Part of a series on the |
Culture of the Isle of Man |
---|
History |
People |
Languages |
Mythology |
Cuisine |
Festivals |
Religion |
Literature |
Music |
Sport |
The music of the Isle of Man reflects Celtic, Norse and other influences, including those from its neighbours, Scotland, Ireland, England and Wales. The Isle of Man is a small island nation in the Irish Sea, between Great Britain and Ireland (and not part of the United Kingdom).
A wide range of music is performed on the island, such as rock, blues, jazz and pop. However, its traditional folk music has undergone a revival since the 1970s, starting with a music festival called Yn Chruinnaght in Ramsey. [1] This was part of a general revival of the Manx language and culture, after the death of the last native speaker of Manx in 1974.
Musicians of the Manx musical revival include King Chiaullee, Skeeal, The Mannin Folk, Mactullagh Vannin, Moot and many others. Culture Vannin provides a central resource for Manx music and dance through the manxmusic.com website, which has links to most performers. Other artists who have produced CDs include Emma Christian ( Ta'n Dooid Cheet – Beneath the Twilight), (voice, harp and recorder), and harpist and producer Charles Guard (Avenging and Bright), formerly an administrator at Culture Vannin. Many of the web entries about Manx music stem from Cliff McGann's 1996 article [1] which is now somewhat out of date.
Little can be determined about the character of music on the Isle of Man prior to the 15th century. There are many carved crosses from this era, but they depict a total of two musicians, one lur player and a harpist. Songs from this era may have had Scandinavian origins; some also bear similarities to Irish and Scottish music. The song Reeaghyn dy Vannin (the Manx sword dance) is very similar to a lullaby from the Hebrides and is also said to have been a ritual dance during the Scandinavian era. [2]
The earliest written evidence describes fiddle music and a variety of folk dances. There was no harp tradition as was otherwise prevalent in Celtic music. English folk songs were very popular, later including broadside ballads, jigs and reels. Also extant were traditional Gaelic psalm-singing and other church music.
According to Fenella Bazin, "...[E]vidence from written sources shows that the Manx were enthusiastic dancers and musicians, often appearing in the ecclesiastical courts on charges on making music on Saturday nights or after church on Sundays." [2] A traditional Manx melody is Mylecharane (The Manx National Air).
In 1891, Manx antiquarian and folklorist Arthur William Moore published a collection of Manx Carols. The carval is related to the medieval English carol and sung to popular Manx tunes. [2] These carols were formerly sung in the parish churches on Christmas Eve, or Oie'l Verrey (a corruption of Oie Feaill Voirrey (the eve of Mary's Feast, i.e. Christmas Eve), as it was called. It was the custom for the people on this night to bring their own candles, so that the church was brilliantly illuminated. Decorations mainly consisted of branches of holly and festoons of ivy. After the prayers were read and a hymn sung, the parson usually went home, leaving the clerk in charge. Then each one who had a carol to sing would do so in turn, so that the proceedings were continued till a very late hour, and sometimes also became of a rather riotous character, as it was a custom for the female part of the congregation to provide themselves with peas, which they flung at their bachelor friends. On the way home a considerable proportion of the congregation would probably visit the nearest inn, where they would partake of the traditional drink on such occasions, viz. hot ale, flavoured with spice, ginger, and pepper. [3] It was traditional to sing Arrane Oie Vie (Good-night Song) on the way home.
The ballad Ushtey Millish 'sy Garee relates to the old practice of summoning a jury of 24 men to decide questions connected with water-courses, boundaries, etc. and is dated to sometime prior to 1777. A bardoon was a locally composed song about the loss of a loved one at sea. [4] Yn Chenn Dolphin (The Old Dolphin) is a tale about a shipwreck. [5]
Church music is the most documented Manx music of the 19th century. Lining out was a common technique, as it was throughout Great Britain and Ireland. West gallery musicians performed for special occasions, using locally composed or well-known compositions. Organs were a later importation that became standard in most of the island's churches. The first mention of an organ on the island is associated with St George's church, Douglas in September 1781. The first collection of Manx church songs was printed in 1799, and was followed by many other collections, though it was not until the 1870s and 1880s that Manx music began to be published in any great quantity, as drawing-room ballads, religious songs, and choral arrangements all became popular. The proliferation of this music coincided with a boom in the tourism industry for the island, and Manx music-hall and dance-hall songs and dances saw increased demand. Manx language songs, in particular, benefited from the Gaelic revival from the 19th century onwards. [6]
A notable musical episode in the Isle of Man was the imprisonment between 1940 and 1941 of many German musicians of Jewish extraction in Hutchinson Internment Camp on the island. These included Hans Gál (who composed there works for performance by the camp orchestra), Egon Wellesz, and Marjan Rawicz. [7]
Though West Gallery music continued into the 1950s, by the 20th century instrumental music accompanied most worship on the Isle of Man. Later in the 20th century, Manx church musical traditions slowly declined. The legacy of immigration, from England and elsewhere, has brought in many new styles of music to the island.
Some of the last native Manx speakers, including Ned Maddrell, were recording singing traditional songs. In 1909, the Austrian ethnologist Rudolf Trebitsch made several recordings, as did the Irish Folklore Commission in 1948. [8]
Culture Vannin has a dedicated Manx Music Development Team comprising a Manx music specialist, who works with the island's Department of Education, Sport and Culture to encourage the development of Manx music in the school curriculum, and a Manx Music Development Officer, who works to promote Manx music and dance in the wider community. CDs by bands, soloists and Gaelic choirs are produced.
The Manx Music Festival is an annual music festival held at the end of each April in Douglas. It was founded in 1892 by the "Mother of Manx Music" M. L. Wood after music classes were included in the Fine Arts and Industrial Guild, after which the festival gets its colloquial name of "The Guild". [9] Local people and visitors are invited to take part in various singing, instrumental, drama and public speaking classes. At the close of the festival, winners of the individual voice categories compete to win the Cleveland Medal, first donated in 1923 by the Cleveland Manx Society. The first performance of the Manx National Anthem occurred at The Guild in 1907, accompanied by Harry Wood's Orchestra.
In November 2014 Culture Vannin, a government sponsored entity, brought together musicians from Norway and the Isle of Man to produce the Norwegian-Manx Collaboration featuring traditional music and providing an educational tour around the Isle of Man. The collaboration featured Manx musicians Tom Callister, Ruth Keggin and David Kilgallon, as well as Norwegian musicians Erlend Apneseth and Margit Myhr. [10]
Manx, also known as Manx Gaelic, is a Gaelic language of the insular Celtic branch of the Celtic language family, itself a branch of the Indo-European language family. Manx is the historical language of the Manx people.
The "National Anthem of the Isle of Man" was written and composed by William Henry Gill (1839–1923), with the Manx translation by John J. Kneen (1873–1939). It is often referred to by its incipit, "O Land of Our Birth".
Yn Chruinnaght is a cultural festival in the Isle of Man which celebrates Manx music, Manx language and culture, and links with other Celtic cultures.
The culture of the Isle of Man is influenced by its Celtic and, to a lesser extent, its Norse origins, though its close proximity to the United Kingdom, popularity as a UK tourist destination, and recent mass immigration by British migrant workers has meant that British influence has been dominant since the Revestment period. Recent revival campaigns have attempted to preserve the surviving vestiges of Manx culture after a long period of Anglicisation, and significant interest in the Manx language, history and musical tradition has been the result.
Literature in the Manx language, which shares common roots with the Gaelic literature and Pre-Christian mythology of Ireland and Scotland, is known from at least the early 16th century, when the majority of the population still belonged to the Catholic Church in the Isle of Man.
Cregneash or Cregneish is a small village and tourist destination in the extreme south-west of the Isle of Man, about 1 mi (2 km) from Port Erin. Most of the village is now part of a living museum run by Manx National Heritage. There are also a number of private homes in the village, but their external appearance is controlled to maintain an older look. The village was also home to prominent Manx language speakers, Edward Faragher and Ned Maddrell.
Hop-tu-Naa is a Celtic festival celebrated in the Isle of Man on 31 October. It is the celebration of the traditional Gaelic festival of Samhain, the start of winter. It is thought to be the oldest unbroken tradition in the Isle of Man.
Ellan Vannin is a poem and song, often referred to as "the alternative Manx national anthem", the words of which were written by Eliza Craven Green in 1854 and later set to music by someone called either J. Townsend or F. H. Townend.
Mona Douglas was a Manx cultural activist, folklorist, poet, novelist and journalist. She is recognised as the main driving force behind the modern revival of Manx culture and is acknowledged as the most influential Manx poet of the 20th century, but she is best known for her often controversial work to preserve and revive traditional Manx folk music and dance. She was involved in a great number of initiatives to revive interest and activity in Manx culture, including societies, classes, publications and youth groups. The most notable and successful of these was Yn Chruinnaght.
The Reih Bleeaney Vanannan is the Isle of Man's most prestigious annual award for culture. It is presented by Culture Vannin to the person or group who, in the opinion of the panel of assessors, has made the most outstanding contribution to Manx culture. It is officially presented by the President of Culture Vannin, normally in January each year.
Aeglagh Vannin was a youth group in the Isle of Man whose purpose was the engagement with and revitalisation of Manx language, history and culture. It was established by Mona Douglas in 1931, went through a number of mutations, and faded out in the 1970s. It is best remembered for its central role in the revival of Manx folk dancing.
Colin Jerry was a Manx cultural activist best known for his contributions to Manx music through his books, Kiaull yn Theay, published in two volumes. He was awarded the Reih Bleeaney Vanannan in 1991 for his contributions to Manx culture which were 'extensive and staggering.'
Yn Çheshaght Ghailckagh, also known as the Manx Language Society and formerly known as Manx Gaelic Society, was founded in 1899 in the Isle of Man to promote the Manx language. The group's motto is Gyn çhengey, gyn çheer.
Ruth Keggin is a Manx Gaelic singer-songwriter. She holds degrees from the University of York and the University of Cambridge.
Hunt the Wren is a traditional custom carried out on the Isle of Man on the 26 December, St. Stephen's Day. It consists of groups of people going around villages and towns singing and dancing a traditional song and dance around a decorated wren pole.
Doug Fargher also known as Doolish y Karagher or Yn Breagagh, was a Manx language activist, author, and radio personality who was involved with the revival of the Manx language on the Isle of Man in the 20th century. He is best known for his English-Manx Dictionary (1979), the first modern dictionary for the Manx language. Fargher was involved in the promotion of Manx language, culture and nationalist politics throughout his life.
Bree is a youth educational movement organised by Culture Vannin on the Isle of Man that gives children between the ages 10 and 18 the opportunity to learn traditional Manx music, dance, and culture. Bree is a Manx word that means 'vitality or 'energy'. The movement organises the annual workshop weekend every autumn and also runs monthly sessions through the year.
Shennaghys Jiu(English: Tradition Today) is a four-day youth music and performing arts festival on the Isle of Man. The festival's aim is to give young performers of traditional Manx music and dance the opportunity to come together in a non-competitive environment, and share culture with the other Celtic nations.
The White Boys is the traditional mummers' play of the Isle of Man.
Isla Callister, also Isla Callister-Wafer, is a folk musician and fiddle player from the Isle of Man. She is a member of the all-women folk group Heisk, and the band Trip. She performed with both ensembles at Celtic Connections in 2024. Trip were nominated for the BBC Folk Awards Young Folk Award in 2018.