Buterbaugh:The Saints & Scholars of Modern Irish Storytelling

8/3/2019 Buterbaugh:The Saints & Scholars of Modern Irish Storytelling

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THESAINTS&SCHOLARSOFMODERNIRISHSTORYTELLING

ATHESIS

SUBMITTEDTOTHEGRADUATESCHOOL

INPARTIALFULFILLMENTOFTHEREQUIREMENTS

FORTHEDEGREE

MASTEROFARTSINTELECOMMUNICATIONS,DIGITALSTORYTELLINGEMPHASIS

BY

CHADBUTERBAUGH

CommitteeApproval:

__________________________________________________________CommitteeChairman Date______________________________________________________ ____________________________CommitteeMember Date______________________________________________________ ____________________________CommitteeMember Date

DepartmentalApproval:

______________________________________ ____________________DepartmentalChairman Date

_____________________________________________________ ____________________________DepartmentalAdvisor Date

_____________________________________________________ ____________________________DeanofGraduateSchool Date

BALLSTATEUNIVERSITYMUNCIE,INDIANA

MAY2008


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THESAINTSANDSCHOLARSOFMODERNIRISHSTORYTELLING

ATHESIS

SUBMITTEDTOTHEGRADUATESCHOOL

INPARTIALFULFILLMENTOFTHEREQUIREMENTS

FORTHEDEGREE

MASTEROFARTSINTELECOMMUNICATIONS,DIGITALSTORYTELLINGEMPHASIS

BY

CHADBUTERBAUGH

ADVISOR:JOEMISIEWICZ

BALLSTATEUNIVERSITY

MUNCIE,INDIANA

MAY2008


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forMaryCurtin&DenisOMahoney


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Contents

Abstract5Introduction6VillageStorytellingDynamics 11VillageTeller:PeigSayers16ModernStorytellingDynamics20ModernTeller:amonKelly22ModernTellers:EddieLenihan&RichardMarsh27ModernTellers:PatSpeight,KateCorkery&ClareMurphy34ModernTellers:NarrativeArtsClub40

ModernStorytelling&Globalization43ModernStorytelling&Tourism51

Conclusion56

SuggestionsforFurtherStudy58Appendix1:ATaxonomyofTellers 60Appendix2:OldStories&ModernVoices67Appendix3:ModernStorytelling&ModernArt70Notes72Bibliography81


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AbstractImawareoftheironyofwritingapaperontheoraltradition.However,thestateof

Irishstorytellingtodayissocomplexthattoattempttotellitwouldresultinahalf-

portraitofwhatsreallyhappening.

ReviewforthispaperbeganwithatriptoIrelandtoconsultwiththetellersin

person.Iinterviewedseveralmembersofthemodernstorytellingcommunity,agroupof

artistswhoseperformancescommemoratethefiresidestorytellingtraditionofthepast.

Backathome,criticaltextsoneconomicsandanthropologyaddedcontexttotheideathat

modernstorytellingisanactofculturecommemoration.Butthispaperisnotalamenton

thelossoftradition.ItisaprospectusonhowIrishstorytellingwillsurviveandevenflourish

incomingyears.Theaudiencesmightnotlookthesame,owingtotourism,andthetellers

mightappearmorediverse,owingtoglobalization,butthegeneralidearemainsthesame:

InIreland,storytellingwillfindaway,always.


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Introduction

Thesedaysittakesanarmytostriparulerofhispower.InmedievalIreland,it

tookpoetry.

AtthattimeinIrishhistory,theislandwasdividedintomanykingdoms,each

withitsownmonarch.Thetypicalkingsretinueincludedwarriorswhodefendedthe

landwithswordandaxe,butitwasthecourtlypoetswhopossessedaweaponsharper

thanblades.Withtheirwords,itwassaid,theycouldlaywastetoakingwhotreated

theminhospitably.

Often,satirewastheirweaponofchoice.Commonknowledgeheldthattheright

utterancefromtherightpoetcontainedsuchrhetoricalpotencythatitcouldraise

ghastlyredweltsonakingsface.Andaccordingtomedievallaw,disfiguration

disqualifiedamanfromthethrone.1

Formorethanathousandyears,suchtaleshavetrickleddownthroughIrish

culture,astepbehindhistoryandtwostepsaheadofbelievability.Passedbetween

tellerandaudience,theoraltraditionhassurvived.

IrishstorytellerClareMurphyupholdstheoraltraditiontodaywhenshetellsthe

taleofBres,atraitorouskingofancientIrishmyth:

ThewaytheygetBresis,theysendthebardin.Brestreatsthisbard

badlyandthrowshimoutasifhe'savagrant.Sohewritesanepic

poemtellingthestoryofBres,andhejuststripshimwithwords;

completelybareshisinadequaciestotheworld.That'swhattakeshim

offhisthrone.2


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Bresprobablyneverexisted,ormoreaccurately,probablypersonifiedtheworst

traitsofseveralhistoricalfigures.Likewise,themostscathingpoemprobablycouldn't

raisemorethanablushonthefaceofitssubject.Still,theseideasarehardtoforget.

Theyarefantasticandheroic,andtheyrepackagecultureintheeasilydigestibleformof

astory.

StoryhasexemplifiedhowthepeopleofIrelandrelatetooneanother,perhaps

morethananyotherculturalthread.Intimesoffamine,emigration,andceaseless

invasion,storytellinghasalwaysfoundawaytosurvive,adaptingtochangeand

evolvingtomeettheadvanceoftechnologyandglobalization.Thecourtlypoets

mentionedaboveenjoyedseveralcenturiesofprosperity,fadingonlyafterthelastIrish

noblesfledthecountryin1607.3Beforeandafterthemwereothertypesofstorytellers,

eachgivenadifferentnameaccordingtohowtheyfunctionedinsociety:seanchaithe,

fil,scalathe,bards,druids,seers,saints,tinkers,andmonks.

HereIwillconsidertwotypesofstorytellerthatareyetunclassified:thevillagers

ofthetwentieth-centuryIrishcountryside,andtheprofessionalperformerswhohave

drawnfromtheirexamplestartinginthe1950s.Thesetellershaveemergedfrom

traditionsthatIrefertoasvillagestorytellingandmodernstorytelling,respectively.

Villagestorytelling,asthenamesuggests,tookplaceonthelocalscale.Onacold

wintersnight,membersofasmallcommunitywouldpileintoaneighborshouseforan

eveningoftalk,music,andstorytellingbythefire.Suchaneventwascalledaceili.

Storiescontainedreferencestopeople,places,andhistorythatwerespecifictothe

localculture.Thistypeofstorytellingprizedthecommunityanditscorrelativethe


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landaboveallelse.4Strengtheningthecommunityelementwastheteller,normallya

residentofthevillagehimself.Hisstoriesprobablydidnotdestroythefacesofany

kings.Instead,theyweremorelikelytocaptivatethesmallgroupcrowdedaroundthe

hearthtolisten.5

Villagestorytellingsceiligavepeopleawaytomakesenseoftheworldaround

them,whichbecamedarkandunfamiliarbeyondtheboundariesofthevillage.By

tellingstoriesaboutlocalpeople,places,andhistory,thecommunityclaimeditsrightto

labelandcategorizetheelementswithwhichithadregularinteraction.Astreamis

knownbyacertainname.Afieldisidentifiedbythebattlethattookplacetherelong

ago.Alocalcharacterisconnectedtohisinteractionsanddeedswithinthecommunity.

Throughsuchlabeling,villagestorytellingbecomesanactofcultureassertion,meaning,

thevillagersapplynarrativestructurestolocalpeople,places,andhistoryinaneffortto

claimthemassharedbelongingsofthevillage.

Modernstorytellinghastakenthepracticeoutofthevillage.Audiences

interestedinhearingstoriesnolongerhavetopackintotheneighborshouse.Instead,

theyattendapubliceventpopulatedbyacrowdthatcouldnumberbetweendozens

andhundreds.Themembersofthiscrowdaremostlikelystrangerstooneanother.The

Tellers,too,areunknowntotheaudienceuntilappearingonstage.What

distinguishesthemmostfromvillagetellersisthattheyarepaidprofessionals

performerswhosesessionsareartisticeventslikeplaysorbookreadings.The

audienceisdifferentaswell.Freedbyglobalizationfromtherestrictionsofspace,

audiencesbecomeinternational.Touristsandforeignnationalsattendpublic


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performancesalongwithIrishnatives.Allareinvitedtopurchaseaudioorvideo

recordings,andtochecktourupdatesoneachtellersWebsite.Theonethingthathas

remainedsimilartovillagestorytellingisstorycontent,whichstillfocusesonlocal

people,places,andhistory.6

Today,knowledgeoflocalpeople,places,andhistorydoesnotcirculateamong

communitiesintheformofstories,andcrossingtheboundariesofthevillagedoesnot

meanaventureintoadarkandunfamiliarrealm.Theperformancedynamicofmodern

storytelling,then,givesaudiencesawaytorememberthecultureinwhichvillage

storytellingtookplace.Itisintriguingtothemodernaudiencetohearoldstories

becausethesocietytheydepictisdifferentfromtheonetheyliveinnow.Thus,modern

storytellingfunctionsasculturecommemoration,meaning,itisanactofusing

performancetointroduceculturaltraditionsofthepasttoaudiencesofthepresent.7

Thedaysofthefiresidearegone,buttheyarenotforgotten.Modernstorytelling

isanattempttohonorandpreservethepastbyrefashioningitforusetodayand

tomorrow.Tolamentthelossoftheoraltradition,assomecriticsmightbeinclinedto

do,isadisservicetostorytellersbothpastandpresent,whohaveworkedhardtokeep

onecustomaliveastheworldsodrasticallychangesaroundthem.Storytellingsucceeds

inIrelandandwillcontinuetosucceedjustasitalwayshasasacorrelativeofthe

landscape,notitsantithesis.

InthewordsofmoderntellerPatSpeight,"It'snotrecreatingthepast.Thepast

isgone;it'sfinished.IthinkthatastoryiswhatdidIhearsomeonesayit'saletter

fromthepastyouaddtoandsendtothefuture."8


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VillageStorytellingDynamics

Irelandsmodernstorytellingmovementrestsonafoundationdugbyvillage

storytellinginthetwentiethcentury.Whereasmodernstorytellingemergesfromthe

landscapeofglobalizedIreland,villagestorytellingemergedfromthelandscapeofa

local,largelyruralIreland.

Villagestorytellingwasperformance,butitdistinguisheditselffrommodeslike

theaterbyresistingthedynamicofactiveperformerandpassivelistener.Theceilitook

placeinhomesknownasramblinghouses,inwhichcommunitymembersofallages

gatheredforeveningsofentertainmentthatincludedstorytelling.Thesocial

environmentinaramblinghouseobligedeveryonetoparticipate.Whenonespeakers

storyended,someoneelsebegananotherone,andonwardthroughtheroom.Thus,

bothtellerandlistenerhadanequalstakeinthesuccessoftheevening,andthegroup

workedtogethertoassertculturalidentitythroughtheexchangeofsymbolssuchas

localpeople,places,andhistory.9

Glassiesstudyonvillagestorytelling10comesfromBallymenone,aruralareain

CountyFermanagh,NorthernIreland.Heobservesthecommunalnatureofvillage

storytellingindetail.GlassieadmitshedidnotcometoBallymenonelookingfor

storytelling,buthesettledintoitoveraperiodoftime:


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ThemoreIconsideredmyexperienceandreadthroughmynotes,the

morestoriesconsolidatedtheircentrality.Itisnotthefolktaleasa

categoryoforalliteraturethatclaimssuchsignificance,butthose

storiesadultswhoknowoneanothertieintotheconversationwhen

theyfacethelongnighttogether.AsIthoughtaboutstories,life

begantoarrangeitselfaroundthemascontext.11

InIreland,storiesconsistofwondertales,whicharethemythsandfolktales

focusingonthedeedsoffictionalcharacters;andstorieslikeGlassies,whichweretrue

accountsoflocalhistory.Thusembeddedinreality,storiesbecomesustenance,andin

thesamewayfoodtakesprecedenceatmealtimes,storiestakeprecedenceattheceili.

Theceiligroupfunctionscollaboratively.Ifatellerattemptsatale,theorationisspurred

onbytheaudience,whichmoveshimfrombeginningtoendwithmildbutinsistent

vocalprompts.Glassiereferstothiscall-and-responseprocessasgoodmanning.12He

writes:Thetellersaudiencehelpshimdeveloprhythmbyfillingpauseswithbrief

comment:Ohnow,Ohman,Mandear,Thatsasight,Thatsaterror,Terror,Oh

aye,Isee,Iknow,Goodman,Goon.13

Tellersearntherighttotellbysubmittingastoryideatotheceiligroup.The

audiencerespondsbyeithersupportingorrejectingtheidea.Supportoccurswith

goodmanning,explainedabove.Rejectionoccurswhenthefollowersturnthetopic

backintochatbyinsertingafactanyonecantalkabout.

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Thisunravelsthenarrative

threadofthesubmittedstoryandservesasasubtlesignaltothetellertorelinquish

control.Storiesthusbecomethepropertyofthecommunityandnottheprivilegeofthe

teller.


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Klapprothconsiderstheunitycreatedbyvillagestorytelling.Theoraltradition,

shewrites,isthepracticeoffindinganintersectionbetweenconceptualrealities

createdbythenarratorandeachofthelisteners.15Eachstorytellingsessionisawayto

sharetheserealities,andto"packagethefluxofourrawhumanexperienceintothe

conventionalformofthestory."16Nowapplythistothecontextofvillagestorytelling,in

whichatellersitssurroundedbyanattentivesemicircleoflisteners.Themomentthe

storybegins,thecollectiveconsciousnesssnapsintoaction.Ifthereareadozenpeople

intheroom,adozenideasbegintotakeshapeintheirminds.Thetellerspeaksofaspot

neartheriverthatrunsalongthesouthernedgeoftown.Hedescribesthewaythe

grasslaysthere,andthegnarledtreewhoserootscreepoverthemuddybanksofthe

neighboringriver.Ifthetellersstorypaintsavividenoughpicture,theaudiencewill

recognizethisasaspotnotfarfromwheretheyaresitting,andtheywillacceptwith

goodmanning.17Inthisway,theyareintimatelyinvolvedinthetalesthataretold,and

storiesbecomecollectivistendeavors.Thecultureofthevillageisassertedthrough

vocalcalloftheteller,andthementalandvocalresponsesoftheaudience.

Thistraditionthrivesoncommunity,anddependsdeeplyontherelationshipsof

thepeoplewithinit.Italsodependsonboldness.Nobodyattendingoughttoshowup

withoutastory,orsomesortofexpressiontosharewiththecommunity.Speightrecalls

ceilinightsfromhischildhood.Hesaysitwassocialdisastertowalkinwithout

somethingtooffer:

Theydsay,Betelling.Inotherwords,Haveyouastory?Orif

youhadntastorytheydsay,Canyousingasong?Andifyou


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couldntsingasongtheydsay,Canyouplayatune?Canyourecite

apoem?Andifyoucouldntdoanyofthesethings,youweresent

downtotheveryendoftheroom,whichwasalwayscoldand

drafty.SoIdecidedIdlearnafewstories,soIwouldntgetcoldor

hungry,orbefrozen.18

Noteherethepowerofastoryagainstnotonlysocial,butalsophysical,

discomfort.Notealsothelowesteemwithwhichasimpleobserverwasregarded.Itis

difficulttoimagineamodernaudiencememberlearningaboutastorytellingevent,

payinganadmissionfee,walkinginsidetheperformancespaceandbeingmade

perforcetotellastorybeforetheadvertisedtellereverappears.Itissimilarlydifficultto

imaginethesameaudiencememberpunctuatingthetellerseverylinewith

encouraginginterjections.Currentsocialproprietydictatespassivelisteningwithina

performancespace,withtheexceptionsofapplauseorlaughter.Butinvillage

storytelling,anIrishcommunityneededthesupportofallitsmemberstoaccomplish

cultureassertion.Therefore,asGlassiesuggests,villagestorytellingproducedstories

thatexistedinasymbioticrelationshipwiththecommunity:

Atextisanincompleteentity.Contextmoldsandfinishesitandbrings

ittolife.Someofthecontextisdrawnintothetextfromthesituation

duringitsperformanceasthetaleisshapedtodancetoitsgood

manningandtorelatetotheconversationfromwhichitgrewand

whichitmustrejoinatitsend.Butthemoreimportantdimensionsof

contextcannotbeinferredfromobservingthestoryssituations.

Thesearethemeaningsinwords,theideaswordsconvey,thevalues

underideas,themultitudesofinvisibleassociationthatechooddly


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throughthemind,conditioningtheemergentproduct,surrounding

andsaturatingitwithmeaning,makingitalivingthing.19

Inthisdynamic,theteller,togetherwiththeaudience,isculture,provocative

andchallenging.Hepresentsthelifeofthecommunitybacktoitintheformofstories.

Inturn,theaudiencejudgeshowwellhehasdonesobyeithersupportingorrejecting

hiswords.Theculturalimportanceofthisexchangewiltswhenthetellerisunfamiliarto

theaudience,orviceversa.Alistenercannotauthoritativelysupportorrejectastoryin

whichthecontentisunfamiliar.Hecanonlyaccept,passively.

Itfollows,then,thatavillagestorytellermaybebroadlydefinedasapersonwho

displays:

1)Acceptedmembershipofacommunity

2)Significantknowledgeofallthepeopleinthecommunity

3)Sharedlifeexperiencewiththepeopleofthecommunity

4)Supportandencouragementofthecommunityduringthestorytellingact

ThesefourpointslendthemselvestotheIrelandofdecadesago,whentheisland

wasstillanisland,andrelativelydistantfromotherculturesintermsofcustomsand

language.Itwasatimewhenculturewasmoreinfluencedbythelocalplace,andthe

peoplewithinthatplace.Thestandardsforcommunitymembershiphavechangedwith

thedissolutionofphysicalborders,owingtoglobalization.Inthepast,however,the

localwasprizedaboveallelse,andthisreflectedinthewaythecommunitytoldstories.


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VillageTeller:PeigSayers

AcasestudyofvillagestorytellingthatprovidesbreadthanddepthisPeigSayers

(1873-1958).Widelyrememberedasastoryteller,sheismoreaccuratelyatwentieth-

centuryIrishvillagerwhousedstoriesasameansofcultureassertion.Peiglivedonthe

GreatBlasketIslandinCountyKerry.Nowabandoned,thisinsularcommunityexistedon

thewesternmostreachofIreland.Peiglivedtherewhentheplacewasafarreachfrom

citiesasnearasDublin.Herautobiography20isaculturalsnapshotofahardscrabblelife

inaremoteregion.21InIreland,Peigisbestknownasastoryteller.Irefertoherasa

villagetellerbecauseshedrewherstoriesfromtheisland,aswellastheothertwo

locationsinwhichshespentsignificantamountsoftime:thetownofDingleandthe

villageofVicarstown.IfsheventuredoutsidethispartofCountyKerryinherlife,she

doesnotmentionitinherbook.

OfthirteenchildrenintheSayersfamily,foursurvive.22Peigistheyoungestof

these.Shegrowsupcultivatingasenseoftheplacesandpeoplearoundher.In

Vicarstown,herbirthplace,sheisabletolistherneighborsbyname:

Ontheeasternsideofthelittlerivertherewasonlyour

houseandthehouseofMuirisScanlon.Foursmallthatchedhouses

stoodonthewesternsideoftheriver:thoseofSenBn,Eoghan

Brown,SamasBolandandSenCrohan.Ineachofthosehouses


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therewasafirstclasscompanyandineachonetoo,asmallflockof

childrenwasgrowingtomaturity.23

Recollectingschool,choresandleisureactivities,Peigcontinuesbuildingshared

experiencewiththepeopleofhercommunity.Whenatlastshemarriesandmovesto

theGreatBlasketIsland,sheresistspartingwiththeoldways:

IkeptaskingmyselfifthedaywouldeverdawnwhenIdopenmy

hearttothesepeopleormakeasboldamongthemasIwouldamong

thepeopleofVicarstown.Oh,never,neverItoldmyself,couldtheybe

askindasthepeopleofVicarstown.24

Peigismovingjustafewmilestothewest,butitisdifficultforhertoleave

Vicarstownbecauseitsthelandscapewithwhichshehasbeeninteractingsincebirth.

TheGreatBlaskettoherisanunknown,nevervisitedonholiday,neverseeninpictures,

andnevermentionedinherbookuntilthetimeshemovesthere.

PeigeventuallyfindshernicheontheGreatBlasket,butonlyintimeforthe

tragediesofherlife.First,sheenduresthedeathofhersonToms,whofallsfroma

seasidecliff.Then,twoofherchildrenleavefortheUnitedStates.Next,herhusband

diesfromachronicillness.Finally,threemoreofherchildrenemigrate.Allsevenlosses

occurinthespaceofoneyear.Shecomments,Ineededaheartofstonetobeableto

standit.25

Bythetimesheidentifiesasavillageteller,Peigisafixtureontheisland.With

mostofherfamilydeadormovedaway,sheliveswithherbrother-in-lawMicheland

tradesstorieswithhimnightly.Shealsotellsstoriestoinquisitiveoutsiderswhohave

heardofherstorytellingabilityandvisittoexperienceitforthemselves.26Without


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doubt,itisasmallcommunity,andPeigsstorycontentisacrispreflectionofthepeople

andplacesoftheGreatBlasket.Astoryaboutfivegirlswhodrownedismorethanthe

accountofalocaltragedy.Itexpandsintoananthropologicaltextthatincludesnoteson

localholidays,diet,andgeography:

AtthattimecustomforbadeanyonetogotothestrandonWhit

MondayortoputtoseainaboatonWhitSunday.However,there

werefiveyounggirlsintheparishofVentryatthattime;theywere

thepickoftheparish,andagainnoneoftheirpeoplehadanother

daughterexceptthese.Theydecidedtogopickingbirneachsand

theypaidnoheedtothefactthatitwasWhitMonday.Anauntofone

ofthosegirlswasmarriedinFahanandlivinginahouseabovethesea

andtheythoughttheycoulddonobetterthanhaveadayof

enjoyment.27

Withstorieslikethisone,Peigshareswhosheis,whereshecomesfrom,and

whatcustomsshepractices.Sheengagesherlistenerbasedonacceptanceintoa

community(herrelationshipwithMichelaswellastheVicarstownconnectionshe

continuestofeelstrongly);significantknowledgeofthepeopleinhercommunity(a

swathbeginningwithherVicarstownfamilyandmovingoutwardtoencompassher

husband,children,in-laws,andneighbors);sharedexperience(losswasarguablywhat

PeigandMichelhadmostincommonatthetimetheybeganstorytelling,andthisis

reflectedinthestorymentionedabove);andthesupportofthecommunityinthe

storytellingact(duringstorytelling,PeigandMichelgoodmaneachotherwithvocal


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interjectionsthatencouragetheothertocontinue).28Peigthusdemonstratesthe

culturalassertionproducedinvillagestorytelling.

Peigsnotionofstorytellingmayhavecomefrommemoriesofheryouth,in

whichherfatherandhisfriendswouldsitatthefireandtradenews.29Or,itmayhave

comefromotherstorytellingencountersshedoesnotdescribeinherbook.Inanycase,

herworkasvillagetellerreflectsthenatureofhercommunity.PeigdiedinaDingle

hospitalin1958.30Bythen,herhomeontheGreatBlasketIslandhadliterallyceasedto

exist.TheIrishgovernmentevacuateditstinypopulationin1953,afteranislandboy

reportedlydiedwithoutapriestoradoctortohelphim.31Thevillagestorytelling

traditionwasbeginningtochange,too.Thoughitwouldgoonatleastaslongasittook

GlassietocompletehisBallymenonestudy,itbecamelesscommonasthelocal

communitygavewaytotheglobal.


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ModernStorytellingDynamics IncontemporaryIreland,thephysicalbordersofthevillagedonotdetermine

whatislocal.Instead,localreferstowhatandwhocanbereachedinacertainamount

oftime,usingthecommunicationandtransportationresourcesathand.Assuch,stories

incontemporaryIrelandarenottheartofthevillager,butofthepersonwhoknows

howtostaymobile.Invillagestorytelling,placedeterminedwhereandhowtellerstold

theirstories.32Modernstorytellinghastakentheoraltraditionoutofthecommunity

andturnedittoperformanceartforthemasses.Themoderntellerisalonefigurewho

travelstodifferentlocationstosharestories.Performancestakeplaceinpublicvenues,

notinhomes,andaudiencesarenotobligedtosharethestorytellingresponsibility.

Successfulmoderntellersdevelopgoodreputationsandperformforaudiencesaround

theworld.33Withoutthefamiliarityendemictovillagestorytelling,modernstorytelling

cannotaccomplishcultureassertion.Itcan,however,offeraudiencesanimmersive

experiencethattransportsthemtoapartofIrishhistorythatisgone.34Theeffectofthis

isculturecommemoration,inwhichperformanceintroducesmodernaudiencesto

traditionsofthepast.

Modernstorytellingcontinuestounfold.Newperformersjointheranksevery

year,armedwithtourdates,Websites,andsoundrecordings.Itschallengingtodefine


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amoderntellerasatype,althoughtherearesomecharacteristicsmostofthemhavein

common:

1)Theyareprofessionalswhoperformstoriesforthegeneralpublic

2)Theyholdartisticeventsforthestatedpurposeofstorytelling

3)Theysometimestravelfaroutsidetheirnativecommunitytotellstories

4)Theyusetechnologytobroadentheirpotentialaudience

5)TheirstoriesfocusonIrelandspast,notitspresent

Thislistinnowaydefinesamodernteller,norisitmeanttorepresentqualitiesa

villagetellercannotpossess.Instead,itisaconvenientwaytopointoutfivecommon

threadsinwhatisstillanemergingtradition.Mostperformersusethesefivethreadsto

accomplishculturecommemoration,thougheachdoessodifferently.Thefollowingfour

sectionsexplainhow.35


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ModernTeller:amonKelly amonKellymayhavebeenaculturalproductofvillagestorytelling,buthedid

notpracticeitstechniquesasastorytellingstarofradioandstage.Anactorbytraining,

Kellypioneeredthemodernstorytellingmovementinthe1950swhenhebeganplaying

acharacterbasedonatypicalvillagetellerfromhischildhood.Heperformedthisrole

onstageandinthestudio,creatingforIrelandthecollectivenotionofwhatastoryteller

shouldbe.Healsolaidatemplateformoderntellers,whostillfollowhisexample.

Kellywasbornin1914inCountyKerry,whereheobservedvillagestorytelling

first-hand:Whenpeoplecamevisitingtothehouse,themenwouldcomeandsitdown

andtalk.Theywouldtellitasastory,whateveritwas,iftheydbeentomarket,a

wedding,awake,whateveritwas.36

ThisaccountechoesdescriptionsgivenbyPeig,

butKellyisdifferentinthatheinternalizedwhathesawandlaterperformeditformass

audiences.HisstagecareerbeganinCountyKerrywiththeListowelDramaGroup.He

thenbecameanotableactorinDublintheatres,onBroadway,andasamemberofthe

RTEPlayers,anactingtroupesponsoredbyIrelandsnationalbroadcastingnetwork.

Throughtheyears,Kellybuiltarepertoirerangingfromcontemporarymaterialto

Shakespeare,37butitwasstorytellingthatmadehimfamous.

Hisstarturnasastorytellercameduringanimpromptuperformanceatacast

party.TheperformancesoimpressedacolleaguethatheofferedtoputKellyonthe


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radio.Kellyaccepted.Thusbrandinghimself,heembarkedonacareerthatwould

eventuallylabelhimIrelandsmasterstoryteller.Publicapprovalwashighfromthefirst

radioperformances.Listenersweresointerestedthattheysenthimoldstoriesfrom

theircommunities,withthehopehewouldtellthemonanupcomingbroadcast.38In

thisway,Kellywascommemoratingthevillagestorytellingtraditionforaudiencesthat

couldrememberitpersonally.Andhetoowasaproductofthattradition:

IhadmyownprogrammeontheradioitwascalledTheRambling

House,setinacountryhouseatnight,aftertheonesIknewinKerry,

withpeoplecominginlookingfornews,songsandstoriesItusedto

bebroadcastintheeveningtime,maybeonaSaturdayeveningand

repeatedonSundayafterlunch.39

Takingthestoriesintothestudiochangedtheirmeaning.Thelackofalive,local

audiencemeantthatstoriescouldnotservetoassertculturebyrepackaginglocal

people,places,andhistoryasnarrativesandsubmittingthemtothecommunityfor

theirsupportorrejection.Socialfunctionslikegoodmanningbecameimpossible,and

Kelly,inadditiontoothertellers40whobegantoexperimentinradio,movedforward

automatically,unsureofaudiencesathomewererespondingtotheirstories.Inthis

way,storytellingslowlyturnedtoperformanceart.

Ontheradio,storymeaningbecamelessintimateduetothesizeofthe

audience.IftheradiotellersharedcertaingeographicaldetailsaboutnorthCounty

Offaly,theknowledgeofthatplacewassharedonlybylistenersfamiliarwithnorth

CountyOffaly.Ineveryotherpartofthelisteningarea,listenershadtoinventthe


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conceptofthatplace.Klapprothsconceptualrealitiesarethuscreatedbuthavethe

potentialforsignificantdissimilarities.

ThroughthelifeofKellysradioprogram,heneverstoppedworkingasa

professionalactor.Heeventuallybroughthisstorytellerroletothestagewiththeone-

manshowInMyFathersTime,aliveperformancethatmarkedthefirstinaseriesof

seven.41Inhiscareer,heendearedhimselftoaudienceswithstoriesaboutlocalpeople,

places,andhistory.42HisworkcaptivatedIrelandinsuchawaythatitissometimes

difficulttodistinguishbetweenamonKellytheman,andthestorytellerroleheplayed

tosuchacclaim.Oneofhisacquaintancescanrememberlisteningtohisradioshowsas

agirl.ItwasatraditioneverySunday,shesays:

amonKellywasourgreateststoryteller.Therearealotofnewones

comingup.Theyregood,buthehadaveryspecialwayoftellinga

story.Youdreallygetthestory,andnomatterwhotriedtotellit,

amonKellywastheonlyonethatcould.Hejusthadhisownwayof

doingit.43

Usingmassmedia,Kellytappedintohisnationscollectiveconsciousnessto

commemoratethecultureofhischildhood.Hisperformancesweresoevocativethat

audiencesfittedhimwiththeroleofstoryteller.Whentheperformanceswereover,he

remainedastorytellertothem,andperhapstoeveryonebuthimself.Scanlanwrites

thatinIreland,theperformingartsofteninvolvetheperformanceofnationalidentity

toperpetuatethreatenedtraditions,suchasoralstorytelling.44Whetherornotthis

wasKellysaim,hisaudiencesseemedtoconsiderhiminthisregard.45


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Kellydemonstratesallfiveidentifiersofamodernteller.Hewasaprofessional

anactorwhoperformedliveinmanyroles.Heheldartisticevents,suchasone-man

plays,radioshowsandvideoproductions,forthestatedpurposeofstorytelling.He

traveledoutsideofhisnativecommunityofCountyKerrytoperformasastoryteller,

andfartherstilltoperforminotherroles.Heusedtechnologyintheformofradioand

televisiontowidenhispotentialaudience.Andfinally,hetoldstoriesthatoriginated

fromthepast.Theroleofmasterstoryteller,sooftenattributedtoKelly,isalabel

constructedbyhisaudiences.ItisproblematicbecauseitsuggestsKellywassomehow

atthetopofarecognizedfield.Yethewasnotagreatfigureinanestablishedcultural

institutionbuttheprogenitorofanewone.Afterhim,publicperformancebecamethe

standardforIrishstorytelling.Inhisownwords:Ihaveadistinctivevoice,itstrue.Itsa

greatadvantageinmanycharacterpartsonstage.46

Kellywasaheadofhistime.Hecombinednaturaltalentwithmassmediato

developanancientnationaltradition.Todaysbest-knownmoderntellerstaketheir

examplefromhim.Allofthemperforminpublic,andmanyhavepublishedrecordings,

televisionshows,Websites,orbooks.Speight,forinstance,embedsQuickTimestory

samplesonhisprofessionalsite.47Murphyblogsandcatalogspressclippingsonher

Myspacepage.48Withincreasedresourcesattheirdisposal,moderntellersarefreeto

accomplishculturecommemorationindiverseways.Thenextthreesectionsexplorethe

artisticoffspringofKellyandtheartisticrolestheyinhabitasIrelandsnewpractitioners

oftheoraltradition.Theircommentscomefrompersonalinterviewstheygrantedme

duringaresearchtriptoIrelandinMay2007.


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ModernTellers:EddieLenihan&RichardMarsh Inasense,allmoderntellersaretraditionalistsbecausetheyarepullingan

ancientsocialcustomintothetwenty-firstcentury.Whatmakesthetwomenoutlined

inthissectionespeciallytraditionalistheirtendencytousethepastasacompass.Both

arewillingtoutilizecertainelementsofadvertisingandperformanceintheirwork,but

EddieLenihanandRichardMarshbothsetartisticboundariesthatareinformedlargely

byIrishstorytellingtraditionsofthepast.Eachmanthusemergesasaculture

commemoratorreinforcedbyastrong,almostmorals-drivenoutlook.

LenihanisanoticeableresidentofthevillageofCrusheen,CountyClare,buthe

wouldbehardtomisseveninacityofthousands.Unrulydarkhairwhipsaroundhis

head,andabushymustachehideshisfacefromnosetochin.Heliveswithhisfamilyin

asecludedhomeamidacollectionofaudiotapesthatfillupeveryshelf,drawer,and

cabinet.ThesetapescontainthestoriesLenihanhasrecordeddirectlyfromthemouths

ofelderlymenandwomenofIreland,whomhecallstheoldpeople.49Itissaidtobe

theoneofthelargestprivatecollectionsoffolkloreinthecountry,50maintainedby

Lenihanalone.51

Bymostaccounts,Lenihanisamodernteller.Heismobile,andheperformsfor

audiencesinternationally.Hehasrecordedaudiostoriesandappearedinepisodesofan

Irishstorytellingtelevisionprogram.Butatalkwithhimrevealsthatheisacommitted

guardoftheIrishoraltradition,andhewouldnotseeitwantonlychangedifitcouldbe

helped.Hesays,TheonlystoriesItellaretheonesIveheardfromoldpeople.Not


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bookstories.Atleastthatwayyouhaveasenseofpassingsomethingonthatsworth

passingon.52Hismoralexamplesaretheoldpeople,fromwhomhehasbeengathering

andrecordingstoriesforthepastthirty-threeyears.Headherestotheirtraditions

exactly,meaning,hewillnottellastorythatwasntgiventohimorallybyanIrish

personhehasmetpersonally.Thusdefined,hebecomesawalkingcommemorationof

pastculture.

NotonlydoesLenihantellofIrelandspast;helivesitasbesthecan.Henever

askstobepaidforaperformance.Ifheisasked,henevertakesmorethanwhata

promotercanafford.Headmitshehasbeentakenadvantageofbypricinghisevents

thisway,butagainhereferstotheoldpeople,whoneverchargedfortheirstories:

Ihavebeengiventhemfree.Anyofthoseoldpeoplenever,ever

askedmoneynevercameup.Theyweredelightedtohave

somebodytotalkto.Theyweredelightedthatsomebodywould

actuallysitdownandlistentothem.So,Imean,theleastIcoulddois

dothesame,especiallyfortheyoungergenerationcomingup,who

knownothingaboutthesekindsoftraditions.53

Lenihanalsobelievesinfairies,anotherexampletakenfromtheoldpeople.He

saysthattorespectIrelandsfairieslooselydefinedasacomplexsocietyofunseen

forcesatworkontheislandistorespectyourselfandyoursurroundings.54

Furthermore,hesays,apersonwhodoesntbelieveinfairiesisonestepawayfromnot

believinginGod.55LenihanhasgoneasfarasstagingaprotestagainstaCountyClare

highwayprojectthatwouldhaveuprootedahawthorntree,traditionallyviewedasa

fairydwelling.Intheend,hemanagedtohavetheproposedroaddiverted.56


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OfIrishartists,Flanaganwrites:Ifpeoplearesomovedbytheideaofaplace

thattheygotoliveinthatidea,thentheywillbetheonesalsowhoaremostcommitted

toitspreservation.57TheideaLenihanlivesinsideisvillagestorytelling,andhistoolfor

preservingthatideaismodernstorytelling.Heisanexampleofthekindofmodern

tellerwhoinhabitshisidea,hisart.Hebringshisvalueswithhimonstageandmakesno

secretofthemoffstage.Inthiswayhehasthepotentialtoeffectchangesinattitude,if

membersofhisaudiencespickuponandsubsequentlyenacthismessage.58

Inwhateverwayhecan,LenihanconnectshimselftotheIrishlandscape,asdid

thepractitionersofvillagestorytelling.HeidentifieswithIrelandasahomeland,asa

geographicalplace,asaresearcharea,andasasourceoftheculturalvalueshetriesto

uphold.HesayshedoesntfeelqualifiedtotellstoriesthatcamefromoutsideIreland,

andhefindsitdifficulttotellstoriesaboutplaceswithwhichhehasnopersonal

experience:TheinternationalstorytellersImeetinalotoftheseconferencesarejust

talkingaboutstoriesofthemindtheworldthatneverexisted.Thebeautyaboutthe

Irishstoriesis,thatplacedoesexist.Ifyougotothatfort59whereithappened,thereit

is.Icanpointitouttoyou.60Lenihanisskepticalofwhathecallsrevivalist

storytelling,inwhichanytellercanassumethetraditionsofanyculturetotellstories

aboutanyplace,realorimagined.61Healsodoubtstheeffectivenessofstorytelling

workshops,inwhichinstructorsclaimtoofferasetofrulesonhowtobeagood

storyteller,andtheartistreatedasaskillthatcanbetaughtinthespaceofafew

classes.Truestorytelling,heconcludes,comesfromtheknowledgegainedbylivingina

placeandabsorbingthesurroundings.62


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AtensionexistsbetweenLenihanandtheresourcesheutilizesinhiscareer.He

travelsinternationallytoperform,butheprofesseshisloyaltyinIreland.Helamentsthe

penetrationoftelevisionintoIrishculture,yethehasworkedinthesamemedium.63

Insteadoffeedinghisstoriesbackintothevillageswherehelearnedthem,hearchives

andperformsthem.Asafolklorist,hehasspentdecadesloggingthousandsofhoursof

livespeech64fromtheoldpeople;haswrittenorbeenthesubjectofsevenbooks;65and

hasresearchedandvisitedhundredsoffolkloricsiteslikefortsandholywells.66Asa

performer,hetravelswhereverheisinvitedtotellstories;hasrecordedtenalbumsof

storytelling;andappearedasastorytelleronIrishnationaltelevision.Intheend,

Lenihansmethodsidentifyhimasamodernteller.Yeteachofthesemethodsis

undertakeninanefforttoremindaudiencesofthecommunity-basedvaluesystem

endemictovillagestorytelling.67

LenihanissecondonlytoKellyintermsofpeeradmiration.Moderntellerswho

havemethimlaudthepassionwithwhichheapproacheshiswork.68Thosewhohaven't

methimhopetheycandososoon.69AtatimewhenIrishnessisdeterminedatleastin

partbytourismandotherforcesofglobalization,Lenihanbearsthestandardfor

traditionalism,andheisadevotedcommemoratorofoldIrishculture.

Artistically,RichardMarshisalikelycomradeforLenihan.AlthoughAmerican-

born,MarshhasimmersedhimselfinIrishcultureforthetwenty-eightyearshehas

livedthere.70Thebulkofhistalesareclosely-paraphrasedtranslationsofmedieval

manuscriptsfromIrelandandSpain,whichheperformsasRichardMarshLegendary

TourGuide,Storyteller,Author.71Bydistributingstorycontentthatisnearlytwo


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millenniaold,Marshbreathesnewlifeintoancientstories,thuscommemoratingan

ancientIrishculture.72

Asatelleroflegends,Marshmostcloselyidentifieswiththehistoricalstoryteller

whodidthesame.Thisfigureisknownasthefile.Zimmermandefinestheterm:

Thewordfilehasremainedincommonusedowntomoderntimesin

thesenseofpoet,butitdoesnottojusticetothemorecomplexrole

inthepast:thatofamasterofwisdomandknowledgewhocould

serveasaninstructoroftheyoung,andwhosedutywastopreserve

importantlore,perhapstoproduceitattheroyalbanquetthusalso

actinginthecapacityofstoryteller.73

Withtheexceptionofroyalpatronage,Marshmatchesthisdefinition.He

approacheshisworkwiththedisciplineofahistorian.Instudyingmanuscripts,hetries

todeterminewhatmighthavebeenintendedbythematthetimeoftheirwriting.Inthe

caseofonefourteenth-centurytext,theepiloguereferencesfuturelistenersas

opposedtoreadersofthetext.Hesays,Obviously,thisstorywasmeanttobe

listenedto.Theyreonlywrittendowntorecordthem,sotheydontgetlost.74In

performance,75Marshsdeliveryismarkedbynames,datesandplacesthatsituatethe

narrativeinhistorybeforeitbeginsinearnest.Considertheintroductiontohistale

aboutSaintKevin,anIrishmonkofthefifthcentury:

SaintKevinwasahundredandtwentyyearsoldwhenhediedinthe

year617.Helovedanimals,andhewasverykindtothem.But,he

didntlikepeopleverymuch.Whenhewasayoungman,hedecided

thatwhathewantedtodowastospendhislifealone,thinkingabout


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God.HelefthisparentshomeinCualu,nearDublin,andwalkedover

theWicklowhills,untilhecametoabeautifuldesertedglen,called

Glendalough.76

Thebackgroundinformationisobjective,almostfrank.ItgroundsSaintKevinin

time,geography,andreligionbeforegainingmomentumasastory.Thetraditional

identityofthefileisupheld,andMarshsperformancesucceedsforamodernaudience.

Hecommemoratesthehistory,thestories,andthetellerwhotoldthem.

LikeLenihan,Marshalsoparticipatesinaspectsofmodernstorytelling.Hehas

workedasatellerofscriptedstoriesonnationalIrishradioprograms;andasa

storytellingtourguideinDublin.HeisamemberoftheDublinYarnspinnersstorytelling

group,77whichmeetsmonthlyinthecitytosocializeandexchangetales.LikeLenihan,

heisalsoskepticalofmoredidacticgroupsthatpurporttoteachstorytellingthrough

workshops.78Marshhasidentifiedasastorytellerforonlyafewyears,andhedidnot

seekthelabel.Instead,hesays,itoccurredtohimasthebestdescriptorforasetof

skillshehadamassedovertime:history,teaching,publicperformance,andtour

giving.79

AnypointofviewwillofferbothMarshandLenihanatleastthismuch:They

delveintothepasttoguidetheirpresent.Whetherstorytellers,performers,folklorists,

orteachers,bothmenactascommemoratorsofthepast.Theyarealsotraditionalists,

anditspossibletoidentifyself-imposedartisticstandardsinformingmuchoftheir

work.


31/90

ModernTellers:PatSpeight,KateCorkery&ClareMurphy Theinnovatorsofmodernstorytellingareeasytodefinebywhattheyarenot.

Forexample,theyarenotagitators.Theydonotcampaigntochangethepresent,orto

forgetthepast.Theyarenothistorians.Theydonottightlybindthemselvestothe

dynamicsofpastculturaltraditions.Onlyabroadstatementsuitablyidentifiesthe

innovatorsbywhattheyare:moderntellerswhoareopentomakingsmallchangesin

theirartforthesakeofputtingonabetterperformance.WhereasLenihanandMarsh

adheretostandardsthathavealreadybeenset,theinnovatorssettheirownstandards

basedonpersonalpreferences.Theytellthesamestoriesandcommemoratethesame

oraltradition,buttheinnovatorsmainartisticgoalistoengagethecrowd.Thissection

introducesthreesuchmoderntellers:PatSpeight,KateCorkery,andClareMurphy.

Easilyspottedwearingadarkfedora,Pat"TheHat"Speightwalksatquiteaclip

throughhisnativeCork.Fasterstillishisaccent,whichacceleratestoincrediblespeeds

inthecompanyoffellowCorkonians.Hemakesavillageoutofhiscity,populationmore

thanonehundredthousand,byseemingtoknoweveryotherpersononthestreet.He

knowsthevillagestorytellingtraditionandrespectsit.Heexperienceditasaboyvisiting

relativesinthemountainsofCountyKerry.But,inhiscareerasamodernteller,hedoes

notexpecttorecreatethepast.Instead,Speightidentifieshimselfasanentertainerand

conceivesofhisperformancesasvehiclesforentertainment.80This,hesays,makeshim


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aperformancestoryteller,whichhedefinesthisway:Aperformancestorytelleris

somethingelse.Thatmeansyoullgoupandentertain.Itrytomakeallmystories

entertaining.Notnecessarilyfunny,butItrytomakethementertaining.81Speight

drawsfromthesametraditionthatinfluencesLenihanandMarsh,buthemight

enhancehisstorieswithflourishestheothertwomenwouldnotattempt.Athisshows,

certainstoriesmighttakeonbriefcomedicdevicesorcomedicdevicesmightbecome

shortstoriestomeettheartisticgoalofentertainment.

JokesareasmuchapartofSpeightsrepertoireasarefolktalesandlegends.82

ThenarrativeofTheIrishGeniefollowsitsprotagonistthroughafamiliarroutinein

whichthewish-grantingspiritofthelampgetsoutsmartedbyapeasant.Speight

localizesthetaletoIrelandbypopulatingitwithafamilyoffourlivingontheislandof

CapeClear,offthecoastofCountyCork.83Inanotherstory,Speighttellsoftheancient

warriorCuchulainn.YetSpeightsCuchulainnisnotabovegettingakickinthearsefor

beinginappropriatelyforwardwiththekingsdaughter.84Puristsmightdisapproveof

thissortoftreatment,butitservestospiketraditionwithabitofunlikelyhumor,

therebyengagingthecrowd.

Insomecases,Speightevenaddressestheaudiencedirectly.Hemightopena

performancewithfondreferencetocertainfacesheseesinthecrowd;85or,hemight

interruptthestoryofadevil-dealingtinsmithbytellingtheaudiencehowtofindthe

roadtohellonalandordinancesurveymap.86Suchwordplayarguablybreaksthemood

ofthestory.ToSpeight,itislessthantheriskofbeingunentertaining:


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Storytellingisaninteractivething.Eventhoughtheremayonlybeone

persontalking,itsinteractive.Itrydancewiththeaudience,andifits

goingwell,youfeeltheaudienceswayingwithyou.That,tome,is

storytelling.87

Speightisaproductofhistime.Hedrawsfrompasttraditionsbutdoesnot

hesitatetoremarkthatthepastisgone.88HeperformsateventsinIreland,theUnited

Kingdom,andtheUnitedStates.Hehasreleasedtwoalbumsofstorytelling.Heisthe

chairofAosScalireann,StorytellersofIreland,89andwasinvolvedinitsWebsite

launchin2007.90HeisthefirstpointofcontactfortheCorkYarnspinners,asmaller

groupthatmeetsinthecityonceamonth.Hebelievesstorytellingcanbetaught,and

looksforstarqualityinaspiringperformers:Youcanbringthemtoacertainlevel,and

iftheyhaventgotthatsomethingandIdknowintenminuteswhetherpeoplehaveit

ornottheywontgotothenextstage.91Inaddition,hehasactedasajudgeata

storytellingcompetitions.92Speightclearlyconsidershistalentaproductinsome

capacity,andhemarketshimselfaccordingly.Hisbusinessacumenandperformers

sensibilityidentifyhimasaninnovator.Yetforallthiswherewithal,heisnotsubverting

tradition.HismentallibraryisstillmadeofstoriesthatcomefromIrelandspast,and

theirperformancecommemoratestheculturaltraditionthatheexperiencedasaboy.

IncounterbalancetothemovementofSpeightsworld,anassuredcalmmarks

theworkofKateCorkery.LikeSpeight,shesetsaudienceconnectionatopalistof

artisticgoals,butshepreferstoputthestorytellingpowerintheirhands.She

accomplishesculturecommemorationbynurturingandencouragingeveryoneinthe


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roomtotellastory,thustakingsomeinspirationfromtheceilinightsofvillage

storytelling.

NativetoCountyCorkandlivinginLondon,Corkeryisthestoryteller-in-

residenceattheHammersmithIrishCulturalCentre.There,shehostsregular

storytellingeventsinwhichsherarelytellsherself,93butenablesandencouragesany

memberoftheaudiencetoperform.Shesays,Itsnotstorytellingforstorytellings

sake.Itsoftentodowithenhancingtheirconfidence,theirabilityinlanguage,their

speakingskillsandbasicallykindofawakeningtheirimaginations.94Shecredits

professionalstorytellersfortheirabilitiesbutsaysamateursarebetteratcreating

community,becausetheyhavetofeeltheirwaythroughthestoryalongwiththe

crowd.95Whatmakesatellertrulygood,sheconcludes,isthepleasuretakenintheact

oftelling.96Whenshedoesperform,itismostlyinschools,eitherasasoloartistoras

one-halfofSpud&Yam,anIrish-Jamaicanstorytellingduoconsistingofherselfand

partnerWinstonNzinga.Shehasalsoworkedwithanartiststroupetobringstorytelling

andmusicintoschools.ThemainbodyofCorkerysstoriesisIrish,withtheadditionof

someworldtales.97

Corkeryfurtheridentifieswithmodernstorytellingthroughherlocation.In

London,herphysicallandscapeisnotthesameasthatofthevillageteller,forwhomthe

Irishlandscapewasaconstantpresenceandinfluence.Byedgingherartoutwardfrom

thephysicalbordersofIreland,shecanbeidentifiedasaninnovator.Butaswithall

innovators,thechangesshemakesarewithinthelargercontextofmodernstorytelling,

inwhichculturecommemorationisthemaingoal.


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Finally,IwillintroducemoderntellerClareMurphy,wholivesinIreland.Her

repertoireissomethinglikethatofMarshmythsandlegendsfromIrishoraltraditions

thataremucholderthanvillagestorytelling.AlsolikeMarsh,shecompletesresearchin

ordertobeabletotelllong,complexstories.98Thechallengemotivatesher,shesays,

butshealsorecognizesthetensionbetweenancientsagasandmodernIreland.Shesays

shewantstofindawaytomakethemrelevantfortoday,becausetheresahugepart

ofyouthatcantidentifywithmyth.Itsbeyondyou.Imagine,slayingahundredmen

withasingleblowofyoursword.99

InmedievalIreland,thetellingofmythsandlegendswasascholarlypursuitleft

toindividualswhohadcompletedyearsofstudy.100Inperformance,Murphyspresence

isnotsoaustere.Shetellsmythsandlegendsusingthetechniquesofanactress.Where

anactresstypicallyliveswithinarolewhileplayingit,Murphydoesthesamewith

stories:IsupposeIinhabitstories,ortheyinhabitme,whileItellthem.Allyouhaveto

doisstepasideandmakeway.101SupplementingthisapproachareMurphysuseof

pantomime102andherwardrobe,whichdistinguishesherfrommembersofthe

audience.Sheappearsinjewelry,longscarves,colorfulheadbands,orgowns,103allof

whichsignifyherstatusasaperformer.Itsupplementsherethosasananimatedand

dramaticteller,104thusheighteningtheperformanceaspectofherworkandevolving

thedefinitionofmodernstorytelling.

105

LikeSpeight,Murphydoesnotresistthechangingoftradition:Ithastochange.

Howcanitnot?Wereorganic.Wehumanschangeallthetime.Ifwewantsomething


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tostaythesame,werefools,becausewereclingingtosomething,becausewelikedit

howitwas.Whatwehavetodois,wehavetobringthingsforward.106

However,MurphyisstilltellingIrishstories,andhersaresooldtheirprecise

originsarelost.Shehasnotforgottenthatstorytellingisacultureswaytopassonits

history,philosophy,andreligion.107Thus,shefunctionsasaculturecommemorator,

albeitone


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ModernTellers:NarrativeArtsClub

Modernstorytellingcontinuestodefineitselfasmoretellersjointheartistic

community,butitisnottoonewtohaveradicalswhoseperformancesshifttheartin

overtlynewdirections.Radicalsdonotnecessarilydisapproveofexistingmodes.

However,theirworkdoesbreakdowntheboundariesofmodernstorytelling,asdefined

earlier.

TheDublin-basedNarrativeArtsClubfitstheradicalcategory.Throughregular

publicperformancesandtheeffortsofenigmaticfounderCoilnOh-Aissieux,the

NarrativeArtsClubresistscategorizationandworksindependentlyofexistingnorms.

Thefollowingremark,offeredbyOh-Aissieux,consciouslybuckstheimageamonKelly

putforwardfordecades:

Whenpeoplehearstorytelling,theythinktheyknowwhatitsgoing

tobelike.Theythinkitsgoingtobesomethingliketheyvealready

seen.Inotherwords,theythinkitsgoingtobeamaninahatanda

waistcoat.Iwantthemtorealizetheydontknowwhatstorytellingis

about,notanylonger.Well,theymightknowwhatitwas,butthey

dontknowwhatitmightbe.Theydontknowwhatitwillbe.108

TheNarrativeArtsClubhostsandpromotesshowsinandaroundDublin.

PrinciplemembersOh-Aissieux,GerryMacGregor,andCiarnMcMahonperformatthe

semi-monthlyevents,whichtraditionallyfinishwithdiscussion,auditions,orrehearsals

withaudiencemembers.MembersoftheNarrativeArtsClubconscientiouslypromote


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internationalstorytellingtraditions.Theyalsoincludeanecdotesandjokesthatdeal

withadult-orientedsubjectslikesexanddruguse,109bothindicativeofnormsin

modernmassmedia.Ratherthanlookingtovillagestorytellingoranyotherpartofthe

pastforartisticdirection,theNarrativeArtsClubmoreclearlyreflectsIrelands

globalizedpresent.110Itsinternationaltalesandtellerssuggestthehighpermeabilityof

thecountrysbordersinrecenttimes;anditsreticencetoprivilegethepast,place-based

IrelandprovidesasuitablereferencefordiscussionsoncontemporaryIrishculture.111

Fromanyperspective,Irelandisnowaglobalnation.Touristsandimmigrants

arriveingreaternumberseachyear.Interestgroupsworktobringmoremultinational

corporationstothecountry.Theoraltraditionhasrespondedtothesechangesby

breakingoutofthevillage.Modernstorytellingisperformanceart;asingleteller

performingstoriesforanaudience.Theindividualswhopracticeithavediverse

personalities.Thetraditionaliststhinkoftheirartasapurecommemorationoftradition;

theinnovatorsthinkofitasatoolforcommemoratingandenhancingtradition;andthe

radicalsthinkofitasatoolforproclaimingindependencefromotherforms.Alltendto

believeintheirmethods,whichputsthematoddswithoneanotherinsomesense.

However,Iplacethemherewithinasingleartisticmovement,becausetheyhaveat

leastthismuchincommon:theyarestorytellerslivinginIreland,andtheyinhabitthat

roleinthesamewayaseverypreviousgenerationofIrishstorytellers.Theyinteract

withthelandscape.IncontemporaryIreland,thatmeanstakingintoaccounta

heterogeneouslandscapethatismadeoflocalpeople,places,andhistory,butalso


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infusedwiththeforeignlanguagesandcustomsbroughtbyglobalization.Inthenext

sectionIwillexploreglobalizedIreland,anditsinteractionswithmodernstorytelling.


40/90

ModernStorytelling&Globalization

Onaposter-sizemapoftheworld,Irelandislessthanathumb-print.Yetthe

intriguegeneratedbythissmallislandfloodsthecollectiveconsciousnessofemigrants

theworldover.FewerthansixmillionpeopleinhabittheRepublicofIrelandand

NorthernIrelandcombined.112AsupposedfortymillionpeopleintheworldclaimIrish

ancestry.113Globalizationhasenabledbothofthesepopulationstotravelfreelyinand

outofthecountryphysically,usingtravelandtourism;andvirtually,usingdigital

communication.Inthishighlypermeableculture,thequestionsthenbecome:Whois

allowedtobeastoryteller,andhowdotheygettheirstories?

GlobalizationimpactstheIrishoraltraditionbychangingthewaystorytellers

interactwiththephysicallandscape.Expandingdefinitionsofcommunitymeanthat

moderntellersmustfocusonawiderphysicalarea,bothingatheringandtellingtales.

Whereastheoldmanatthehearthwasthetypicaltellerinvillagestorytelling,modern

storytellingismarkedbyamobileteller.114InthissectionIwillexaminenotionsofIrish

placeandconsiderhowthemoderntellerworkswithinit.Iwillalsoexploretheuseof

place-basedIrishstories,whicharecommoninmodernrepertoires,andhowtheywork

withinIrelandsgloballandscape.Intheend,modernstorytellingmirrorsvillage

storytellinginthatitisafunctionofthetellersinteractionwiththelandscape.The


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reasonthesearetwodifferenttraditionsisthatglobalizationhasfundamentallyaltered

thelandscape.

Irelandhasbeenbleedingoveritsbordersforaslongastheyhavebeenopento

internationaltravelandcommerce.ThesenseofIrishplaceisconsistentlycompromised

asglobalizationintroducesnewrepresentationsoftheculturetotheworldandthe

island.Art,intheformofRiverdance,tooktheglobalstagetothebeatofahundred

poundingshoes.ItbroughtasenseofIrishplacebeforeaudiencesworldwide.Onthe

island,anationalgovernmentagencycalledtheInformationSocietyPolicyUnitworksto

developdigitaltechnology,thusreinventingIrelandasaknowledge-basedInformation

Society,withallofthebenefitsthatentails.115AsthesenseofIrishplaceremainsinflux

athomeandabroad,scholarshavebeguntoarguethatitnolongermakessenseto

defineIrelandintermsofphysicalspaceonly.Thus,storytellingmustsomehowre-

orienttomeetthisshift.

FlanagancallscontemporaryIrelandnotsomuchaplaceasitisasetof

meanings.116AndWilsonandDonnanwritethatinthisglobalnation,scholarscannot

assumethatculturecanbeassertedintheisolatedcommunity:

WedonotthinkitpossibleforethnographersinIrelandtodayto

embarkuponethnographicresearchwiththeintentionofstudying

communitystabilityordecline,ornotionsofsocietalhealthor

anomie;attheleast,theycouldnotdoitwithastraightface,or

withoutlinkingcommunitiestowiderpoliticaleconomiesandbeyond.

AnthropologistswouldbefoolishtowonderatthequaintnessofIrish

lifeinanyrespect.117


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MakingthemostradicalclaiminthisargumentisCronin,whoseconceptof

chrono-politicschangesIrelandfromacountryrepresentedintermsofphysicalplaceto

acountryrepresentedintermsoftime.Irelandslocation,hewrites,isdeterminedby

thespeedwithwhichproductscanbedeliveredtopotentialconsumers.118Globalization

hasspawnedthischangeintheformofarobustdigitalcommunicationsindustry;a

spikeintravelinandoutofIreland,bothbynativesandnon-natives;andageneral

embracingofmobilityasaprivilege.119Modernstorytellingbearsthisouttosome

extent.Butbeforeexaminingmoderntellersinteractionwiththelandscape,Iwill

furtherexploretherelativelyinsularsituationofthetypicalvillagetelleranoldmanof

thecommunity120andhowhewasboundtohisplace.

Scholarsurgetheacknowledgementofglobalizationasaconsumingforcein

modernIreland,andinaglobalculture,villagestorytellingislesslikelytohappen.A

villagetellerattainshisrolebyvirtueofexperience.Heisafigurewhohasabsorbed

knowledgethroughalifetimeoflivinginthesameplace.Hecannamegenerationsof

localcharactersanddescribeavillageseverygeographicallandmark.Placedetermines

whoheisandhowtells.Whenthevillagetellerattemptsstoriesthatdontoriginate

fromhisnativeplace,hebecomesuncertain,makesmistakes,andinterruptsthetext

withapologies.121Sincethevillagetellermustclaimexpertiseonhislocality,itbecomes

challengingforhimtokeepupwhenmultiplecommunitiesbecomeconnected.

122

He

muststruggletomaintainaseatatmorethanonefireside.Hismultipleaudiencesin

multiplevillages,whichprobablydonotoverlap,mustbegintoaccepthimasafamiliar.

Hestrugglestoachieveadepthofknowledgeabouthisnew,largercommunity.


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Inevitablyhisfamiliaritywithaudiences,aswellashisknowledgeofcommunities,

shrinks.Hesoonturnsfromaneighbortoakindoffolklorist,collectingandsharingonly

thebesttalesfromavarietyofplaces.Heceasestobeaparticipantinculturesomuch

asheisanobserver.Heturnsfromavillagetellertoamodernteller.Globalizationalters

hisidentity.123

Themoderntellerneedsnonativeconnectiontoaplacetobeabletotellstories

aboutit.Owingtoglobalization,hisstatusasatellerisnotexperience-basedbut

research-based.Hedoesnothavetoliveinaplaceinordertounderstandit.Instead,he

mustbeabletotravelfromplacetoplacetoresearchorperformforaudiences.Thus,

mobilitydetermineswhoamoderntellerisandhowhetells.Todoresearch,amodern

tellermightbookatriptovisitaplaceinwhichheisinterested.There,hecangather

storiesfromtheexaminationoflocal,writtenrecords,orbyconsultingvillagersfortales

aboutlocalhistory.Afterleaving,hepublisheshisfindingsintheformofpublic

performancesorrecordings.Heisnotuncomfortabletellingstoriesthatdidnot

originatefromhisnativeplace.Whenstorytellingisthusresearch-basedandnot

experience-based,theobserverisaswelcomeastheresidenttoattemptstorytelling,

whichincreasesthediversityofmoderntellers.Glassiesvillagetellersweremadeup

mainlyofrarelygiftedoldmen.124Bycontrast,moderntellersareold,middle-aged,

andyoungmenandwomenwhoresearchandperforminallpartsofIrelandandother

countries.125

IwanttoreturnnowtoCroninsargumentforchrono-politics,theparadigmthat

privilegestimeoverplace.Modernstorytellingbothacceptsandresiststhisidea.


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Moderntellersareidentifiedbyhowtheymove,andthismatchesthechrono-political

traitofmobility.However,modernstorytellingcontinuesusingplacetogiveitself

context,andthisdoesnotmatchCroninsargumentthattimeisatopindicatorof

contemporaryIrishculture.

Inmodernstorytelling,almosteverystorytakesplaceinIrelandandreflectsIrish

culture.TellersalsobrandthemselvesaspointedlyIrishinadvertisingmaterials.Thus,

modernstorytellingremainsanIrishendeavor,connectedtotheland.Storiesmaybe

performedoutsideIreland,andsometellersmightnotevenbeIrish,butthecontentof

thestoriesisdeeplyrootedinasenseoflocalIrishpeople,places,andhistory.For

example,Speighttellsastoryaboutthreedoctorswhogetintroubleaftermakinga

dangerousbetwithoneanother.Prideandfollyarethethemesofthestory,butitdoes

notbeginwithoutsituatingitselfinadistinctplace:Therewerethesethreedoctors,

andtheywerefromBandon.Well,intheBandonarea.And,theyusedtomeetoncea

month,abovestairsinahotelwhosenameIhavetokeepquietforthemoment.126The

talebeginsinearnestonlyafterlocatingitselfinplace.Somelistenerswillunderstand

thisasnomorethantheestablishmentofsetting.However,asIlistenedtothestory

withafriendwhogrewupinBandon,atowninCountyCork,shesaidthenameofthe

hotelunderherbreathassoonasSpeightindirectlymentionedit.Inthisexample,

modernstorytellingnotonlyusesplaceasacontextforstorycontent;italsoprivileges

thelistenerwhohasexperiencewiththatplace.


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Storiesdonotalwaysneedtomentionthenameofavillageortowntocreatea

place-basedcontext.Lenihansharesastoryaboutabewitchedfield,whichifentered

duringthenight,cannotbeescapeduntilmorning:

Nowitsasmallfield,nomorethananacreinextent.Andyoudsayto

yourselflookingatit,What,Imean,howcouldntyoucomeoutofa

placelikethat?Becauseevenifyouwereablindman,eveniftwas

thedarkestnightoftheyear,allyoudhavetodoisfeelyourway

alongthehedgeuntilyoucometothegatethereisagateinit.And

notjustthat,buttheresaroadatthissideofitandtheresaroadat

thatsideofit.Twoparallelroadsandasmall,regularly-sizedfield.127

Inthestory,Lenihanneverrevealstheexactlocationofthefield,buthis

descriptionsthroughoutaresimilarlyexacting.Anactivelistenerislefttransportedto

themiddleofthisveryfield,lostandconfusedunderthenightsky.Inthiscase,modern

storytellingusesplacetoestablishcontext,butitengagestheaudiencewithout

mentioningthenameofaspecifictown.128

Toalesserextent,modernstorytellingalsousesplacetobranditself,andthe

generallyagreed-uponbrandisIrish.Advertisingmaterials,includingWebsitesand

recordings,identifymoderntellersascomingfromIreland.Lenihanidentifieshimselfas

aseancha129onhisWebsite.130SpeightuseshisWebsitetoidentifyhimselfasbotha

seanchaandascala.131Onbothsites,theIrish-languagewordsappearinlargeprintat

thetopofthepageandcontiguoustothewordstoryteller.Thus,theyserveasaway

forviewerstolocatebothmeninthephysicalplaceofIreland,morethantheyserveto

identifythemasstorytellers.


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Lesscomplexbrandingoccurselsewhere.Murphyperformsinthetwo-person

showCelticTales,132andMarshlistsIrishMyths,Legends,FolkTalesandInternational

Storiesashisworkingrepertoire.133Inbothofthesecases,thepotentialaudience

memberisdrawnintoahazybutevocativeCelticplaceofthepast.134Intheseandmany

otherexamples,moderntellerscommunicationlinesreachacrossIrelandandtheworld

todeliveraremarkablyplace-basedmessage.Theyarethetwenty-firstcenturys

versionofafiresideseancha,reactingtoamodifieddefinitionoflocal,butnot

abandoningthephysicalplaceofIrelandtodoso.

SomeIrishlistenersmightchoosetounderstandmodernstorytellingasfondbut

ultimatelyunimportantrecollectionsofatimethatisgone.IntodaysIreland,citiesand

evensometownsareinternationalandhighlykineticcentersofcultureandindustry

whereIrishnessisdefinedbytheabilitytoresideontheislandandsuccessfully

participateinoneofitscommunities.135However,modernstorytellingpurportsto

preserveasenseofthepast,whentheislandwasanationofvillagesdottedbysmallto

middle-sizedcities.Thisartformfocusesonwhatcamebeforecharacterslong-dead,

landscapesdrastically-altered,andsocialpracticesdimlyremembered.Granted,itruns

theriskofsentimentalizingthepastandfallingintothetrapofquaintness.136Butin

anIrelandbecomingmoreethnicallyandculturallydiverse,audiencereactionswillalso

becomemorediverse.Sentimentalityisonlyoneresponsetomodernstorytellingwhen

theaudienceismadeofIrishnatives,foreignstudents,andfirst-andsecond-generation

immigrantsfromthelikesofPoland,Brazil,Nigeria,Latvia,andChina.Wherethenative

Irishpersonmightfeelinspiredoreducatedbymodernstorytelling,theIrish-Polish


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transplantmightbeintriguedorsoothed,andviceversa.Theaudiencethuscontrolsthe

meaningoftheart,andinthiscaseguaranteesthatmodernstorytellingwillfunctionas

somethingmorethanmereculturalquaintness.Intheend,thesestoriesserveto

remindallIrishaudiencesabouttheoriginsoftheirplaceofresidence.

Inacountrywhosehistoryisriddledwithinvasionandoccupation,storycarries

asmuchpowerasanyculturalthread.Diversetellersperformfordiverseaudienceswho

havediversereactions,thusenhancingthedynamismofmodernstorytelling.


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ModernStorytelling&Tourism Villagestorytellingexistedforthecommunity.Asmuchasthefieldsproduced

potatoesandcabbageforsupper,theactofstorytellingprovidedmentalnourishment

byhelpingthemembersofthevillageaccomplishcultureassertion.Modernstorytelling

existsfortheworld,andlikesomuchinformationinthedigitalage,ithangsinthe

ether,waitingtobediscoveredbyaudiencesfromScotlandtoSuriname.InthissectionI

willconsiderroletourists137playinmodernstorytelling,specificallythewaytouristsand

moderntellerspredictandreacttooneanothersbehavior.Intheenditbecomesclear

thatwhiletouristsmightmorestronglyinfluenceotherpartsofmodernIrishculture,

thisisnotsowithmodernstorytelling.Inthisartform,atleast,touristsperceptionsof

Irishnessarecreatedbythemselves,andnotbasedonanagendasetbythetellers.I

considertouristsworthyofspecialattentionbecausemoreofthemtendtovisitIreland

eachyearthanthereareinhabitantsoftheisland.138Itfollowsthatsometouristsare

likelytobecomemembersofmodernstorytellingaudiences.

Thetouristvisitingtwenty-first-centuryIrelandcomestoacountryexperiencing

themixedblessingofagoodeconomy.Businessandfinancialmarketsboom,whilethe

socialfabricfraysattheedges.139CelticTigeristhepopulartermusedtodescribe

Irelandseconomicsuccessinthepastdecadeorso,anditisnormallyassociatedwith

higherstandardsofliving,increasedimmigration,moreandbetter-payingjobs,an


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increaseinsocialmalady,andadeparturefromthelargelyruralnationthatspawned

villagestorytelling.ThisdefinitionunfairlydisregardsIrelandsoldsocialtraditions,

includingvillagestorytelling.IpreferWilsonandDonnansmorecompletedefinitionof

theCelticTiger:

aggressiveeconomicgrowth,withcutting-edgedevelopmentin

informationandcommunicationtechnologiesandhighlysuccessful

participationinglobalmarkets,combinedwithaspirituality,mysticism

andeasywarmthandhospitalityofapeopleintheperipheryof

Europe.Manypeopleontheislandhavereadilyidentifiedwiththis

apparentoxymoron,andseethemselvesasrational,sophisticated

modernentrepreneurswhohaveretainedtheirconnectionwiththeir

romantic,mythicpast,asabletoclinchadealintheexecutive

boardroomastosinkapintofGuinnessandsingtheirpartypiece.140

Modernstorytellingisanexampleofthisduality.Thevastmajorityofmodern

tellerssticktooldstories,whichrekindlenotionsaboutarural,magicalIrelandofthe

past.Atthesametime,thetellersleveragetheresourcesofthemodernIrelandto

situatethemselvesandtheirartinaglobalcontext.Mostalsounderstandthe

importanceoftouriststotheirlivelihoods.MarshgivestoursofDublinwhenheisnot

performingasastoryteller,141andMurphy142andSpeight143counttouristsamong

membersofatypicalaudience.

Thetouristencountersthemoderntellerwithpresumablylimitedknowledgeof

thenationalissuesfacingIreland.Ifcivicparticipationiswaninginthecountry,theshift

isprobablynotfeltbytouristsattendingperformancesofmodernstorytelling.Having


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lessbackgroundonIrishcurrenteventsthanthetypicalnative,atouristwillhearstories

abouttheIrelandofthepastandusethemtoconstructarepresentationoftheislandin

thepresent.Inthisway,astory144aboutthefolkhealerBiddyEarly(1798-1874),makes

itsoundasifBiddymightbeavailablefortea,shouldthetouristbetravelingthrough

CountyClarelaterintheweek.Idontmeantosuggestthattouristscouldntresearch

thelifeofBiddyEarlyontheirown,buttheformofthestoryputsanIrelandofthepast,

withallitsrequisitecharactersandtraditions,attheforefront.145Whenthetourist

leavesIreland,therefore,BiddyEarlymightbeamorelikelyconversationtopicthan

Irishcurrentevents.Inthisway,sometouristsformapre-conceivednotionofwhatthe

countryshouldbe,andmoderntellersmightcometoowesomedegreeoftheirsuccess

tohowwelltheyfittouristsexpectations.Theymightevenchangethemethodof

tellingtosuitthetourist.Caseyobservesthisphenomenoninsmall-townmerchantsand

townspeoplewhoaltertheirbehaviorduringthevacationseason.146

Modernstorytellingdoesnotsuccumbtothisdynamic.Whiletouristsmight

influencethemakeupofotherIrishproductsdesignedtoattractthem,modern

storytellingchangeslessbycomparison.Illmakethiscaseinthreepoints.

First,thestorieshaveremainedrelativelyconstantinformandstructure.They

arepresentedorally,astheywereinvillagestorytelling,andtheyreferencethesame

charactersthathavebeenreferencedincenturiesofIrishstorytelling.Zimmermann

tracesappearancesoftheIrishheroFionnmacCumhaillasfarbackasthethirteenth

century,whichevenatthattimereferredtoadistantpast.147In1997,Marshpublished

anaudiorecordingthatdealsextensivelywithFionnmacCumhaill,leaderofthekings


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elitetroupeofhand-pickedheroes.148Ifthecontentofstoriestoldtodaybearsdirect

tiestostoriestoldeighthundredyearsago,moderntellerscouldnotbeaccusedof

changingtheirstoriestopandertotourists.Iftouristswholistentomodernstorytelling

comeawaywithaconceptionofIrelandasarural,magicalplace,itwasnotonaccount

ofanagendasetbythetellers.IthappenedasadirectresultofthestrengthoftheIrish

oraltradition.Evenoverperiodsofcenturies,somestoriesremainpopular.

Second,anumberofmoderntellersapproachtheirworkwithadegreeof

nationalisticpride.Lenihanrefusestotellstoriesthatwerenotgiventohimorallyby

elderlymenandwomenofIreland,149thussuggestingthatthehealthoftheIrishoral

tradition,notnecessarilytheapprovalofthetouristsintheaudience,isatthetopofhis

mindasheperforms.Thiserasesthepossibilitythatheformatshisperformancefor

tourists.150Murphyhascometoembraceasimilarpointofview.Shestartedofftelling

mostlyworldstorieswiththeoddIrishtalethrownin.151Today,shefocuses

exclusivelyonIrishstories,whichshebelievesareresponsibleforthesurvivalofthe

Irishduringpasthardship.152Suchattitudesprovideevidencethatmoderntellersare

willingtoacceptthetouristaudiencewithoutalteringtheirperformancestosuitthem.

Thethirdpointisminorbutworthmentioning.Somemoderntellersspeakin

Irishdialectsunfamiliartoforeigntourists.Uponfirstlisten,theirwordscanbedifficult

foroutsiderstocomprehend.Aspeakerofnon-IrishEnglishwouldbeforgivenfor

misunderstandingSpeightashewhipsthroughhisrenditionofNidn,DidnandDonagh

BegONeary.153Linguisticalienationisalienationatabasiclevel.Ifperformersdonot


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significantlyaltertheirspeechforanaudienceoftourists,theyarecertainlynotcatering

tothem.154

Invitingtheworldtoobserveatraditionthatwasonceassociatedwithasmall

islandwillcausecertainshiftsincommunicationdynamics.Inthiscase,touristsarethe

newelementrushingintofillspotsthatwereonceoccupiedbyIrishvillagersonly.By

internalizingrepresentationsofarural,magicalIrelandofthepast,touristshavesome

influenceinthewaymodernstorytellingisviewed.However,theyhavelessinfluence

onthewaymodernstorytellingisevolving.


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Conclusion Thewordtraditioncanbetakentorefertoadeadthing.Somemightconclude

thattomakeatraditionoutofaculturalactorvalueistorecognizethatitspartofthe

pastandnotthepresent.

Iunderstandtraditionasthedefenseagainstloss,notthecauseofit.Traditionis

theactofcommemoratingapieceofthepastthatotherwisemightbeindangerof

disappearing.Thus,traditionisaverb,diverseanddynamic,ratherthananoun,cold

andimmobile.

Millmanwritesthatfolkloristsnevertireofadvancingthetheorythateachnew

generationcreatesitsowntraditions:thatcompellingnewformsaretakingtheplaceof

compellingoldonesallthetime.155

Yetmodernstorytellingdoesnotseektoreplace

villagestorytellingoranyformofstorytellingbeforeit.Instead,itaddstoanexisting

whole,basedonthestateofIrelandtoday.156Schechtmanoffersaviewinwhich:

Theexperiencedpastandanticipatedfuturemustconditionthe

characterandsignificanceofpresentexperiencesandactions.WhenI

haveaself-constitutingnarrative,whathappenstomeisnot

interpretedasanisolatedincident,butaspartofanongoingstory.157

Applyingthisconstructtomodernstorytellingrevealsthatitisbutonelinkina

largeroraltraditionbasedontheongoingstoryofIreland.Thisbeginswiththemyths


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andlegendsofancienttimes;continuesuptothetraditionalists,innovators,and

radicalsofthepresent;andplungesforwardintoafuturethatreasonablycouldbe

expectedtocontainsomeelementofstorytelling.Eachlinkinthetraditionwas

influencedbywhatcamebefore,andwillinfluencewhatcomesnext.Modern

storytellingwillchangejustasvillagestorytellinghas,butitwillnotmarkanend,aslong

astheactoftradition,inthiscasethetellingandsharingofstories,remainshealthy.

Itisinaccessibility,notchange,thatdefinestrueloss.Losingatraditionhastodo

withcollectiveforgetting,asinthecaseofmanyoldCelticlanguagesoftheEuropean

continent.Thesearelosttraditionsbecausenobodycanrememberthem.Ifnobodyhad

botheredtorememberpastformsoftheoraltradition,theymightrightlybeconsidered

lost.However,theperformersofmodernstorytellingtendtobecommemoratorsand

evendefendersofIreland'spast.Therefore,culturalrememberingcontinues,andstorytellingfindsrelevanceinthefuture. Thoselamentingthelossofvillagestorytellingareinfactlamentingthelossof

communicationdynamicsinanisolatedcommunity.AsIveshown,manyperformers

worktosharethatsortofpastculturewithglobalaudiences,thusinfusingthetradition

withextraculturalcurrencyworldwide.Nothingbutcatastrophewillstopglobalization

andtheculturalchangeitbringswithit,butthefuturedoesnothavetobedismal,and

inIrelandatleast,itdoesnthavetocomewithoutastory.


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SuggestionsforFurtherStudy

Itismyhopethisessaywillhelpcategorizetwoculturalphenomenavillage

storytellingandmodernstorytellingwhichhavenotbeencloselycompared

elsewhere.Ihaveconceivedofmoderntellersasperformers,meaning,theysharetheir

artwithanaudiencewhosemainroleistolistenbutnotparticipate.Ihavenot

conceivedofvillagetellersasthesamekindofperformers,althoughelementsof

performancemaycompriseasuccessfulceili.Ananalysisofperformancedynamicsin

villagestorytellingmightrevealitsmethodologicallinkstomodernstorytelling,andhow

theperformersroleshiftsinthecontextofchangedsocialandeconomicsystems.

Also,storytellinghasemergedasabuzzwordincriticalwritingaboutdigital

technology.Jenkinsconsidersmulti-platformstorytellinginhisbookConvergence

Culture,andhere-imaginesstorytellingaudiencesas"consumers".158Anexplorationof

thisthemecouldbeusefulinforecastingthefutureofmodernstorytelling,even

predictingwhatmodeoftheoraltraditionmightsucceedit.

Finally,it'simportanttorecognizethestorytellerwhostillexistsinIrelandbutis

notaprofessionalperformer,rathertellingmainlytoinquisitiveoutsiderslikeLenihan.

Thisfigureisneithervillagenormoderntellerbuthasservedasanimportantlink

betweenpastandpresent.Acloserlookatthesefiguresmightrevealanentirelynew

culturaldynamicunexploredhereorelsewhere.


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Appendix1:ATaxonomyofTellers

Modernstorytellingclaimsconnectionstothreetypesofhistoricaltellers:the

seancha,thefile,andthescala.Thepluralsareseanchaithe,fil,andscalaithe,

respectively.Thesethreetermscorrespondtorootwordsseanchas,scal,and

filedachtwhichvariouslyrefertostorycontent.

Suchterminologycontainsbuilt-inproblemsforaudiencesofmodern

storytelling.First,theyareintheIrishlanguage,foreigntoallbutalessernumberof

Irishnativesandinternationalacademics.Second,theyidentifyrelativelynarrow

distinctionsintypesofIrishstorytellers.Yettheyareusedinconjunctionwithmodern

storytelling,soIwillconsiderthemhere.

ItislikelythatthescalaandthefilenolongerexistinIreland.Itismoredifficult

tomakesuchaclaimabouttheseancha.Thiswordreferstostorytellerofthe

nineteenthandtwentiethcenturies,andsomemoderntellersuseitasalabeltoday.

Fromacriticalperspective,thedefinitionofseanchaisashazyasthefigurehimself.

Threedifferentsourcesmightofferthreedifferentdefinitionsoftheword,andpossibly

eventhreespellingsanythingfromshanachietoseanachie.Theretendtobejust

twopointsonwhicheveryonecanagree:theseanchatoldstories,andhasalmostifnot

completelydisappearedfromIrishculture.


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DinneensIrish-Englishdictionarydefinesseanchaasanantiquary,historianor

genealogist,astory-tellerorshanachie,onewhotracesrelationships,oneversedin

folklore.159AnattempttodefinethewordmoreconciselybeginsinmedievalIreland,

wheretheseanchaitheservedasgenealogistsofthecourtsofoldIrelandandScotland,

onestepbelowthepoetbutstillsignificantfigures.160Inthisdynamic,storiesmeant

familyhistories,whiletheworkofmyths,legends,ballads,andfolklorewaslefttoa

moreartisticrankofstoryteller.Zimmermannidentifiesaseanchaaseverythingfroma

genericreceiverofseanchas,orlore,toalocalfiguredistinctfromasimplestorytellerin

thathistaleismainlyvaluedforinformativetruthfulness.161

OtherscholarshiponIrishcultureandstorytellingoffersaseanchathatishalf-

visibleatbest.Glassiecallshisstorytellershistoriansorstars,162buttheword

seanchadoesnotappearasanobjectofstudyinhiseighthundredfifty-two-page

volume.Millmanoptsforthetermspeech-meninhismeditationonstorytelling,and

thoughheincludesachaptertitledTheShanachie,hissourcesonthatsubjectinform

himthekindofmanyouwantisdeadasthegoldeneagle.163

Moderntellersalsohavedifferingdefinitions.Lenihanidentifiesasaseanchaon

hisWebsite164anddoesnotrestricttheseanchatothepast.However,hebelievesthe

moderndefinitionisnarrowerthanitoncewas.Inbroadterms,hesays,aseancha

dealswithseanchas

165

ofanykind.Theespeciallygoodoneswerewanderingmenwho

pickeduptheirstorieswhiletraveling.166Thiscontrastswhatheconsidersthemodern

definition:


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Seanchanowadayshasbecomevery,verynarroweddown,almost

toatelleroffunnystories.Itwasntthemeaningofthewordatall.A

seanchawasaseriousperson.Apersonyoucouldgotoifyouwanted

toknowsomethingaboutthepast.Hewasakindofhistorian,hewas

asociologist,hewasagoodteller,hewasaperformer.167

Marshbaseshisdefinitiononstorycontent.AsatellerofancientIrishmythsand

legends,hesayshecantbeaseanchabecauseImnotalocalstoryteller.Aseancha

shouldbealocalpersontellinglocalstories.Seanchasmeanslore,andIthinkby

connotationlocallore.168Furthermore,hesays,seanchaithetellinalocaldialect,with

aprimaryaudienceofneighborsgatheredaroundthefire.169

Speight,whoidentifiesasaseanchaonhisWebsite,170agreeswithMarshthat

thehistoricalseanchawasatelleroflocal,anecdotalstoriesaboutpeopleand

places.171Headdsthattherearenonealivetoday,thusmakinghisclaimtothetitle

morehonorificandlessliteral:

Imtryingtothink,isthereanyseanchaalivetoday,andIdontthink

thereis.Ithinkseanchaswouldhavedieddefinitelywithinthelast

fiftyyears.Now,amIaseancha?Iwouldcarryontheseancha

tradition,buttheseanchaispartofatimethatisgone.Wegenerally

dontmeetaroundhousesaswedidbefore,becausethecontextfor

storytellinghaschanged.172

Murphysseanchaisacharmerandgathereroffiresidetales.Sheallowsthat

suchafiguremightstillexistbutdoesnotclaimthetitleherself:

ItcouldbethatImyearsandyearsawayfromit,oritcouldbethat

mystyleisnotgoingtogodownthatroad.ButIthinkIdgetmyselfin


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fiercetroubleifIcalledmyselfa seancha.Theoldercommunity,you

havetoshowrespect,andIwouldntjumpintothattitle,seeingas

howIhaventbeentellingtalesforthatlong.173

EvenKelly,widelyrememberedasaseancha,eschewsthelabel.Bornin1914,

hesays:Idontrememberanactualseancha.Butwhenpeoplecamevisitingtothe

house,themenwouldcomeandsitdownandtalk.Theywouldtellitasastory,

whateveritwas,iftheydbeentomarket,awedding,awake,whateveritwas.174Kelly

eventuallycametobeknownasIreland'smasterstoryteller,probablyamore

appropriatetitleforhim.

Toquestforanexactdefinitionofaseanchaistoinvitecontradiction.Onone

hand,thisfigureappearstohavebeenalocaltelleroflocaltales,possiblywithinthe

traditionofvillagestorytelling.Ontheother,atleasttwomoderntellersadvertise

themselvesasseanchaithe.Thisappearstobeforcommemorativepurposes,though

thelabelcausesconfusionforaudiences,whomightmisunderstandseanchaasthe

genericwordforanyIrishstoryteller.Historicaltextsandtheexplanationsofstorytellers

proveotherwise.Theyalsosuggestthattomeetthisfiguretodayiseitherremarkably

difficultorflatlyimpossible.

Irishstorytellingsfileismoreclearlydefinedbutalsooriginatesfromamore

distantpast.Thismedievalcourtlypoetwasdistinguishedbysocialstatusandstory

content,asinDinneensdefinition:apoet,aprofessor,esp.ofthenativelearning.175

Theworkofthefileboremorelikenesstoformaleducationthantofolklore,andthose

fewattemptingtoclassifythefiletodayofferlessmeanderingdefinitions.Zimmermann


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definesthefilasalineofveneratedtellersthatmanagedtosurvive,statusintact,

IrelandstransitionfrompaganismtoChristianity.176Statuswasrankedaccordingto

leveloftraining,andthehighestrankrequiredtwelveyearsoflearningstoriesand

compositionprinciples.177Hewritesthatfilwererestrictedfromtellingcertaintalesif

theyhadnotcompletedtheappropriatetrainingtodoso.178Thefilewasnotamere

entertainer,Zimmermannconcludes.179

Marshdefinesafileasatelleroflegends,whogenerallyperformedatthe

pleasureoftheking,hiswarriors,andmembersofcourt.180Heidentifieswiththismode

andinsomewayshasattainedtherankoffile,thoughinatwenty-first-centurycontext.

Yearsofexperienceasaresearcherandtranslatorofmedievalmanuscriptshavemade

MarshanexpertonIrishandSpanishlegends.Hetellsinproseandsometimesrecites

poetry.Hesaysheprefersthecomplicatedstoriesbecausetheresmoremeatin

them.181

Murphyspecializesinlegendsbutdoesnotidentifyherselfasafile.Shestarted

outtellingworldstoriesandlatergravitatedtomythandlegend.Shehasgrownto

appreciatethetrainingittooktobecomeafile:ThemoreIstartedtoresearch[Irish

mythsandlegends],themoreIstartedtoreallyfallinlovewiththemagainbut

properly,becauseIwaslearninghowtotelltheminmyownway.182Sheallowsherself

tenyearsofstudybeforebeingabletoperformentiresagaswithease.

183

Lenihandefinesthefilastellersoffiledachtpoetryofthesortoutlinedabove

anddescribesthemasspecialized,trainedtellers.184


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Iftheroleoftheseanchaithepointstowardahumble,localteller,thefilarea

counterbalancewiththeirhighstatusandlengthyeducation.Somewhereinthemiddle

ofthisspectrumisthescala,atellerthatwasmorethancommon,butlessthannoble.

Dinneendefinesthescalaasastory-ornews-teller,aromancer,anewsmonger,a

messenger.185ScholarshiponIrishstorytellingalsooffersacleardefinitionforthe

scala,butonlybecauseZimmermanaloneconsiderstheterm.Similarly,justone

moderntellerinvokesthisfigureSpeight,whoidentifiesasascalaonhisWebsite.

Zimmermannsscalaexistsinfolkcultureofthenineteenthandtwentieth

centuries,whenIrelandhadnoprofessionalstorytellerbutwasnotwithout

specializationamongtellers.186Thespecializationofthescala,then,wastotella

stylizedandoftenrelativelylong,complexnarrative.187Itsoundslikeabroader

classificationofthestoriesofthefile,thoughwithoutroyalpatronage.Zimmermann

speculatesthatscalaitheandseanchaitheexistedpartlyinthesameperiodoftime,

althoughtheformergroupwasthefirsttowane.188

SpeightidentifiesthescalaintermssimilartoZimmermanns:Thescala

usedtotellthelongwondertalesthatdlastfordays.Hoursordays.Reallylong,almost

formalpieces.Almostbard-like.189Suchstoryformsdonotcomfortablysuitthe

performancemodeofmodernstorytelling,astodaysaudiencesdonotexpecttobe

keptforsolong.ButSpeightsidentificationasascala,aswellasaseanchaanda

storyteller,suggesthisintentiontocommemoratealloraltraditionsofIrelandsrecent

history.Thetitlesthereforebecome,likeLenihans,honorificandnotliteral.


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Thefirstglanceatmodernstorytelling,especiallybyanon-Irishperson,

submergesthecuriouspartyinforeignvocabulary.Thetitlesarestrangeandexciting,

andperhapshavethepotentialtotransportlistenerstoIrishculturesofthepast.Taking

acloserlookatthetitlesyieldssomeamountoffrustration,butitalsorevealsthe

attentiontodetailonthepartoftellers.Formanyofthem,theirartistooimportant,

andtheirstorycontenttooprecise,tobeidentifiedsimplyasstorytellers.


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Appendix2:OldStories&ModernVoices

Themajorityofmoderntellerschoosestoriespasseddownfromprevious

generationsofIrishculture.Thesestoriescommemoratethepastbycreatingawareness

of

Buterbaugh:The Saints & Scholars of Modern Irish Storytelling

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