag daingniú ach ag déanamh resource encountering and being further energised éabhlóide san am céanna.