The Irish Journal of Anthropology is the organ of the Anthropological Association of Ireland. As ... more The Irish Journal of Anthropology is the organ of the Anthropological Association of Ireland. As such, it aims to promote the discipline of anthropology on the island of Ireland, north and south. It seeks to provide coverage of Irish-related matters and of issues in general anthropology and to be of interest to anthropologists inside and outside academia, as well as to colleagues in a range of other disciplines, such as Archaeology, Cultural Studies, Development Studies, Ethnology and Folk Studies, Gaeilge, Irish Studies, and Sociology.
TROPOLOGICAL THOUGHT AND ACTION:Essays on the Poetics of Imagination Edited by Marko Živković, Jamin Pelkey and James W. Fernandez Berghahn Press 2021
This chapter examines the rhetoric of Máirtín Ó Cadhain (1906–70), an Irish-language writer and a... more This chapter examines the rhetoric of Máirtín Ó Cadhain (1906–70), an Irish-language writer and activist. Ó Cadhain developed a few key tropes in Irish-language expression—‘dead’, ‘live’ and ‘clay’—to reveal a series of analogies which he used to interrogate the views and policies of the Irish state and its cultural, intellectual, and political representatives. His writing and oratory drew its power from its use of these key figures to effect a reversal of perspective in terms of what we see as “living” and “dead” in Irish social, cultural, and political life. Cré (‘clay’) functioned as a key trope for Ó Cadhain, standing for sociality itself—the language and social life of people, especially the Western, Irish-speaking lower classes. “Clay” was also the soil they are formed by, soil which is largely man-made in many communities where Irish is spoken.
I suggest that, like our bodies and the clay they return to, tropes are alive because they are made of the same stuff as ourselves. Ó Cadhain’s poetics point to a radical immanence within human sociality, and I argue that this is the stance from which his interventions gain their power.
In this paper I am interested in Joe Heaney's university career, in which he was required to expl... more In this paper I am interested in Joe Heaney's university career, in which he was required to explain and interpret his singing styIe to audiences of professional musicologists. Since his death in Seattle in 1984 the Music Department of the University of Washington has maintained a public archive of his songs and interviews. The interviews are most instructive. Asked formalist questions (such as "How do you know where to put grace notes in a song?"), Joe argued passionately and. consistently for a radically different understanding of his tradition, in which musical form is only one aspect of a much wider act of orientation. He mobilized all available resources to articulate and defend this vision, including technical musicological terms, non-sequiturs, and a few otherwise dubious recollections and interpretations. In doing so he wasn't being scientific, but was, arguably, articulating his insights as best he could to people who came with quite different presuppositions about music, song, and much more. I intend in this paper to try to show what Joe was saying to us, how he built his argument, and why such an argument is theoretically interesting.
On the practices of transcription and archivimg of irish traditional music and song. Short entry ... more On the practices of transcription and archivimg of irish traditional music and song. Short entry in the Companion to Irish Traditional Music, ed. Fintan Vallely.
[English-language summary]
Is there a particularly Irish culture of performance? I suggest that t... more [English-language summary] Is there a particularly Irish culture of performance? I suggest that there is – the defining feature of which is the role played by alterity - the living presence of an “other" in performance. This “other” is usually a person or persons, the being of whom is felt to be immanent in the material performed. Performance thus has a strong element of animation. Following the lead of Gary Gossen, for whom Chamula oral traditon constituted an “ethical statement”, I argue that Irish tradition also carries an implicit ethics, as can often be seen from performers’ statements about what they do. Scholars such as Silvio, Manning, and Gershon have been re-examining the term “performance” itself, showing its cultural and historical boundedness. I suggest that Irish tradition be likewise re-examined in the light of these theoretical developments.
An tsochtheangeolaíocht : feidhm agus tuairisc (ch.1) edited by T. Ó hIfearnáin and M. Ní Neachtain. Baile Átha Cliath: Cois Life. , 2011
Cuirtear síos sa chaibidil seo ar dhearcadh na hAntraipeolaíochta Teangeolaíochta ar an bpobal ur... more Cuirtear síos sa chaibidil seo ar dhearcadh na hAntraipeolaíochta Teangeolaíochta ar an bpobal urlabhra. Pléann an Antraipeolaíocht Teangeolaíochta le húsáid teanga, le feidhm na hurlabhra sa saol coiteann, agus leis an mbaint atá le sonrú idir an teanga agus an cultúr ina bhfuil sí suite. Glacann an disciplín leis gur rud é an pobal /an tsochaí /an comhthionól a chruthaítear agus a athchruthaítear trí ghníomhartha sóisialta. Tá gníomhartha cainte i measc na ngníomhartha sóisialta sin. Bíonn gníomhartha cainte i gceist i smaointe aonair an duine, sa chomhrá, i ndeasghnátha pobail, sna meáin chumarsáide: raidió, teilifís, an t-idirlíon, téacsáil ar fhóin phóca, agus i ngach gníomh nach mór agus i ngach cumarsáid shóisialta.
This paper suggests a few ways in which sound is multiply embedded in histories, localities and f... more This paper suggests a few ways in which sound is multiply embedded in histories, localities and figurations of identity. I compare the linguistic and performative contextualisation of musical sound to the semiotic effects which ensue when sound and image are juxtaposed. In each case, multiple contexts are brought together, creating sensory chronotopes in which performers and listeners find themselves within complex “time-spaces.”
Irish-language discourse features a pervasive system of practices involving the production and di... more Irish-language discourse features a pervasive system of practices involving the production and dissemination of directly reported speech. These homologous practices, here termed personation, include brief imitations of others in conversational speech, the use of direct voice in several poetic genres, the Irish-language song tradition, and a few influential novels. Personation is motivated by a semiotic ideology (personalism) which naturalizes speech and other expressive behavior as an immediate aspect of a person’s social being. It is argued that personation, as a semiotic practice, motivates Irish-speakers’ resistance to various attempts, centered in discourses of the nation and the state, to refigure the Irish language as the ‘‘voice’’ of a generalized and purified national past or as a semiotically transparent medium for the state.
This dissertation centers on a range of practices in spoken and written Irish involving the const... more This dissertation centers on a range of practices in spoken and written Irish involving the construction and transmission of poetic "voice." These range from quotation and imitation in conversation to a whole range of types and uses of direct discourse in verbal art, including literature. A range of historical and political issues are centered around the nature and definition of Irish-speaking communities, conflicts over genre, code-switching, dialect and standardization, and the peculiar position of Irish as both a national and a minority language. I argue that these conflicts also involve "voice," since they center on the nature and identities of populations, ideological constructions of who the "best" or most typical Irish speakers are. On another level, this dissertation explores the connections a local community makes between cultural forms and persons. Voicing functions through textualizing various behaviors, making them emblems of particular (as well as generic) personalities. By studying this process, I show how one tradition constitutes itself as such, while constituting its own tradition bearers as recognizable social persons. I also show how unique individuals contribute to and transform these traditions. The Gaeltacht (Irish-speaking community) of Ráth Cairn, County Meath, was founded in 1935 as a result of grass-roots political agitation—Irish speakers in the West demanding good land in the East. I use the history of Ráth Cairn as a framework for investigating the use of traditional forms of rhetoric by rural Irish- speakers in their negotiations with the state. Irish-speakers engage in a complex dialogue with the power and authority of the Irish state, its ideologies, and those of the wider world beyond. This dissertation is perhaps unique in its attempt to analyze these dynamics through the medium of voice—the range of practices and ideologies governing the reception and transmission of reported speech.
Steve Coleman is an American anthropologist at Maynooth University who studies the Irish languag... more Steve Coleman is an American anthropologist at Maynooth University who studies the Irish language and the Gaeltacht way of life. As part of that project, in the 1970s he got to know the legendary sean-nós singer Joe Heaney, whose music we talk about here. Steve also talks about how the linguistic anthropology approach can influence our understanding of one of the great Irish novels of the 20th century, Máirtín Ó Cadhain’s Cré na Cille.
Dé réir teoiricí Anderson agus Habermas, s’éard atá ann sa náisiún nua-aimseartha ná rud teibí a ... more Dé réir teoiricí Anderson agus Habermas, s’éard atá ann sa náisiún nua-aimseartha ná rud teibí a bhaineann le cadhdeánú teanga, spás poiblí fíorúil, comóntacht samhalta, agus naisc meicniúil idir saoránaigh, rud a tógfar anuas as an spéir. Ach tá bealaí eile chun pobail a cruthú a thagann ó na fréamhacha aníos le haghaidh pobal agus polaitíocht “imeanach” (immanent) a chruthú agus a chothú. Feiceann muid anois na gluaiseachtaí “Occupy”, tionól na ndaoine san Afraic Thuadh, sa Spáinn agus áiteanna eile a thagann daoine le chéile in áit poiblí le plé oscailte a dhéanamh agus a bhfriotal féin a chruthú, chomh maith le úsáid nua a bhaint as na meáin chumarsáide. B'fhéidir mar gheall ar a fhréamhacha i nGluaiseacht Cearta Sibhialta na Gaeltachta tá struchtúr, samhlaíocht agus cumhacht ar leith ag Raidió na Gaeltachta a sheasann amach thar meáin eile na tíre seo.
The Irish Journal of Anthropology is the organ of the Anthropological Association of Ireland. As ... more The Irish Journal of Anthropology is the organ of the Anthropological Association of Ireland. As such, it aims to promote the discipline of anthropology on the island of Ireland, north and south. It seeks to provide coverage of Irish-related matters and of issues in general anthropology and to be of interest to anthropologists inside and outside academia, as well as to colleagues in a range of other disciplines, such as Archaeology, Cultural Studies, Development Studies, Ethnology and Folk Studies, Gaeilge, Irish Studies, and Sociology.
TROPOLOGICAL THOUGHT AND ACTION:Essays on the Poetics of Imagination Edited by Marko Živković, Jamin Pelkey and James W. Fernandez Berghahn Press 2021
This chapter examines the rhetoric of Máirtín Ó Cadhain (1906–70), an Irish-language writer and a... more This chapter examines the rhetoric of Máirtín Ó Cadhain (1906–70), an Irish-language writer and activist. Ó Cadhain developed a few key tropes in Irish-language expression—‘dead’, ‘live’ and ‘clay’—to reveal a series of analogies which he used to interrogate the views and policies of the Irish state and its cultural, intellectual, and political representatives. His writing and oratory drew its power from its use of these key figures to effect a reversal of perspective in terms of what we see as “living” and “dead” in Irish social, cultural, and political life. Cré (‘clay’) functioned as a key trope for Ó Cadhain, standing for sociality itself—the language and social life of people, especially the Western, Irish-speaking lower classes. “Clay” was also the soil they are formed by, soil which is largely man-made in many communities where Irish is spoken.
I suggest that, like our bodies and the clay they return to, tropes are alive because they are made of the same stuff as ourselves. Ó Cadhain’s poetics point to a radical immanence within human sociality, and I argue that this is the stance from which his interventions gain their power.
In this paper I am interested in Joe Heaney's university career, in which he was required to expl... more In this paper I am interested in Joe Heaney's university career, in which he was required to explain and interpret his singing styIe to audiences of professional musicologists. Since his death in Seattle in 1984 the Music Department of the University of Washington has maintained a public archive of his songs and interviews. The interviews are most instructive. Asked formalist questions (such as "How do you know where to put grace notes in a song?"), Joe argued passionately and. consistently for a radically different understanding of his tradition, in which musical form is only one aspect of a much wider act of orientation. He mobilized all available resources to articulate and defend this vision, including technical musicological terms, non-sequiturs, and a few otherwise dubious recollections and interpretations. In doing so he wasn't being scientific, but was, arguably, articulating his insights as best he could to people who came with quite different presuppositions about music, song, and much more. I intend in this paper to try to show what Joe was saying to us, how he built his argument, and why such an argument is theoretically interesting.
On the practices of transcription and archivimg of irish traditional music and song. Short entry ... more On the practices of transcription and archivimg of irish traditional music and song. Short entry in the Companion to Irish Traditional Music, ed. Fintan Vallely.
[English-language summary]
Is there a particularly Irish culture of performance? I suggest that t... more [English-language summary] Is there a particularly Irish culture of performance? I suggest that there is – the defining feature of which is the role played by alterity - the living presence of an “other" in performance. This “other” is usually a person or persons, the being of whom is felt to be immanent in the material performed. Performance thus has a strong element of animation. Following the lead of Gary Gossen, for whom Chamula oral traditon constituted an “ethical statement”, I argue that Irish tradition also carries an implicit ethics, as can often be seen from performers’ statements about what they do. Scholars such as Silvio, Manning, and Gershon have been re-examining the term “performance” itself, showing its cultural and historical boundedness. I suggest that Irish tradition be likewise re-examined in the light of these theoretical developments.
An tsochtheangeolaíocht : feidhm agus tuairisc (ch.1) edited by T. Ó hIfearnáin and M. Ní Neachtain. Baile Átha Cliath: Cois Life. , 2011
Cuirtear síos sa chaibidil seo ar dhearcadh na hAntraipeolaíochta Teangeolaíochta ar an bpobal ur... more Cuirtear síos sa chaibidil seo ar dhearcadh na hAntraipeolaíochta Teangeolaíochta ar an bpobal urlabhra. Pléann an Antraipeolaíocht Teangeolaíochta le húsáid teanga, le feidhm na hurlabhra sa saol coiteann, agus leis an mbaint atá le sonrú idir an teanga agus an cultúr ina bhfuil sí suite. Glacann an disciplín leis gur rud é an pobal /an tsochaí /an comhthionól a chruthaítear agus a athchruthaítear trí ghníomhartha sóisialta. Tá gníomhartha cainte i measc na ngníomhartha sóisialta sin. Bíonn gníomhartha cainte i gceist i smaointe aonair an duine, sa chomhrá, i ndeasghnátha pobail, sna meáin chumarsáide: raidió, teilifís, an t-idirlíon, téacsáil ar fhóin phóca, agus i ngach gníomh nach mór agus i ngach cumarsáid shóisialta.
This paper suggests a few ways in which sound is multiply embedded in histories, localities and f... more This paper suggests a few ways in which sound is multiply embedded in histories, localities and figurations of identity. I compare the linguistic and performative contextualisation of musical sound to the semiotic effects which ensue when sound and image are juxtaposed. In each case, multiple contexts are brought together, creating sensory chronotopes in which performers and listeners find themselves within complex “time-spaces.”
Irish-language discourse features a pervasive system of practices involving the production and di... more Irish-language discourse features a pervasive system of practices involving the production and dissemination of directly reported speech. These homologous practices, here termed personation, include brief imitations of others in conversational speech, the use of direct voice in several poetic genres, the Irish-language song tradition, and a few influential novels. Personation is motivated by a semiotic ideology (personalism) which naturalizes speech and other expressive behavior as an immediate aspect of a person’s social being. It is argued that personation, as a semiotic practice, motivates Irish-speakers’ resistance to various attempts, centered in discourses of the nation and the state, to refigure the Irish language as the ‘‘voice’’ of a generalized and purified national past or as a semiotically transparent medium for the state.
This dissertation centers on a range of practices in spoken and written Irish involving the const... more This dissertation centers on a range of practices in spoken and written Irish involving the construction and transmission of poetic "voice." These range from quotation and imitation in conversation to a whole range of types and uses of direct discourse in verbal art, including literature. A range of historical and political issues are centered around the nature and definition of Irish-speaking communities, conflicts over genre, code-switching, dialect and standardization, and the peculiar position of Irish as both a national and a minority language. I argue that these conflicts also involve "voice," since they center on the nature and identities of populations, ideological constructions of who the "best" or most typical Irish speakers are. On another level, this dissertation explores the connections a local community makes between cultural forms and persons. Voicing functions through textualizing various behaviors, making them emblems of particular (as well as generic) personalities. By studying this process, I show how one tradition constitutes itself as such, while constituting its own tradition bearers as recognizable social persons. I also show how unique individuals contribute to and transform these traditions. The Gaeltacht (Irish-speaking community) of Ráth Cairn, County Meath, was founded in 1935 as a result of grass-roots political agitation—Irish speakers in the West demanding good land in the East. I use the history of Ráth Cairn as a framework for investigating the use of traditional forms of rhetoric by rural Irish- speakers in their negotiations with the state. Irish-speakers engage in a complex dialogue with the power and authority of the Irish state, its ideologies, and those of the wider world beyond. This dissertation is perhaps unique in its attempt to analyze these dynamics through the medium of voice—the range of practices and ideologies governing the reception and transmission of reported speech.
Steve Coleman is an American anthropologist at Maynooth University who studies the Irish languag... more Steve Coleman is an American anthropologist at Maynooth University who studies the Irish language and the Gaeltacht way of life. As part of that project, in the 1970s he got to know the legendary sean-nós singer Joe Heaney, whose music we talk about here. Steve also talks about how the linguistic anthropology approach can influence our understanding of one of the great Irish novels of the 20th century, Máirtín Ó Cadhain’s Cré na Cille.
Dé réir teoiricí Anderson agus Habermas, s’éard atá ann sa náisiún nua-aimseartha ná rud teibí a ... more Dé réir teoiricí Anderson agus Habermas, s’éard atá ann sa náisiún nua-aimseartha ná rud teibí a bhaineann le cadhdeánú teanga, spás poiblí fíorúil, comóntacht samhalta, agus naisc meicniúil idir saoránaigh, rud a tógfar anuas as an spéir. Ach tá bealaí eile chun pobail a cruthú a thagann ó na fréamhacha aníos le haghaidh pobal agus polaitíocht “imeanach” (immanent) a chruthú agus a chothú. Feiceann muid anois na gluaiseachtaí “Occupy”, tionól na ndaoine san Afraic Thuadh, sa Spáinn agus áiteanna eile a thagann daoine le chéile in áit poiblí le plé oscailte a dhéanamh agus a bhfriotal féin a chruthú, chomh maith le úsáid nua a bhaint as na meáin chumarsáide. B'fhéidir mar gheall ar a fhréamhacha i nGluaiseacht Cearta Sibhialta na Gaeltachta tá struchtúr, samhlaíocht agus cumhacht ar leith ag Raidió na Gaeltachta a sheasann amach thar meáin eile na tíre seo.
Since long before the partition of Ireland in 1921 established two separate states on the island,... more Since long before the partition of Ireland in 1921 established two separate states on the island, the question of "sectarian violence" has been closely tied to history and social identity. Segregation by faith has enforced a sense that there are two separate and distinct communities within Northern Ireland. Residential segregation, discouragement of mixed marriages, separate education, and discrimination in employment are facts of life that would seem to make one's "identity" as a Catholic or Protestant an a priori. It might seem quixotic to question the apparently overwhelming social facticity of identity in Northern Ireland. The authors of this ethnographic study do just that, however, arguing that Catholics and Protestants do not represent separate communities or distinct cultures.
This paper proposes that hearing and listening are embodied, ideological, and historical processe... more This paper proposes that hearing and listening are embodied, ideological, and historical processes, which complement the soundscape and profoundly affect the historical and cultural embodiments of performers or sound producers as well as those of auditors.Attention to acoustic phenomena, and their representations, can greatly enrich our understanding of cultural history, making it an embodied, sensual history. For, although boundaries and divides may be marked by silences, these silences may be broken; perhaps most listening occurs across social, temporal, ethnic or cultural divides.
Rannpháirtithe/Participants: Sailí Ní Dhroighneáin, Síle Denvir, Iarla Ó Lionáird agus eile.
Tá sainmhíniú an tsean-nóis pléite go criticiúil ag scoláirí le fada anois, ó thaobh aeistéitice, stíle, agus seanrá de. Ach tá cleachtais comhaimseartha ag tabhairt dúshláin do thuairimí na coitiantachta, agus tá cruthanna nua, i gcomhthéacsanna nua, curtha ar an traidisiún.
Céard í amhránaíocht na Gaeilge sa lá atá inniu ann? Cé hiad na comhthéacsanna (idir sean agus nua) ina fhaightear í? An bhfuil brí nua, nó brí ar bith, má bhí riamh, leis an téarma “sean-nós”? Céard iad na saghsanna nua comhoibriú, agus na modhanna nua cruthaitheachta, atá ag teacht chun cinn?
Received definitions of sean nós singing and its stylistic, aesthetic and generic parameters have been critically evaluated by scholars for several decades now. These definitions have also been challenged in practice, as new forms and contexts for sean nós singing emerge amongst its contemporary practitioners. The interplay between theoretical research on sean nós singing and the reality of contemporary performance practices is a fruitful site of exploration, which will form the basis for this roundtable discussion. How does contemporary sean nós singing relate to its social, linguistic and historical contexts? How is its continuity with tradition negotiated? What new concepts of creativity and collaboration are currently emerging?
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Books by Steve Coleman
Papers by Steve Coleman
I suggest that, like our bodies and the clay they return to, tropes are alive because they are made of the same stuff as ourselves. Ó Cadhain’s poetics point to a radical immanence within human sociality, and I argue that this is the stance from which his interventions gain their power.
Is there a particularly Irish culture of performance? I suggest that there is – the defining feature of which is the role played by alterity - the living presence of an “other" in performance. This “other” is usually a
person or persons, the being of whom is felt to be immanent in the material performed. Performance thus has a strong element of animation. Following the lead of Gary Gossen, for whom Chamula oral traditon constituted an “ethical statement”, I argue that Irish tradition also carries an implicit ethics, as can often be seen from performers’ statements about what they do. Scholars such as Silvio, Manning, and Gershon have been re-examining the term “performance” itself, showing its cultural and historical boundedness. I suggest that Irish tradition be likewise re-examined in the light of these theoretical developments.
Publication View. 33889020. Return from the west : a poetics of voice in Irish (1999).Coleman, Steve. Abstract. [Mikrofilm-Ausg.].. Chicago, Ill., Univ. of Chicago, Diss., 1999. Publication details. Download, http://worldcat.org/oclc/64656239. ...
Talks by Steve Coleman
Steve also talks about how the linguistic anthropology approach can influence our understanding of one of the great Irish novels of the 20th century, Máirtín Ó Cadhain’s Cré na Cille.
I suggest that, like our bodies and the clay they return to, tropes are alive because they are made of the same stuff as ourselves. Ó Cadhain’s poetics point to a radical immanence within human sociality, and I argue that this is the stance from which his interventions gain their power.
Is there a particularly Irish culture of performance? I suggest that there is – the defining feature of which is the role played by alterity - the living presence of an “other" in performance. This “other” is usually a
person or persons, the being of whom is felt to be immanent in the material performed. Performance thus has a strong element of animation. Following the lead of Gary Gossen, for whom Chamula oral traditon constituted an “ethical statement”, I argue that Irish tradition also carries an implicit ethics, as can often be seen from performers’ statements about what they do. Scholars such as Silvio, Manning, and Gershon have been re-examining the term “performance” itself, showing its cultural and historical boundedness. I suggest that Irish tradition be likewise re-examined in the light of these theoretical developments.
Publication View. 33889020. Return from the west : a poetics of voice in Irish (1999).Coleman, Steve. Abstract. [Mikrofilm-Ausg.].. Chicago, Ill., Univ. of Chicago, Diss., 1999. Publication details. Download, http://worldcat.org/oclc/64656239. ...
Steve also talks about how the linguistic anthropology approach can influence our understanding of one of the great Irish novels of the 20th century, Máirtín Ó Cadhain’s Cré na Cille.
Rannpháirtithe/Participants: Sailí Ní Dhroighneáin, Síle Denvir, Iarla Ó Lionáird agus eile.
Tá sainmhíniú an tsean-nóis pléite go criticiúil ag scoláirí le fada anois, ó thaobh aeistéitice, stíle, agus seanrá de. Ach tá cleachtais comhaimseartha ag tabhairt dúshláin do thuairimí na coitiantachta, agus tá cruthanna nua, i gcomhthéacsanna nua, curtha ar an traidisiún.
Céard í amhránaíocht na Gaeilge sa lá atá inniu ann? Cé hiad na comhthéacsanna (idir sean agus nua) ina fhaightear í? An bhfuil brí nua, nó brí ar bith, má bhí riamh, leis an téarma “sean-nós”? Céard iad na saghsanna nua comhoibriú, agus na modhanna nua cruthaitheachta, atá ag teacht chun cinn?
Received definitions of sean nós singing and its stylistic, aesthetic and generic parameters have been critically evaluated by scholars for several decades now. These definitions have also been challenged in practice, as new forms and contexts for sean nós singing emerge amongst its contemporary practitioners. The interplay between theoretical research on sean nós singing and the reality of contemporary performance practices is a fruitful site of exploration, which will form the basis for this roundtable discussion. How does contemporary sean nós singing relate to its social, linguistic and historical contexts? How is its continuity with tradition negotiated? What new concepts of creativity and collaboration are currently emerging?