Report on the Harping Tradition in Ireland

Recommendations

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8 Paul Dooley, Úna Ní Fhlannagáin, Caitríona Rowsome. Máire Ní Chathasaigh and Deirdre Granville. Meeting in the Arts Council, 2013. Photo by Maxwell Photography
• the unsuitability of some Arts Council schemes to the harp sector; • the great deal of research and publishing that still remains to be carried out on the Irish harping tradition. This report makes fourteen recommendations that could address this situation, including, • support for an Irish Harp Forum that encompassed all harp organisations; • increased support for the key organisations Cairde na Cruite, the Historical Harp Society of Ireland and the Irish Harp Centre; • support for research into the development of an Irish Harp Centre; • ensuring that Arts Council schemes are flexible enough to accommodate and support the full range of Irish harping activity; • support for professional training development for harpers; • a public awareness initiative to encourage more harpers to apply for the Arts Council’s range of schemes, bursaries and commission awards; • support for the introduction of a national harp-rental scheme; • capitalising on the occasion of the 2016 Commemoration through the establishment of an annual Irish harp festival in Dublin; • encouraging more traditional music festivals to provide harp tuition; • the creation of a database of available tuition and events where potential students can try the Irish harp (such as Na Píobairí Uilleann undertakes with the uilleann pipes); • supporting Irish harp-makers by encouraging them to apply for relevant supports; • support for more research and publication on the Irish harping tradition. The Irish harp lies at the cusp of reclaiming a prominent place in Irish cultural life, bringing with it a depth of tradition and musical creativity that is unique. Its potential for inspiring and enriching the Irish arts across the entire contemporary spectrum is relatively untapped. After a thousand-year journey for the Irish harp, 2015 represents an opportunity for the Arts Council to put the contemporary supports for the instrument on a more secure footing, and to ensure this historic Irish tradition flourishes into the future. 9
Page 1 and 2: Report on the Harp
Page 3 and 4: VOICES OF IRISH HARPERS ‘I am pro
Page 5 and 6: Executive Summary 7 Introduction 11
Page 7: EXECUTIVE SUMMARY Over several cent
Page 11 and 12: INTRODUCTION At the beginning of Ju
Page 13 and 14: As the reader will see from this re
Page 15 and 16: Kavan Donohue, Claire O’Donnell,
Page 17 and 18: Methodology The methodology for thi
Page 19 and 20: title Denis O’Hempsey - who parti
Page 21 and 22: Four days in Belfast By c. 1750 in
Page 23 and 24: Pioneering As Irish traditional mus
Page 25 and 26: Mary Bergin, Antoinette McKenna and
Page 27 and 28: Harps on the Liffey - the launch of
Page 29 and 30: 3.2 Location Ninety per cent of res
Page 31 and 32: An issue that did not appear in any
Page 33 and 34: Irish lever harp The modern Irish l
Page 35 and 36: There was some concern expressed in
Page 37 and 38: 3.7 Musical background The growth i
Page 39 and 40: Graded examinations are a significa
Page 41 and 42: 3.8 Performance Traditional Irish m
Page 43 and 44: Chris Stout, Séamus Ó Beaglaoich
Page 45 and 46: Group playing Harpers perform as pa
Page 47 and 48: Enda Bates, Clíona Doris and Linda
Page 49 and 50: Number of Pieces Arranged for Harp
Page 51 and 52: The type of organisations or groups
Page 53 and 54: 3.11 Tuition Based on the informati
Page 55 and 56: Kilkenny Laois Leitrim Limerick Lon
Page 57 and 58: Map 2: Harp tuition detail: Norther
Page 59 and 60:
Harp Tuition at Summer Schools and
Page 61 and 62:
Ann Heymann (USA) teaching a class
Page 63 and 64:
3.13 Organisations The Irish harp s
Page 65 and 66:
Historical Harp Society of Ireland
Page 67 and 68:
The Irish Harp Centre Founded by Ja
Page 69 and 70:
3.14 Resources Given the historical
Page 71 and 72:
Harpers also use a range of online
Page 73 and 74:
3.15 Harp-making Harp ownership Nin
Page 75 and 76:
• harp festivals and events are e
Page 77 and 78:
Fifty-five respondents had accessed
Page 79 and 80:
Muckross Harp Trail 2015 Photo by V
Page 81 and 82:
4. RECOMMENDATIONS At the beginning
Page 83 and 84:
The Irish Harp Centre is an excelle
Page 85 and 86:
Muckross Harp Trail 2015 Photo by V
Page 87 and 88:
4.6 Composition and Commissions Com
Page 89 and 90:
Natalie Surina of Ériú Harps insp
Page 91 and 92:
Edinburgh International Harp Festiv
Page 93 and 94:
4.10 Harp-making A comprehensive da
Page 95 and 96:
Aodán Ó Dubhghaill and Áine Ní
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Report on the Harping Tradition in Ireland

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