Show simple item record

dc.contributor.authorCommins, Verena
dc.date.accessioned2019-10-22T10:26:42Z
dc.date.available2019-10-22T10:26:42Z
dc.date.issued2019
dc.identifier.citationCommins, Verena (2019) 'From Milan to Kilbaha: Bronzing Irish Traditional Music'. Éire-Ireland 54 (1-2):275-296.en_IE
dc.identifier.issn0013-2683
dc.identifier.urihttp://hdl.handle.net/10379/15529
dc.description.abstractMonuments represent important anchoring devices, tying “collective remembering” to physical places and mobilizing a sense of shared memory and identity consolidation (Rowlands and Tilley 500).1 In the specifically Irish context of the last half-century, the types of events and people remembered by this process of monumentalization has changed significantly. Yet as the current decade of centenaries (2012–22) demonstrates, the erection of monuments persists in constituting a significant backdrop for both the representation and framing of national and local identities in public spaces (Commins, “Musical Statues”). Demonstrating their agency as devices to (re) create emotional bonds with particular histories and geographies, monuments focus attention on specific places and events, offering spatial and temporal landmarks loaded with memory. Situating itself within a body of work examining the growth of this monumental culture within Ireland (Breathnach-Lynch; Hill; Johnson; P. Murphy, “Introduction”; Whelan), this article examines Irish traditional music as a cultural channel that has more recently come to embrace monumentphilia. It considers the particular intersections of collective memory with local and national identity (and identities) as represented by monuments specifically raised to commemorate and celebrate Irish traditional musicians. In a rapidly changing world in which identities are increasingly fluid, the subsequent perception that cultures are becoming homogenized or indistinguishable from one another is widely shared (Tovey et al.), raising the attractiveness of the concept of tradition. This research addresses how the “in-placeness” of monuments—their materiality and physical presence—brings these “traditions” to a much wider public, and in this particular case, beyond the listening and performing community of practice of Irish traditional musicians. In order to do so, it bookends its investigation with two monuments, indeed two moments, that commemorate uilleann piper Willie Clancy (1918–73): both located in Miltown Malbay, Co. Clare, and raised in 1974 and 2013 respectively (figure 1).en_IE
dc.formatapplication/pdfen_IE
dc.language.isoenen_IE
dc.publisherIrish American Cultural Instituteen_IE
dc.relation.ispartofÉire-Irelanden
dc.subjectMusicen_IE
dc.subjectIrelanden_IE
dc.subjectCommemorationen_IE
dc.subjectTraditional musicen_IE
dc.titleFrom Milan to Kilbaha: Bronzing Irish traditional musicen_IE
dc.typeArticleen_IE
dc.date.updated2019-10-18T08:28:04Z
dc.identifier.doi10.1353/eir.2019.0011
dc.local.publishedsourcehttp://www.iaci-usa.org/publications.htmlen_IE
dc.description.peer-reviewedpeer-reviewed
dc.internal.rssid14341222
dc.local.contactVerena Commins, Centre For Irish Studies, Room 201, Martha Fox House, Distillery Rd, Central Campus. Email: verena.commins@nuigalway.ie
dc.local.copyrightcheckedYes
dc.local.versionPUBLISHED
nui.item.downloads45


Files in this item

Attribution-NonCommercial-NoDerivs 3.0 Ireland
This item is available under the Attribution-NonCommercial-NoDerivs 3.0 Ireland. No item may be reproduced for commercial purposes. Please refer to the publisher's URL where this is made available, or to notes contained in the item itself. Other terms may apply.

The following license files are associated with this item:

Thumbnail

This item appears in the following Collection(s)

Show simple item record