Grace Notes Newsletter of the Memphis Scottish Societ y, Inc. Vol. 30 No. 6 • June 2014 President’s Letter Memphis Scottish Society, Inc. Board President Melissa Gibson 901 299-3170 [email protected] Vice President Mary Ann Lucas 901 725-1879 [email protected] Treasurer George Malone 901 385-1938 [email protected] Secretary Becky Trafford 901 385-7628 [email protected] Members at Large Sue Malone 901 385-1938 [email protected] Mary Clausi 901 753-9494 [email protected] Elaine Meece 901 907-6831 [email protected] Serendipitous is the word I think is appropriate to describe the fact that we planned our annual Ceilidh on the same date that the folks in Scotland just happened to plan the 24 Hour Commonwealth Ceilidh. (See article on page 5.) Ours will happen on June 21 in the Fellowship Hall at Mullins United Methodist Church, a new venue for us. Please come and join in the fun! Sing, dance, tell stories, play an instrument, and by all means recite some Scottish (or other} poetry. The Scottish Society will provide a couple of meats for the main course, drinks, and paper products, and you can bring everything else. If your last name starts with A--H, please bring appetizers and salads; I--P, please bring side dishes, and Q--Z, please bring desserts. I hope to see everyone there. I guarantee that you will be both well fed and well entertained! June Meeting Well. I hope you aren’t sick of hearing from me at this time, as my plans are to be in my chair and playing and singing as close to the five o’clock hour as I can. Then if hunger hasn’t overtaken me, I will provide a bit more reflective music for the supper hour at or around six. This will give me plenty of time to play through a good bit of my repertoire that I have collected for the past couple of decades. It is primarily Scottish music, both ancient and modern with some gaelic, some celtic music, and possibly even some Americana for good measure. I will also be introducing our group to a new song out of the Hands up for Trad folks in Scotland and will run through the chorus a couple of times so we can give it a sing. Permission was granted to run this part of the song by Simon Thoumire, Crieative Director for the Hands up for Trad group in Scotland. Look on Page 2 to see a copy and give it a try before you come. I will try to save a bit of voice for us to sing a song or two to start the meeting with as we usually do. Hope to see you June the ninth sometime between five and eight. SRich Oh, Î haven’t announced what the meeting was going to be! That is because I have not completely decided. Suggestions have been made to expand a bit on Nursery rhymes and their historical signirficance, so their is a good chance you should brush up on your Mother Goose, aye. SRich Tennessee Tartan. Created by the Heart of Tennessee Scottish Celebration as a State tartan. Passed by Tennessee Public Acts 1999, Chapter No.82, Senate Bill No. 73. The source of the tartan 2526 was: Bill Bickford of the Tennessee Tartan Committee. Here's To All Our Common Wealth F G7 Ours C the song and G and ev - ry ............ here's a health to......... here's to all G7 G7 C C all our ......... G ours the land and ours hand and F each Alison Burns, Findlay Napier and Phil Cunningham C to hold we share .... G7 the auld lang......... here's com - mon wealth..... that syne G ev - ry tongue and C F C a hand to F can't C to hold. G7 for C sing And C be bought or G And sold One of the interesting components of this song is that the melody line actually shifts between the Soprano and Alto lines at times. Grace Notes Grace Notes is the official publication of the Memphis Scottish Society, Inc. It is published monthly. Like the Society itself, the credo of Grace Notes is “to foster education and promote understanding of things Scottish.” If you have something of interest to readers of this newsletter, please submit a typewritten manuscript to the editorial staff. If the article or notice is very brief (30 words or fewer), e-mail or just use the telephone. Grace Notes will accept and publish good quality photographs. The deadline for all submissions is the fourth week of each month preceding the month of publication. Please include a self-addressed stamped envelope with each submission, if you want the material returned. Editorial Staff Melissa Gibson Editor, (901-299-3170) [email protected] Sammy Rich Publisher, (901-496-2193) [email protected] Gavin Anderson Circulation Editor, (901-485-8270) [email protected] Karen English Circulation Editor, (901-396-9134) [email protected] [email protected] 2 to foster education and promote understanding of things Scottish Please address all correspondence to: Grace Notes The Memphis Scottish Society, Inc. [email protected] P. O. Box 770028 Memphis, TN 38177-0028 Songs of Robert Burns A Study in Tone Poetry Ceilidh 2014 Will you “gie us a poem?” Coming soon to a website near to you. www. memphisscots.com. . . . . . . . . . . . . . . . . . . . . . . . . Having the good fortune of corresponding with Murray Shoolbraid (one of the world’s foremost Scots Ballad Collectors) for several years, novice that I am, I implored him as to where to start in the studies of Scottish Ballads and he suggested “why not start with Robert Burns”. This collection is my attempt to get my arms around this giant in the vast world of Scottish music. As the date for our Ceilidh, June 21 is upon this month, the only request we make of our participants is to “gie us a poem!” We should have an entertaning and enlightening evening of poetry readings, songs, tales and who knows what other surprises will be in store for the evening at Mullins Methodist at the corner of Walnut Grove and Mendenhall in the Fellowship Hall. Entrance is the first driveway North of Walnut Grove on Mendenhall. If that lot is full there is another lot, right past the first one, with a lovely walk through one of Memphis’s older cemeteries. There is an elevator to the right of the front entrance that can take you down stairs and there we will gather to commiserate and eat good food and be entertained by the many talented folks in our society. Be prepared to “Gie Us a Poem.” SRich The tunes were all input with the aid of MusicEaseProfessional Edition and the pdf and midi files were all created with this software. The song names and associated tune names are listed on the index. The meters I used are my educated guesses based on what the song names suggest. I used the piano as the instrument of choice for the tunes because I wanted to hear the melodies as simply as I thought possible. All the grace notes, and the metres are intended to be exactly as James C. Dick put them in his book, “Songs of Roberts Burns, A Study in Tone Poetry.” Do ya wanna dance? My first conclusion after this is that Robert Burns was trying to preserve the Scots language within the framework of these songs. Many ballad scholars and tune scholars have discredited Burns for altering melodies and such, but I for one will not be in that camp as I find that when playing or singing almost any song, I am guilty of taking such liberties myself. I believe it to be a viable part of the folk process whether I learn the music from sheet music or by listening to someone else sing it until I learn it. I have heard from Dana Milner that she is interested in getting a Scottish Dance group re-established. The one that faithfully cooperated and danced for us at Burns Nicht’s past is out of sorts and only remnants of them remain. Now, with or without my blessing, I wholeheartedly endorsed and encouraged Dana to pursue this vigourously and have told her every name I can think of that danced at one time or another and may be willing to again. How can you help? I implore you to encourage anyone you know that may be interested to get in touch with Dana at (901) 201-2280 and see if you can work out the particulars. It really is an invigorating and exciting to participate in and once it gets started, I am confient that it will continue to grow and be a vital part of our society again. Who knows, maybe we will have some dancers back for Burns Nicht in the near future. I for one sure hope so. SRich My other impression of this work is how much material Robert Burns must have been exposed to in his process of collecting this material. If he didn’t have access to all of the materials that are listed under the composer heading of the tunes, then I am all that much more impressed with his ability to learn and retain and write down the many melodies included in this collection. So, if you choose to use this information, and find any part of it that isn’t exactly as written or even if you just think I have a wrong meter, I would ask that you contact me with comments or suggestions to this effort at [email protected]. SRich 3 Caledoniatopia: Don’t Call It a Skirt – The History of the Kilt for Highland games, sporting matches, weddings, and so on. Sir Walter Scott and the Celtic Society of Edinburgh began to encourage lowlanders to wear kilts as well (by this point 9 out of 10 Scots lived in the lowlands) and promoted its general use. November 7, 2013 By John Rabon Mocked for centuries for dressing as women, real men know that the kilt is a clothing option of the mightiest (and some would say craziest) of men. It not only identifies one’s Scottish heritage, but also the clan from which one hails. In the present, kilts abound and many varieties are available, from the “utilikilt” to those denoting places or organization membership. As mentioned, it was also in the 19th century that tartans were developed and ascribed to various clans. Prior to this, kilt colors typically were based on location. Scott’s encouragement of kilts and a visit by King George IV in 1822 spurred a tartan explosion. Generally, clan chiefs determine what the tartan colors are and what surnames are considered clan members. One typically cannot wear a tartan belonging to a clan of which they are not a member, though some sellers may not be so inclined to observe this custom. Other than clan tartans, many tartans have been created for individuals, families, locations, events, or organizations. The kilt began its legacy in the Scottish highlands in the late 16th century. Despite its national appeal in the present, at the time it was first worn, many lowlanders considered it a “barbarous” form of attire. The kilt also wasn’t confined to just the waist, but was a full-length garment worn like a cloak. The word kilt was derived from the Norse word “kjilt”, which meant pleated, referring to a clothing item that was tucked up and around the body. Within highland society, their cost made them a sign of affluence, even more so after tartan patterns were introduced. Today, kilts and their tartans can be seen all over the United Kingdom and the United States. They’re popular for Scottish games, weddings, and even comic book conventions, where the “utilikilt” is an oft-seen piece of attire. The utilikilt was developed by Steven Villegas in 2000 after he wanted an alternative to pants that was more comfortable for riding his motorcycle. The original utilikilts were made from old army pants and after being approached by a bouncer who wanted to purchase one, he founded The Utilikilts Company with Megan Haas. Since the company’s founding, its popularity spread from word of mouth as the company does not advertise. Early kilts were typically a solid color, white, dull brown, green, or black. Contrary to popular belief, clan tartans (the plaid patterns we typically associate with kilts) didn’t develop until an improvement in technology in the late 1800s. It was about this time that the “phillabeg” or the “feileadh-beag” developed. Around the 1790s, the tailored kilt was developed, also known as the “little kilt” or “walking kilt”, becoming what we think of as the modern kilt. The difference between the tailored kilt and the phillabeg is that the pleats are actually sewed down instead of being bunched together and belted. Numerous and diverse, kilts remain a popular form of attire for Scottish and non-Scottish persons, allowing a freedom of movement and uniqueness not seen in many other pieces of clothing. http://www.anglotopia.net/british-history/ In the 17th and 18th centuries, the kilt became a form of protest. In 1746, King George II imposed the Dress Act as a means of repressing Highland culture. The act made it illegal to wear any form of Highland garment, including the kilt. George’s reason for the act was that his opponents had threatened a Jacobite uprising and the ban would permit him to identify any disloyal Scottish armies. Penalties ranged from six months imprisonment to seven years transportation to a penal colony. Eventually, the ban was lifted in 1782 after Jacobitism ceased to be a threat and the kilt cemented itself as a symbol of Scottish independence and identity. Thank-you Kathy Schultz for sharing this bit of history with us. The repeal of the ban led to a revival of the kilt’s popularity in the 19th century. However, kilts were regarded as a piece of formalwear and primarily worn 4 Call goes out to join 24-hour Commonwealth Ceilidh in the weeks following the Ceilidh. The fact is – Scottish Country Dancing is fun, social and good for our health. I expect that from John O’Groats to Jedburgh - Achiltibuie to Auchmithie – many participants across Scotland will keep dancing through the rest of 2014 and into the years beyond.”
Elizabeth Foster, RSCDS Executive Officer said: Cabinet Secretary for Culture and External Affairs Fiona Hyslop, invites people from across the world to join a 24-hour Commonwealth Ceilidh which aims to span the globe next summer as part of the Glasgow 2014 Cultural Programme. “The RSCDS is delighted to be collaborating with Get Scotland Dancing on this exciting project. We are working in partnership with other dance groups to create an innovative dancing programme, blending tradition with the contemporary. We want to see as many people as possible participating in the mass ceilidh on 21st June and are providing online guidance from March 2014 on all you need to know to organise and run a Commonwealth Ceilidh wherever you may be, whatever your experience.” The Royal Scottish Country Dance Society (RSCDS), which has been commissioned by Get Scotland Dancing to create the Commonwealth Ceilidh, will work with dance organisations in Edinburgh, Glasgow and Aberdeen to create new �fusion’ dances which will be performed along with existing dances in a worldwide event on Saturday 21 June 2014. The Commonwealth Ceilidh will begin with events in New Zealand at 7.30pm local time; the next events will begin two hours later in Australia, then in Japan and onwards, with the dancing beginning at 7.30pm in Scotland, 12 hours after the Ceilidh started.       
Along with Commonwealth Ceilidhs in Aberdeen, Glasgow and Edinburgh it is hoped that Commonwealth Ceilidhs will take place in hundreds of locations across Scotland and the UK. Eileen Gallagher, Independent Director on the Glasgow 2014 Board and Chair of the Ceremonies, Culture and Queen’s Baton Relay Committee, said:
“The Commonwealth Ceilidh will be a vibrant celebration of Scottish culture which everyone can get involved in no matter where they are across the world. The chance to learn the three specially created new dances as part of the Glasgow 2014 Cultural Programme will make the Commonwealth Ceilidh a unique and exciting opportunity for so many people who love Scottish country dancing.” The Commonwealth Ceilidh then continues over to the Americas and organisers are aiming for the final event to take place in Hawaii 24 hours after the first ceilidh call was made. Each Commonwealth Ceilidh will be unique to its location, with an interval in every event giving the chance for groups to showcase their national or local dance style. Anyone can join in with the Commonwealth C e i l i d h , w h e t h e r t h e y a re n e w t o d a n c e or a life-long dancer.
Organisers are especially interested at present in hearing from people who would like to organise a Ceilidh in their own community.
Culture Secretary Fiona Hyslop said: “The Glasgow 2014 Cultural programme offers a wealth of opportunities for everyone to get involved in a number of inspiring cultural activities, connecting people and communities, to leave a lasting and positive Games legacy for Scotland.
“The Commonwealth Ceilidh is set to be the biggest celebration of Scottish Country Dancing the world has ever seen - It will be a fantastic way to celebrate, share and showcase our culture during 2014. “As well as being celebrated throughout the Commonwealth, participants in Scotland will get the opportunity to go to a taster class in their community 5 Tennessee Shakespeare Company’s Southern Exposure Series Introduces the Tuesday Literary Salon Dr. Ben with Benjamin, Jr., (2nd Lt. U.S.Army) and �Liam (no rank, yet). Nice picture gentleman. Thanks for sharing with our readers and giving us a chance to see the new hair styles(mohawk) in and amongst the Elliot Clan. (Memphis, TN; May 12, 2014) -- As part of its Southern Exposure Series, which features new and classic literature by Southern writers with Southern inspiration, Tennessee Shakespeare Company this summer introduces two very special Literary Salons hosted by Memphis’ newest Irish restaurant and by one of the city’s great patrons of the arts.Join us at the cooling hour of 6:00 pm for cocktails, hors d’oeuvres, live music, and some of the best words ever written. Elegant, intimate, and cool as a mint julep in shaved ice. Of Ireland Born starring Bosco Hogan - and the live music of Robert Johnson and John Albertson Tuesday, June 10 from 6:00-8:00 pm, 152 Madison Avenue, 38103 Hosted by Seamus Loftus at The Brass Door in downtown Memphis (near the Rendezvous) Drink in the mastery of Irish writers as Irish film and stage star Bosco Hogan reads from a sampling of works that helped create The Republic of Ireland. Revel in Yeats, Synge, O’ Connor, and O’Casey -- great voices of passion, rebellion, resistance, and persistence (and they can be very funny too!) The work continues to influence Southern writers today. A Rare Treat Last Month in GN we announced the celebration of a new birth to the Noble Family then to our great surprise the Noble family was at our next meeting with the new arrival. We always like to celebrate our new members and appreciate our long-time members equally. The Photo opportunity was simply to great to pass up. Our newest member along with three of our most senior members. Dr. White with Clifford and Dorothy McWhorter along with Robert Noble and his new son, Josiah at 6 weeks and 1 day old. Now how cool is that? SRich 6 Thursdays Wolf River Pipes & Drums, 7:00-9:30 Advent Pres. 1879 N. Germantown Pkwy. 753-9494 for info. Sgt.Singleton Pipes & Drums 5:00-7:00 Bartlett Baptist at Yale and Whitten Road. Gordon Abernathy - 412-6846 www.sgtwksingletonpipesanddrums.org C a l e n d a r o f E ve n t s Sundays NEAC Pipes&Drums 1:30-4:00 @ 1st Pres. SW Dr. Jonesboro, AR exit 45 Monday June 9 MSSI Monthly Meeting Jason’s Deli. Poplar/Highland 6:00 -Dinner, 7:00-Program: Sammy Rich Saturday June 21 MSSI Ceilidh 6:00 p.m. - Mullins Methodist Walnut Grove at Mendenhall Thursday June 19 MSSI Board Meeting 6:00 p.m. - St. Luke’s Lutheran Germantown Pkwy Burns Nicht 2014 Meeting 7:00 p.m. St Luke’s Lutheran. Scottish - Celtic Radio Shows Sundays, 6-7 p.m. “The Thistle and Shamrock” WKNO-FM 91.1 Saturdays, 10 a.m.-1 p.m.“Strands of the Celtic Knot” Robert Campbell, host WEVL–FM 89.9 Sun and Mon 6 p.m. and Fridays, 7 p.m. “The Thistle & Shamrock,” WMAV–FM 90.3 June 8: Words, Verses, Music Poetry tells the story this week, with songs and tunes inspired by poets’ lives and works. June 15: On the Road Today’s working musicians offer us contemporary verses of the traveling artists’ lifestyles, continuing a longestablished tradition of celebrating itinerant work ways in song. Publisher’s Pick Another month, another choice. I shall have to go with the choice of June 5th seeing as how our interpretation of a Ceilidh is going on this month so it seems like we should gie an ear to hear what poetry Fiona has in store for us. Who knows? Maybe one of our performers will get a really good idea from listening to this program and dazzle us all with their insight and attention to detail. SRich 7 June 22: Early Summer Sounds Fiona hand-picks the best new sounds from rising artists along with the latest from some of your favorite artists. June 29: Celtic Show Bands Hear big-band style brass sections and other instrumental combinations as they create cutting edge grooves and a big bold acoustic sound. Correction in “Grace Notes” Last month Grace Notes announced new member P.Z Horton as T.Z. Horton. Please make a point to introduce yourself to our new member and for heaven’s sake, get his name right. The Forth Bridge is a cantilever railway bridge over the Firth of Forth in the east of Scotland, 9 miles (14 kilometres) west of central Edinburgh. It was opened on 4 March 1890 and spans a total length of 8,296 feet (2,528.7 m). It is sometimes referred to as the Forth Rail Bridge to distinguish it from the Forth Road Bridge, though this has never been its official name. The bridge connects Edinburgh with Fife, leaving the Lothians at Dalmeny and arriving in Fife at North Queensferry, connecting the northeast and south-east of the country. The bridge was begun in 1883 and took 7 years to complete with the loss of 98 men. Next Monthly Meeting - Monday, June 9 Jason’s Deli - Poplar and Highland Dinner at 6:00, Program @ 7:00 Regular Board Meeting, June 19 at 5:30 - St. Luke’s Lutheran 2000 N. Germantown Pkwy. Burns Nicht Planning Meeting: June 19, 6:30 - St. Luke’s Lutheran Grace Notes The Memphis Scottish Society, Inc. P. O. Box 770028 Memphis, TN 38177-0028 www.memphisscots.com
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