
Island's largest céilí festival set to return to Belfast in celebration of ‘rich legacy' of Irish and Scottish music
A host of musicians will take to the main stage including Belfast's own Róise McHugh with Down Academy Pipes and Drum also performing alongside Kerry trad band Pólca 4.
Artistic Director of Belfast TradFest, Dónal O'Connor, said the event is a significant celebration of history and culture.
'The Titanic Céilí on the iconic Slipways of Belfast's Maritime Mile is more than a celebration of traditional music, song, and dance; it's a tribute to the rich legacy of Irish and Scottish musical traditions that have shaped this city,' he said.
'Céilí and set dancing were central to social life during the Titanic era, bringing communities together in joyful celebration. Hosting this event on the very site where Titanic was built connects us directly to that vibrant cultural past.'
'The Titanic Slipways—once the launchpad for one of the world's most famous ships—will come alive with the sounds and rhythms cherished for generations. Belfast's maritime heritage, paired with its enduring musical traditions, creates a truly unique backdrop.
'This céilí is not just a communal dance; it's a living link to our ancestors, celebrating their spirit and resilience. As we gather to dance and make music, we honour those who came before us and keep their legacy alive. It's a powerful way to open this year's festival, and we hope it's a step towards a future attempt at the 'World's Biggest Céilí'.'
Ballad guitarist and singer-songwriter Meadhbh Walsh from Co Cork will also make an appearance with The Belfast Wren Boys and the internationally acclaimed Glengormley School of Traditional Music delivering an ensemble of folk songs.
Families are encouraged to enjoy range of workshops and activities such as bodhrán circles, art stations and face painting at the festival.
Plenty of food and drink vendors will also be there on the day of the festival which is being hosted in tandem with the Maritime Belfast Trust, Belfast City Council and Tourism NI.
Kerrie Sweeney MBE, CEO Maritime Belfast Trust, said: 'We are delighted to work in partnership with Belfast TradFest for the fourth consecutive year in delivering the Titanic Céilí on our world-renowned Titanic Slipways.
Watch: Flash Flooding hits parts of Northern Ireland
"This year's ambitious event sees us one step closer to achieving the Guinness World Record for the largest outdoor Céilí. .
"We invite everyone to come down this Sunday and be part of this journey, it's a wonderful celebration of traditional music and dance, bringing communities together on Belfast's heritage waterfront."
Entry to the Titanic céilí is free.
The event will run from 1–5pm at Titanic Slipways on Belfast's Maritime Mile on Sunday afternoon.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Daily Mail
7 hours ago
- Daily Mail
I've watched the Titanic movie multiple times - but only just realised a major detail about Rose
A fiery debate erupted between the hosts of a New Zealand morning radio show over the 1997 Hollywood blockbuster movie Titanic. A recent segment on The Edge NZ saw announcer Dan Webby passionately argue that he'd always believed the main character in the film, Rose, was based on a real person. Furthermore, he felt the movie led him to believe that the woman who appeared as the older version of Rose was in fact the real-life person whom the story was based on. 'I thought for many, many years that the old lady was legit on the Titanic and she was Rose in real life,' Dan told his co-hosts. 'You know how it sort of crosses back between documentary?' he explained. Flabbergasted, co-host Ash London promptly corrected Dan's error. 'No part of this film is a documentary. It's people acting,' she replied. The breakfast announcers continued to press Dan on how he'd come to the conclusion that Rose was a real person in the movie, he explained that it was because the sections of the film she was featured in were 'filmed in a documentary style'. '[W]hen she turns up on the helicopter… I was like, "Oh, my God, this is fantastic - they brought her in for the movie. She knows the story",' he said. Fellow announcer Clinton Randell proceeded to point out that there was no logic to this assumption. 'Wouldn't you have done the maths?' Clinton questioned. 'The Titanic sank in 1912 and the movie came out in '97, so that's 85 years ago. Bro, she would be 110!' But Dan continued to insist that he wasn't alone in mistakenly believing that the elderly woman in the Kate Winslet and Leonardo DiCaprio film was a real person. 'The number of people that stand with me, you're gonna look like the idiot here,' Dan said. And he was right. The show quickly began to receive a flurry of texts and messages from listeners confirming that they too had made this mistake about the award-winning film. When a clip of the radio segment was later posted to TikTok, it was also inundated with replies from movie-goers who'd also presumed the elderly woman was a real-life Titanic survivor. An NZ radio announcer felt that Titanic had a 'documentary style' in the sections featuring the older Rose, leading himself - and others - to mistakenly believe that Rose was a real person, not an actress 'I 100 per cent also thought that,' read one comment. 'Is she not the real Rose? I've been living a lie,' added another. 'I can't believe it's not the real Rose!!' chimed in a third. One woman even explained that she'd wound up 'arguing' with her husband about the older Rose in the film being a real person, only to be proven wrong when they'd Googled it. In the movie, the elderly 100-year-old character of Rose Dawson Calvert was played by veteran actress Gloria Stuart. Her appearance in Titanic was her most well-known and earned nominations for Best Supporting Actress at both the Academy Awards and the Golden Globes. Gloria's 75-year acting career also included credits such as the 1997 film Batman & Robin, and guest roles on TV shows such as The Waltons, Murder, She Wrote, Touched by an Angel and General Hospital. In 2000, the actress was awarded a star on the Hollywood Walk of Fame. Gloria lived to be 100 years old - the exact same age as her most famous on-screen role of Rose. She passed away in September 2010. Titanic director James Cameron has previously confirmed that although the character of Rose is not real, the character was inspired by a real person, American artist Beatrice Wood. The acclaimed filmmaker said he drew inspiration for Rose's personality after reading a biography about the artist - and particularly her rebellious spirit and family background. However, Beatrice was not a passenger on the Titanic. Film buffs have also previously noted that while there was a real-life passenger named Rose on-board the Titanic, her life story is not the same as the Rose character in the movie. The RMS Titanic sank on 15 April 1912, only four days into its maiden voyage. At the time, it was the largest ocean liner in service. The ship struck an iceberg and sank in under three hours. This resulted in the deaths of 1,635 passengers on board, making it one of the deadliest peacetime maritime disasters in history.


Spectator
10 hours ago
- Spectator
‘I've taken to sleeping in my teeth' – the wartime admissions of T.S. Eliot
In 1944, T.S. Eliot is 56 years old. He seems older: 'I am getting to be a wambling old codger.' He is war-worn: 'I have taken, when in London, to sleeping in my teeth.' As a fire-watcher sharing shifts, his sleep is hampered by understandable pudeur: 'I haven't got enough phlegm to undress completely, and I think it best to sleep in my truss, in case of sudden blasting, which is not very comfortable.' He knows, too, that his letters are dull. To Anne Ridler, 19 June 1942, he confesses: 'If I had any small gift for letter writing, it has been ruined years ago by the pressure of the kind of correspondence I have to practise most of the time.' Namely, the business letter, where you can see Eliot now and then resorting to the formulaic. For example, touching on the prose poem, he says: 'Years ago I did a little of the sort myself but was never able to persuade myself that the result was more than just a note for a poem to be written.' A year later, he is rejecting the poems of Kay Dick: 'The effect is rather of notes for poems or notes for something, rather than of poems. And a few months after that he is applying the formula to D.H. Lawrence, who 'wrote a kind of free verse, but it seems to me to be mostly notes for poems'. In January 1944, Eliot turns down the poems of Michael Burn (of whom more in a moment): 'I should call them notes for poems than poems.' Now and then, very rarely, these rejection letters sound a note of pained asperity. To one Arthur Sale, Eliot is momentarily incontinent, in his measured way: 'One is ready to concede admiration, rather than put oneself to the torture of reading to the end.' And he closes, stingingly: 'I have never read poetry that irritated me more than yours, and it would irritate me if there was nothing in it.' The editorial annotation tells us that poor savaged Sale later went on to teach at Magdalene College, Cambridge, where his pupils included Michael Hofmann and Bamber Gascoigne. Of course, Eliot – ever compliant, exhausted by good works, school prize-givings, readings for wartime causes, endless theological faffing and fussing, broadcasts to India and servitude to the British Council – could occasionally ironise the public man he had become. To Mary Trevelyan (29 June 1942): I ought to have explained to you long ago that I had an Irish grandmother, of a respextable [sic] family founded by a man who tried to steal the Crown Jewels. This accounts for a good deal but is far from being the whole story. In my father's family is a hereditary taint, going back for centuries, which expresses itself in an irresistible tendency to sit on committees. A rare frisk. John Haffenden's footnote tells us that Eliot's mother believed she was descended from Thomas Blood (1618-80) who tried to steal the Crown Jewels in 1671. These spectacularly unspectacular letters are salvaged by the footnotes. For example, we learn that Michael Burn was bisexual, slept with Guy Burgess, met Hitler at a Nuremberg rally, was briefly persuaded of 'the values of National Socialism' but later became a communist after witnessing poverty in the Barnsley coalfields. He joined the commandos and was wounded and captured during the raid on St Nazaire in 1942. He was awarded the MC and sent to Colditz. There, he was the recipient of an aid package from a Dutch one-time lover, Ella van Heemstra. On his release from Colditz, he sent her food and cigarettes. She sold the cigarettes to buy penicillin to save the life of her 'ill and undernourished daughter – the future actress Audrey Hepburn'. Gossip. Top gossip: 70 per cent proof. Three more footnotes. On a British Council trip to Sweden, Eliot stayed with Sir Victor Mallet at the British Legation. Haffenden has read Mallet's unpublished memoirs, of which this is an extract: T.S. Eliot pursued his quiet way with the Swedish Pen Club and other intellectual bodies and achieved an outstanding success. We were much amused when he came home late one evening from one of these parties, his cheeks covered with lipstick from being embraced by a number of enthusiastic Swedish girls after reading his poetry. F.R. Leavis secures Eliot's help in preserving Scrutiny, which is threatened by the paper restrictions. In a letter of thanks, Leavis adds: P.S. Ralph, my small son, looks forward to seeing you again. He said to his mother at bedtime after you had gone last Whitsun: 'Now I only want to meet Mr Shakespeare.' What we want, fervently, from letters is the authentic, unofficial version of events and people – indiscretion. Here, the widow of the American literary critic Irving Babbitt is trying to edit the correspondence between Babbitt and his late colleague Paul Elmer More. She complains to Eliot that More's widow has redacted everything of interest from her husband's side of the correspondence. The following –another footnote – is from a letter to Valerie Eliot about her husband, dated 20 February 1972, written by Dr Elizabeth Wilson, the daughter of a Surrey GP whom Eliot had consulted 'at some time in the 1940s': After tea we invited him to join us for a swim. He had no costume but a very antique ladies model (navy wool, to be tied round his waist by an old tie) was found & we walked to a nearly artificial lake, at one time properly dredged as a swimming pool but by then pretty muddy & well supplied with tadpoles. There were, of course, no changing facilities, only bushes. Mr Eliot never expressed by word or expression, any dismay – he appeared to quietly enjoy himself although I always wondered whether he was aware that the moths had feasted on the posterior of his borrowed garment. This seems worth much more than the clunky, jaundiced repudiation by Eliot of his own literary output: 'The structure of the play [The Family Reunion] is very defective theatrically.' He can't bear to re-read his critical prose. The unrevised The Use of Poetry is 'one of my works with which I had the least cause to be satisfied'. The moth-eaten cossie trumps this bogus, high-fallutin' incitement to endless hermeneutics: 'I don't know whether there is any 'complete understanding' of a poem that has any depth to it.' Think of a very good poem like W.H. Auden's 'Musée des Beaux Arts', the fall of Icarus representing the world's indifference to individual tragedy – easily understandable and profound nevertheless. Eliot is merely hiking the price on his own sometimes difficult poems. And personally I would prefer to hear about Stephen Spender's elastic stocking for his varicose veins; or Eliot's delight when the Chinese minister of information addresses Spender as 'Steve'; or about the (incomprehensible) message from William Blake conveyed by Mrs Millington, Eliot's blind masseuse; or the survival of Omar Pound's bombed stamp collection; or about Winston Churchill (the grandson) saying grace then standing on his head, rather than read this example of Eliot's prose at its most comatose: I admit frankly this personal difficulty in reading because I know it may be something of which the reader is very much more conscious when presented with a part of the book than he might be if he had the complete work before him and read it from cover to cover. A sentence that is asleep, sounds asleep, before it reaches the full stop. These letters, with their rich annotation and the intimate correspondence with Emily Hale, are the real biography of Eliot. We don't need Peter Ackroyd's off-the-cuff impressions and cavalier opinions. Nor Robert Crawford's numbly industrious two-volume biography and its dour judgments. The life of the life is here – in its dullness, in its detail, in its attention to the very texture of Eliot's existence. The boredom and the horror and the glory.


Powys County Times
13 hours ago
- Powys County Times
Adrian Dunbar says ‘everybody jumped to conclusions' about rap trio Kneecap
Northern Irish actor Adrian Dunbar has said people 'jumped to conclusions' about Belfast rap trio Kneecap, who have been in the headlines since one of their members was charged with a terror offence. The group, known for their provocative lyrics and championing of the Irish language, were also banned from entering Hungary to appear at a music festival. Kneecap have had several shows cancelled in recent months, including TRNSMT festival in Glasgow and at the Eden Project in Cornwall in July. The group has said there is a smear campaign against them because of their support for Palestine and criticism of Israel's actions in Gaza. Line Of Duty actor Dunbar, 67, who recently went to a Kneecap gig with his daughter, was asked if the BBC was wrong not to live stream their Glastonbury performance in June. He told Times Radio: 'Were they wrong not to stream it? I think that's a question for the BBC, not for me. 'But I do think that everybody got too heated about them. I think everybody jumped to conclusions about them. 'I think they're a band of good musicians. They make great music. They're promoting the Irish language. Very clear about who they support and who they don't support. 'We had a great time. But those decisions are for the BBC.' Glastonbury organisers faced pressure to drop the group from the line-up amid criticism from politicians, with Prime Minister Sir Keir Starmer saying it would not be 'appropriate' for the band to perform. The BBC decided not to live stream their performance but later uploaded the set to BBC iPlayer. Kneecap – comprised of Liam Og O hAnnaidh, Naoise O Caireallain and JJ O Dochartaigh – were formed in Belfast and released their first single in 2017. They hit headlines in April when footage emerged that appeared to show a band member saying 'Kill your local MP' at one gig and and 'Up Hamas, up Hezbollah' at another. In May, O hAnnaidh, who performs under the name Mo Chara, was charged with a terrorism offence relating to allegedly displaying a flag in support of Hezbollah at a London gig in November 2024. O hAnnaidh and his bandmates were cheered by hundreds of supporters when they arrived at Westminster Magistrates' Court on June 18. Musicians including Nadine Shah and Gurriers have said they will attend court to support the group when O hAnnaidh returns on August 20. Kneecap have apologised to the families of murdered MPs and said they have 'never supported' Hamas or Hezbollah, which are banned in the UK.