32nd Annual Cleveland Irish Cultural Festival
July 18, 19, 20, 2014 Cuyahoga County Fairgrounds, Berea, OH
Ireland is Calling You … to Cleveland. The 32nd Annual Cleveland Irish Cultural Festival takes place at the Cuyahoga County Fairgrounds in Berea, Ohio July 18, 19 & 20, 2014.
Over 100 singers, dancers and performers on three indoor and five outdoors stages will fill 117 acres, with entertainers from Ireland, Canada and the U.S.
The festival offers a wide range of music from traditional to Celtic rock. Headliners include Ronan Tynan, of the Irish Tenors; Black 47, on the Final Tour; Dervish, celebrating their 25th year as a band of worldwide influence; Damien Dempsey, and The StepCrew, like Riverdance, only faster! Returning favorites include The High Kings, Scythian and original Riverdance fiddler Eileen Ivers & Immigrant Soul.
Scythian is described as “a pair of classically trained dueling fiddlers, a rhythm guitar and the occasional funky accordion, powered with the driving rhythm of a jazz percussionist. Their high-energy, adrenaline-peddling, interactive brand of music has one goal in mind: to get people on their feet and dancing.”
All-Ireland fiddle champion Eileen Ivers brings her Immigrant Soul Band to the Festival. The New Barleycorn, Brigid’s Cross, Marys Lane, Bernadette Ruddy, Malachi Cush, James Kilbane and Lost State of Franklin will also be there.
Others on stage include Dennis Doyle, Guaranteed Irish, Dermot Henry, Fintan Stanley and The Kilroys.
Presenting the very best of Ireland doesn’t stop with the music. The festival showcases championship dancing and food, pipe bands, and award-winning drama.
New to the Festival this year is Temple Bar & Museum – Modeled after the world famous entertainment district in Dublin city centre, our Temple Bar & Museum has loads of singing, dancing, sessions and carrying on. A story, a song, a bit of the Guinness, a set dance lesson, you’ll find it all in our brand new AIR CONDITIONED Temple Bar & Museum. Paired with the internationally recognized Celtic Heritage Hall, with over 200 exhibits, workshops, step dancing lessons and instrument demonstrations.
The popular Dogs Native to Ireland are back, and there are over 50 Irish vendors with everything from Aran knits to delicious Irish chocolate. Books by Irish authors are also available.
The Tir Na nOg (Land of Our Youth) children’s area features continuous activities and live performances, T-Shirt painting, inflatables and much more.
Festival proceeds benefit The Make-A-Wish Foundation, Holy Family Home and ten other local and national charities. Cleveland Irish Cultural Festival has donated more than half a million dollars to charities since its inception in 1983.
Festival hours are 5:00 to 11:00 pm Friday; 1 to 11:00 pm Saturday; and 1 to 10:00 pm Sunday. General admission is $12.00. Children under 10 are free.
For additional details see www.clevelandirish.org.
20 Things to do this Weekend: From your Ohio Irish American News
CharlieintheBomx The Hooley House – Brooklyn
PitchthePeat The Harp
Austin Walkin’ Cane Flannery’s Pub
TheOtherBrothers Sully’s Irish Pub
CarlosJones The Hooley House – Westlake
Usual Suspects Hooley House – Mentor
Brother Crowe Hooligans Irish Pub, Put-in-Bay
Monica Robins and the Whiskey Kings Stampers Bar
Ohio Celtic Fest all weekend long
2pm Ulster GAA Championship ArmaghvsMonaghan PJ McIntyres Irish Pub
CharlieintheBox @Hooley Mentor
Beeswing Irish Heritage Center of Greater Cincinnati
Brother Crowe Hooligans Irish Pub, Put in Bay
Ohio Celtic Fest all weekend long
SunshineDaydreams STONE MAD PUB, RESTAURANT AND BOCCE
Brother Crowe @Hooligans Put in Bay
GAA Football Leister Championship 9am KildarevsMeath; 11am WexfordvsDublin Pj McIntyre’s
Ohio Celtic Fest all weekend long
Add Yours: If you don’t send em, we can’t print em!
THE DAY OF THE DETOUR
a story from this month’s issue of the Ohio Irish American News
By Dick Lardie
“I don’t know, Dick, what do you want to do today?”
“I don’t know Tony, what do you want to do?”
It was about the tenth time we had said that. Tony was dragging a stick over the picket fence making a great rat-a-tat sound. I was kicking a rock I had gathered up off someone’s gravel driveway. It was the dog days of summer. We had done it all this summer and now we were getting close to starting school again. Boredom was setting in but we were too young to admit it.
I never knew the real fun of summer, when you are 12 years old, was not having anything to do. We spent a great amount of time trying to figure out what to do.
I believe the statute of limitations has expired on what we thought of next. I do know I am finally allowed out again. We never got grounded back then, we were just not allowed out. When you were stuck in the house with no TV or video or anything, it was a real punishment. Today the kids don’t care because they don’t go out anyway and they have more fun inside.
It might have been Tony, It might have been me, but one of us suddenly remembered a discarded detour sign and two wooden horses at the corner of Lake Shore Blvd and Brighten Avenue in Bratenahl. They were left there by the Bratenahl service department after some road work earlier in the week.
Tony and I thought it would be great fun if we detoured a few (emphasis on a few) cars down Burton Avenue from Lake Shore Blvd. That sounded like it could be great fun.
[A little background here: in 1954, Lake Shore Blvd. was a major artery to downtown Cleveland. Burton Avenue was (and is) a dead end street about 20 houses long with 20 driveways on each side.]
And so the adventure began. We carried the two horses and the sign into the bushes at the corner and plotted how it would work. Tony would carry the sign and one horse, I would carry the other horse first, set it down, grab the sign so he could set his horse, then I would prop the detour sign against the horses. We needed to work this out because traffic was pretty heavy.
This should have been a clue as to what lay ahead – we were only going to detour westbound traffic ,so we only needed to block the westbound lane. Timing was important, because no one should see two twelve year olds creating the detour.
We sat in the bushes waiting for a break in traffic. We were giggling already thinking about how funny this was going to be. It was great to have a good buddy sharing an afternoon of shenanigans on a hot summer day. Suddenly there was a break, no cars coming around the bend. Out we dashed, the plan went like clockwork. Soon we were back in the bushes watching the detour unfold.
Tony was laughing so hard he was rolling on his back and holding his stomach. The cars would come up, see the detour and turn left onto Burton. Tony and I laughed at every car. The plan was they would go to the end, turn around and come back out. They were all turning. This was great fun. No one was coming out.
We suddenly realized we had a problem. The street was filling up with cars. Soon almost all the driveways were full and people couldn’t back out because there was a car in the street behind them. Our laughing was getting a little uncomfortable.
Then we heard that ominous sound. A CTS bus was sitting at the detour. We could see the people on the bus craning their necks to see why they had stopped. We wanted to yell “Stop, don’t turn, it’s a joke.” But we just sat there looking at each other thinking, “We are in deep doo-doo now, boy”.
The bus turned and only got to about the fourth house and was at a dead stop. The street was full, every driveway was full and the traffic was backing up on Lake Shore Blvd now. Then we heard the siren.
We were stuck in this little patch of bushes. We couldn’t get out without being seen and caught.
The police came and were trying to figure out how to untangle this mess. We sat quite as mice in the bushes.
A car came from the other direction, stopped, opened the door and I heard a voice yell “Dick”
Tony said, “Oh no, it’s your dad”.
Tony whispered; “Don’t answer; he is going to kill us. He doesn’t know it’s us.”
“DICK”. He was shouting now.
“This yours and Tony’s doing?”
I neglected to say that Tony and I had at times been accused of mischief before. Nothing harmful or destructive, but we were thought of as spirited lads.
“Yes dad, we didn’t think it would be this bad. We thought we would detour a few cars and it would be funny.”
My dad cleared the detour sign, went and talked to the police. They were busy backing the bus out. He sent Tony home and he told me to go home and that I wasn’t allowed out.
“For how long,” I asked ?
“Three score years,” Dad said. I went home and looked up how long a score was.
I am allowed out this summer. Good thing I lived to be 72.
Ireland is calling you … to Cleveland! 32nd Annual Cleveland Irish Cultural Festival is EXACTLY 4 weeks away. Are you ready for some Scythian?
SCYTHIAN, WASHINGTON, DC
Named after Ukrainian nomads, Scythian (sith-ee-yin) merges Irish, gypsy, and Americana with thunderous energy, technical zest, and soulful songwriting, beckoning crowds into a barn-dance rock concert experience.
Celebrating 10 years of getting people dancing all night, Scythian is releasing their new album, Jump at the Sun, this summer. Ed Helms’s The Bluegrass Situation has given it early praise, calling “Paint This Town” a “shine-fueled, fiddle-flying hoedown” and “Built These Walls” a “blue-collar ballad we can all get behind.”
Scythian is “what happens when rock star charisma meets Celtic dervish fiddling.” —Music City Roots
“[Scythian gives] no quarter in their quest to entertain and bring a joy to their music that gives it an irony-free, wide open feel of manic possibility. The playing is technically brilliant, but it is the energy that carries the day.”
—Camel City Dispatch (Winston-Salem, NC)
“Scythian’s enthusiasm is contagious, and shows seem to end with everyone
15 Things to do this Weekend: From your Ohio Irish American News
JukeboxHeroes The Hooley House – Brooklyn
Golf Outing Irish Heritage Center of Greater Cincinnati
Kristine Jackson The Harp
The New Barleycorn Flannery’s Pub
TheOtherBrothers Sully’s Irish Pub
MattJohnsonDuelingPianoThe Hooley House – Westlake
Pyrate FestVI wPerry’sRevenge The815’s Hooligans Irish Pub, Put-in-Bay
Illuminations: Maud Gonne: “She Had the Walk of a Queen” By: J. Michael Finn
Cathleen Ni Houlihan (In Irish: Caitlín Ní Uallacháin, or literally, “Cathleen, Daughter of Houlihan”) is a mythical symbol and emblem of Irish nationalism found in literature, art and song, representing the personification of Ireland as a woman.
Cathleen Ni Houlihan is sometimes referred to in song and story as the Sean Bhean Bhocht (pron. shan van vokt), the Poor Old Woman, and often depicted as an old woman who needs the help of young Irish men to fight and die in order to free Ireland from English rule. She is also sometimes referred to as a young Lady Ireland.
Irish artist Sir John Lavery painted his wife Hazel Lavery as Cathleen leaning on an Irish harp. For most of the 20th Century this image was used on all Republic of Ireland banknotes. The figure of Cathleen Ni Houlihan has also been invoked in nationalist Irish politics.
As a literary figure, Cathleen Ni Houlihan was most famously used by Irish poet William Butler Yeats and Lady Augusta Gregory in their 1902 play, Cathleen Ní Houlihan.
Yeats himself best described where his idea for the play originated: “One night I had a dream almost as distinct as a vision, of a cottage where there was well-being and firelight and talk of a marriage and into the midst of that cottage there came an old woman in a long cloak. She was Ireland herself, that Cathleen ni Houlihan for whom so many songs have been sung and about whom so many stories have been told and for whose sake so many have gone to their death. I thought if I could write this out as a little play I could make others see my dream as I had seen it …”
Although the concept of the play came from Yeats, he needed to develop the characterizations and speech of the County Mayo family depicted in the play. This was contributed by collaboration with Lady Augusta Gregory, who co-authored the play.
The one-act play was first performed on April 2, 1902 at St. Theresa’s Total Abstinence Hall in Dublin. The play centers on the 1798 Rebellion and the landing of the French forces at Killala in County Mayo. In the play the title character of Cathleen first appears as an old woman. She appears at the cabin door of a family preparing to celebrate their son’s wedding as the French are landing at Killala.
The old woman describes her four “beautiful green fields” that have been unjustly taken from her. These fields symbolize the four provinces of Ireland (Leinster, Connacht, Munster and Ulster). The family, wrapped up in its own plans and concerns, doesn’t recognize the woman.
With little subtlety, the old lady requests a sacrifice, when she declares: “It is a hard service they take that help me; many that have been free to walk the hills and the bogs and the rushes will be sent to walk hard streets in far countries; many a good plan will be broken; many a child will be born and there will be no father at the christening to name it; and for all that, they will think they are well paid.”
It is clear to the audience that the old woman is Ireland, mourning over the loss of her land to “strangers,” mourning for those “lovers” who died for her sake, and trying to convince the young man about to be married to leave his home to fight for her. She says, “I have good friends that will help me. They are gathering to help me now. I am not afraid. If they are put down today, they will get the upper hand tomorrow.” As the young man agrees to fight and leave the safety of his home, Cathleen appears as a young woman, singing of those who fight for her: “They shall be remembered forever; They shall be alive forever; They shall be speaking forever; The people shall hear them forever.”
A key part of the play for Yeats was casting the person who would portray Cathleen Ni Houlihan. For several years Yeats had been in love with Irish nationalist and political activist Maud Gonne. She had rejected his proposals of marriage and although she considered him a friend, she resisted taking the relationship any further. This unrequited love ended up inspiring many of Yeats’ poems. It was an easy decision for Yeats – Maud Gonne would portray Cathleen. Maud requested that the play be produced by the organization she founded – Inghinidhe na hEireann (Daughters of Erin). Of course, Yeats agreed. Although she was living in France, at the time, Maud agreed to come back to Dublin to star in the play.
Maud Gonne was a smart, articulate and statuesque beauty who was well known in nationalist and literary circles in Ireland. Besides being an activist for several nationalist causes, she had acted previously in many plays produced by the Inghinidhe. She was best remembered for her portrayal of Joan of Arc. The trick in this play would be convincing the audience that she was an old woman who would, at the end of the play, transform into a beautiful young woman.
On opening night Maud convinced everyone that she was indeed Cathleen, Daughter of Houlihan. As the old woman, Maud wore a heavy cloak that covered most of her body. She walked in a crouch and spoke as an old woman. When she removed her cloak at the end of the play and drew herself up to full height to become the young woman it was said, “She became the very image of a free nation.” When the woman is heard singing, the young boy is asked if he had seen an old woman going down the path, he replies, “I did not, but I saw a young girl, and she had the walk of a queen.”
After watching the play a fellow actress wrote about Maud, “Watching her, one could readily understand the reputation she enjoyed as the most beautiful woman in Ireland, the inspiration for the whole revolutionary movement. In her, the youth of the county saw all that was magnificent in Ireland. She was the very personification of the figure she was portraying on the stage.”
A critic wrote, “… but above all Miss Gonne’s impersonation had stirred the audience as I have never seen another audience stirred.” Yeats was very pleased with the performance. He wrote to Lady Gregory that Maud Gonne played the part “magnificently and with weird power.”
By the third and final performance, crowds had to be turned away from the fully booked theater. The Inghinidhe lacked the resources to rent the hall for more than three performances. In that short time, however, the play and Maud’s performance entered the realm of Irish nationalist mythology and became an inspiration to many. So inspiring was her performance that after the failure of the 1916 Rising, Yeats asked himself in a poem, “Did that play of mine send out certain men the English shot?”
Another significant result of this play was that its success resulted in the establishment of the Irish National Theater Company. Yeats became its president and Maud joined Lady Gregory, George Russell, and Douglas Hyde on the board of directors. The Irish National Theater Company greatly shaped Irish theater changing the way people viewed and connected with the theater. It created nationalistic pride by producing plays for the Irish written by the Irish. *J. Michael Finn is the Ohio State Historian for the Ancient Order of Hibernians and Division Historian for the Patrick Pearse Division in Columbus, Ohio. He is also Chairman of the Catholic Record Society for the Diocese of Columbus, Ohio. He writes on Irish and Irish-American history; Ohio history and Ohio Catholic history. You may contact him at FCoolavin@aol.com.
25 Things to do This Weekend;
from your Ohio Irish American News
Austin Walkin’ Cane The Harp
Sunrise Joes Stampers Bar
Caliber The Hooley House – Brooklyn
Kristine Jackson Flannery’s Pub
ThemusicMen Sully’s Irish Pub
MadMacs Irish American Club East Side, Inc
EricButler John Mullarkey’s
BiginJapan Hooley House – Mentor
BreakfastClubThe Hooley House – Westlake
LeinsterGAASrHurlingChampionship 2pm Pj McIntyre’s
UFC 174 @Hooley House Brroklyn Mentor & Westlake
Chris Allen @TheHarp
Mossy Moran @SullysIrishPub
BastardBeardedIrishmenHooligans Irish Pub, Put-in-Bay
In the earliest hours, before the dawn
When dreams drift from truth to imagination
I see your eyes, and I see your strength
Summer brother; I’ll not forget you.
Requiem; do you remember when
Sunday football; Gunning, for glory
Every summer you came,
for work; for none in Ireland
Walking the Press route with me, a small boy
You gave me the greatest gift of all, your time
I had no brothers
Your big bright smile always shining, always present
Talking quietly on the porch
As the rain took the power, but never the memory
Of my only brothers
Flipping sides, climbing a wall
Bobby Sands funeral
Rest in Peace, sweet Charlie
For us, away across the ocean
So blessed to have known you
So blessed to call you, dreaming like summer, my brother
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