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Reviving Irish Culture

explanatory Essay
2112 words
2112 words
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Largely due to the Great Famine, Ireland experienced a significant loss of culture—due to the millions of death and emigrants. For the first half of the twenty-first century, traditional Irish folk music and dance struggled. Without anyone to pass on the knowledge and enthusiasm for Irish song, people quickly lost interest in the Celtic heritage. Practically the only help the folk culture received was anything played in the United States and secretly in homes in Ireland. Irish Musicians kept their hobby a secret in fear of community ridicule and rejection. They mainly played in homes and pubs in the countryside, and primarily for dancing. Not until the mid-1900s did a revival suddenly begin. During the revival, not only can one see Irish music becoming popular again, but its continual evolvement as well. Many events and people contributed to the sudden love for folk music again, but only a few can be pinpointed to have directly touched the rebirth: the Comhaltas Ceoltoiri Eireann, Sean O’Riada, and the music’s rise to popularity in the United States.
In January 1951, a group of people from the Thomas Street Pipers’ Club and music enthusiasts from County Westmeath met in Mullingar. The two ideas discussed were already ideals both groups had talked of with one another. The collective agreed to find an organization whose main purpose is promoting traditional Irish music and agreed the organization should host an annual festival to celebrate Irish music, song, and dance (Comhaltas: History).
A month later, the group met again and decided a Fleadh Cheoil was to be held once a year, with the first in May 1951 over the Whit weekend. The Fleadh Cheoil aim was to promote traditional music and to stop its decline in popularity. The first Fl...

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... Web. 18 Nov. 2013.
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In this essay, the author

  • Explains that irish folk music and dance struggled in the first half of the 20th century due to the great famine. they kept their hobby a secret in fear of ridicule and rejection.
  • Describes how a group of people from the thomas street pipers’ club and music enthusiasts from county westmeath met in mullingar in 1951. the collective agreed to find an organization whose main purpose is promoting traditional irish music.
  • Explains that the fleadh cheoil was to promote traditional music and stop its decline in popularity. it became a national festival with musicians, singers, and dancers from ireland and overseas.
  • Explains that the cumann ceoltoiri na eireann was formed on 14 october 1951. the group changed its name to comhaltas
  • Explains that the cce (irish folk revival) strives to keep the tradition of irish folk music alive by idealizing the standards of music, song, and dance.
  • Explains how the cce began international concert tours in 1972, and released publications and recordings. the change in attitude helped shift ireland's international image and tourism promoted the music heavily.
  • Describes the cce as a cultural movement concerned with the promotion and preservation of the music, dance, and language of ireland.
  • Explains that sean o'riada was an irish man of many grand irish accomplishments. he was involved in the cce, formed one of the most famous irish bands and transformed how people played irish songs.
  • Explains that paddy moloney from the cce found the chieftains in 1963. the group was an instant success with their music weaving a spell around audiences in ireland and the uk.
  • Describes how the chieftains began performing in the us with the help of a young irish-american generation made of folk music fanatics wanting more than songs about the "troubles." the tunes "women of ireland" were an instant success and were heard on top 40 stations throughout the nation.
  • Explains that o'riada left the group after only a few years, and then passed away in 1971, leaving no option for his return.
  • Explains that after o'riada and the chieftains, there were more irish bands that put irish music on the map. between the clancy brothers and the dubliners, the us was about to be hit with a tidal wave of entertaining and successful irish artists.
  • Narrates how three clancy brothers and their friend tommy maken moved to new york city to pursue careers in acting. the group became popular around greenwich village for their folk performances.
  • Analyzes how the clancy brothers and tommy maken deviated from irish songs from the first-half of the twentieth century. they infused their irish roots with american folk.
  • Opines that the brothers and maken's performance abilities attracted the crowds and inspired future irish song writers and singers.
  • Explains that the clancy brothers and tommy maken were instrumental in jumping-starting the folk revival in the 1950s and 1960s. without the support and fan base from a nation of major hollywood successes, the band may not have become as world-renowned today.
  • Narrates how the dubliners started off in o'donoghue's pub in dublin in 1962 as "the ronnie drew folk group". they played in the 1963 edinburgh festival, where they met the head of transatlantic records, who immediately wanted to sign them.
  • Narrates how the dubliners picked up where they left off in the 1960s—partying, playing, drinking, and touring. bourke collapsed on stage from a brain hemorrhage in 1974, which led to his death.
  • Narrates how 1987 became the best and busiest year for the dubliners, with their hit single "the irish rover". then dublin celebrated its millennium in 1988, putting even more spotlight on the group.
  • Opines that the cce, o'riada, the clancy brothers, and the dubliners gave the irish revival the proper jumpstart it needed.
  • Narrates how the clancy brothers and tommy makem influenced bob dylan.
  • Explains that the irish folk revival was published in arts of ireland - music, dcu, dublin, 14 oct. 2013.
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