Reels from Home is a trip down memory lane with a specially curated collection of films selected from the Archives of the Irish Film Institute. Developed in collaboration with The London Irish Centre, Reels from Home presents a collection which includes material which dates as far back as the 1930s and includes both professional and amateur films documenting all aspects of Irish life including tourism, industry, sport, adverts and much more. The collection is made available through the IFI Archive Player and suite of apps able to view anywhere in the world for free. Fancy watching adverts from your childhood or revisiting Ireland of old? Sit back in the comfort of your home and take this trip down memory lane with us.
The IFI Archive Player is a virtual viewing room for the remarkable moving image collections held in the IFI Irish Film Archive, giving audiences across the globe instant access to this rich heritage. With over 900 films available on the IFI Archive Player, the material has been curated to give audiences a taste of the breadth and depth of the collections preserved by the archive. Home movies, newsreels, travelogues, animations, feature films, public information films and documentaries have been included as we have tried to reflect all aspects of indigenous amateur and professional production.
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IFI is dedicated to ensuring our national moving image collection is preserved and now globally accessible, on behalf of the nation, for future generations. The development of the IFI Archive Player and suite of applications is a significant step for us as it truly democratises access, and we continue to build on the content with new collections and seasonal releases.
Commissioned by the Irish tourism board Bord Filte to entice visitors to Ireland, this visually-stunning short takes the viewer on a journey through Ireland in 1958 looking at Irish life and landscapes. The work of designer Irene Gilbert and fabrics produced by The Crock of Gold and Gaeltarra ireann are juxtaposed with scenes of rural beauty all around the country. The film also presents cityscapes in Limerick, Galway and Dublin and exciting activities including the Tstal Festival, the Spring Show, a hurling match at Croke Park and the Horse Show.
This short amateur film shows a trip to Killiney Hill, Dublin, on a beautiful sunny day. The Obelisk stands proudly on the hilltop with views of the Wicklow Mountains in the distance. A boat trip takes us from Bullock Harbour past the beautiful Sorrento Terrace and towards Dalkey Island.
Father Jack Delaney (1906-1980) was ordained in 1930 at the age of 24 and served as a parish priest in Dublin in the 1930s and 1940s. He served mainly around Sen McDermott Street (then Gloucester Street), Rutland Street and Gardiner Street. His films offer a fascinating glimpse of life at the time in inner-city Dublin.
Many of Paddy Carey films depict a scarcity of civilisation, an untouched landscape, but here he treats the viewer to the beauties of landscape interwoven with a vivid tapestry of human activity: anglers in a lively river; bird-watchers at work; sheep farmers; horse riders; seaweed gatherers. A nighttime sequence shows people gathering in an unidentified village for music in a cosy pub.
Emiel makes a very valid point, and historically, a lot of brilliant Irish trad artists on both sides of the Atlantic had a 5-string banjo. However, in fairness to the OP, he is quoted out of context because R.D. asks in his previous sentence:
"How do folks here feel about the use of the 5-string banjo in handling the dance music repertoire?"
So, without putting words in his mouth, his statement could also be taken, thus, "I see it as having definite drawbacks borne out by the fact that no Irish Trad group I know of has used it as a regular part of their instrumental line-up [for playing dance tunes]." That's how I took it, though Luke Kelly (and a lot of others) immediately came to mind.
Not just for serious students of the 5-string, I pointed out earlier that I thought R.D had narrowed down his topic "as to curtail discussion about specific dance tunes and traditions, mentioning but essentially ignoring the vast "dance music" repertoire that exists for cel, set and step dancers. [He] mentioned only jigs and reels.... Irish dancing, in its myriad forms, goes beyond session jigs and reels, and there are many kinds of Irish dancing, including set dancing, a broad range of styles including jigs, reels and hornpipes; cel dancing, which is very strict, doesn't allow for much improvisation, and goes by the book; step dancing, both hard and soft shoe; damhsa ar an sean ns, and related old-style step dancing, and more."
Nice spot, Bill, great tune medley there. Okay, John D's tunes work out of Double D, and notice that he is not playing in a single key/mode. I really like the way he bounces. These lovely jigs are standards in Irish session repertoire, and they're all dance tunes.
Melodic clawhammer, as John D or Ken Perlman would play, uses different tunings for different keys and modes. Notice how the tonal center shifts in the first tune (D Major with strong A flavors in the second part), then the shift to D Mixolydian for the second tune, then a shift to A Major for the last tune (all in Double D). It's a brilliant medley.
So, melodic clawhammer works beautifully, especially, as Bill observes, if one has the technique. I would also add, the desire. Not everybody who plays OT music is interested in Irish, or for that matter, other Celtic dance forms/tunes. (The same is true for those who play classic, classical, jazz or bluegrass music on a 5-string.)
In Celtic fingerstyle, because it evolved from playing in the trenches on a single banjo, we don't have the luxury of re-tuning to Double C/D (gCGCD or aDADE - Double C capoed at the second fret), or G/A Modal (Sawmill), or Drop C, Open C, Open D, Open Gm, etc. Nope, Celtic fingerstyle is designed for playing everything out of G Tuning (at sessions). It can also be used for solo performances, concerts, and the like.
Ironically, many Old-Time and bluegrass tunes preserved (often under different titles) in the Irish and Scottish diasporas are Celtic in origin, and use the same the Four Celtic Modes (Ionian, Mixolydian, Dorian, Aeolian) that are found in the (former) 'British Isles', in England, Ireland, Scotland, Wales, Brittany, Shetland, Cape Breton, Prince Edward Island, Appalachia, lost Celtic enclaves, ex-Celtic lands, and the Celtic Diaspora (including Australia and New Zealand).
Anyway, here are three Irish jigs in three different keys (D Major, G Major, E Aeolian/Minor), all standards, that I recorded many moons ago. Sorry that each is played only once, but I had to squeeze as many tunes as I could onto one CD that came (optionally) with Complete Book of Irish & Celtic 5-String Banjo. (That was before mp3s and digital downloads.)
Yes, good point, but in a perfect world. In reality, people play instruments that they can get their hands on, and it has little to do with consensus, though it might have something to do with other people's politics. Wherever you have people, you have politics, petty one-upmanship, gossip, innuendo, and the like.
Come to think of it, who could have predicted the adoption of the 5-string banjo by native Irish musicians long before the tenor banjo and bouzouki were even considered in 20th-century trad? The playing and backing of tunes at sessions is just one part of the tradition, and it doesn't define the entire tradition. The Chieftains don't use it, Altan doesn't use it, and let's see, oh, never mind, the list is too long.
The 5-string, in reality, has a longer history in both Irish-American and Irish music because it reached Ireland's shores back in the 19th century. Please see Early Irish-American Banjo by Rob MacKillop.
The 5-string also has a much longer history in Irish-American tradition than a lot of folks realize, a much longer history as an accompaniment instrument, but also for playing tunes. It actually goes back to antebellum America (1840s).
I don't get the "perfect world" reference. I'm talking about the modern world, and people these days can get their hands on just about anything... I've heard Irish tunes played on the oud. What consensus has to do with it is that is how things have been, and do become accepted into the tradition. It takes time. I'll go out on a limb and guess that the 5-string ain't quite there yet, but by all acounts, seems it is well on the path.
Whether or not I am missing some of the points folks have made, I do believe my question has been answered. Seems like the folks here are unanimously of the opinion that the five-string is very well suited to the execution of "jigs and reels". 152ee80cbc
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