John,
I apologise if my comments have spoiled your Christmas in any way; that certainly was not my intention. Truth to tell, there is never a good time to make such criticisms, but I didn't start this thread, I had no intention of joining it and I came to it when it was well underweigh.
My comments were not meant to be a blanket condemnation of The Society; in fact I believe that without EFDSS's existance the future of traditional music in England would be very bleak. I would very much like to believe that my somewhat negative experience is an example of the past and that things have changed; believe me, I am very willing to be convinced, and if it is so, everybody involved in traditional music will have benefited immensely. If I have been over-harsh or unfair in my comments I apologise unreservedly. Perhaps it is time you started trumpeting your achievements from the rooftops; potential supporters like me really need to know what is happening.
I have the greatest respect for many members of the Society I have known, (and worked with, in some cases) people like Nibs and Jean Mathews, who I also valued as friends, also Roy Judge, who was a pleasure to meet and discuss with, are examples who spring to mind immediately. In the past, the work of members like A L Lloyd and Pat Shaw have very much contributed to my knowledge and enjoyment of traditional music, as did the Folk Song Journal editor, David Atkinson's recent book on the English Ballad. Their and many other's contributions are the up side of the work done by Society members. They didn't get a mention in my over-long letter because they didn't fall under the subject in hand, namely Cecil Sharp House.
My comments on that still stand; as far as I am concerned suitable premises are, or should be, a means to an end - that of the promotion dissemination and progression of traditional music. I believe that those who made C# House an end in itself did great damage to both the music and to The Society.
On the subject of an English National Folk Archive, yes, some of us did rush forward and try to establish one, and we succeeded to some extent with the help of The National Sound Archive. The last manifestation of this was the 'Bright Golden Store' project which is covered on the British Library web-site. I have long believed that the answer to many of the VWML problems lies in co-operation between the Library and the National Sound Archive – here's hoping! If it is already happening, let's hear about it.
The Irish Traditional Music Archive.
Yes, it is true that things here in Ireland are very different regarding traditional music, culturally, socially, politically and economically; I certainly did not claim otherwise, nor did I raise the subject, Derek Schofield did, and you followed it up, I reacted to both of your comments.
If somebody had told me twenty years ago, when we were regular visitors here rather than permanent residents, that Irish Traditional music would be enjoying the popularity it now is, I would have suggested that they were 'away with the fairies' as they say over here.. Whatever the reasons, it appears that the music will survive for at least a couple of generations (not too sure about the songs!).
The establishment of a national archive has been an uphill slog for Nicholas Carolan and his team and the public money has been earned by bitter fighting (sometimes with people from within the traditional music community). Those involved have persevered, withstood the 'diddley die music' sneers of some of the media and the indifference of others and have achieved what they have inch by inch; though there is still a long way to go. A recent supplement to the Irish Times entitled 'Music In Ireland' comprehensively covered the classics, ballet, opera, country and western, middle-of-the-road, rock, jazz etc., and managed to totally ignore traditional music completely, so there are still plenty of hearts and minds to be won.
The lessons to be learned that I referred to lie in how what has been achieved, has been, and I would stress that much of this lies in treating traditional music as a serious art form, a severe shortcoming in some quarters of the folk community in the UK, I do not include anybody involved in this present debate, I hasten to add. Kim Howell is certainly no friend to traditional music, but he, and those who think like him have been given plenty of ammunition by people involved in traditional music who have consistently refused to take it seriously – do I hear cries of 'finger-in-ear', killjoy, purist – please feel free anybody and make my point for me. The mantra often trotted out claims that the music is to be enjoyed and not taken seriously – as if one is an antithesis of the other. Nobody is going to take us seriously if we don't take ourselves so – not enough to give us money anyway. It is this that has made the difference in Ireland, god knows, we don't have a generous, culturally inclined government; we have our own share of Kim Howells thank you very much.
Alan Day,
I certainly did not say that ballroom dancing fills me with horror; what consenting adults get up to in their spare time is completely their own business. It is an activity for which my feelings are totally neutral. What I said was that is should have no place in EFDSS activities – aren't the waters surrounding phrases like 'traditional' and 'folk' muddied enough without adding another activity which can by no stretch of the imagination be described as either? Ballroom dancing does not even have the dubiously opportunistic merit of drawing much needed young blood into traditional activities. Judging by the attitude of young people I know, some of whom may or may not be attracted to traditional song or dance, and certainly may be persuaded to take up an instrument, it would have the exact opposite effect.
Another over-long posting – sorry folks.
Seasons Greetings to all – please have a whiskey on me John.
Jim Carroll