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8/3/2019 Buterbaugh:The Saints & Scholars of Modern Irish Storytelling
1/90
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.
14
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.
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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.
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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
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