Málstofa - Þjóðlagahátíðir: Tilgangur og áhrif þeirra á hefðbundna tónlist

Fimmtudaginn 25. maí, kl. 13:30-16:30 verður málstofa í bókasafni Tónlistarskólans á Akureyri, á 3. hæð í Menningarhúsinu Hofi.

Fjallað verður um tilgang og hugsanleg áhrif þjóðlagahátíða á hefðbundna tónlist.

  • Hafa þjóðlagahátíðir áhrif á Varðveislu, þróun eða stöðnun þjóðlagatónlistar?
  • Hvers vegna þjóðlagahátíð? Fyrir hverja er hún og hvert er markmiðið?
  • Hverjir koma fram á þjóðlagahátíðum og hvernig eru þeir valdir?
  • Hefur fjáröflun áhrif á skipulag þjóðlagahátíða og það hverjir eru valdir til að koma þar fram?

Málstofustjóri: Guðrún Ingimundardóttir


Oula Guttorm, Finnlandi
Aisling Ní Churraighín, Írlandi
Dr. Verena Commins, Írlandi
Eetu Suominen, Finnlandi


Oula GuttormOula Guttorm is an musician and a producer from Finnish Lapland from a small village called Inari. He got into music business by playing the guitar in many bands during his years in high school and university. Since that he has become an artist manager for Tuupa Records Ltd, which is the only Sámi record label and artist management company in Finland. He is also the producer of Ijahis idja indigenous music festival and a project manager of Sámi Music Centre in the Finnish Sámi Parliament. 

His presentation is an introduction to Sámi people and Sámi music. Mostly I will talk about the festival that I produce, Ijahis idja indigenous music festival and its significance for our culture. 


Aisling Ní ChurraighínAisling Ní Churraighín comes from Teileann, a small Irish speaking region in the parish of Gleann Cholm Cille, coastal southwest Donegal, an area renowned for its richness in language, music, and folklore. Aisling is a doctoral researcher, language tutor, and a traditional Irish musician – all of which flow seamlessly into the other.

Aisling is a native Irish speaker and comes a background where Irish language storytelling and an appreciation for oral traditions and folk customs is the norm. In her youth, she was fortunate to have had the opportunity to attend music classes in the local traditional music school, Scoil Cheoil Shliabh a’ Liag, where she tried out a variety of musical instruments before settling on the accordion, melodeon and tin whistle. The vibrant fiddling tradition in southwest Donegal meant that although primarily being a box player, Aisling picked up many highlands, barndances and mazurkas and the stories associated with the local repertoire of tunes along the way.

Since moving to Galway in 2010, Aisling has followed the path of academic research, focusing on the storytelling tradition and the influence of professional folklore collection on oral transmission in a small rural community. Aisling is based in the Irish Department, in the National University of Ireland, Galway, where she is conducting doctoral research on the National Folklore Collection of southwest Donegal conducted by professional folklore collector, Seán Ó hEochaidh (1913-2002), also of Teileann, and her project is funded by the Irish Research Council.

Aisling will give a talk on the Gaelic song and music tradition of Ireland focusing on south-west Donegla along with the centext of performance in the twentieth century. The great tin smith travelling families and fiddlers were annual visitors to the area and profoundly influenced the musical traditions, and especially the fiddling traditions on the region.


Verena ComminsVerena Commins holds an MA in Ethnomusicology from the University of Limerick and a PhD in Irish Studies, from NUI Galway. She has taught at NUI Galway’s Centre for Irish Studies since 2009 and her teaching and research centre on concepts of re-traditionalisation, festival, commemoration and authenticity in the appraisal of Irish traditional music contexts in Ireland and the diaspora. She is currently Academic Director of customised Irish Studies programmes at NUI Galway.

Title: Sculpting the legacy(ies) of the Willie Clancy Summer School: From naive relief to three-dimensional sophistication

Examining the legacy of the Willie Clancy Summer School through the prism of commemoration provides a space in which to comment upon the monumental legacy of Irish traditional music at this site. Irish music summer schools are recognised as key spaces in which Irish traditional music is practiced, commemorated and (re)imagined in an annual and ritualised format. The earliest model of these, the Willie Clancy Summer School, has taken place in the small coastal town of Miltown Malbay, Co. Clare, since 1973.

The first ever monument raised to an Irish traditional musician (Willie Clancy) was placed in the graveyard of Miltown Malbay, at the edge of town, during the second year of the Summer School (1974). Forty years later, a life-sized bronze statue of Willie Clancy, an intricate and detailed portrait of the uilleann piper, was unveiled in Miltown Malbay but on this occasion in the centre of town.

Neatly bookended by these two visual artefacts, this paper critiques the visual commemoration of a predominately sound and sounded culture charting both the internal and external legacies of the School as revealed by this second unveiling: The statue’s placement is at a significant remove from the first monument in terms of location, style, artistry and imagination. The legacies of the School thus revealed, are contextualised within the institutionalisation of Irish traditional music, the construction of place and authenticity, the development of cultural authority and the role of reciprocity in Irish traditional music practices.

Eetu SuominenEetu Suominen is from South-West coast of Finland and had a carrier in new media business. He moved to the small village of Inari in 2005 on the opposite end of the country and ended up in music business after working as a coach in the media workshop of the municipal youth centre. Eetu worked as a touring engineer for a Swedish band called Sparzanza for a couple of years along with other business in Inari. He was working as a sound technician at Norway's oldest music festival Varangerfestival since 2010, until he started to deliver Finnish artists to that festival in 2013. Today he owns a sound & light rental business in Ivalo and Rovaniemi and works as a sound engineer and booking agent for several artists in the world music scene.

At the seminar he will talk about his work and business in general as a booking agent.