The media was also full of the impact that a modern day fleadh can have on those towns that undertake the challenge of hosting one, with Cavan drawing well over 300,000 people over 10 days and a possible yield of
There are some people who view traditional Irish music as a thing of the past rather than an ever-changing and living aspect of Irish life.
There is a proper balance between respecting the music and where it came from and those who passed it on, and for those zealous aficionados of the art form a natural inclination to preserve it while allowing innovation in as well. It lives and breathes with the times that are in it.
And when one undertakes the challenge of trying to chronicle and categorize important people and elements in the Irish music realm it can certainly be a daunting task.
At the annual winter confab known as APAP (Association of Performing Arts Presenters) Conference held in New York City that concluded last weekend, the overarching theme was “owning the road ahead.”
It brought together almost 4,000 delegates throughout the U.S. and many from abroad, including a robust delegation of 70 Irish artists under the Culture Ireland banner to meet and mingle in hopes of providing work and new audiences for those who actually make a living through the arts.
Usually we are talking about sizable financial capital, but sometimes human capital is worth more than its weight in gold.

They present an Irish Christmas and solstice over multiple days and weekends that will peak at 14 performances this year between December 7 and 18. The creative alliance relies on the strengths of both parties as the IAC provides a supportive and intimate atmosphere for the show to develop and thrive, and Moloney unleashes his vast rolodex and fertile imagination to produce a highly entertaining and varied seasonal show that is bound to produce the unusual each evening and never commonplace.
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When the National Concert Hall (NCH) in Dublin wants to make an impression on some American donors in a fundraising effort, it is nice to be able to call on Sir James Galway and Lady Jeanne Galway to provide a musical interlude to compliment a supper soiree held last week.
The passing of one of the architects of the Scoil Samhraidh Willie Clancy and its long-time director Muiris O’Rochain last week unleashed a flood of great memories and connections that are the lifeblood of the world of traditional Irish music and dance.
Willie Week had a profound influence on my life because Muiris and company there in Miltown Malbay decided with great wisdom in its 10th year in 1982 that a summer school in West Clare should and could expand its mission by opening up set dancing classes to revive the great quadrille dance tradition that had ebbed in rural communities with the diminution of the house dance customs.
Cork dancing master Joe O’Donovan took on the challenge that first year to teach basic sets like the North Kerry and Sliabh Luachra while also recruiting some great local tutors in the Clare sets in keeping with the Banner County theme underlying in the school.
If you have been following Irish dancing outside the bizarre world of competitive stepdancing where the powers that be allow wigs, overdone makeup and garish designs to dominate what is world class stepdancing underneath its masquerade aspects, you will know that a significant new (well not so new really) trend has blossomed in the past decade or so.
We are talking about sean nos dancing (old style step dancing) where spontaneity and individual creativity form a close union with live Irish music playing at normal tempos in the manner that one would have discovered in Connemara or other pockets deep within the well of tradition long ago.
You can find it at all the festivals and workshops for people of all ages, and this year it even became a competition as part of Fleadh Cheoil na hEireann in Cavan for the first time.
The dance form has migrated to the U.S. where there are now practitioners from coast to coast teaching sean nos steps like Kieran Jordan, Malden Meehan and Shannon Dunne for instance.

One of the more important vehicles for the preservation and promotion of traditional music, which was at very low ebb when Comhaltas or CCE as it is commonly known got its start in Mullingar in 1951, was an annual music competition to encourage learning and standards that could ensure a future for the music.
This event would bring people from all over Ireland to a central place to share and celebrate the rich legacy of traditional Irish music before it disappeared due to general disinterest in the land and the loss of many of its most ardent fans through emigration.

It will come as no surprise to regular readers of this column that I seek out traditional music festivals with a distinctive or regional flair that are curated by artistic directors who care deeply about what they are presenting in any given year, and have great reputations among musicians.
Having visited and enjoyed the Baltimore Fiddle Festival in May the past two years, I was lured to come along to another West Cork trad fest on the shores of Bantry Bay. So last week I was drawn to the popular Cork town of Bantry to visit the Masters of Tradition Festival which was celebrating its ninth year under the curious eyes and ears of the East Clare musician Martin Hayes, who has been the artistic director since its inaugural year in 2003.
And there is Celtic tide flowing up the Hudson over the next few months starting with this weekend as the Tannahill Weavers, one of Scotland’s great folk acts, perform there on Friday night, July 10 at 8:30 p.m.
For my purposes I would like signal out just a few here on my periscope on the cultural side of things because of a timely nature.
I’m just down from the Catskill Mountains from the first harbinger of the summer season in East Durham, that being the 34th annual East Durham Irish Festival over the Memorial Day Weekend.
Don't forget the Catskills summer season gets an early start and boost with the 34th annual Memorial Day Irish Festival organized by Tommy McGoldrick this Saturday and Sunday in East Durham at the Quill Festival Grounds.
Two full days of entertainment including popular acts like the Whole Shabang, Black 47, the Prodigals, Celtic Cross, Shilelagh Law, Jameson’s Revenge, Andy Cooney and Kitty Kelly will appear. Visit www.irishvillageusa.com or call 518-634-2286 for more info.
And stop by and take a look at the Blackthorne Resort’s brand-new restaurant/bar and hotel complex risen from the ashes which had its official ribbon-cutting last Saturday, marking its phoenix-like reappearance in just four months time. Hats off to the Handel Family and good luck with the upcoming season.
Last year at the Baltimore Fiddle Fair there was a captivating Saturday afternoon concert in the sundrenched Dun Na Sead Castle overlooking the harbor.
Considering the historic site went back to the 13th century and one of the instruments was the national symbol of Ireland, the harp, it was notable for that alone.
But even more memorable was the superb dual playing of harpist Laoise Kelly and fiddler Michelle O’Brien on the day which touched me as much if not more than other of the other concerts on the weekend as it was all the more haunting in the main hall of the restored castle.
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