Background
Ceòlas is a unique summer school, with strong, underlying connections to both of the Gaidhealtachds, or Gaelic-speaking areas, of Scotland and Cape Breton. This statement is being written as a guide towards maintaining its uniqueness as the organisation moves toward future development. In its orientation, Ceòlas seeks to reconnect the once vibrant links that existed between the rhythms of the Gaelic language and older West Highland dance styles – such as Scottish step dance – and the traditional instrumental music of the Western Highlands and Islands. This relationship is, perhaps, most vividly realised in the way that many of the most well-known dance tunes have associated words (puirt-à-beul), which traditionally informed the playing styles of these tunes when performed instrumentally.
One of the strongest assets of the school lies in its holistic teaching approach, which establishes these interconnections in each individual subject area. Pipers are encouraged to learn step dancing, whilst step dancers are encouraged to try their hand at some instrumental music or puirt-à-beul. This practice is formalised in each student having a first choice and second choice subject; ideally they should balance and inform each other. Another aspect of this link in the curriculum is provided by the cross-over class, in which students from the different disciplines create an ensemble piece with all of the elements represented. Alternatively, students may choose a non-performance class, which explores these links through greater tutor input. Gaelic classes are also an important aspect of the summer school, providing students with a key towards a richer understanding of the overall culture.
Curriculum and Future Development
In practice, Ceòlas’s curriculum is centred around five main areas of tuition:
- Traditional Gaelic song and mouth music
- Gaelic language and arts (e.g. poetry)
- Ceòl Mòr, the classical music of the Highland pipes
- Ceòl Beag, the instrumental dance music of the Gaidhealtachd
- Historical dance styles of the Western Highlands and Islands, such as reels, quadrilles and Scottish step dance
In terms of the instrumental subjects offered at Ceòlas, the main emphasis is placed upon traditional styles of playing, linked to rhythms associated with the Gaelic language and/or dance traditions. This is as opposed to styles more closely related to other dance traditions (e.g. Scottish country dancing), other geographical areas, or a broadly classical, or military aesthetic. For instance, ceòl mòr is taught as being part of a greater tradition involving both canntaireachd and piping song, and ceòl beag is linked to the rhythms of puirt-à-beul and its original function: to provide music for different kinds of Gaelic dance. In looking towards any future developments, it is important that they are firmly situated within one of the five areas above, and are consonant with the school’s orientation.
Part of Ceòlas’s success – apart from the natural relationships between these disciplines – can be attributed to the compatibility of the instruments on offer. This factor has crucial knock-on effects both within and out with the school, e.g. cross-over classes, house cèilidhs, evening concerts and informal sessions. In general, any extension of the instrumental options must be: a) relevant to the traditions of Gaelic Scotland and Cape Breton; and b) sympathetic to the aims surrounding the summer school and to its social milieu. It also must be considered that the number of participants that the school has enjoyed over the past few years has taxed the levels of accommodation and transportation available in South Uist. Before any new disciplines are approved, this issue must be resolved.
Employment
Ceòlas will continue, as it has done, to employ a core group of Cape Breton tutors year after year. These tutors bring with them a link to certain traditions – mainly a connection between instrumental tunes and Gaelic dance rhythms – that have all but disappeared in Scotland. These tutors may in theory teach any discipline, but have been brought over usually for the purposes of step dancing and fiddling. In terms of Scottish tutors, preference will be given to recognised performers with strong links to Uist or Cape Breton. Additionally, it will normally be the case that tutors will rotate after a period of three years. Exceptions may be made to this guideline if suitable replacement tutors are unavailable in a given year.
