This document provides an overview and introduction to a course on Ireland. It discusses key themes that will be covered, including Yeats's concept of "gyres" to describe the cyclical nature of history and experience. Students are introduced to Irish culture, folklore, topography, and the role of music and storytelling in preserving history and culture, especially among Irish communities in exile. Readings are assigned from Glassie, Carson, and O hAllmhurain to explore these topics further for the next class. Videos are also shared showing the social context and role of traditional Irish music.

1. IRELAND 1

5. Textbooks

6. Blackboard content delivery

7. Assessments (exams)

8. Projects

10. Funding

11. intent4

20. Ireland The Spiral Journey Newgrange; 360-degree view inside 13

21. Ireland The Spiral Journey The Triskelion at Newgrange 14

22. Ireland The Triskelion at Newgrange 15 The Triskelion at Newgrange

23. Ireland The Spiral Journey What is the Spiral Journey? Key themes: 16

25. Story, accent and culture

26. History carried in stories, songs, and tunes—especially in exile

27. Topography, climate, culture, language, and music

28. Folklore as intentional, sophisticated, and wise17

32. Listen to these tracks with Carson's chapter "Last Night's Fun" in front of you 21

33. Cooley with Des Mulkere (banjo) and Jack Cooley (bodhran) (1973) The Wise Maid/Last Night's Fun/Daniel O'Connell's/The Boys of the Lough/Miss Monaghan Cooley speaks at: 5:50-6:40 Notice his vocal quality. Ask yourself why 22

34. Cooley with Joe Leary and Bridie Lafferty (1963) The Humours of Tulla/The Skylark/Roaring Mary 23

35. Cooley with a Chicago ceili band (1962) The Ships are Sailing Girl speaks at: 0:09 “Who was he? Who was she? And did he ever dance again?” 24

36. Cooley with Des Mulkhere (banjo) (1972) The Sailor on the Rock Tony MacMahon: “Listen between the notes for the great heart that was in this man’s music.” 25

37. Cooley, Des Mulkere, Jack Cooley: Nov 29 1973 Cooley died Dec 21 1973 26

38. IRELAND New Material 27

40. “Boil the Breakfast Early” and “Hurry the Jug” in Carson

41. Introduction and “Music in Early and Medieval Ireland” (to p24) in O hAllmhurain28 Open the DQ’s for the above from the “Discussions” tab on Blackboard

44. Story, accent and culture

45. History carried in stories, songs, and tunes—especially in exile

46. Topography, climate, culture, language, and music

47. Folklore as intentional, sophisticated, and wise

48. Letting the music and culture teach us the history

49. Understanding the “what” of the music helps us understand the “why” of the people

50. Interplay of artistic content  context

51. Old, new, shifting, and created contexts

52. Cycles of music and movement (of the body, of objects, of the seasons)

53. Lore, patterns, memorization, mnemonics, the triads

54. Inward, outward, and green spirituality

55. Moving from “outside” closer to “inside”; from observer to participant

56. Culture’s reciprocity, fragility, and resilience (see Youtube link to TV ad: http://www.youtube.com/watch?v=wMwoexR1evo) 30

58. Ireland Óró sé do bheatha 'bhaile (Jacobite 1840s version) link 32

59. Ireland Óró sé do bheatha 'bhaile (Padraig Pearse 1916 version) link 33

61. Ireland Sean-nos: Darach O Cathain sings Óró sé do bheatha 'bhaile link 35