Goat Islands and Spirit Music

I can give you a little more information about the Goat Islands now, thanks to Jim O’Keefe, the fount of all wisdom in regards to Schull History. First – the name Lough Buidhe (Pronounced Bwee) – I had forgotten that there is significant folklore associated with this area. Jim tells me that it was believed that gold coins were to be seen on the sea bed as a result of a ship wreck on the Barrell Rocks. But there’s another story too, one that is illustrated in the information sign at Colla Pier.

This one features Fineen O’Driscoll, chief of Baltimore and you can read Robert’s account of it in his post A Watery Tale. As backup – here is my photo of Robert taking it all in, in 2017.

Second, Man of War Sound – Jim tells me this is a mis-translation of ‘Mean Bothar’, main road, or main entrance into Long Island Sound. Here we are in that sound, with Leamcon Castle in view.

I was wondering who owned the island – Jim told me the owner also owns Coney Island. He bought the Goat Islands thus:

He bought the islands from Nelly Downey; I was the auctioneer acting on Nelly’s behalf. Nelly wanted thirty five thousand for the islands. He thought that too much and offered twenty five thousand. Nelly dismissed us at the door of her cottage with the words: “thanks very much bye”…repeating “it’ll need no salt” …. “good day and good luck.”  As we walked away he said to me : what was she saying? I said “It will need no salt” Mike was highly amused and said I must buy it so . We returned to Nelly and sealed the deal .    

The owner, with his daughters, did some work on the stone cottage. In the gap in the south side of the main island there is a nice sandy cove and a large flat rock, ideal for sun bathing.

On the eastern end of the main island there is a ‘cuas’ with stone steps cut into the rock, making landing there possible. Apparently a lone man lived on the island at one point. On the Little island there is a rock on the east side with a mooring point on it to facilitate lading there .

I wonder if the Lone Man was the elusive Cornelius Moynihan? A Cuas is a small cove. Jim also reminded me that Goat Island is also known as Goat Island Great. We didn’t see the Cuas, but did get great views on the sea arches on the north side of Goat Island Great.

In my last post I told you there was more to the story of our morning on the sea. First – we turned around and went back through the Gorge from the other side. This video has a reminder not to take the depth of the water for granted.

Just when I thought Nicky would turn for home – after all, I was now totally satisfied with my marvellous adventure – it became apparent he had other ideas. It was a fine day after all and it would be a sin to waste it, so off we set across Roaringwater Bay in search of dolphins. Nicky explained that Atlantic waters pour into the Bay through Gascanane Sound, between Sherkin and Cape Clear, bringing the fish with the tide, and the dolphins chasing the fish. We did see two dolphins but only a glimpse and they were gone. That’s Cape Clear below – the distant buildings on the headland are the original Fastnet Lighthouse and the Signal Tower.

As we threaded our way back through the Carthys, Nicky had another surprise for me. This is a significant habitat for seals. There are two seal species in the waters around Ireland – Harbour Seals (aka Common Seals) and the larger (and actually more common) Grey Seals. I am, alas, totally ignorant about seals, but I think these were Harbour Seals (corrections welcome). ** Correction received – see Julian’s comment below.

Nicky pointed out that the seals like to keep an eye on whatever gets too close. He pointed out that some scouts has slipped into the water and were now behind us. Another couple were abreast of us, on either side, perhaps making sure we didn’t get too close to the colonies.

As Nicky slowed down a haunting sound came drifting across the waves. It was the seals vocalising. I had never heard this before and was immediately captivated. Wild and resonant, mournful and moving, soul-stirring and plaintive – it was a sound that seemed to reach inside me and conjure up the watery undersea realm of selkies, those mythical half-seal half-human creatures.

And that, in turn, of course, brought to mind Port na bPúcaí (purt na boo key), or Spirit Music. This is how Robert told the story in his post Troll Tuning:

Port na pBúcaí (Music of the Fairies) is a haunted song if ever there was one. It’s said that the islanders were out fishing in their currachs when a storm broke out. It turned into a gale and they feared for their lives as the canvas hulled craft became swamped. Then, the wind suddenly died and they became aware of music playing somewhere around them – an unearthly music. The island fiddler was amongst the crew; when they got safely back to land he found he could remember the tune they had heard. It has passed into the traditional repertoire and has been played ever since.

Púca (pronounced pooka. Plural Púcaí, pronounced pookee), can be translated in a number of ways, but a Púca is generally considered to be a mischievous spirit. And here is Robert’s own rendition of Port na bPúcaí on his concertina.

We were only gone a morning. It felt like an Oisín-like lifetime.

Troll Tuning

Baltimore - with Dún na Séad before restoration - painted by Val Byrne

Baltimore – with Dún na Séad before restoration – painted by Val Byrne

It’s May, and time for the Baltimore Fiddle Fair, still in progress as I write this, and keeping us up well into the nights with world class concerts: music from so many cultures that involves the ubiquitous violin. My post today has been sparked off by the opening event held in the restored Dún na Séad – the name means fort of the jewels, which may be a reference to the building’s role in the collection of taxes levied on foreign vessels entering the harbour. The Anglo-Norman castle was built in the early 13th century, was besieged and sacked many times, became a garrison for Oliver Cromwell in 1649 and fell into ruin until it was rescued and underwent a superb full restoration only completed in 2005. Friday’s candlelit opening concert featured a fiddle master from the Shetlands, Aly Bain, and his long term musical collaborator Ale Möller, a multi instrumentalist from Sweden. 

One piece in their programme immediately caught my attention: Hjaltadans – literally translated as ‘lame’ or ‘limping’ dance. It’s also the name of a Bronze Age stone circle near Houbie in the Shetlands. It’s said that the two central stones of that circle are a fiddler and his wife who were entertaining a group of Trowies (trolls) and were interrupted in their music making by the rising sun which turned them all to stone. Trolls are undoubtedly related to The Other Crowd in Ireland, and also inhabit the shadows in Scandinavia.

Here is an extract from the latest album from Bain, Möller and Molsky – Troll Tuning: King Karl’s March

 

The Shetland troll dance was followed by a Swedish ‘Troll Tuning Set’. Aly and Ale explained that Troll Tuning is a particular way of setting up a fiddle where the strings are tuned AEAC♯, rather than the more usual GDAE. This tuning is sometimes used in Scandinavia, Shetland and in American old-time music (this probably because there were so many settlers from Sweden in North America). The tuning produces very distinctive, haunting music: ‘…Once you’ve heard a trowie tune you can never forget it…’ Even more interesting is the legend that playing such tunes connects the musicians with magical powers.

The Devil's Music: Hardanger Fiddle

The Devil’s Music: Hardanger Fiddle

All this reminded me of traditional stories involving musicians and characters from the Otherworlds: they are pretty universal over many cultures. I also thought about a particular type of fiddle from Norway (regularly seen and heard at the Fiddle Fair) which has ‘magical’ associations: the Hardanger Fiddle or Hardingfele in Norwegian. This traditional instrument is usually magnificently carved and inlaid, and has understrings which are not actually bowed, but are tuned to vibrate when other notes are sounded. The tone and ambience of the instrument is unique and compelling: it is easy to imagine the Trowies or Sióg (pronouced Sheeogue: Irish Fairies) requiring such striking sounds for their festivities. But some have thought the Hardingfele has diabolic connections, and in fact many good players were reputed to have been taught to play by the Devil himself. During the 1800s many fiddles were destroyed or hidden both by fiddlers and laypeople who thought ‘…that it would be best for the soul that the fiddle be burned…’ as it was viewed as ‘… a sinful instrument that encouraged wild dances, drinking and fighting…’

In Ireland, boys were sometimes dressed as girls to stop the Sheehogue from stealing them away

In rural Ireland, boys were sometimes dressed as girls so the Sióg would not steal them away

At this time of the year it’s not just the instruments and the music we have to be wary of: throughout the month of May the Sióg are active. Yeats tells how an old man saw them fight once: ‘…they tore the thatch off a house in the midst of it all. Had anyone else been near they would merely have seen a great wind whirling everything into the air as it passed. When the wind makes the straws and leaves whirl, that is the Fairies, and the peasantry take off their hats and say, God bless them…’

The wind is certainly whirling and tearing at the trees outside as I write this: May has seen the return of strong gales – the trees are bending again and Roaringwater Bay is alive with white breakers. Looking out to the islands I bring to mind a tune from the Blaskets, over on the coast of Kerry. Port na pBucai (Music of the Fairies) is a haunted song if ever there was one. It’s said that the islanders were out fishing in their currachs when a storm broke out. It turned into a gale and they feared for their lives as the canvas hulled craft became swamped. Then, the wind suddenly died and they became aware of music playing somewhere around them – an unearthly music. The island fiddler was amongst the crew; when they got safely back to land he found he could remember the tune they had heard. It has passed into the traditional repertoire and has been played ever since.

My own rendition of Port na bPucai on the concertina –

 

To close, a verse by Seamus Heaney which was inspired by this story of the Fairy music:

The Given Note

On the most westerly Blasket
In a dry-stone hut
He got this air out of the night.

Strange noises were heard
By others who followed, bits of a tune
Coming in on loud weather

Though nothing like melody.
He blamed their fingers and ear
As unpractised, their fiddling easy

For he had gone alone into the island
And brought back the whole thing.
The house throbbed like his full violin. 

So whether he calls it spirit music
Or not, I don’t care. He took it
Out of wind off mid-Atlantic. 

Still he maintains, from nowhere.
It comes off the bow gravely,
Rephrases itself into the air.

Blaskets