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North Uist: Community and Place in Gaelic Song (song transmission…
North Uist:
Community and Place in Gaelic Song
north uist's situation
social situation
statistical accounts
blackhouses
duty, no privacy/peace
large families & lots of relationships
oral tradition
subsistence economy
survival dependent on weather, tools, lore, etc
evident in gaelic song
nature
love for animals/respect for the sea
lore, news, weather, historical events
A mhic Iain ‘is Sheumais
rise to place-names
continuation/validity
pride in ancestry [conflict]
tradition bearers
older generation
female role
song transmission
ceilidh
romanticize description
over 200 years
gathering of friends to talk ans sing (Shaw)
family & kin
not just interior/evening
casual a get-together
while people were waiting
cross-fertilisation
children
reiteach
multiple communities
mainly male
female unseemly & too showy
not the norm outwith church
some women respected
concern with propriety
christian song
continuity with older religions
same spaces/songs
substitutions
pervaded all culture
praise & protection
culture & community
Crofter's Commission 1903
low music rose to heaven
puirt-a-beul
Alexander Campbell (1815)
first mention of puirt-a-beul
dancing & puirt
other european cultures
precede instrumental
rhetorical, transmission, normalisation
changing social structure
impacts of social change
world wars
corrosive effect
moved to mainland
lack of young men
emigration
An Gàidheal a’ fàgail a dhùthca
reduced social interaction
changing practices
fewer occasions to meet
living independent of neighbours
importance of community diminished
older generations & women
new transmission
artificial transmission
teachers, feis, summer school
negative impact on passive tradition bearer
community repertoires diluted