Áine Ní Chíobháin writes about the iconic song Mná na hÉireann featured in tonight's Aistear an Amhráin and how it became an ómós to the women of Ireland despite its offensive lyrics.
Tonight at 7pm on RTÉ ONE reporter, Sinéad Ní Churnáin, takes us on a journey of the story behind the song, Mná na h'Éireann from a derogatory poem to a well respected song in the Irish song canon.
It’s safe to say that Seán Ó Riada’s hauntingly beautiful air is what has carried this tune over the decades to be performed by many well-known artists like The Chieftans, Jeff Beck, Dexys Midnight Runners, remaining in the repertoire and sung in perfect Gaelic by the likes of Kate Bush and Sinéad O’Connor.
Seosaimhín Ní Bheaglaoich agus Steve Cooney, ó RTÉ Archives.
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Tá Mná na hÉireann ar cheann de na hamhráin de chuid na hÉireann is so-aitheanta agus is mó a thaitníonn le daoine. Tá sé le cloisteáil i scannáin éagsúla agus ó réimse leathan ceoltóirí agus amhránaithe éagsúla, leithéid na The Chieftains agus Sinéad O'Connor. Séan Ó Riada a chum an fonn sa bhliain 1969 agus ba é Seán Ó Sé, an t-amhránaí clúiteach as Corcaigh, an chéad duine a chan é, le tionlacan ó Cheoltóirí Chualann ag ceolchoirm a mhaireann cuimhne uirthi go fóill, Ó Riada sa Gaiety.
'Nuair a chum Séan Ó Riada ceol an amhráin sin, táim den bharúil go raibh ómós á thabhairt aige na ceoltóirí ón seanré... Tá sé an chliste, agus an-tarraingteach,’ a deir Lillis Ó Laoire, amhránaí sean-nóis agus fear léinn. Is iomaí ceoltóir, as Éirinn agus tíortha i gcéin, a bhfuil taifeadadh déanta acu ar Mhná na hÉireann ó shin i leith.
Bhí roinnt, mar shampla The Christians, a mheas gur fonn traidisiúnta de chuid na hÉireann a bhí ann agus go raibh saorchead acu a úsáid. Dar le Seán Ó Sé, bhí an banna sin as Sasana ‘ag iarraidh go gcruthófaí dóibh gurbh é Seán Ó Riada a chum an ceol. Agus rith liom go raibh clár ar fáil an oíche sin don cheolchoirm 'Ó Riada Sa Gaiety', chuaigh ag cuardach agus tháinig mé ar cheann sa bhaile agam féin. Ghlac siad leis sin agus d'íoc siad an dleacht mar a bhí dlite.’
Chan Kate Bush, iníon le bean as Éirinn, an t-amhrán ar albam cnuasaigh a raibh Dónal Lunny ina léiritheoir air. Is cuimhin leisean gurbh ‘mhór an t-ualach uirthi tabhairt faoin gceann sin, ach mura ndearna sí gach dícheall a bhí ina croí! Scríobh mise amach na focail di, i nGaeilge, ach le litriú a chuirfeadh na fuaimeanna in iúl dise... ach bhí sí an-díograiseach ag cinntiú go dtiocfadh sí chomh cruinn, gar don cheart agus a bheadh inti.’
Is minic Mná na hÉireann a sheinm ag ócáidí oifigiúla, mar a tharla mar shampla nuair a thug an Bhanríon Eilís II cuairt go hÉirinn sa bhliain 2011, agus le blianta beaga anuas is beag nach bhfuil an t-amhrán á cheapadh le hóid do mhná na hÉireann.
Téann Sinéad Ní Churnáin go Baile Mhúirne go mbuaileann sí le Cór Ban Chúil Aodha agus go gcloiseann sí an chúis a bhí acusan leis an amhrán a thaifeadadh. Ina dhiaidh sin is uile, in ainneoin chomh haoibhinn álainn atá an fonn, tá snáithe dorcha amhrasach fite tríd an amhrán a bheadh ina ábhar ionaidh ag roinnt daoine. Tá focail an amhráin bunaithe ar dán a ceapadh 300 bliain ó shin. Ba é Peadar Ó Doirnín an file, bard siúil as Co. Lú, a mbíodh cáil air mar gheall ar amhráin ghraosta ólacháin a dhéanamh. Rinne Pádraigín Ní Uallacháin, amhránaí agus scoláire, aistriúchán nua ar an dán le gairid. ‘Ní fhéadfainnse an tamhrán seo a chanadh, ar ór ná ar airgead. Dá dtuigfeadh daoine an rud atá á chanadh acu, dá mbeadh sé i mBéarla, ní chanfaí go brách é... Collaíocht ábhar an amhráin, caidreamh collaí agus na mná ar fad atá ar fáil..
On this musical journey, we come to learn that the title, the poem and the music were all written by different men. Penned by Peadar Ó Doirnín an 18th century, a hedge-schoolmaster and a harper from South Armagh, ancient Oriel, an area rich in Gaelic heritage. It was re-published in an anthology of poetry and given its famous title by Dr. Breandán Ó Buachalla in 1969. Set to air by Seán Ó Riada and first sung by Seán Ó Sé in the 1970’s.
Throughout the programme we meet academics and artists who delve into the poetry and lesser-sung verses and uncover the darker undertones of this poem turned song. Mostly sung in Gaelic, are the first two and last verses, often skipping verse 3, 4 and 5, leaving a lot of unrevealed information from the original poem which is speculated to have been hummed alongside poet, Ó Doirnín’s, harp in the 18th century.
Sinéad talks to Pádraigín Ní Uallacháin, a traditional Irish singer, who translated the poem in its entirety to uncover the full extent of the derogatory references to the rape of a young virgin amongst several other explicit metaphors and lewd remarks.
Pádraigín, a native to Ó Doirnín’s South Armagh, believes that most singers did not fully understand the lyrics. Lillis Ó Laoire, an Irish and Cultural academic from NUIG, affirms all we hear is the title and questions if we really listen to or understand the lyrics, intertwined in a medley of Gaelic allegory.
What we really hear is O’Riada’s otherworldly music and the mezzo-soprano voices of Kate Bush or Sinéad O’Connor. There is deep sadness, intense passion, joy and anger yet it is sung with such authenticity and power. The extraordinary emotional range required to sing this song surpasses the meaning of the lilting lyrics.
Seán Ó Riada, a classically trained musician, the composer of this elegant air, had a fascination with dramatically reinterpreting Irish music, reviving many 18th century songs and instigating a resurgence of traditional Irish music in the 50’s and 60’s.
Peadar O’Riada, his son features along with Seán Ó Sé, who first sang O'Riada’s composition, and both reminisce on this trailblazing time in Ireland.
We meet Doireann Ní Ghlacáin, Seán Ó Riada’s granddaughter and the women of the choir Cór na mBan, Cúil Aodh, who discuss the love poet, Peadar Ó Doirnín, and his possible fickle and capricious musings from over three centuries ago.
Aistear an Amhráin, tonight at 7pm ar RTÉ ONE or catch up on the Player here.
