Somewhere way back there someplace, Rich said:
I was at a couple of sessions while on a visit to Chicago last year, where one of the session leaders commented that it must be tough to be a bodhran player and have to prove you're not one of those "Bodhran-owners"(His term, not mine) every time you play someplace new.

THANK YOU!!

I'm a fair-to-middling bodhran player who played flute from fourth grade through college in marching bands, concert bands, orchestras, wind ensembles, and woodwind quintets. I know how to listen. I know how to follow a melodic line. I know when to keep strict tempo and when to vary it. (I'm housebroken, too. ;-) ) And the person Rich quoted was right: it stinks to have to prove myself every time I open my case.

I understand the whole "bodhran-owner" concept. I've seen it way too many times at sessions. It p*sses me off that these un-musical clods make my life difficult by ruining the reputation of my chosen instrument. I've even left sessions because I couldn't get a tipper in edgewise due to bodhran "players" who have to play loudly on Every Single Blessed Tune.

Somewhere less far back, Emma said:
Many people say bodhrans should be seen and not heard. And in a sense I agree in certain situations. I won't play in songs unless there are ten thousand other people playing instruments and the tune has the right rhythm to play bodhran to.

Looks like we're in competition for the title of world's most polite bodhran player! :-) You go - er, not go, in this case - girl!!

Despite there not being ten thousand others playing, I got brave & asked to play at a pub session when I went to the Fleadh in Ennis this summer. An obvious Yank, an unknown quantity, and I was still welcomed. I tried to make a good impression as well as have fun, and I believe I did both.