CELTIC SPRITE

Loreena Mc Kennitt : Holiday Reflections (2009)

2009-12-22T12:18:00.004-03:00

Official Press Excerpt

All of us here at Quinlan Road, and in particular myself, would like to express our deepest appreciation for your continued support and interest in my mode of ‘musical travel writing’ and for all your letters of interest, your support and appreciation – even your constructive criticism!
The greatest reward is knowing that the music has found a meaningful place in your lives. As the eve of the shortest day of the year approaches, once again there are so many things which come to mind.
The joy of knowing that the days of light will now grow rather than diminish and not too far behind will be the signs of spring. And of course, it is a time of stock taking – where we have come from (or through) this past year, what has or has not been ‘accomplished’ or has happened, or how that may shape our hopes and expectations for the coming year.
And no matter how difficult or challenging things may have been this year, I am sure many of us could say things could have been much worse. As a good friend so often says, “These are the good old days” and we may be well advised to enjoy and appreciate the present as much as long for better things in the future, no matter how short of the mark things may have fallen this year.
In other words, life and all its challenges and wonders are a relative thing and there is much to be appreciated in the present. We must not let jewels of everyday life slip by us. These treasures may fall in the small and simple things, or even the familiar and mundane.
We may simply not have taken the time to appreciate them. And yet it is also a time for renewal and hope. While things may not have turned out as we might have wanted, we are open to new experiences and new opportunities and even new chances to improve who we are.
We would like to extend to all our friends around the world our warmest wishes for the Christmas and holiday season and the coming New Year.

A SEASONAL GREETING FROM CELTIC SPRITE

2009-12-22T11:05:00.003-03:00

WINTER SOLSTICE HAS COME!

Also known as Yule, is the shortest day and longest night of the year.

In much of the world today its rituals have been mingled with Christmas, let us examine in brief the ancient background of these rituals.

Celts had always celebrated the Winter Solstice as a Celtic Festival. It occurs on the 21st December, or on the 22^nd according to the astronomical calendar.

It is a Festival of peace to celebrate the coming of the light, adn to celebrate the rebirth of the Sun God, son of the Goddess.

With the coming of Christianity it’s conception was renamed as Christmas as it honours the birth of Christ.

The tradition of the Yule log is related to one of the rites celebrated by Druids. The log was lit to keep evil spirits at bay, defeat darkness and bring good wishes for the coming year. They would smoulder for twelve days and a part of the log was kept to be strapped to the plough the next spring to bless the land, and another piece was taken to light the next Yule's log.

The holly and ivy are traditionally considered as part of the celebrations brought into the home to celebrate Winter Solstice. Both evergreen plants, symbolise the eternity of the sun, which never dies, but sleeps during the winter season.

Faerie Lore: Fairy Music

2009-12-21T15:41:00.004-03:00

Posted from the book “Ancient Legends, Mystic Charms, and Superstitions of Ireland” by Lady Francesca Speranza Wilde (1887) (Obtain this full work and many more backups by clicking here!)

To the Irish peasant earth and air were filled with these mysterious beings, half-loved, half-feared by them; and therefore they were propitiated by flattery, and called "the good people," as the Greeks call the dread goddesses "the Eumenides."

Their voices were heard in the mountain echo, amid their forms seen in the purple and golden mountain mist; they whispered amidst the perfumed hawthorn branches; the rush of the autumn leaves was the scamper of little elves--red, yellow, and brown--wind-driven, and dancing in their glee; and the bending of the waving barley was caused by the flight of the Elf King and his Court across the fields.

They danced with soundless feet, and their step was so light that the drops of dew they danced on only trembled, but did not break. The fairy music was low and sweet," blinding sweet," like that of the great god Pan by the river; they lived only on time nectar in the cups of time flowers, though in their fairy palaces sumptuous banquets were offered to the mortals they carried off--but woe to the mortal who tasted of fairy food; to eat was fatal. All the evil in the world has come by eating.; if Eve had only resisted that apple our race might still be in Paradise.

Celtic Poems : A Winter Poem

2009-12-18T13:53:00.006-03:00

Alone we were spending the night,
My thoughts of you, yours of mine.
My harp, my white steed , and I.

Fireglow flickered in the steed's eye,
like rows of mices reeling unendlessly,
For the steed is young, I can feel it.

Embers summoned tunes from the chords,
recalling lost summers amused with dances.
For the harp desires music, I can glance it.

Your spirit grasps me with your being,
I layed in the heather and sat aside.
Spinning outside, the bad weather.

The lights of the fireside dwindled,
the harp hushed, the ice chilled the panes.
Cold wind renews the frosty steady rains.

We stood alone, sharing the night.
My thoughts of you, yours of mine.
So many wails, a waiting of days.

Hope truly entered my heart.
It's door is bolted with passion.
No key, no code, no password.

I can smell your rosie skin,
I can taste your ruby lips,
I can feel your silky hair.

Love truly entered my heart,
and can never be driven from it.
Breathing so close and yet so far

For the sake of Mary Hope
who came to me in a flash
and stayed aside for ever
© 2009 - Eliseo Mauas Pinto

Influential Musicians: Dervish celebrating 21 years in the music business

2009-12-16T10:02:00.004-03:00

Official Press.

As part of their forthcoming schedule in 2010 Dervish are planning now a series of special celebratory concerts commencing at Celtic Connections, Glasgow. Sun 24th Jan 2010 Friends and guests joining Dervish specially for the opening show of the series include Kate Rusby, Moya Brennan, Kevin Burke, Mike Mc Goldrick, Vasen and guests. Dervish are now taking bookings for this celebratory concert shows.
I invite you to contact them for further details:

Web: www.dervish.ie
E-mail: whirlingdiscs@gmail.com

Sligo, with its mountains, glens and wind swept Atlantic shore, has long been the source of inspiration for Irish artistry, from the visionary works of W.B. Yeats to the revered music of Michael Coleman. The source remains and the tradition continues, this year marking the 20th anniversary of Dervish coming together. Beginning as a group of musicians playing the local tunes of Sligo, over the last twenty years Dervish have broadened their musical vision and with it their devoted audience, which is now worldwide.

Dervish, whose members include Cathy Jordan, Liam Kelly, Shane Mitchell, Brian McDonagh and Michael Holmes, have performed throughout every corner of the globe, playing for heads of state and for an audience of 240,000 in Rio de Janeiro. They have shared the stage with James Brown, The Buena Vista Social Club, Oasis, Sting, REM and Beck and have chronicled their musical journey in nine classic CDs and two DVDs. Year after year their CDs have topped Folk, World and Roots Music charts in Ireland and worldwide and have met with rave reviews in the international media. Readers of Irish Music Magazine have awarded Dervish Best Overall Trad/Folk Band of the Year and, in what is perhaps their proudest moment, Sligo City Council bestowed on them in recognition of their work the Freedom of the Borough.

Onstage, a Dervish performance ranges from powerful and energetic dance tunes to sublime interpretations of Irish songs and airs with vocals, fiddle, flute, accordion, bodhrán, mandola and bouzouki. Interwoven with Cathy’s beguiling voice and engaging stage presence, an evening with Dervish is filled with enough warmth, conviviality and inspiration fill a lifelong memory. And for twenty years now, there has been no better way to get a taste of the traditions and the magic of Sligo than through the music of Dervish.

"Time Sliding Within the Tradition" by Danny Carnahan

2009-12-15T14:49:00.007-03:00

[Click here for printable notation for "The Gravel Walks Jig"]

I devoted a previous column to talking about the shapes of Celtic tunes and how you can sometimes retain the shape of a tune while stepping pretty thoroughly away from the original time signature the tune is played in. This is an idea that’s been getting explored and refined since the early days of the Irish band Planxty, when mandolinist Andy Irvine turned his knowledge and love for Balkan folk music to the traditions of his birth.

Andy was among the first to popularize Balkan time signatures in the Celtic music crowd and they went over like a house afire. Now, twenty-five years later, every hot Celtic band has either added Balkan tunes to their repertoire or "Balkanized" something Celtic. I shared an Irish jig called "The Cliffs of Moher" in the Summer 2001 issue which my band and I had "Balkanized." We dropped the tune into an entirely un-Irish 7/4 time signature, dropped a note here and there to make it fit, stretched a note here and there to even up the pulse, and ended up with a melody recognizable as "The Cliffs of Moher" but with a brand-new lilt and excitement.

But while playing some of my altered tunes, it occurred to me that you can just as easily give a tune a brand-new rhythmic personality and appeal while staying within the Celtic tradition.

In any given pub session, Irish or Scottish, you’ll mainly get strings of reels (in 4/4 time) and jigs (in 6/8 time). If anybody tosses out a Kerry slide or a Scots pipe march, they’ll likely be medleyed with jigs, as they share much the same rhythmic pulse. For added variety, you’ll also get the occasional synchopated hornpipe or bat-out-of-hell 2/4 polka or leisurely waltz. And if you hang out in the sessions for a year or two, you’ll probably have several hundred tunes at least half-learned, rattling around in your brain, if not always smoothly accessible by your fingers.

I’ve occasionally found myself getting the nod to pick the next tune in a session and launching into a melody my fingers eagerly want to play, only to screech to a halt a few bars along, saying, "Wait, that’s wrong!" The melody was right, but it was a jig and I was trying to play it in reel time. I find that in sessions, it’s usually best to stick with playing the tunes the way the gang is used to playing them.

But when I’m playing at home or with an adventurous friend or two, all bets are off. A tune that we’ve played often as a jig can suddenly become a reel, or the other way around. The discovery of a tune that can shift time signatures easily is exhilirating and fun. It allows you to rediscover a tune you may have been playing by the numbers and no longer really enjoying. Suddenly, the same melodic shape is unrolling under your fingers, but it ‘s sprung to life as you have to pay attention to maintain the new rhythmic drive without stumbling.

Probably the first tune I heard deliberately treated this way was "The Gravel Walks," a reel I shared with you in the Fall 2000 issue. It was one of the first 20 or so tunes I learned when I was first building my Celtic repertoire. I woodshedded it often, playing along with my early Boys of the Lough album and laboring to master Aly Bain’s fiddle ornaments and the fluidity of Cathal McConnel’s flute.

Some years later, I was fortunate enough to find myself playing at festivals with the Boys and fiddling in after-hours sessions with Aly and Cathal. It was in one of these late-night ad hoc master’s classes that Cathal kicked into "The Gravel Walks" in 6/8 time. It took the others in the session a few synapses to realize what was different about it, because it sounded so right and completely appropriate as a jig. But by the time Cathal had come around to the repeat of the first part, we were all in there with him, falling in love with the tune all over again.

So here’s a transcription of "The Gravel Walks" as a jig, the way Cathal mutated the melody to fit the new time signature. I particularly like the way the second part of the tune works in 6/8. The melody falls under the fingers of both flute and mando in lovely little synchopated descending bursts. In the original 4/4 version, this part always has a distinctly martial bagpipe feel to it. Cathal has given it added forward motion.

You can try this idea on pretty much any tune in your repertoire. Some will work with a mimimum of fuss, while others won’t work at all. And if you discover a particularly nice reel that seems to improve when turned into a jig, teach it to your friends and encourage them to reexamine their own repertoires.

Finally, don’t let any trad nerd tell you that you’re committing some sort of cultural sacrilege with all this. Centuries ago, hornpipes were counted in 3, not 4. And early in the last century, Francis O’Neill wrote (in "Irish Minstrels and Musicians") both about how pipe marches evolved into jigs and how jigs and reels could evolve as matched pairs. So this intra-Celtic shifting is nothing new. It’s just another way the tradition keeps growing and making us want more.

[Click here for printable notation for "The Gravel Walks Jig"]

Quote from Celtic Sprite: A nice version of this tune may be found on Boys of the Lough "Second Album" (issued on 1973)

Surviving Folk Instruments: Harp Iconography in Galicia and Asturias , Spain by Daniel García de la Cuesta

2009-12-14T13:38:00.006-03:00

Harp Iconography in Galicia and Astrias by Daniel Garcia de la Cuesta. Posted under his kind permission. All rights reserved.

In order to complete a little more my study about the presence of harps in Galicia and Asturias, I am highlighting some images which represent these instruments from the Middle Ages. Many of these data appears on my work “The Harp And It’s Presence in Asturies”, already cited in other posts. If anyone has any other reference and wants to share it, please contact me on this email address: dagarcues@yahoo.es

On a first sight, a sheer recognition is a task not very easy and plenty of obstacles, for example, instruments may be confused with those so-called lyres, or broken-Psalter, as well studied by Christian Rault, and it is necessary to comprehend it’s difference.

The harps have their strings attached to the soundboard, over bridges that transmit vibration to the box. More details, such as the curvature of the spine and the intention to represent a claw as an ornament, can help us to recognize them. Furthermore, these details can not always be seen clearly, and sometimes are not faithful representations of reality.

Let us start observing images from Galicia, which are exposed by the order they are discussed. Thus, in the Cathedral of Compostela, A Coruña, in the Glory Porch of 1188, two harps are depicted..

This portal had a great influence on others, as in the Cathedral of Orense, in the mid XIII century and known as the Paradise, where two harps can be seen, but they are not good copies, since the placement of the strings is wrong and are fixed to the column instead of the sound box.
On the XV century portal of San Martino in Noia, A Coruña, and also in the copy of the Glory one two harps can be seen too. ,

Returning to Compostela, and in the square neighbourhood in front of the building known as College of San Xerome, we can see a small harp and possibly another. This porch belonged to the Azabachería ancient medieval hospice, and is inserted inside the present building, which is from the XVII century.
In the same square, in the Palace of Xelmírez, dated from the XII th century, we can see another instrument.

In Asturias, regardless, as I said, harps and bowed psaltery, the first depiction of a harp was engraved in the Cathedral of Oviedo, in the east side of the cloister, built between 1412 and 1441, we may find the figure of a centaur musician.
A few meters on your right, a picture of a knight, or King David, who rests his hand on a harp that seems stuck in a holster.

On the 1450 porch of the chapel of King Casto, where we see a figure of King David playing a harp.

Between 1512 and 1531, was constructed the altarpiece in the Cathedral and in the ornamentation above another representation of King David playing harp can be found. It seems that this figure took advantage of an older altarpiece from the XV century.

The first edition of a book printed in 1555 in Asturias, contains a harp on its front page.

Another harp iconography in Asturias, in this case due to the author's birthplace, is the image seen on a painting by Juan Carreño de Miranda, a painter of the king and royal camera, and made for the Trinitarians of Iruñea . It is signed in 1666.

In the church of Carbayu in Ciañu, Llangreu, dated from the XVIII century, the figure of King David playing harp painted onthe ceiling of the sacristy, can be seen again.

As you may gather, there are not to many representations but they help on the survey and history of the instrument.

Celtic Christianity : The Character of St. Brigid & Virgin Mary in “The Mists of Avalon” by Bradley, Marion Zimmer. New York: Ballantine, 1982.

2009-12-11T14:09:00.006-03:00

Druidism vs Christianity , Morgaine vs Gwenhwyfar… their confrontation is employed by Bradley as a glimpse of certain Celtic Chrisitanity origins… let us read more about this religious subjects… Quoted through Dina Huang © 2002 - All rights reserved.

Through the feminine voice of her character Morgaine, Marion Zimmer Bradley retells the story of King Arthur, presenting readers a new voice in the fate of a pagan religion, Druidism.

In her brilliant work, The Mists of Avalon, the two female characters, Morgaine and Gwenhwyfar, portrayed with vivid personality, present the compelling confrontation between Christianity and Druidism through their confused sisterhood.

Bradley differentiates Druidism from Christianity by comparing Morgaine and Gwenhwyfar, examining the complicated ideal of cultural difference. And by exploring the complicated power struggle between men and women, Bradley concludes that Druidism has not been absorbed into Christianity completely, but remained in another form of incarnation.

Druidism, as one of the pagan religions, is the leading power of the Land of Avalon. In the book Mists of Avalon, Druidism, a pagan religion, fades away as the priests and bishops come to power. The cultural ideal encourages women to free themselves from patriarchal morals and restrictions. The religion symbolizes the feminine power that had been repressed in the Christian world. It is also considered as the Goddess religion.

Bradley’s character Gwenhwyfar is the perfect image of a Christian woman.

By her attachment to some male family member, she surrenders to patriarchal restrictions. As a daughter, her father gives her away in marriage to Arthur. In fact, se was given as an extra with a gift of horses.

The parallel between Gwenhwyfar and the horses implies her weakness. She will always be in the power of some man. She thinks “Once I must do as I am bid, like any woman” (Bradley 382). This bitter realization shapes her Christian identity. Later she uses the fact that she conceives a possible heir to ask Arthur to replace the old banner with a Christian banner. The banner weaved by her own hands reflects her Christian belief. By letting Gwenhwyfar win the argument with Arthur, Bradley implies that the only way a Christian woman can access power is to hold the power of creation. For Gwenhwyfar, her faith grants her power. Her power remains as Christianity prevails, suggesting Gwenhwyfar’s power despite weakness.

In complete opposition to Gwenhwyfar’s weakness, Morgaine holds an independent mind. Facing the public disapproval of on Arthur and Morgaine, Gwenhwyfar collapses to the ground. But Morgaine says to her “Don’t give them this satisfaction! You are a queen, what do you care what some fools scrawls on a banner” (Bradley 709). Her strong character stands out. In her role as the priestess of Druidism, she symbolizes matriarchal freedom. In her strong character, weakness exists only in a thwarted mission. After the failure of Accolon’s challenge, she flees home, waiting to die to escape from her mission and responsibilities. This failure brings her awareness to achieve later success. As Morgaine and Gwenhwyfar become sister-in-laws. Their character reveals the nature of the cultural difference.

In their sisterhood, Morgaine and Gwenhwyfar are unable to understand their difference, thus creating barrier to their friendship. Hughes states,"The sisters in Marion Zimmer Bradley’s the Mists of Avalon searches for sisterhood, for identity, for an understanding of self through an understanding of a sister double. Unfortunately Gwenhwyfar and Morgaine catch only a glimpse of the true meaning of sisterhood, as they are never quite able to accept the other’s differences and are therefore unable to form identities based upon their relationship as sisters." (Hughes 27)

Morgaine and Gwenhwyfar are not able to accept the other’s differences. Gwenhwyfar sees Morgaine as an evil sorceress. She considers Morgaine’s conducts filthy and sinful. Morgaine’s strong character makes her capable of representing the voice of her religion in Arthur’s court. Always trying to defend the existence of Druidism, she sees Christianity as her enemy. By seeing the Christian woman Gwenhwyfar as her rival instead of sister, Morgaine fails to create identities based upon their sisterhood. The feminine sympathy once bound them together as sisters. Even they never realize the importance of accepting each other’s difference, their feminine identity brings them together, creating a momentary gratitude. Their mixed gratitude and hatred represents the complicated confrontation between the two cultures.

However, as Gwenhwyfar strives to satisfy the Christian restrictions, she fails to achieve a perfect union of her desires and morals. By doing so, she introduces the first step of incarnation of Druidism. In her paper, Hughes states,

Gwenhwyfar defies both the patriarchy and the church in her affair with Lancelet. Later, by renouncing Lanclot’s love and returning to the convent, Gwenhwyfar accepts patriarchal Christianity for the imperfect religion that it is when it cannot accept the love of a woman for a man other than her husband. And Morgaine, likewise, learns to accept that there is more to religion than a narrow believe in one God or Goddess. (Hughes 25)

Because of her Christian belief, Gwenhwyfar is constantly haunted by her guilt of loving another man. However, she cannot avoid caring about Lancelot’s thoughts. In her pregnancy she fears that “he will look upon me big with Arthur’s child, and he will think me ugly and gross and never look on me again with love and longing” (Bradley 357). Although Gwenhwyfar knows that she must be faithful to Arthur, Gwenhwyfar cannot help her feeling toward Lancelot. This strong, compelling emotion questions her faith. As she accepts Lancelot’s love, Gwenhwyfar defies the church and its Christian values. What if a Christian woman finds some other truth beyond her initial understanding? Gwenhwyfar learns to accept the imperfect religion. When Christianity refuses to answer her, she secretly admits the imperfection of Christianity. This realization initiates the introduction of Druidism into Christianity.

The sisters’ difference indicates that difference in the two conflicting cultures will continue to exist. As Gwenhwyfar learns the imperfection of Christianity, she is able to understand, if not accept, Morgaine’s religion better. Morgaine, at the same time, learns to understand her sister with her feminine sympathy. Jealous vanishes; hatred dissolves. Their ultimate success at forming identities based upon their sisterhood brings Christianity and Druidism together.

Bradley proves her point not only by analyzing the two women’s connection, but also in terms of gender. While women hold the power behind patriarchal society, the Christianity brings down women’s equal power.The gender power becomes entangled, implying the entangled cultural ideals.

In his article “Gender Anxiety in Arthurian Romance”, McClain argues that “For centuries, women helped to cause the downfall of chivalric masculinity; in The Mists of Avalon, masculine Christianity causes the downfall of both the chivalric brotherhood and women’s equal power” (McClain 198).

Even though the High King rules over Britain, the mysterious land Avalon holds all the power to the kingdom. By replacing the Druid banner with Christian banner, Arthur refutes the power given him by the Goddess. The Christian banner is weaved “with prayer that Arthur and the cross of Christ may triumph over the Saxons and their pagan Gods” (Bradley 385).

By placing Christianity over other religions, Arthur causes a downfall of what originally was women’s power. It appears that Christianity brings down the power of Druidism. However, as the search of the Goddess continues, traces of Druidism can be seen in the entangled cultural ideals.

With the search of the Goddess, the Druidism power behind the throne secretly controls all of Britain. However, the Christian priests and bishops fail to realize this power. They prohibit the talk of the Goddess.

Gwenhwyfar, for example, is raised in Christian convent. In Gwenhwyfar’s first encounter with Morgaine, she perceives her as an evil symbol with no place in her land. By keeping the pagan religions outside British Isle, the priests and bishops keep out women’s power. In Britain, women’s power is repressed, brought down by the male society members.

The attitude toward women resembles the attitude toward pagan religion. Gwenhwyfar says “A day will come with all false Gods shall vanish and all pagan symbols shall be put to the service of the one true God and his Christ” (Bradley 718). Christianity cannot allow any pagan religion to exist along side it. But the priests cannot see that women also hold the ultimate power to men through their power of creation. This power will never cease to exist. It means to tell us that Druidism will continue to exist; even Christianity represses its existence, because it essentially holds power to all of Britain.

By giving women the power to access male roles, Druidism does not perceive Christianity as an evil religion.

In Hildebrand’s article, she states that “The portrayal of the Goddess herself carries the echoes of patriarchy” (Hildebrand 117). The goddess religion empowers women with male characteristics. Women take the duties of men. There are also important males in Druid society. The men also hold important positions and duties. The echoes of patriarchy within the Druid society foretell the inseparable destiny of Christianity and Druidism.

Bradley writes “The holy thorn grows on the hills of Avalon, struck by Christ’ stuff into the ground” (Bradley 873). It secretly implies that Christianity is part of Avalon. The Goddess tells her followers that men’s existence is as important as women. The portrayal of Goddess religion intends to include patriarchy values as well. The Goddess religion never thought of parting the Christian God and the Druid Goddess.

By bringing down women’s equal power, the transformation of religion from one to another is about to happen. Repression of a gender’s power initiates this transformation.

Hildebrand writes in her article “The Mists of Avalon presents the change of religion in Britain as initiated not by the gods, but by narrow minded bishop Patricius” (Hildebrand 107). Bradley describes the priests as single-minded and stubborn old men. Their gender implies patriarchal power.

Patricius insists the transformation of religion must take place. Patricius achieves his goal by repressing women’s power. He forbids women to learn reading and writing. By enforcing this education, he brings down Druidism. People of old religion slowly quit.

Arthur says “What is the Goddess to me? When the Goddess rejected me, I sought another God….” (Bradley 866). The refusal of feminine power pushes men into the hands of Christianity. The absence of Lady of the Lake implies the waning power of women. By bringing down women’s power, the Goddess religion transforms into something else.

When Morgaine visits the Christian convent, she sees in the lady’s hand “it is in Avalon, but it is here. It is everywhere. And those who have need of a sign in this world will see it always” (Bradley 876).

Bradley indicates that the Goddess has joined the world in another form. The Goddess lives in women’s power and minds. Margarine realizes “these women know the power of the Immortal. Exile her as they may, she will prevail. The Goddess will never withdraw herself from mankind” (Bradley 875). The Goddess may be Virgin Mary, Brigid, or any symbol that holds the ideal of Druidism. Bradley tells us that even in patriarchal culture, women’s power will prevail. It will never withdraw. She tells us that Christianity does not replace Druidism. It can never replace Druidism. A reincarnation of the feminine voice will continue to prevail. Walking past the veil lying between the worlds, the two religions eventually unites into one that holds both in its ideal.

With the voice of Morgaine, Bradley concludes this novel with her reflective implication of the fate of a pagan religion. It takes a lifetime for Morgaine and Gwenhwyfar to realize the importance of their sisterhood. Their entangled fate leads the inseparable religions into a greater involvement. With the announcement that Christianity shuts out women’s power, it only binds Druidism to itself more closely.

With women holding the great power to patriarchy, they can claim “where the veil lying between the worlds was thin” (Bradley 876). The separation once struggled to bring apart the two different religions becomes thin, until it is no longer a barrier to cross. By understanding the inseparable power of men and women, our strong-willed Morgaine and pious Gwenhwyfar are eventually able to understand their relationship as sisters.

With this very understanding, exile does not end the existence of Druidism. The Goddess will come back, in the form of Virgin Mary, Brigid, Morgaine, or any woman who holds key to that feminine power. Gods or no, the power of Druidism continues to prevail...“For all the Gods are one…” (Bradley 872).

Works Cited
Bradley, Marion Zimmer. The Mists of Avalon. New York: Ballantine, 1982.
Hildebrand, Kristina. “Priestess of the Goddess.” The Female Reader at the Round Table: Religion and Women in Three Contemporary Arthurian. Uppsala: Ubsaliensis S, 2001.
Hughes, Melinda. “Dark Sisters and Light Sisters: Sister Doubling and the Search for Sisterhood in The Mists of Avalon and The White Raven” Mythlore: A Journal of J. R. R. Tolkien, C. S. Lewis, Charles Williams, and the Genres of Myth and Fantasy Studies. (1993): 24-28
McClain, Lee Tobin. “Gender Anxiety in Arthurian Romance.” Extrapolation: A Journal of Science Fiction and Fantasy. 19(1997) : 193-99
Noble, James. “The mists of Avalon: A Confused Assault on Patriarchy.” The Middle Ages after the Middle Ages in the English-speaking world. Ed. Marie-Françoise Alamichel and Derek Brewer. N.Y.: D.S. Brewer Press, 1997. 145-152.
Spivack, Charlotte. “Morgan Le Fay: Goddess or Witch?” Popular Arthurian Traditions. Ed. Sally Slocum. Bowling Green: Popular Press, 1992. 18-23.

Celtic Christianity: What is it? - Part Two

2009-12-10T16:02:00.001-03:00

Celts and non-Celts are turning to the ancient Celtic Church for a fresh start. We invite you to read about its aims.

The Celtic Church has difficulties with what we consider to be the unbiblical Augustinian doctrine, which most 'mainstream' churches seem to follow in one form or another, that mankind is born inherently evil and deprived of God's Grace and further that only the 'elect' are saved. It sees Original Sin as the result of Adam's failure to be an adequate federal head of the human race.

That failure produced a wounding in the nature of man which weakened his will but did not disable it. Because of Christ, all people are able to respond to the call of God's grace to salvation and virtue. We are not born guilty and cut off from God. What mother can look at her newborn and honestly believe "This child is damned to hell!"? We do however believe that there comes and age of accountability.

Celtic Christianity tends to produce a love for nature. Celtic Christianity does not see God as separate from His creation and finds the Incarnation of Christ as proof of that view. Celtic theology teaches that the universe is like a body. God is the head and the cosmos is His body. Being one with the creation does not erase the Creator/creature distinction, no more so than it is possible for the finger to do the work of the brain. What it means is that God shares in the joys and sufferings of His creation. And Jesus Christ is the symbol of that unity.

Celtic Christianity rejects cosmic dualism, whether pagan or Christian. It does not believe in two competing gods. Likewise, it views Satan as a fallen member of the angelic host and not as a rival god. It is solidly Trinitarian.

Celtic Christianity also teaches that the Godhead contains feminine attributes as well as masculine attributes. Because Augustinianism held a dim view of women, traditional Christianity sought to create an exclusively masculine God. The spiritual void left by that view of God drove the Church to Mary worship. Celtic theology teaches that the Holy Spirit is the representative of God's femininity. Celtic theology views Mary as a woman who had other children besides Jesus. And it teaches that Jesus was truly a man as well as God.

The Celtic Church developed differently from the Roman Catholic Church and was more like the Eastern Orthodox churches in its dating of the church calendar and its view of women’s place within the church hierarchy. In addition, Celtic monks wore a tonsure that was distinctively different from that of their Roman brethren. Celibacy was not part of Celtic teaching or tradition; therefore, men and women could marry and live in double houses or conhospitae in abbeys and monastic foundations to raise their children together and remain in Christ’s service. Most surprisingly, women were ordained priests and bishops in the Celtic Church.

Celtic Christians have always gravitated toward localism as a form of government. Historically, they dislike the modern notion of the nation-state. The tribe, clan, and kinship group, within the context of the village, are the forms of government which Celtic peoples prefer. Celtic Christianity recognizes the ethnic character of the Church. According to Bible prophecy (e.g. Psalms 2), the Messianic kingdom consists of ethnic churches which form the constituent members of the Body of Christ. It disagrees with the Latin and Byzantine versions of Christianity, inherited from the Roman Imperial model, which attempt to force everyone into the same mold. Many of the doctrinal and liturgical disputes in Church history have come because of the language barrier, which, of course, is ethnic in orientation and Divinely ordained (Genesis 11). These differences ought to be respected with a gracious spirit.

Find out more about our related ministries at www.celticcommunion.org

Quoted through Cildara Ministries

Celtic Christianity : St. Brigid of Kildare - Part One

2009-12-07T14:16:00.003-03:00

Confirmed historical facts about St. Brigid (Brigit, Bride/Bree, Bridget, Ffraid) are few because the numerous accounts of her life include many miracles and anecdotes deeply intertwined with pagan Irish folklore. Nevertheless, these accounts taken together give us a strong impression of her character and her importance to countless generations of Celtic women and men. Brigid was born in approximately the year 453 in Faughart, a few miles from Dundalk, county Louth. Some say her parents were of humble origin; others that they were Dubhthach, an Irish chieftain of Leinster, and Brocca (or Brocessa), a slave at his court. Shortly after Brigid's birth, she is sent away to Murroe in East Limerick to be put to fosterage.

When she comes of an age to be useful, Brigid returns to her father's house, taking her mother's place in the usual bondswoman/house servant duties - minding the livestock, cleaning, serving at meals, etc. Even as a child it was already apparent that Brigid had a calling as she showed a special love for the poor. She kept a secret store of clothes and food for them, and on one occasion when her mother sent her to collect butter, the child gave it all away. She even makes gifts to the poor from her father's property when there is nothing else available. Dubhthach and his wife are less than tolerant of this behavior, and together they seek ways to make Brigid someone else's responsibility.

One day Dubhthach takes his daughter in a chariot to the King of Leinster to see if he can strike a deal to make her a member of the King's court. Brigid is left outside in the chariot, and while there, a leper approaches her, seeking alms. Without hesitation, Brigid hands over her father's sword, an item of great value. In the warlike province of Leinster, this says more than words can capture about Brigid's system of values. Needless to say, these values do not correspond with her father's, and he is furious when he discovers her action. Fortunately for Brigid, the King of Leinster is present as Dubhthach begins to chastise her, and he checks Dubhthach rage, saying: "Leave her alone, for her merit before God is greater than ours." Thus Brigid returns home, and through this incident of being praised by the king is also delivered from bondage.

In time, Dubhthach tries to arrange a marriage for his daughter (another way of making her someone else's responsibility), but she isn't interested. Beautiful Brigid consecrated herself to God at a young age, choosing a life of virginity, dedication to God and service to the poor. Brigid's sanctity drew many others. When she was about 15 she settled with seven other like-minded girls near Croghan Hill in order to devote herself to God's service. Along with these seven also seeking the veil, she approaches St. Maccaille for guidance. At first, Maccaille is doubtful of the wisdom of Brigid's decision, thinking it a case of misdirected zeal. However, the more time he spends with Brigid and her postulants, the more he comes to see that the hand of God is guiding them. When Brigid and her virgins appear before Bishop Mel, various accounts tell that a miraculous manifestation of the Holy Spirit occurred. For humility Brigid had sent herself to the back of the line so that she might be the last to whom a veil should be given. But a fiery pillar appeared to rise from her head to the roof ridge of the church, inspiring Bishop Mel to call her forth: "Come, O Holy Brigid, that a veil may be on thy head before the other virgins." As a result of this supernatural intervention, the form of ordaining a bishop was read out over Brigid.

St. Maccaille protested that it was not proper that a woman receive Holy Orders as a bishop. But reportedly Bishop Mel replied: "No power have I in this matter. That dignity hath been given by God unto Brigid, beyond every (other) woman." Another possible interpretation of this story relates to the fact that the Roman diocesan system was unknown in Ireland. Monasteries formed the center of Christian life in the early Church of Ireland. Abbots and abbesses held the rank and function that a bishop would on the Continent.

Evidence of this can also be seen at councils, such as the Synod of Whitby, convened by St. Hilda. Brigid, as a preeminent abbess, might have fulfilled some standard episcopal functions, such as preaching, hearing confessions, and serving as pastoral leader for a large geographical area. There is no evidence that she ever ordained any priests.

Celtic Christianity : St. Brigid of Kildare

2009-12-07T14:23:00.005-03:00

At Bishop Mel's request, Brigid founds a convent at Ardagh, the first convent of strict religious observance to be established on Irish soil. It soon becomes a center of great activity. Thousands come to receive instruction in the Christian faith. Never one to rest on her laurels, Brigid sees potential in what she has achieved in Ardagh, and is curious to see if this success can be repeated elsewhere. Accompanied by a group of sisters and her spiritual guide, Natfraoich, she sets out on a journey around the country. Brigid's approach to the establishment of new foundations is of the hands-on variety. She supervises all the work connected with the building of the wattle huts for the new sisters, and as soon as she sees the new convent staffed, she starts off to repeat the work elsewhere. Everywhere she goes in Munster and Connacht, postulants come to her. This is a movement that has been waiting to happen. Many women of noble birth leave their homes and flock to the shelter of her convents.

Brigid's most famous foundation is at Kildare, established on a generous grant of land from the king of Leinster. It is generally thought to have been a double monastery, housing both men and women, with Brigid presiding over both communities. Double monasteries were a common practice in Celtic lands, later taken by the Irish to the continent. Brigid made her monastery a remarkable house of learning for both men and women, including an art school devoted to for the creation of highly decorated handmade copies of scripture texts and other holy writings. The illuminated manuscripts originating there were highly praised, especially the Book of Kildare, one of the finest of all illuminated Irish manuscripts before its disappearance three centuries ago.

A woman of wisdom and common sense, Brigid's genius for leadership and organization is widely recognized. She establishes schools, sets sisters to work making vestments, and organizes the episcopal government of her city. After some years in charge at Kildare, she is the most significant religious leader in the Liffey plain. Bishops, priests, chieftains and kings frequently seek her counsel. Many and notable are the names who come to her for help: St Fiach, bishop of Sletty, seeks her guidance in the founding of his monastery in Laoghis, and St. Finian consults her about his monastery at Clonard. More than anything else, however, Brigid is renowned for her hospitality. The poor and the infirm come in their multitudes. She makes provision for the sick, tending to them with her knowledge of contemporary medicine. Kildare becomes a place of holy pilgrimage for all, from the prominent and powerful to the lowly and forgotten.

Cill means cell or church, and Daire is a type of oak tree, so Kildare means "Church of the Oak."

St. Brigid saw that the needs of the body and the needs of the spirit intertwined. Her generosity in adult life was legendary: It was recorded that if she gave a drink of water to a thirsty stranger, the liquid turned into milk; when she sent a barrel of beer to one Christian community, it proved to satisfy 17 more. Many of the stories about her relate to the multiplication of food, including one that she changed her bath-water into beer to satisfy the thirst of an unexpected clergyman. Even her cows gave milk three times the same day to provide milk for some visiting bishops. The best-known custom connected with Brigid is the plaiting of reed crosses for her feast day. This tradition dates to the story that she was plaiting rush crosses while nursing a dying pagan chieftain. He asked her about this and her explanation led to his being baptized. Many traditional blessings invoke her in Irish (Brid agus Muire dhuit, Brigid and Mary be with you) and Welsh (Sanffried suynade ni undeith, St. Brigid bless us on our journey). A blessing over cattle in the Scottish isles goes: "The protection of God and Colmkille encompass your going and coming, and about you be the milkmaid of the smooth white palms, Brigid of the clustering, golden brown hair."

Brigid was one of the many Celtic saints who insisted that a vital component of the spiritual life is having a soul friend (anam cara). When Brigid told her that she expected to be dying soon, Darlughdach begged that they might die together. Brigid responded that she would outlive her for one year, in order to succeed her as abbess. Ancient accounts show that their souls were so connected even after death that Darlughdach outlived Brigid by exactly one year.

The relics of Saint Brigid are presumably buried at Downpatrick with those of Patrick and Columba. A tunic reputed to have been hers, given by Gunhilda, sister of King Harold II, survives at Saint Donatian's in Bruges, Belgium; a relic of her shoe, made of silver and brass set with jewels, is at the National Museum of Dublin. In 1283, three knights took the head of Brigid with them on a journey to the Holy Land. They died in Lumier (near Lisbon), Portugal, where the church now enshrines her head in a special chapel.

In England, there are 19 ancient church dedications to her. The most important of these is the oldest church in London -- St. Bride's in Fleet Street -- and the parish in which Saint Thomas à Becket was born -- Bridewell or Saint Bride's Well. In Scotland, East and West Kilbride bear her name. Saint Brigid's Church at Douglas recalls that she is the patroness of the great Douglas family. Several places in Wales are named Llansantaffraid, which means "St. Bride's Church." The Irish Bishop Saint Donato of Fiesole (Italy) built a Saint Brigid's Church in Piacenza, where the Peace of Constance was ratified in 1185.

She is usually portrayed in art with a cow lying at her feet, or holding a cross and casting out the devil. Her emblem is a lighted lamp or candle (not to be confused with Saint Geneviève, who was not an abbess). At times she may be shown with a flame over her; with geese near her; next to a barn; letting wax from a taper fall upon her arm; or restoring a man's hand. Brigid is the patron saint of poets, dairymaids, blacksmiths, healers, cattle, fugitives, Irish nuns, midwives, and new-born babies. She is highly venerated in Alsace, Flanders, and Portugal, as well as Ireland and Chester, England.

Brigid died shortly after her 70th birthday, after a long and productive life in the service of others. Her spirit lives on in the hospitality afforded by the nuns at Kildare, and she is still revered as a patron of Irish women and motherhood. She is one of the two patron saints of Ireland and the only native one, since Patrick was born elsewhere. Christians and pagans alike celebrate Brigid's feast on February 1, also known as Imbolc, the ceremonial first day of spring; thereby perpetually connecting St. Brigid with the renewal of the earth, the promise of abundance, the hope of new growth, and the eternal cycle of new life.

Celtic Christianity: What is it? - Part One

2009-12-09T16:07:00.009-03:00

Through the centuries, the Celts have instinctively resisted the Imperial model for Christianity. They have tended to be exuberant worshippers, free-thinkers, and dissenters. They are intensely loyal to beloved leaders and not to systems or institutions. For that reason, mainline churches have viewed Celtic Christians with suspicion and, sometimes, outright hostility. Celtic expressions of the faith have been persecuted throughout history but is now enjoying a renewal of faith and interest.

Specifically, Celtic Christianity refers to the branch of Christianity which was unique to the peoples of the Britannia, Scotland & Ireland.

Originally, during the first generations of Christianity, all local churches were independent and there was no central governing organization. These local communities were ministered to by what we would today call Bishops and Deacons. The rank of Priest only began to emerge and be differentiated from that of Bishop later, during the mid-second century, as the Church expanded from the cities to the rural areas.

Beginning in the second Century, with the spread of Christianity into the rural areas outside of the cities, and particularly after the devolution of the presbyter (i.e. priest) from the Order of Bishop, local churches began to be grouped together to permit better organization and supervision of orthodoxy. Parishes began to be led by priests. Bishops became heads of regions called diocese and bishops of cities, called a Metropolitan. An Archbishop supervised, but did not rule over or govern the nearby rural diocese. Diocesan Bishops were completely autonomous in their own diocese as long as they remained true to the Faith.

Although there is some debate over exactly when and how Christianity got to the British Isles, Whether it was 37 Ad or 67 Ad, there is no doubt that it was firmly established by the 2nd Century, because Ireneaus, the Bishop of Lyon, had significant interaction with them. Click here to learn how Christianity got to England

The first, great Celtic son was Morien, also known as Pelagius. Pelagius was a spokesman for Celtic theology. Pelagius has been labeled as a heretic by traditional theologians because The Roman system favored a Latin version of Christianity. Pelagius' opponent, Augustine, succeeded in expelling the Pelagians out of the Roman Empire during the 5th Century. Augustine became the father of Latin Christianity.

Celtic Christianity holds to a balanced view of the Biblical doctrines of free-will and predestination. Ostensibly, these doctrines were the focus of controversy between Augustine and Pelagius. Through the centuries, Pelagian Celts have emphasized the individual's responsibility to obey God's moral law. Latin Christianity has tended to rely upon the strong arm of the state.

Celtic Christianity does not have much interest in the grand worship of state religion. Celtic Christians are fond of the small group and a liturgy which is an expression of personal faith. From ancient times, they have had great interest in spiritual gifts, manifestations of the Divine presence, religious revivals, and world evangelism.

Celts love mysteries, story-telling, poetry, folk-music and dancing. They are not impressed by great cities and the arts which are abstract and separate from life.

Celtic theology does not agree with Augustine's view of Original Sin.

Find out more about our related ministries at www.celticcommunion.org

Quoted through Cildara Ministries

Celtic Christianity : The truth about "Saint Patrick" and the Early Celtic Church" Part Two

2009-12-03T15:25:00.006-03:00

The truth about "Saint Patrick" and the Early Celtic Church" is quoted from the pen of Brian Hoeck ©2001, 2002 Truth On The Web Ministries: All the articles originated by Kenneth Hoeck and/or Brian Hoeck may be freely distributed or mirrored as long as presented in their entirety , attributed to Truth on The Web, and proper author credit given .

Due to the world of Patrick's day knowing the truth about him and the Celtic Church, Rome made no mention of, or claim to, Patrick until at least 200 years after his time. Bede did however make record in 431 A.D. of an attempt of a Roman Catholic missionary to bring the Celtic assemblies under the rule and doctrine of Rome:

"Palladius was sent by Celestinus, the Roman pontiff, to the Scots [Irish] that believed in Christ." (Bede, Ecclesiastical History, p.22) But "he left because he did not receive respect in Ireland" (William Cathcart, D. D., The Ancient British and Irish Churches, p.72).

Such disrespect would be unheard of if the Celtic assemblies had indeed been adherents of Rome's "gospel." Rome was looking to claim what the true Gospel already had when it entered the "Britians" (Britian, Ireland, Scotland) during the first century:

"That the light of Christianity dawned upon these islands in the course of the first century, is a matter of historical certainty" (Richard Hart, B. A., Ecclesiastical Records, p. vii; Cambridge: 1846).

"The Christianity hich first reached France and England (i.e., Gaul and Britian) was of the school of the apostle John, who ruled the churches in Asia Minor, and therefore of a Greek, not Latin [i.e., Roman], type." (Gordon, World Healers, p.78)

"A large number of this Keltic community (Lyons, A.D.177)--colonists from Asia Minor--who escaped, migrated to Ireland (Erin) and laid the foundations of the pre-Patrick church." (Thomas Yeates, East Indian Church History, p.226)

Tertullian, ca 200 A.D., wrote "by this time, the varied races of the Gµtulians, and manifold confines of the Moors, all the limits of the Spains, and the diverse nations of the Gauls, and the haunts of the Britons (inaccessible to the Romans, but subjugated to Christ)...In all which places the name of Christ who is already come reigns." (Tertullian, Answer to the Jews, chap. vii.)

Tertullian had included the Britons among the many nations which believed in Christ, and he speaks of these places as being "inaccessible to the Romans, but subjugated to Christ." In other words, the Church there was not founded by, nor subject to, Rome.

"He (Patrick) never mentions either Rome or the pope or hints that he was in any way connected with the ecclesiastical capital of Italy. He recognizes no other authority but that of the word of God. ...When Palladius arrived in the country, it was not to be expected that he would receive a very hearty welcome from the Irish apostle. If he was sent by [pope] Celestine to the native Christians to be their primate or archbishop, no wonder that stout-hearted Patrick refused to bow his neck to any such yoke of bondage."

(Dr. Killen, Ecclesiastical History of Ireland, vol.1, pp.12-15) "Patrick rejected the union of church and state. More than one hundred years had passed since the first world council at Nicaea had united the church with the empire. Patrick rejected this model. He followed the lesson taught in John's Gospel when Christ refused to be made a king. Jesus said, 'My kingdom is not of this world' (John 18:36). Not only the Irish apostle but his famous successors, Columba in Scotland, and Columbanus on the Continent, ignored the supremacy of the papal pontiff. They never would have agreed to making the pope a king." (Truth Triumphant, pp.85,86)

"Two centuries elapsed after Patrick's death before any writer attempted to connect Patrick's work with a papal commission. No pope ever mentioned him, neither is there anything in the ecclesiastical records of Rome concerning him. ...Patrick preached the Bible. He appealed to it as the sole authority for founding the Irish Church. He gave credit to no other worldly authority; he recited no creed. Several official creeds of the church at Rome had by that time been ratified and commanded, but Patrick mentions none. In his Confession he makes a brief statement of his beliefs, but he does not refer to any church council or creed as authority. The training centers he founded, which later grew into colleges and large universities, were all Bible schools. Famous students of these schools -- Columba, who brought Scotland to Christ, Aidan, who won pagan England to the gospel, and Columbanus with his successors, who brought Christianity to Germany, France, Switzerland, and Italy -- took the Bible as their only authority, and founded renowned Bible training centers for the Christian believers. ... Patrick, like his example, Jesus, put the words of Scripture above the teachings of men. He differed from the Papacy, which puts church tradition above the Bible. In his writings he nowhere appeals to the church at Rome for the authorization of his mission. Whenever he speaks in defense of his mission, he refers to God alone, and declares that he received his call direct from heaven." (Truth Triumphant, pp.82-84)

Pope Gregory had sent delegates to the Christians Celts: "'Acknowledge the authority of the Bishop of Rome.' These are the first words of the Papacy to the ancient Christians of Britain. They meekly replied: 'The only submission we canrender him is that which we owe to every Christian.'" (Merle D' Aubigne, History of the Reformation, Book XVII, chap. 2.) "'But as for further obedience, we know of none that he, whom you term the Pope, or Bishop of Bishops, can claim or demand." (Early British History, G. H. Whalley, Esq., M. P., p.17 London: 1860; see also Variation of Popery, Rev. Samuel Edger, D. D., pp. 180-183. New York: 1849)

"The monks sent to England [in 596 A.D.] by Pope Gregory the Great soon came to see that the Celtic Church differed from theirs in many respects…Augustine himself [a Benedictine abbot]…held several conferences with the Christian Celts in order to accomplish the difficult task of their subjugation [submission] to Roman authority…The Celts permitted their priests to marry, the Romans forbade it. The Celts used a different mode of baptism [i.e., true baptism: immersion] from that of the Romans…The Celts held their own councils and enacted their own laws, independent of Rome. The Celts used a Latin Bible [i.e., the Itala] unlike the [Roman Catholic's Latin] Vulgate, and kept Saturday as a day of rest.” (A.C. Flick, The Rise of Medieval Church, p.236-327)

"It seems to have been customary in the Celtic churches of early times, in Ireland as well as Scotland, to keep Saturday, the Jewish Sabbath, as a day of rest from labor. They obeyed the fourth commandment literally upon the seventh day of the week." (James C. Moffatt, D. D.,The Church in Scotland, Philadelphia: 1882, p.140)

"In this latter instance they seemed to have followed a custom of which we find traces in the early monastic church of Ireland by which they held Saturday to be the Sabbath on which they rested from all their labours." (W.T. Skene, Adamnan Life of St. Columba, 1874, p.96)

As noted above, the Christianity which first reached France and Britian was of the school of the apostle John, who ruled the churches in Asia Minor. Colonists from Asia Minor laid the foundations of the pre-Patrick church. They brought with them the doctrine which they received of John, Paul, Philip, and the other apostles of the Lord, which included not only the observance of the seventh day Sabbath, but also the commemoration of Christ's death upon the 14th of Abib--Passover!

"It is probable that the primitive Christians kept the Pasch on the 14th of Nisan as determined by the Jewish authorities, and regarded it as the anniversary of the crucifixion. ...The churches of the Roman province of Asia...followed the older custom, keeping the Pasch on the 14th of Nisan, whatever the day of the week." (James F. Kenney, The Sources for the Early History of Ireland, Vol.1, pp.211, 212; Columbia University Press, New York, 1929)

"...they ignorantly refuse to observe our Easter [Pascha] on which Christ was sacrificed, arguing that it should be observed with the Hebrew Passover on the fourteenth of the moon." (Bede, Historia Ecclesiastica, II, 19 where in Bede quoted "Pope" John's words concerning the Celtic brethren)

Other doctrines that Patrick, Columba, and the Celtic assemblies held included the observation of the other Festivals of the Eternal (Lev.23), the belief in the mortality of man and the hope of the resurrection (vs. immortality of the soul and going to heaven, hell, and/or purgatory); the distinction between clean and unclean animals; "improvised" prayers (from the heart, rather
than merely from the lip with repetitions); that Christ Jesus is our only Mediator--as opposed to various "saints," Mary, angels, etc.; and that redemption and atonement comes through the life, death, and resurrection of Christ alone--separate from works and heeding commandments/doctrines of men (see The Celtic Church in Britian by Leslie Hardinge, as well as Truth Triumphant by B.G. Wilkinson, for documentation).

"The Roman Catholics have proudly and exclusively claimed St. Patrick, and most Protestants have ignorantly or indifferently allowed their claim...But he was no Romanist. His life and evangelical Church of the 5th century ought to be better known." (McClintock and Strong, Cyclopedia of Biblical, Theological, and Ecclesiastical Literature, Vol. VII, p.776; article: Patrick, St.)

We hope you have been edified in knowing the truth about the real saint Patrick who kept the commandments of God and the testimony of Jesus Christ.

Celtic Christianity : The truth about "Saint Patrick" and the Early Celtic Church" Part One

2009-12-03T11:57:00.011-03:00

St. Patrick's Day is now associated with everything Irish, from the colour green to shamrocks, good luck to Guinness! However the color of Saint Patrick traditionally is blue and the Christian religious purpose of Saint Patrick's Day is for spiritual regeneration and offering prayers for missionaries worldwide. Patrick was a missionary who worked for 40 years in Ireland, preaching, baptizing, and establishing churches, schools and colleges. History reports that he used shamrock leaves to explain the meaning of the Trinity. There is a legend of how St. Patrick when preaching to some soon-to-be converted heathens was shown a sacred standing stone that was marked with a circle that was symbolic of the moon goddess. Patrick made the mark of a Latin cross through the circle and blessed the stone making the first Celtic Cross.

Many have heard stories of the "Patron Saint" of Ireland: Patrick. But of these stories that abound, and the beliefs that are held concerning him, much is quite erroneous. Many think that Patrick (born ca. 360 CE) was Irish--he was not, but rather he was of Scottish/British origin.

"The place of his birth was Bonnaven, which lay between the Scottish towns Dumbarton and Glasgow, and was then reckoned to the province of Britain. This village, in memory of Patricius, received the name of Kil-Patrick or Kirk-Patrick. His father, a deacon in the village church, gave him a careful education." (Dr. August Neander, General History of the Christian Religion and Church, Vol. II, p.122. Boston: 1855).

"Patrick himself writes in his Confession: 'I, Patrick, ...had Calpornius for my father, a deacon, a son of the late Potitus, the presbyter, (Priest) who dwelt in the village of Banavan....I was captured. I was almost sixteen years of age...and taken to Ireland in captivity with many thousand men.'" (William Cathcart, D. D., The Ancient British and Irish Churches, p.127).

"Patrick, a son of a Christian family in southern Scotland, was carried off to Ireland by pirates about 376 A. D. Here, in slavery, he gave his heart to God and, after six years of servitude, escaped, returning to his home in Scotland. But he could not forget the spiritual need of these poor heathen, and after ten years he returned to Ireland as a missionary of the Celtic church." (ibid, p. 70).

Many also believe Patrick to be of the Roman Catholic system, yet in it's own Confession which we read part of above, he claims that his father was a deacon and his grandfather a presbyter. While the Roman Catholic Church holds the doctrine of "sacerdotal celibacy," wherein members of its ministry are to remain unmarried and thus virgins, the ministry of the Celtic Churches held no such doctrine. This is one of many doctrinal distinctions between the two faith sytems. The claims that Patrick was a Roman Catholic are mere fabrications as we shall see clearly.

"There is here a hiatus of unknown length in his life; a chasm, however, which his midiaeval biographers have filled up according to the liveliness of their fancy, or the supposed credulity of their readers. They wrote of his studying with St. Germain, and of his attending a monastery near the Mediterrenean, and finally of his going to Rome and receiving ordination from the pope. All these are mere inventions, and were not put forth till more than five hundred years after St. Patrick's death, and all of them are presented without a shadow of proof....In the establishment of his Church, St. Patrick in no instance ever appealed to any foreign Church [i.e., Rome, or anywhere else], pope or bishop. In his Epistle to Coroticus (sect. 1), he simply announces himself as bishop: 'I, Patrick, an unlearned man, to wit, a bishop constituted in Ireland: what I am I have received from God'...These well authenicated statements of St. Patrick concerning himself are wholly at variance with those of Probus and Joscelyn, who, for the first time, put forth their fabrications full five hundred years after his death. In regard to his studying with St. Germain at Tours, and of his going to Rome for ordination, all these stories were invented in the 10th or 12th century. Joscelyn, who wrote the fullest life of the saint, about A.D.1130, has, in one sense, really the praise or dispraise of bringing the Irish Church into that of Rome.

The abbe, not being embarrassed with facts, dates, or contemporary history, wrote easily and readily, and presented a life of the Irish saint that exactly suited his times, in the beginning of the 12th century.

He represented St. Patrick and the early Church of Ireland in the 5th century as exact models of his own in the 12th. This life of the saint was readily received and adopted as the only true one by the Roman Catholic Church, and it has ever been the 'storehouse' from which his numerous and papal biographers have drawn their materials. After the publication, and the general reception of this book, there was no hesitation in the full acknowledgment of all the Irish Christians, and of St. Patrick among them. Archbishop Usher, on the Religion of the Early Irish, asks (iv, 320): 'Who among them [the early Irish] was ever canonized before St. Malachias, or Malachy, was?' (A.D. 1150). St. Patrick himself seems never to have been sainted till all Ireland was sainted or canonized." (McClintock and Strong, Cyclopedia of Biblical, Theological, and Ecclesiastical Literature, Vol. VII, pp.774,775; article: Patrick, St.)

"There is strong evidence that Patrick had no Roman commission in Ireland...As Patrick's churches in Ireland, like their brethren in Britain, repudiated the supremacy of the popes, all knowledge of the conversion of Ireland through his ministry must be suppressed [by Rome]....There is not a written word from one of them [i.e., popes] rejoicing over Patrick's additions to their church, showing clearly that he was not a Roman missionary....Prosper does not notice Patrick....He says nothing of the greatest success ever given to a missionary of Christ, apparently because he [Patrick] was not a Romanist....Bede never speaks of St. Patrick in his celebrated 'Ecclesiastical History.'...So completely buried was Patrick and his work by popes and other Roman Catholics, that in their epistles and larger publications, his name does not once occur in one of them until A. D. 634." (William Cathcart, D. D., The Ancient British and Irish Churches, pp.83-85)

Celtic Cookery : Irish Nested Eggs

2009-12-01T13:53:00.007-03:00

For each person allow :
3/4 cup potato mashed with butter and cream,
1 tablespoon cooked peas,
1 egg, 2 teaspoons butter.

Method: Place the potatoes in mounds on a greased baking sheet. Press a cup into each to make a hollow. Place a tablespoon of cooked peas in each "nest," carefully break a raw egg over the peas.
Season with pepper and salt and dot with butter. brush with beaten egg and bake 20 minutes in a 375 degree oven. Serve with buttered par sliced carrots.

Faerie Lore: Fairy Music & Fairy Gifts

2009-11-27T15:01:00.004-03:00

Posted from the book "The Fairie Faith in Celtic Countries" by W.Y.Evans-Wentz 1911. Get your kindle version here!

Bean chaol a chot uaine 's na gruaige buidhe, 'the slender woman of the green kirtle and of the yellow hair,' is wise of head and deft of hand. She can convert the white water of the nil into rich red wine and the threads of the spiders into a tartan plaid. From the stalk of the fairy reed she can bring the music of the lull of the peace and of the repose, however active the brain and lithe the limb; and she can rouse to mirth and merriment, and to the dance, men and women, however dolorous their condition. From the bower could be heard the pipe and the song and the voice of laughter as the fairies 'sett' and reeled in the mazes of the dance. Sometimes a man hearing the merry music and seeing the wonderful light within would be tempted to go in and join them, but woe to him if he omitted to leave a piece of iron at the door of the bower on entering, for the cunning fairies would close the door and the man would find no egress. There he would dance for years--but to him the years were as one day--while his wife and family mourned him as dead.

'My grandmother believed firmly in fairies, and I have heard her tell a good many stories about them. They were a small people dressed in green, and had dwellings underground in dry spots. Fairies were often heard in the hills over there (pointing), and I believe something was there. They were awful for music, and' used to be heard very often playing the bagpipes. A woman wouldn't go out in the dark after giving birth to a child before the child was christened, so as not to give the fairies power over her or the child. And I have heard people say that if fairies were refused milk and meat they would take a horse or a cow; and that if well treated they would repay all gifts.'

"The Welsh Take Their Hornpipes Nice and Slow " by Danny Carnahan

2009-11-23T14:07:00.005-03:00

This article by Danny Carnahan was previously issued on the Mandolin Magazine. All rights reserved by the author and posted under his kind permission.
[Click here for printable notation for "Gypsy Hornpipe"]

Hornpipes have always been the poor relation in the Celtic dance tune family. Irish and Scottish enthusiasts play hundreds of jigs and reels for every hornpipe they bother to learn. And yet, hornpipes enjoy just as rich a history and just as satisfying an emotional pallette as the more common dance forms.

I eased into Irish music from the old-time side, learning fiddle tunes at competitions and musical gatherings, and usually starting out with American takes on tunes that I later learned had Irish or Scottish origins and sometimes very different settings to compare with. My earliest acquaintance with hornpipe dates from my flirtation with bluegrass and old-time, so I’d learned a handful of hornpipes from hotshots competing at California festivals before I found out that they weren’t all supposed to sound like reels.

The hornpipe started out as a particular, highly syncopated clog dance, often associated with things nautical, that needed to go at a particular speed in order for the dancer to fit in all the fancy clogging moves. Once upon a time, all hornpipes ended each 8-bar part with this rhythmic phrase:

[Click here for printable rhythmic notation]

In time, as all dance tunes were weaned away from necessary connection with dancing, hornpipes got straightened out a bit and sometimes merely hinted at the old dance steps while encouraging players to speed them up and give them slightly different energy. Nowadays, your average hot American setting of "Fisher’s Hornpipe," for example, can be medleyed with reels and played with top-gear abandon and sheer rock-n-roll drive.
But there are still corners of the Celtic world where hornpipes retain some of their old glory and are prized for not being quite like any other dance. South Wales is an extraordinarily musical place where hornpipes flourish in unique ways. In addition to the popularity of a capella traditional choral music and the huge triple-strung harp literature played by masters like Robin Huw Bowen, on any given day from Newport to Swansea you can likely find a local village dance or "twmpathan" where accordions and whistles and small pipes and fiddles keep the boisterous locals dancing half the night.

The Welsh excel in happy-sounding tunes. On balance, you’ll get many more pure major tunes in a Welsh session than the darker Irish modal tunes or the Scots tunes borrowed from the Highland pipes, with their built-in flatted sevens. And if you happened to stumble across a "twmpathan,"you might be surprised both at the frequency that hornpipes are dropped into the mix and with the different ways hornpipes are played there.

Mick Tems and Pat Carron-Smith, the married two-thirds of the trio Calennig, have been based in Llantrisant, South Wales, a lovely little hill town north of Cardiff, for many years. It seems that every time I wandered through, there was a dance on that night and Mick and Pat were running it—Mick on accordion, Pat on concertina, whistles, and spoons, and both singing lustily in English and Welsh. Their band-mate Peter Davies added all manner of pipes and woodwinds and the mix was always fun.

Mick and Pat have collected some marvelous hornpipes. Their inclination with the dances is not to straighten them out, but to occasionally lean toward a polka-like swing, which encourages wild dancing without ripping through the tune too fast. And a good thing, too, since many of the hornpipes have wonderful melodic shapes and unusual forms. The native Welsh tune "Y Lili" (The Lily) is a 24-bar hornpipe that carries a whiff of Scotland with it. And "Y Bregeth" (The Sermon) has got to be the only 112-bar hornpipe ever written, this from an old collection and reintroduced into the tradition by harper Robin Huw Bowen. Both tunes are on Calennig’s CD "Dwr Glan" (Sain SCD4025, 1990), which is rare but available through Folkwales. Visit the site for more about Calennig and to further whet your appetite for Welsh tradition. And send out good wishes to Mick, who’s recovering from a stroke. The village dances need him back soon.

The tune I have for you this time, "Gypsy Hornpipe #1," is not on Mick and Pat’s CD, but I swear I’ve heard them play it in Llantrisant. It’s been recorded but I can’t recall by whom. This is both a perfect example of a pure, old-fashioned hornpipe and a typically happy Welsh melody. There’s really no trick to playing it, other than to play it every bit as syncopated as indicated in the notation. And I find I often play a unison low D with the high D on the first beat of the 5th bar in the B part, since the melody in the previous bar is pointing you down in that direction.

I hope this won’t be the last Welsh tune to find its way into your repertoire. We can’t have too many happy tunes these days.
[Click here for printable notation for "Gypsy Hornpipe"]

The Claddag Ring: Symbolism in Music

2009-11-18T16:22:00.016-03:00

The Claddagh Ring tradition and symbolism is not only present in stories and movies, but also in music! There is a recording label with it's name which has issued great albums from talented artists and even depicting the Claddagh Ring on some covers. Such the case of the "The Chieftains 5" album which featured a pic of the ring on the back cover of the original 1975 vinyl release. They also issued an Anthology of Traditional Irish Music, Vols 1 & 2 under the title of " Claddagh's Choice" with a cover illustration looking rather like a jeweller's tray, it is more of a showcase for Claddagh Records,it reflects Claddagh's view of Irish tradition.
Curiously the Scottish “Simple Minds” rock band also features the claddagh symbol on several of their album covers.

Curiously the Scottish “Simple Minds” rock band features the claddagh symbol on several of their album covers.

“Black and white 050505” album has the original inspiration of the hands artwork , a graphic on the Swedish website www.spray.de. A sketch of these hands was used for the promo artwork.

The sleeve for the booklet was far more interesting including bullets with enscribed Claddaghs, razors, barbed wire, hearts and eyes - the most impressive artwork since Good News From The Next World.

A 1990 box set of rare material : The Silver Box – also depicts the claddagh symbol, so as the 2007 “The Platinum Collection” box set , featuring all their single releases through Virgin plus remixes, and the “Gift Pack” a bundle of 2001's The Best Of along with 2004's Seen The Lights: Live In Verona.

Regarding Irish Traditional Music we can find out a great tune "The Old Claddagh Ring" performed as a waltz, you may listen to a nice version by Dermot O'Brien here. Hereby the sheet music of the tune...

Moreover we may find a great song related to a Claddagh ring love story. My favourite version was recorded by the scottish singer Andy M. Stewart along with Phil Cunningham (both former members of the legendary folk band "Silly Wizard") on their "Fire and Flame" album. Hereby the lyrics...

The Gold Claddagh Ring

It being a fine morning, this young man he chose
That he'd make occasion to wear his fine clothes

And it's down to the glen where the bonnie lassie goes
To give her a token of his love, we suppose

"Mary, oh Mary, if I could be your man
Between you and danger I fearlessly would stand

With this gold claddagh ring on your lily-white hand
Oh, there ne'er was another would dress you so grand."

There's no sun in summer there's no flowers in spring
Her hands hold my heart like the gold claddagh ring.

"Johnny, oh Johnny the ring it is of gold
And it's hands and fine heart, they are lovely to behold

But if I had the ring for one evening to hold
Then you shall have my answer e'er the week shall be old."

"Oh why have the weeks gone and not an answer came ?
And why is it that women are smarter than men ?

Oh the girl's kept the ring which I shall ne'er see again
Oh, she has many like it in a fine box at hame."

There's no sun in summer there's no flowers in spring
Her hands hold my heart like the gold claddagh ring.

It being a fine morning, this young man he chose
That he'd make occasion to wear his fine clothes

And it's down to the glen where the bonnie lassie goes
To give her a token of his love, we suppose

There's no sun in summer there's no flowers in spring
Her hands hold my heart like the gold claddagh ring.
Oh, her hands hold my heart like the gold claddagh ring.

You may also find out a different version here.

Celtic Cookery : Irish Soup Marigold and Mutton Broth

2009-11-17T16:07:00.008-03:00

Irish Soup Marigold and Mutton Broth

Any description of trimmings of mutton may be used for broth, but the scrag ends of the neck are usually chosen. Put two scrags into a stewpan (having previously jointed the bones), with three onions, three turnips, and one carrot; fill up the stewpan with a gallon of water, and place it upon the fire; when boiling, set it at the corner, where let it simmer for three hours, keeping it well skimmed; then cut a small carrot, two turnips, an onion, with a little leek and celery, into small square pieces, which put into another stewpan, with a wine- glassful of pearl-barley; skim every particle of fat from the broth, which pour through a hair sieve over them; let the whole boil gently at the corner of the fire until the barley is tender, when it is ready to serve; the meat may be trimmed into neat pieces, and served with the broth, or separately with melted butter and parsley, or onion sauce. Half or even a quarter of the above quantity can be made by reducing the ingredients in proportion.

Irish Soup Made of Mutton Broth.

This soup is made similar to the last, adding ten or twelve mealy potatoes cut into large dice, omitting the other vegetables, which being boiled to a puree thicken the broth; just before serving, throw in twenty heads of parsley, and at the same time add a few flowers of marigold, which will really give it a very pleasing flavor.

Robin Williamson : Cool Interview Links

2009-11-16T16:13:00.006-03:00

Hi to all!...

For those who love the work of the scottish "bard" Robin Williamson, I attach hereby a couple of cool recent interview links...

* A 2008 Interview done by my friend Tim Hoke and published by Green Man Review. Click here for the source since I am not authorized to post it.

* A 2009 video interview done by the Spanish Television due to a concert held by Robin in Cadiz, promoting his last work "Just like the river and other songs with guitar". Click here for the source.

The Claddagh Ring : The Story

2009-11-13T14:33:00.006-03:00

The Claddagh Story

Misty fables surrounds one of Ireland's unique treasures, "The Claddagh" a symbol of Love, Friendship and loyalty.

Some 400 years ago in a fishing village called Claddagh overlooking Galway Bay, close to the city of the Tribes, lived Richard Joyce a Master Goldsmith. It was he who crafted this now famous design that has become part of the Irish heritage.

There are many versions but this is the story I love most as recounte by Leigh O'Meachair

Some 400 years ago in a fishing village called Claddagh overlooking Galway Bay, close to the city of the Tribes, lived Richard Joyce a Master Goldsmith. It was he who crafted this now famous design that has become part of the Irish heritage.

The first Claddagh Ring was the creation of Richard Joyce, an Irish fisherman who lived during the seventeenth century. He sailed the high seas all over the world, and he was working near Montserrat when his ship was boarded by pirates and raided. Joyce was kidnapped, and taken to a Moorish goldsmith in Algiers, where he was forced to work in slavery.

Joyce was soon a highly skilled goldsmith, able to craft delicate objects of beauty out of the precious metal. His skills in the shop were highly prized by his master. Joyce longed for his native Ireland, and spent years pining for the woman he left behind in the city of Galway. Her name was Margaret, and she was his one true love.

When King William III denounced slavery in the West Indies and ordered all citizens of the British Crown being held released, Joyce gained his freedom. The goldsmith did not wish to lose the master metal working skills of his Irish servant, and it is believed that he enticed Joyce to stay, with riches, and even with the offer of his own daughter's hand in marriage. But Joyce could not be swayed. He blessed King William for granting him his freedom, and he soon sailed for Ireland,

with a very special piece of jewelry in his pocket.

While Joyce had worked in the shop, he had found a way to illustrate his love for Margaret, without saying a word. He had fashioned a special ring, which featured two tiny hands, gently holding onto a crowned heart, as a symbol of his undying love and loyalty.

When Joyce returned to Galway, he was thrilled to find his love waiting for him. She had never given up hope, just as he had remained steadfast in his ardor. He presented her with the golden ring he made in her honour, now known as the Royal Claddagh Ring, and they were together forever after. Never again would misfortune part Richard Joyce from the one he loved.

Hereby I attach some cool links for further information on this subject:

The Story of the Claddagh Ring

History of the Claddag Ring

Claddagh rings, Claddagh Jewelry, & Irish Wedding Bands

The Claddagh Ring: Origin - The Fede Rings

2009-11-13T10:31:00.006-03:00

The design and customs associated with it originated in the Irish fishing village of Claddagh, located just outside the city of Galway. The ring was first produced in the 17th century during the reign of Queen Mary II, though elements of the design are much older.

According to Baxters Jewellers the Claddagh Ring was first made by Richard Joyce, a member of an ancient Galway family who was abducted by Algerian Corsicans while on a sea voyage and sold as a slave to the Moors. It was during this period that Joyce was taught to work as a goldsmith. In 1689 he was released as part of a general amnesty agreed by William III of England and the Moors. Joyce returned to Galway where he set up as a goldsmith. It was here on the shore or "Claddagh" of Galway Bay that the first Claddagh Ring was created.

The Claddagh ring belongs to a widespread group of finger rings called “Fede Rings”. The name "fede" comes from the Italian phrase mani in fede ("hands in trust" or "hands in faith"). These rings date from Roman times, when the gesture of clasped right hands (dextrarum iunctio) was a popular design style (vid. Jones).

Fede rings are often cast in the form of two clasped hands, symbolizing faith, trust or engagement. Fede rings were popular in the Middle Ages throughout Europe, and there are examples from this era in the National Museum of Ireland, Kildare Street, Dublin.

According to Sir William Jones, on his book Finger-ring Lore, Chatto & W

indus, 1890. the Claddugh (Jones' original spelling) was part of Claddagh's tradition; Jones says the natives of Claddugh [sic] are "particularly exclusive in their tastes and habits."

The Irish Potato Famine (1845–1849) caused many to emigrate from Ireland, and the Claddagh ring spread along with the emigrants to the United States and elsewhere. Now the design is worn worldwide. These rings are often considered antique, and passed on from mother to daughter as well as between friends and lovers.

A "Fenian" Claddagh, without the crown, was later designed in Dublin for the Irish Republican community, but that is not an indication that the crown in

the original design was intended as a symbol of fidelity to the British crown.

The Fenian Claddagh, while still in use, does not quite share the popularity of the ancient design.

In any event, it seems likely that the crown was intended to represent the ancient kings of Ireland^.

Earliest Examples

W. Dillon in his publication on "The Claddagh Ring" in the Galway Archaeological Society Journal, Vol. IV, 1905-6, defines the limits over which the ring is worn as roughly from the Aran Islands on the West, and through all Connemara an

d Joyce Country to Galway, and then eastward and southward for not more than 12 miles at most. The whole district is the one served by fisherfolk of the Claddagh village just outside the city of Galway, but became known as the Claddagh ring probably because of the proximity to the city of the large Claddagh fishing community using the ring alone.

Dillon describes some early rings, one with a mitre-like crown, rings made from coins, an analogous ring from Brittany, a "Munster" ring, also Spanish rings with some similarities. He tells us that the Claddagh ring was the only ring ever made in Ireland worn by Queen Victoria and later by Queen Alexandra and King

Edward VII. Their rings were made by Dillons of Galway, established in 1750, to whom the Royal Patent was granted and the tradition has been carried on at Dillons to this day. Prince Rainier and Princess Grace of Monaco in 1962 were presented with gifts embodying the Claddagh ring motif set in Connemara marble.

In 1984 when Galway celebrated its Quincentennial as a Mayoral City, the people of Galway presented a specially commissioned 18 carat gold Claddagh ring to President Ronald Reagan.

The earliest examples of Claddagh rings that can be dated are stamped

with RI, the mark of Richard Joyce, a goldsmith working in Galway circa 1689-1737, of the Joyce Tribe, one of the renowned "Fourteen Tribes of Galway" City. According to Dr. Kurt Ticker in "The Claddagh Ring - A West of Ireland Folklore Custom" (1980) interest in Claddagh rings became dormant after Richard Joyce ended his manufacturing career in the 1730s, and it was revived a generation or more later, probably by George Robinson (Dillon in fact had attributed the earliest ring to Robinson). From then on a number of Galway goldsmiths and jewellers of Galway made Claddagh rings. Their early manufacture was by cuttle-bone mould casting, then the cire perdue or "lost wax" process up to the 1840s, when manufacture became commercialised.

Some marks on Claddagh Rings from the latter part of the 17th to the early part of the 18th century

The Claddagh Ring : Wearing & Meaning

2009-11-12T13:47:00.011-03:00

The Claddagh ring is a traditional Irish ring given as a token of love or worn as a wedding ring.

It is an heirloom in the family transferred from the mother to the daughter who is first [to be] married, and so passes to her descendants.

The Wearing of the Ring

The ring worn on the right hand, crown turned inwards tells that the wearers heart is yet unoccupied, the wearer is free as the birds in the sky

The ring worn on the right hand with the crown turned outward reveals love is being considered.

The ring worn on the left hand, place of choice, heart in crown out, she is happily married for evermore

The Meaning

I have read about a a celtic mythological meaning that sayd The Dagda, the father of the gods ,some say, represents the Right hand of the Claddagh ring.

Then there's Danu., the ancestral and universal mother of the Celts, who supposedly represents the Left hand of the Claddagh ring.

The heart represents the hearts of all of mankind...and also represents that element which gives everlasting music to the Gael.

On modern symbolism the Claddagh's distinctive design features two hands clasping a heart, and usually surmounted by a crown. The elements of this symbol are often said to correspond to the qualities of love(the heart), friendship (the hands), and loyalty (the crown).

The expression which was associated with these symbols in the giving of the ring was: "With my two hands I give you my heart, and crown it with my loyalty." Yet, the expression, "Let love and friendship reign forever" can be found as another meaning for the symbols.

Celtic Instruments : The Bodhran or Irish Frame Drum

2009-03-17T14:25:00.001-03:00

The bodhran (form Irish “bodhar” : “dull sounding” or “deaf”) is a shallow one-sided frame drum whose frame or rim (as once players call it) is usually made of ash. It has been suggested that “bodhran” is a corruption of “bourine”. The name “bodhran” was given also to a winnowing tray of similar design in areas where no tradition had survived of its use as a percussion instrument.

It is approximately 60 cm in diameter and 12 cm deep. The head is most commonly made from goatskin (sometimes calf and even greyhound skin or deerskin is also used) and s fixed to the frame with brass rivets, although some earlier had the sink lapped completely round the frame, so that it tightens itself as it shrinks.

Previously it was associated with the annual foray of the Mummers, where the primary purpose of the bodhran seem to have been to produce a loud rhythmic sound announcing the arrival of a party of revelers, for example, the wren-hunting groups known as “wren boys” on the St Stephen’s Days. It was also used as an accompaniment to dance music and even to provide rhytms for dancing when no musician was available. It´s use by Seán O’Riada with his folk based band Ceoltóiri Cualann (latterly the Chieftains), made it popular, particularly among groups performing commercially. Many musicians regard it with derision or a t best, suspicion. The late Seamus Ennis, when asked how to play a bodhran, replied “With a penknife”. There are reasons for this attitude. It seems easy to play, to the non-musicians who want to be thought of as musicians, whatever the motivation, the results are sometimes execrable!. On the other hand, the bodhrán can give a good “lift” to a session or to solo playing. The combination of flute and drum is a well-tried one, and many flute-players actively like a good bodhran, and many flute players actively like a good bodhran accompaniment.

It is struck with a stick of ash or holly about 20-25 cm long, known in some areas as a tipper. This is held between the fingers and the wrist is moved in swivel fashion with the palm of the hand facing outwards, away from the instrument. In south-western districts the instrument is called a tambourine. The stick can vary considerably in shape and dimensions: some players jprefer to use one end of th stick, some like a leather loop on the stick, some like a big stick ad others like a wee stick. PLlaying with the hand involves a rocking motion between the thumb or ball of the thumb and the fingers or outside edge of the palm. Since the drum is open-ended, various shifts of the thumb and the fingers or outside the edge of the palm. Since the drum is open-+ended various shifts of timbre and pitch can be achieved by manipulating the hand, fingers, or arm on the inside of the skin, and some virtuoso players, notably Johnny “Ringo” McDonnagh of the folk band “De Dannan”, have developed this technique to a very high level. Some players also vary the sound by playing a few bars on the wooden rim of the bodhran or on the studs which hold the skin in place.

Hereby I attach some cool links selected for further information:

A Beginner’s Guide to Bodhran

Playing the Bodhran

Introduction to the Bodhran

Video1

Video2

Loreena McKennitt : Is she a Pagan?

2009-11-09T01:30:00.005-03:00

It was in the latter half of the year 2000 when I had the chance to contact Linda Slater, a kind lady who carried an unofficial FAQ recognized even though by Quinlan Road since she was a member by those days of "The Old Ways" e-mail list, ... by the way, if you are not willing to read this post, I am pleased to inform you that Loreena McKennitt doesn't have any pagan believes at all!

Hereby I share with you Linda's comments

"[At this point, let me hand it over to Dave Gosselin who knows much more about Paganism than I do for the next couple of paragraphs. LGS ] Let me address two issues before the question of whether or not Loreena is a Pagan gets answered: What is Paganism, and Why would one even ask if Loreena McKennitt is a Pagan?

When we speak of Paganism, with a capital "P," we are talking of the Neopagan community which is basically the magical religions which have seasonal celebrations. This is slightly different than the dictionary defmition of paganism, which is religions that are not Christian, Moslem or Jewish. There are many different traditions ("denominations" if you will) within the Neopagan community. The most widely known are Wicca and Druidism. The adherents of Paganism have seasonal celebrations at the Solstices and Equinoxes as well as the cross quarter days (the days half way between the Solstices and the Equinoxes).

Pagan beliefs tend to include such beliefs as: divinity is both the immanent and transcendent (Goddess is within and without), reincarnation, that "Goddess" makes as much sense as "God", and that Nature is divine, and that we are part of Nature, not her "rulers."

Most Pagans use Magic as part of their rituals. One of the most important Pagan holidays is Samhain, also known as Halloween and All Soul's Night, at which time Pagans (and Christians, influenced by this tradition) honor the dead and attempt to communicate with them. Samhain (pronounced sow- ane or sow-een) is also the Celtic New Year. So why would someone ask if Loreena McKennitt is a Pagan? She did the music to three very important Pagan-positive films by the NFB, (The Goddess Remembered, The Burning Times, and Full Circle).

There is also a great deal of Celtic imagery in her music, and Pagans rely heavily on Celtic traditions. The tilles of many of her songs use ñames that are Pagan Holidays or images. These include, Samhain Night and Hurón 'Beltane1 Fire Dance (Beltane is considered second in importance only to Samhain in the Pagan community), All Souls Night and The Oíd Ways.

The Old Ways is a synonym for Paganism. There are also a few songs that invoke Pagan sympathies due to their environmental tone, or magical vision, such as Bonny Portmore and Courtyard Lullaby. Thanks, Dave!

Back to me for the rest, but before I proceed let me just say discussing somebody's spiritual beliefs is a tricky business and whenever one does it, one has to admit they are treading on thin ice.
So, I admit that's what I'm about to do and hope that if the ice below my feet cracks, and I plunge into frigid water, somebody will be there to pull me out and wrap a warm blanket around me and say "I hope you learned your lesson!"

Anyhow.... there's been a couple of recurring rumours regarding Loreena's spiritual life:
Rumour #1. Loreena is a practising Pagan but won't admit it publicly for fear of the effect such an admission would have on her career;

Rumour #2. Loreena is both a practising Pagan and a practising Román Catholic. The latter rumour started a movement among a certain Pagan group to boycott Loreena's music because to buy her CD's or concert tickets would in a roundabout way support "the enemy" (i.e. the Roman Catholic Church).

BOTH THESE RUMOURS ARE TOTALLY UNSUBSTANTIATED, and there is much more evidence to the contrary. Loreena has never stated in an interview that she is a Pagan or that she participates in any Pagan religious rites.

She has indicated that she knows she has a Pagan following and acknowledges that some of the images she uses in her inusic (those derived from nature or mythology) would attract those with some kind of environmental orientation to her music (and Pagans tend to have such an orientation).

Loreena and her family attended the United Church of Canada (a mainline, liberal Protestant denomination) when she was young,but in reference to her current religious practices, Loreena has said that she doesn't attend church or belong to any particular religión, but that she finds renewal in settings that bring her in closer touch to nature.

It is obvious from the themes she explores on the Mask and Mirror album and things she's said recently in interviews that Loreena spends a certain amount of time pondering spiritual matters, but I have never heard her say anything in the media like "I believe..." or "God is..." or "I am a [insert name of institutionalized religion of your choice]...."

Most of the time when she's talked about religion or spirituality, she's tended to ask questions, like "What is god?" "What is the soul?" rather than stating what she herself believes to be true.

For those of you who distrust the media and think "So, she's never said she's a Pagan in the media. That doesn't mean a thing!"

Let me add that I myself heard Loreena say she was NOT a Pagan, and somebody else posted a message about a year or so ago saying she'd asked Loreena at a promotional appearance whether she was a Pagan, and, again, Loreena said "No".