June McCormack, flute player

[jemmoore]

In November of 2011, Blayne Chastain and I had the opportunity to go to Ireland for 10 days to film flute players for our documentary, “The Keymaster: Patrick Olwell’s Story”. We met and interviewed 14 flute players, traveled over 1,000Km, and had one of the most memorable trips of our lives.

Our second stop that day was at the home of June McCormack, a flute player from BallyTogher, County Sligo. She had not only agreed to the interview and filming, but offered to put us up for the night. A lovely stone cottage overlooking rolling hills and fields, with peat fire roaring in the fireplace, was our personal B&B for the night. And best of all, it came with amazing tunes from a lovely player with roots deep in the tradition.

https://vimeo.com/162962433

[jim stone]

Lovely music, wonderfully played. Thanks.

[jemmoore]

Just got the following comment on my video of Harry McGowan, and I would be curious to know what other native Irish think of it:

"Stealing the Irish soul eh! Frauds, fakes and scumbags. Ireland ALREADY has its own flute makers and players. Go play your own folk music! Stop murdering ours!"

This person also left a not-so-nice message on "The Keymaster" trailer as well...

[kmag]

That is a bizarre post Jem, especially since both of the videos you have posted are both of Irish musicians.

When my wife and I were in Sligo there was a jazz festival going on. Cultural appropriation was not what came to my mind. Does the poster think that I should be offended as an American for "stealing our soul"?

[TWO TOOTS]

I really enjoyed that - Thank you for posting these delightful film clips As for, "Stealing the Irish soul eh! Frauds, fakes and scumbags. Ireland ALREADY has its own flute makers and players. Go play your own folk music! Stop murdering ours!"

Sounds like Pearls Of Wisdom from The All Ireland Happy Bunny

[kkrell]

Perhaps the comments was more about the flutes being from America, and the documentary about Patrick Olwell, rather than Irish-based makers (such as Hammy Hamilton, Eugene Lambe, Sam Murray & etc.).

[AlanG]

"The Keymaster" is an excellent film but I always thought that some wonderful footage must have been left on the editing room floor. Now we have a chance to see some of it - brilliant!

[jim stone]

By their flutes shall we know them.

[jemmoore]

Perhaps the comments was more about the flutes being from America, and the documentary about Patrick Olwell, rather than Irish-based makers (such as Hammy Hamilton, Eugene Lambe, Sam Murray & etc.).

I guess my first reaction is that their comment was inappropriate regardless, due to it's abusive nature. My second thought is that why should it matter where an instrument maker is from, or where a musician is from? Some of the best classical musicians in the world are Asian, yet they are playing music that was written by, and for, upper-class Europeans. For that matter, there are some very fine Asian trad players as well. And why not? If music isn't an international language, then there is no hope for the world.

And finally, not that I think it matters in the least, my grandparents were Irish. So does this person who posted believe that once one's ancestors leave Ireland, they have to leave the music behind as well? You're not allowed to maintain a tradition outside the national boundaries of a changeable historic past? All in all it seems like a narrow-minded and inherently selfish viewpoint that doesn't have much practical place in the world we live in. And worst of all, that viewpoint put into practice would deprive the joy of playing tunes from millions of people worldwide, and how can that possibly be a good idea.

[kkrell]

Oh, I agree the comment was inappropriate (that's the internet for you). Just trying to fit my head around what the he\\ might have set them off.

[paddler]

I think that comment was abusive and uncalled for. Personally, I loved your film and the two clips you just released. But as surprising as it was to read this comment, it did have a bit of a familiar ring to it. It reminds me of some discussions (heated arguments) I have seen in the context of native American flute making.

The basic gist of those arguments is that after a long and painful history of suppression of an indigenous culture, the musical instruments of that culture (native American flutes) are now being made, and sold for profit, by people who have no real connection to the native American culture. Furthermore, the instruments have been modified quite drastically, for example, to play western scales, and to sound quite different to the originals. The music that is commonly played on these new flutes now bears no resemblance to the music of the indigenous people (which was all but lost due to the harshness of the aforementioned suppression). But these new flutes and the new music are now marketed as native American (-style). Selling this music and these new flutes has become a profitable business, one in which it is difficult for true native American makers and artists to compete, especially if they try to sell authentic native American flutes.

This is seen, by some, as a second wave of cultural suppression, in which these remnants of cultural identity are being buried by misinformation that is aggressively propagated through all kinds of media. Some native people are deeply offended by this attack on their culture (and especially so, when it causes them economic hardship!). On the other side of the argument, some non-native native American-style flute makers can see absolutely nothing wrong with what they are doing, and are deeply offended by the objections directed at them.

So, I can't help wondering whether there are parallels to this argument for ITM and Irish flute making. The long and painful history of cultural suppression is certainly there. There has also been an aggressive repackaging and remarketing of Irish music that is not exactly traditional. But, in my view, the resurgence of ITM and Irish flute playing has been much more of a success story than that of native American flutes. There seems to be a strong effort, at least by some, to rediscover, and stay true to, a tradition. From my perspective, this is a sign of deep respect for a culture. Second, there is a high participation rate among Irish players and makers, and those who may not be Irish but who are of Irish descent. I might be wrong, but I don't get the feeling that anyone is actually suffering economically as a result of this resurgence. Finally, the flutes themselves were never really Irish. Most flutes used for ITM, even those made by Irish makers, were based on older English flutes. So with regard to Irish flute makers, it is really a very different situation to that of the native American flute maker.

All in all, my feeling is that in making your film, and in particular with the two clips you just posted, you made a great effort to include Irish musicians and to show the traditional side of Irish music, with some authenticity. So, in your case, I think that comment really was quite inappropriate.

[TWO TOOTS]

Just to add a little to paddler's well constructed and informative points ( I was unaware and saddened to hear about the further misfortune for Native Americans concerning their flutes and music ), a high percentage of 19th. Century " English Flutes " were crafted by Continental European immigrants who settled in London to ply their trade - a fortunate turn in events, which demonstrates that Culture is never static. In the highly connected planet we now find ourselves, this fluidity of knowledge, ideas and Culture can only proliferate. The inevitability of this process seems certain to me, and it will have no time and place for the unimaginative and narrow minded. As far as keeping Irish music and culture for Ireland and the Irish, we certainly didn't give that notion much weight when countless millions of us were welcomed by host nations across the globe over the centuries.

[jemmoore]

I have to say I really enjoy the informed and thoughtful discussion that the original post sparked, so maybe there's some inherent good in trolls of that kind regardless of their intention. The exploitation of Native American music, spirituality, and culture is sadly true, as is the opposite side of the coin which is the discovery, nurturing and respectful sharing of the same. It's interesting to think that the main difference is an economic one. And I certainly don't want to see any person in Ireland harmed by my movie, or by sharing some of the clips that didn't make it into the movie. Other than the harm inflicted by the innate flaws in a film from from a first-time film maker that is...and everyone has certainly seemed forgiving on that front, thank goodness!

[Steve Bliven]

For reasons listed above, the American football team name "Washington Redskins" is controversial. This recent note suggests that the "Boston Celtics" might suffer the same fate....

Best wishes.

Steve

[Brus]

For reasons listed above, the American football team name "Washington Redskins" is controversial. This recent note suggests that the "Boston Celtics" might suffer the same fate....

Best wishes.

Steve

How about the Minnesota Vikings?