
Why Willie Clancy Week is the highlight of trad music calendar
For most traditional musicians, singers, dancers and, indeed, music enthusiasts, Scoil Samhraidh Willie Clancy is the highlight of the calendar. The summer school, held in Miltown Malbay, Co Clare since 1973 in honour of the renowned uilleann piper Willie Clancy, begins on the first Saturday of July.
Born in 1918, Clancy was a piper, whistle player and singer from the town who was taught music by his father Gilbert (who was in turn taught by the blind piper Garrett Barry from nearby Inagh). Later, Clancy heard traveller piper Johnny Doran for the first time and was influenced by him as well as pipers such as Leo Rowsome and Séamus Ennis. After a spell in London, Clancy returned home and recorded 78rpms for the Gael-Linn label from the 1950s. He became influential in his own right, an influence that is still felt by pipers and other musicians today. His music was, and still is, stunning to listen to.
Clancy had discussed the idea of a summer school with his friends Muiris Ó Rócháin, Martin Talty, Junior Crehan, Séamus Mac Mathúna and others in 1972. Upon the piper's untimely passing the following year, it was decided to continue with the idea and name the Summer School in his honour.
From Irish Traditional Music Archive, Scoil Samhraidh Willie Clancy – A Reflection, a documentary will looking at the origins, ethos and impact of one of Ireland's most important music events
The emphasis on classes and the passing on of the traditions has remained central to the week and the festival has essentially grown around that school idea. From that very first summer school, ties were firmly established with Na Píobairí Uilleann, the national organisation for the uilleann pipes. Today, those classes run from beginner level to advanced and also include aspects of reed and pipe-making. While instrumental classes were confined to pipes, whistle, flute and fiddle in the first years, this has now expanded to include harp, banjo, button accordion and harmonica, with hundreds of students travelling from around the world to participate.
The school has developed and expanded considerably and is now the largest folk music summer school in the world. Supported by the Arts Council Strategic Funding and Clare County Council, it is a testament to the dedication of the local voluntary committee as well as the community of Miltown Malbay and the surrounding area, that the Summer School has been able to expand so much. Homes are given over for classes and accommodation and musicians are welcomed with open arms to the town for the week. I doubt it could happen anywhere else.
Ó RTÉ Radio 1's Beo Are Éigean 2018, tuairisc ó Áine agus Siún ag Scoil Samhraidh Willie Clancy (cé nach bhfuil oiread agus nóta acu)
The amount of local volunteers working on the festival now is really quite incredible and those volunteers are led by a stalwart steering committee of Harry Hughes, Eamon McGivney, Séamus Ó Rócháin, Deirdre Comber and Maureen Kilduff. The committee were recently awarded the MÓR Glór award in Ennis and it is well deserved as the festival enters its 53rd year.
In 2010, the Gradam Ceoil Comaoine award was given to Muiris Ó Róchain who, until his untimely passing in 2011, really speer-headed the Summer School with tremendous energy and enthusiasm. Having been born in the house across the road from me in Dingle, and captain of the Sráid Eoin Wren for decades, Muiris was really my first connection to Willie Clancy and the summer school. We are indebted to him for the opportunities he and the Summer School have given me, and my sister Deirdre, over the years and, indeed the friendships we have made.
My Own Place, Paddy Glackin's 1983 documentary about Willie Clancy Summer School co-founder Muiris Ó Róchain
Like many other traditional musicians, the Scoil Samhraidh has played a huge part in my musical journey. When I first went there as a student in my early teens, we were dropped off on a Sunday evening and collected the following Sunday and Muiris made sure to keep an eye on us through the week. We learned that having the fry in the morning meant we really had a good run at the day and did not need more food until heading to the Dolphin chipper that evening. Yes, every evening!
Inbetween classes and recitals, we got to know where to look for sessions to listen to, with guidance from Muiris. Running down to the back of the Blonde's to try and get a listen to the session in the kitchen was and is always on the list. The family's own kitchen is opened for the week for musicians. I have a vivid memory of seeing my now great friend, Lorraine O'Brien, being put sitting on the sink as a child in the kitchen so she could join in a session alongside the musicians there. Every space is utilised during Willie Clancy week.
From RTÉ Radio 1's Rolling Wave, preview of this year's Willie Clancy Summer School
I've tutored flute now at the Summer School for many years and really relish it. I feel greatly privileged to be a part of the teaching team there, alongside some of my favourite people and players. I cannot wait to get back and meet some of the wonderful locals whom I have got to know over the years. They include Pauline Fitzgerald, who gives over her sitting room for our classes and always has a great welcome; the McCarthy sisters who are always so full of glamour, craic and music; the brilliant Bríd and the O'Brien family who keep the party going always and Teresa and all the wonderful volunteers.
Then there are the stalwarts of the School and, indeed the tradition, people like Mick O'Connor, Dublin flute player and guru for many of us musicians; piper Peter Browne as well as Cork's fiddler composer Connie O'Connell and family and the Kelly family and McKeowns from Dublin. All are so generous with their music and friendship - it really is a wonderful community.
My favourite spot, which will come as no surprise to anyone that knows me, is the fantastic Friel's pub. I cannot wait to park my car on Saturday evening and be greeted by Mickey at the front door. The pub, run now by Mickey's son Johnny, houses five to six sessions constantly through the week. When we are lucky enough to get a space to sit down and play there, Johnny supplies us with quarter sandwiches to keep us going. Sitting with the likes of Tara and Dermie Diamond, Harry Bradley, the McGrattans and Lorraine and Deirdre. There is no place else I would rather be than in the sweet Miltown Malbay where the music runs so free.
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Irish Examiner
01-08-2025
- Irish Examiner
Author interview: Celebrating the Irish brothers who captured their moments in time
Filmmaker Darina Clancy can't recall a time when she did not know about the Horgan brothers. Dubbed the 'Irish Lumières', after their French contemporaries, they were pioneers in the fields of photography and cinema, leaving behind an invaluable chronicle of a formative chapter in our creative history. The three brothers — Thomas, James, and Philip — were born in the 1870s in Youghal, Co Cork, which inspired much of their groundbreaking work. Their output includes the earliest surviving Irish animation, featuring a tilting and twirling Youghal Town Hall Clock. In 1917, they opened the Horgan Picture Theatre in the town, where they screened The Youghal Gazette, a newsreel featuring events of local interest. Given Clancy's own interest in the visual medium and the fact that she grew up just outside the seaside town, it was perhaps inevitable that she would be fascinated by the brothers from an early age. She describes them not only in terms of their work in cinema and photography, but also as adventurers, experimenters, and entrepreneurs. 'I've known about them all my life, really. There is a Horgan photograph in so many establishments and houses in Youghal. 'Generally people's reaction to their story is either, 'oh, we have a picture of theirs or I didn't realise we had a Horgan photograph'.' A group outside the Horgan Photographic Studio in Youghal, Co Cork, understood to feature Henry Ford. Picture: Horgan family collection Clancy's curiosity about the brothers and her desire to bring their achievements to a wider audience became a passion project for her, resulting in a documentary, Na Lumière Gaelacha, which was screened on TG4 late last year. This is now joined by an accompanying book featuring a collection of photographs taken by the brothers. Working with the Horgan family on the documentary made Clancy even more determined to do the brothers' story justice. She says their cinematic achievements overshadowed their photographic exploits to a certain extent, something she wanted to address by bringing their images together in an accessible collection. 'Obviously in a 50-minute documentary, you can only do so much. When it comes to the Horgan brothers, a lot of emphasis is given to the films and animations they made but if you study their photographic collection, it is unlike any that I know of,' she says. While many photographs of the time are made up of landscapes or studio portraits, Clancy says the images taken by the Horgans have a distinctive focus and quality. The promenade on Youghal Front Strand. Picture: Horgan family collection 'A lot of photographs from that era are stilted or posed, while many of the glass plates that survived from the Horgans were candid family photographs where the people are laughing, smiling, and having fun. 'The people are clearly very familiar with the Horgans and their camerawork and they are behaving naturally,' she says. The book features a particularly poignant image, the oldest existing picture of the Horgan brothers as young boys, taken with a pinhole camera acquired from Merrick's store, which is dated between 1887 and 1889. The Horgans were left in a precarious financial position when their father died at age 42 from an asthma attack, and were close to being sent to the workhouse. Their mother Elizabeth ensured they apprenticed as shoemakers, like their father, but their natural curiosity about photography later turned into a lucrative business for them. Clancy says: 'Even when they started their own shoemaking business, they were taking photographs, and it became more financially beneficial to them. 'Because there were three of them, one could be doing the shoemaking while the others were doing the photography. 'It allowed them to flourish business-wise no matter what they were doing. They worked very closely together until they passed away.' Fishermen with their catch and a child. Picture: Horgan family collection The era in which the Horgans worked was a turbulent one, spanning the Civil War and the War of Independence, reflected in the images of key historic events filtered through a local lens. They took portraits of soldiers who never returned home from the First World War and filmed the return of hunger strikers from Wormwood Scrubs prison. The photographs also show the ordinary side of life during extraordinary times. The book features photos from the brothers' magic lantern shows which they brought to villages and townlands surrounding Youghal, providing a welcome source of entertainment to rural areas. They would also go to great lengths to stage their images, creating elaborate sets and costumes. 'You have these sets where they have blimps, cars, and boats. You have people swimming, at the beach, boating … people are just having fun. 'It's at a time and place in history when you automatically think everything was awful but in these photographs it shows a very calm, relaxed lifestyle,' Clancy says. Rope making with flax along the Rope Walk near the old town walls in Youghal, Co Cork. Picture: Horgan family collection As well as photographs held by the Horgan family, Clancy also discovered other images in her research which feature in the book. One of these is a picture of the orchestra which played a live and often improvised accompaniment to films shown in the Youghal cinema. It features members of the family, including pianist Mazie Horgan and James himself with his own handmade cello. 'There are eight instruments, which would have been a big deal at the time. 'A lot of the cinematic historians have commented on what a fabulous picture it is,' says Clancy. Support for the documentary and the book has been significant, reflecting the huge pride the local community has in the achievements and legacy of the Horgan brothers, says Clancy. 'For about six months after the documentary, I literally couldn't go into a shop for milk without people telling me about their memories. 'The buy-in from the community at home in terms of producing the documentary and the book has been massive — the story also belongs to them.' The significance of the Horgan brothers' photographic archive in terms of social history can't be underestimated, adds Clancy. 'They really give a snapshot of what Ireland was like at the time of British rule, photographed by indigenous people living in a small rural area that was heavily influenced by the British,' she says. 'It is really important that these were Irish people photographing Irish people within their own community — often it would have been wealthy people from places like Britain coming in and photographing and filming them. 'You really see that in the maritime photographs, for example, the blessing of the boats, where the brothers are hopping on punts with the fishermen and taking photographs.' Clancy says while many of the Horgan images are of local interest, they have a universal appeal. 'It is not just a story about Youghal, it is a story about Ireland, it is a book for the entire country and Irish people living abroad.' In a world where visual images are now mainly filtered through screens, Clancy says a physical record of the Horgan photographs is more important than ever. 'It really was a labour of love,' she says. 'I am very grateful to have held some of the glass plate negatives — knowing that these are over 100 years old and were held by the Horgans themselves, there is a lot of weight there. 'For me, and the family, to have all of this in a book where people can reference it is really important — to be able to take your time, instead of scrolling or flicking past them on a screen.' Na Lumière Gaelacha can be viewed on the TG4 Player. The Horgan Youghal Gazette films can be accessed at

Irish Times
01-08-2025
- Irish Times
James Kavanagh: Anxiety had me in a chokehold ... I wasn't able to leave the house
I grew up in Churchtown in Dublin , and went to an all-boys school there for a couple of years, which I hated. Back then, homophobia was the currency. Everything revolved around it. I wasn't able to hide my gayness , so I stuck out like a sore thumb and was bullied relentlessly for three years. Those years were really blurry and dark; there's not a lot that I can remember. But then my parents gave me a second chance, and I was sent to boarding school in Westmeath, Wilson's Hospital. I really opened up there. Every school should be mixed. It diffuses a lot of things in both sexes that are, maybe, problematic. Also, as a young gay, I needed my girls. READ MORE I remember the car journey down there in my dad's van and thinking to myself, 'just come out, come out'. My family already knew, so I decided that if someone asked me, I was just going to be honest. I remember going into the dorms and this guy goes, 'are you gay?' and I was like, 'yeah'. And that was it. I remember being judgemental of people who weren't from Dublin before going, imagining pitchforks and signs saying 'get the gay out', but they couldn't have been more welcoming. You can see that with the whole Enoch Burke thing at Wilson's [Hospital]. The school dealt with that amazingly, even though they could have bowed down to the pressure of evangelical types. I came back to Dublin at 18 and started going out a lot. I found my tribe through clubbing; all my best friends that I'm still friends with today, we found each other on various dance floors around Dublin. I got a job in a PR company called Thinkhouse when I was 22, despite an atrocious Leaving Certificate . 'I remember saying to William, maybe three years ago, would we move down the country? And the idea stuck.' Photograph: Nick Bradshaw A year ago, my boyfriend William and I moved from Phibsboro to Kilkenny . We've been together 11 years. We met on Grindr, but didn't get the chance to meet in person for three months. He was in art college in Limerick, and I was working in Dublin. We kept chatting, and I just invited him to a New Year's Eve party I was throwing. When he said yes, I thought he was a freak. Why didn't he have plans? But when he came, we got on immediately. I'd had boyfriends before that, but they were never a good match. But with him, it was immediate. We have a food brand together, Currabinny, named after the place in west Cork where he grew up. From spending so much time down there, I started to fall in love with the idea of living in the countryside. I loved the country air, and I'd had such a good time at Wilson's, so that probably planted a seed. I remember saying to William, maybe three years ago, would we move down the country? And the idea stuck. I really miss Deliveroo, I'm not going to lie. You have to drive to the chipper if you want a takeaway here. But when I weigh up what I've lost versus what I've gained, there's no comparison. In Phibsboro, we had a stoop with two steps where we used to grow some herbs. We've now just under an acre with a polytunnel, we're getting hens, and this weekend I've 45 friends coming over for a party. I have the room for a party. [ James Kavanagh and William Murray: Turning personal story into a cookbook Opens in new window ] I'm obsessed with Ireland. I love that there's always somewhere new to discover. We were just in Cahersiveen, and went out to the Skelligs, and I just kept seeing butterflies. My favourite place has to be where I live now. One of our neighbours said recently that we're in the middle of nowhere, but also the middle of everything, and she's right. We're 20 minutes from Kilkenny city, another hour is Dublin, and just under two hours from Cork. Then there are all these beautiful little villages around us, like Borris and Inistioge. For three or so years, anxiety had me in a chokehold. I remember not being able to leave the house. I used to get panic attacks most nights, and I really thought in those moments that this would never, ever not be my life. And now, to be on the other side of that, I'm pinching myself. To my mind, anxiety and depression were people sitting in a corner under a blanket, depressed. But for me, anxiety manifested in really bad hypochondria; I was really concerned about my heart stopping. I used to search for the nearest defibrillator everywhere we went, and I was terrified of driving because I was certain my heart would stop. I feel so grateful to be here now, but back then it was really frightening. I do a bit of work with BelongTo, an amazing youth organisation that helps LGBT+ people. They facilitate this accreditation system every year, where they help schools complete anti-bullying workshops and things like that. It's a sign of a good school when they have it. From talking to students, there are still murmurings of homophobia out there, but it's miles better than what it was. However, there is a rise in transphobia in schools. And all the same stuff that's being said about transgender people was said about gay men and women 50 years ago; that they shouldn't be trusted around children, we need to ban books that mention them ... It's just such an eyeroll. As a white gay man, I am fine. But others aren't, and that's important. As I always say at these events, it's not the time to pull up the ladder just because you feel liberated. There are still others to look after, and we need to make sure they feel safe too. In conversation with Kate Demolder. This interview is part of a series speaking to well-known people about their lives and relationship with Ireland, and was edited for clarity and length. Follow James Kavanagh on Instagram at @jamesalankavanagh .


Irish Independent
30-07-2025
- Irish Independent
US rocker Alice Cooper the surprise bidder for €55 golf-inspired toast rack sold by Meath auctioneer
The School's Out rocker bought the unusual household item from Matthews Auctioneers in Kells, Co Meath, at pre-auction for just €55 and showed it off ahead of his London O2 gig on Friday, July 25. Damien Matthews, who delivered the item to Cooper, said he had no idea the bidder was actually the US star when he made the offer. 'He's a bit of a golf nut,' Mr Matthews said, explaining why the 77-year-old star was interested in this particular toast rack. 'It turns out he's a very nice, funny guy. I thought people would be amused to hear about this. It's a small world now items are auctioned online and smaller regional firms have the same international reach.' Cooper, a pioneer of 'shock rock', has enjoyed a six-decade career. The singer says he has played golf daily for the past 30 years. During this London gig, actor Johnny Depp joined Cooper's band to perform a cover of Black Sabbath's Paranoid in tribute to Ozzy Osbourne after the metal singer's death. Mr Matthews said he travelled to London regularly with big-ticket items customers had bought. Curiosity got the better of him in this case, so he decided to drop the budget-friendly toast rack off to Cooper, just to check whether it really was the star. 'He was delighted to receive it,' Mr Matthews said. 'It was a small-value item but I hand delivered it.' 'It was a bargain for sure. But it's a nice thought Alice Cooper, who I believe appreciates the finer things, will take his toast from it each morning.' The toast rack is up to 40 years old and is silver-plated.