by Feargal Mac Amhlaoibh
An expression of praise for any feat
in Corca Dhuibhne, the West Kerry Gaeltacht
(Irish-speaking area) is “Mo cheol thú!”
(You are my music!) which
is in itself an indication of the indigenous place
music has in the life of the area. Both instrumental
music and song have a long tradition on the Dingle
Peninsula.
In recent times with the increasing international
interest in Irish traditional music, the area has
become a mecca for traditional music lovers to the
extent that many roving musicians have come to settle
in the area and have blended their talents with those
of the local native musicians.
For many years the music tradition of the area
concentrated on the dance tunes played for the West
Kerry Set Dance – mainly “polkas”, slides (single
jigs), and sometimes hornpipes. The polka set, as it is
commonly known, shares its music with the Sliabh
Luachra area of North Kerry and with parts of Limerick
where polka sets are also the traditional dances. There
are many “local” polkas and slides which have now
become an integral part of the tradition, notably those
which were played by Muiris Ó Dálaigh (1910-1990) of
Dún Chaoin and of Blasket Island stock, among many
others who have passed on, such as Seán Coughlan and
Tomás Mac Gearailt. Many of these tunes now form part
of a collection of polkas, slides, and slow airs
published by Feargal Mac Amhlaoibh and Con Durham in
the now out-of-print An Pota Stóir
(1994).
The Kerry Polka has now reached the international stage
with the famous duo performances of Séamus Begley and
Steve Cooney, later replaced by Jim Murray, but it was
Cooney who brought the distinctive beat of the polka to
a new level of performance. And there are many other
local musicians carrying on this tradition in their
native area, such as Maidhc Dainín Ó Sé, Breandán
Begley, Tommy Ó Connor, Micheál Herlihy, John Benny
Moriarty, Áine Uí Laoithe. Maurice McKenna, Pádraig Ó
Sé, Michelle Curran-Uí Shé. All of the above musicians
are box-players (button accordion) as this had
generally become to be regarded as the main musical
instrument of the area since its introduction from
Italy via America through returned Irish emigrant
musicians in the early years of the 20th century.
Prior to then, The harp, Ireland’s national symbol, was
the main instrument with the war pipes being popular
for outdoor performance. Following these the uilleann
pipes, fiddle, and flute were the only instruments
being used by local musicians, as evidenced in the
writings and collected tunes of James Goodman, himself
a piper and flutist, and Captain Francis O’Neill, chief
of police in Chicago at the beginning of the 20th
century. While the fiddle continued in a secondary role
to “the box”, the uilleann pipes and flute all but
disappeared from the area. A new generation of
musicians is presently blooming in the area, playing a
variety of instruments including fiddle, flute,
whistle, guitar, box, bodhrán, concertina, and even
banjo!.
Until the introduction of restrictions by the Dublin
government in recent times, a blanket smoking ban and
strictly enforced drink-driving laws, the pub was the
usual place where sessions of music and song could be
experienced by the visitor. As a result, there has been
a move to return to earlier days when sessions were
held in private houses and in various other venues
throughout the area.
Some formal music sessions or gigs still continue in
Dingle on most evenings, notably at An Droichead Beag
(The Small Bridge), Flaherty’s, and at John Benny
Moriarty’s. Most gigs will welcome visiting musicians
who wish to join them, but as any musician familiar
with the traditional scene will appreciate, this should
be “played by ear”! More formal evenings of excellent
music and song are presented in St James’ Church on
Wednesdays.
This
article is Copyright © 2009, by Feargal Mac
Amhlaoibh
