<strong>TRE</strong>OIRhome and spent each night on drinkwhatever money he made by day.Drunk or sober, he had a strong localreputation for putting a demoralisedset of pipes in good order. Intemperanceled to ruin of a good career asa piper in the case ofTempletuohytavern-keeper Timothy Shelly whodied in the poorhouse in IB70.In Emly, a piper of good repute named'Ned' Fraher flourished before themiddle of the nineteenth century:unlike many of the others who areforced by physical disability to make aliving out of music. Fraher was in fullpossession of all his faculties, at leastearly on in his life. After leading theordinary life of the professional piperfor many years, he went to England,where he is said to have won 'fameand fortune'. At any rate, no onecould contradict him when hereturned with a splendid instrument,which he claimed to have got fromthe Royal Family in appreciation of hisstyle. When he was stricken withsudden blindness his bad luck wasattributed to the fairies.The Hogans of CashelThe Hogans of Cashel were a wholefamily of famous musicians of the lateI BOO's. The father and three sonswere noted Union pipers, while twoother sons were distinguishedfiddlers:Thomas, the eldest son wasaccomplished at pipes, flute and violin.A tall, dark complexioned man, hisneat and well-dressed appearancesuggests a well-earned prosperity. Heinspired as well as entertained, andwhen the author visited Cashel at thebeginning of this century, he reportedmeeting a son of Tom Hogan's whowas a splendid fiddler in his own right.Ned Hogan, another of the brothers,was reputed to have been helped by aDublin benefactor, who fitted him outwith clothes and pipes and sent himto perform in London, where he isclaimed to have been awarded asilver mounted set of pipes by thePrince Consort.Michael and Larry meanwhileconcentrated on the violin and werenoted travelling fiddlers.Information about Templetuohy piperPat Spillane is sketchy: threeauthorities of his time describing himas an outstanding performer. Thoughborn in Tipperary, he spent some timein France and Cork, where he diedabout the turn of the century.O 'Neill's credits the Cork PipersBand with a far reaching influence inthe revival of music and dancing inIreland, and credits John SmithwickWayland with responsibility for settingit up in IB9B. Wayland was founderand first vice-president of the club andtraced out pipers, whose instrumentshad lain unused for years, encouragedthem to practise and gave them publicrecognition. Wayland and his clubhelped to raise travelling expenses forimpoverished musicians so they couldcompete in annual feiseanna.For the first time, women wereencouraged and the first band ofkilted war pipers in modern days wasorganised and equipped at theinstigation of the club's founder.Wayland was born in Clonkelly.Cashel, in IB74, the youngest of tenchildren. Irish music enthusiasts inAustralia invited him to come andperform there and the irrepressibleWayland set sail for Perth n 1912,stopping at ports of call in theMediterranean and entertainingresidents in Naples, Toulon and Egyptto traditional Irish Culture.Other musicians of the IB60's andIB70's who came back to life inO'Neill's book include WilliamHennessy of Ballingarry and laterUrlingford. Patrick Duanne ofKilbraugh. Coolbrook and the Higginsbrothers of Killenaule.- Treoir Vol 23, 1991A Salute to Geniusand ServiceIt is gratifying to learn that present-day Chicago (and byextension all of North America) saluted a number of prominentpeople - some of whom have gone to their Eternal Reward -for their exceptional contribution to the cultural heritage ofIreland. <strong>Comhaltas</strong> Ceolt6iri Eireann worldwide would wish tobe associated with this very worthy commendation.The names of Capt Francis O·Neill. Pat Roche.JohnnyMcGreevy. Martin Byrnes. Michael Flatley (senior). TomMasterson and Bertie McMahon are all synonymous with thefortunes of Irish traditional music and native Irish culture ingeneral. Each. in his own particular way. has left an indeliblemark on that music and culture. which flowered from virtualextinction to its present-day worldwide blossoming.Those who honour those noble Gaels in Chicago are not onlyexpressing appreciation of their service to the Irish nation athome and abroad but are also expressing a commitment tocontinue this work into the future. The greatest monument toany man or woman is the perpetual respect and admiration ofcompatriots.The Irish nation has a glorious history of challenge. survival andrenaissance. Those who made that history inspired us to greatereffort and rekindled in us a pride in our distinctiveness amongthe nations of the world. Those whom you honour on thisoccasion have created a momentous chapter in that history.From its modest beginnings in 1951 <strong>Comhaltas</strong> is noworganised on five continents but none is more important oraffectionately regarded than North America. Here was acontributory source - a well - spring - that helped shape thefinal outcome. The Honourees in Chicago were central to thatstory - that success. They will forever be spoken about withpride wherever the welfare of Ireland and her cultural identityis paramount. We salute them and their families and we arepleased to be numbered among their beneficiaries.41
<strong>TRE</strong>OIRLichfield I rish WeekendAn outsider's look-in on set dancing.We escaped the grey rainy afternooninto the baronial splendour of theGuildhall, lichfield - two set dancingnovices looking forward to aninteresting and active afternoon. Wefound John Holian, quietly, courteouslyand persistently encouraging a mixedgroup of people in the arts and skillsof this magic dance. With unrelentingpace he taught us about steps,formations and eventually thesubtleties of various regional dancestyles. Tirelessly he explained anddemonstrated until our vocabularywas widened to include new meaningsfor the words three quarter house,half seven. ladies chain and advance.Set Dance Ceili, The Guildhall,8 o'clockAs we entered, the hall was full ofpeople dancing gracefully to the musicof O·Carolan. played by the LichfieldCeilf band. That was followed by themore energetic Ballyvourney Jig Set,during which we more or lesssucceeded in practising our newfoundskills. In the course of ourmanoeuvrings a ladies pop socksuddenly appeared on the floor in themiddle of the dancers and causedmuch amusement and quizzical looks.After the dance John lifted it up andposed two questions"What is this?" and "Whose is this?"No brave soul offered to answer thesecond question.We watched for a bit as the expertsenjoyed sliding, stepping and glidingeffortlessly through sets like TheBallyduff and The Caledonian. A majordifference between us novices and theexperts seemed to be economy ofmovement. We ended up red faced andgasping for air at the end of each set.They barely had a hair out of place!And the music continued. Fast, expertrenditions of jigs, reels and hornpipesfilled the hall with a beautiful balancedsound. John noticed us sitting outenjoying the scene and approached."Do you want to try something wedid this afternoon?" he offered. Sokind of him, but I wasn't sure I couldremember anything I had done in theafternoon. I must have looked blank."We'll try the Corofin:' he said."That's an easy one"He quickly refreshed our memories."First circle in, set, swing, half seven,full seven cross, home, three quarterhouse, ladies chain, pass out left.house around then swing. Got id" Imust have looked blanker still. "Right.I'll stand and talk you through it". Themusic started up. Off we went in thewrong direction. John appeared, mikein hand, issuing perfectly timedinstructions, which someone whoknew their right from their left wouldhave no trouble at all following. Iwasn't doing very well, obviously, assoon the other six dancers in the setall began offering help. "Cross now:'"In 1,2,3." We kept going. We enjoyedit. They all seemed to enjoy it! Theband was certainly enjoying playing. Somany helpful people. New friends.Tolerance. Brilliant music. That'sanother part of the magic of thisdance. You don't have to be able to doit to do it!- Submitted by Barbara Ross, Uch~eldCCl, Photographs submitted by lanBradshaw, Uch~eld cctThe Traditions alive inthe city of Lady Godiva!Nestling in the heart of the Midlands,the industrial City of Coventry haslong been a haven for Irish cultureand it was in 1971 that a dedicatedband of traditional music enthusiastsformed Coventry CCE; to encourageand promote Irish Music and Culture.The branch seisiun is always wellattended by musicians and otherbranch members. Instruments playedare button key accordion, whistle andlow whistle; flutes, fiddles, banjo,guitar, bodhran and we had a visitfrom an uilleann pipe player. Tunes anddances from last week's branch Ceilfwere to the fore.The branch meets on a Tuesday nightfrom 8.00 pm at The Four ProvincesClub,Allesley Old Road, Coventry.Lessons are taught on the ButtonAccordion, Whistle, Bodhran, Banjoand Fiddle.A monthly seisiun is also) .. ~Coventry CCt. enjoying themselves at the FridayNight seisiun, Hughie McGovem Weekend.Letterkenny 200Sheld on the firstTuesday of each month.The aim of the branch remains similarto that at its inception in 1971: toencourage and pass on musictraditions to adults and children inCoventry. However, the maindifference today is that more thirdand forth generation Irish arediscovering their native culture.Coventry musicians each April visitLetterkenny. Co. Donegal for ScoilEarraigh Hughie McGovern, which is a43