Lorekeeper
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| Salmon of Knowledge |
Perspectives on Seanchaí
reported by Louisa John-Krol
A seanchaí (plural: seanchaithe) is a traditional Irish storyteller/historian, also spelt shanachie (pronounced shaan-a-key), meaning bearer of old lore, seanchas. In ancient Celtic culture, bards (filí) conveyed history and laws through memorized recitals of long lyric poems.
According to Irish storyteller Jack Lynch, the term means “traditional lore and knowledge”, recently discussed in an email to Australian storyteller Jackie Kerin (quoted or paraphrased with permission of both correspondents):
“Originally this definition included “ancient Irish law-tracts, genealogical lore, myths and legends and also folklore. So the seanchaí was the custodian of ancient history, lore and story. Scéalaí is a more precise Irish term for storyteller (scéal means story). The seanchaí was a community tradition bearer.”
To paraphrase Jack: in recent centuries, local entertainment consisted of gathering in a neighbour’s house - usually in winter when farm-work was less demanding - for music, dance and storytelling, starting with a sharing of news, followed by related folktales, and imparting myths and legends, perhaps lasting several nights.
“A vital element of the seanchaí's store would be dindseanchas - the lore of place-name”, Jack explains. He evinces that some meanings faded with 18th century imperial mapping. Then in the 20th century, radio “displaced the seanchaí from the corner of the kitchen”. A few survive in country regions, upholding the Rambling Hose (or Ceidhli House, Storyhouse or Scoraíocht - depending on their locations across Ireland or Scotland).
Actor-storyteller Eamon Kelly recreated this traditional form on radio, and later TV. He became known as a seanchaí. Eamon, himself, however, pointed out that he was merely an actor playing the part of one. As such, Jack maintains, “seanachie” is a precise historical term that he wouldn’t claim for himself, maintaining that it signifies individuals “embedded in and reflecting” their communities, even “wisdom in life”.
According to Irish storyteller Jack Lynch, the term means “traditional lore and knowledge”, recently discussed in an email to Australian storyteller Jackie Kerin (quoted or paraphrased with permission of both correspondents):
“Originally this definition included “ancient Irish law-tracts, genealogical lore, myths and legends and also folklore. So the seanchaí was the custodian of ancient history, lore and story. Scéalaí is a more precise Irish term for storyteller (scéal means story). The seanchaí was a community tradition bearer.”
To paraphrase Jack: in recent centuries, local entertainment consisted of gathering in a neighbour’s house - usually in winter when farm-work was less demanding - for music, dance and storytelling, starting with a sharing of news, followed by related folktales, and imparting myths and legends, perhaps lasting several nights.
“A vital element of the seanchaí's store would be dindseanchas - the lore of place-name”, Jack explains. He evinces that some meanings faded with 18th century imperial mapping. Then in the 20th century, radio “displaced the seanchaí from the corner of the kitchen”. A few survive in country regions, upholding the Rambling Hose (or Ceidhli House, Storyhouse or Scoraíocht - depending on their locations across Ireland or Scotland).
Actor-storyteller Eamon Kelly recreated this traditional form on radio, and later TV. He became known as a seanchaí. Eamon, himself, however, pointed out that he was merely an actor playing the part of one. As such, Jack maintains, “seanachie” is a precise historical term that he wouldn’t claim for himself, maintaining that it signifies individuals “embedded in and reflecting” their communities, even “wisdom in life”.
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| Griots in Africa - picture from Huffington Post |
Responding to Jackie Kerin’s allusion to African performers she witnessed by way of comparison, Jack replied “I've heard Toumani Diabate play and I'm not surprised at his being disgruntled at the purloining of the badge of Griot - which I gather is akin to that of seanchaí.”
On the other hand, many Australians have learned to adapt traditions of diverse cultures. Adaptation needn’t mean forgetting, losing, diluting or purloining, one another's heritage. Within respectful boundaries (e.g. for ethical guidelines in approaching Aboriginal culture, see links below*), it can herald new tributaries of collaboration, understanding, healing and imagination. Is it fair to expect Australian contemporary folklorists to harbour a single static circle of lore, if co-mingling thrives at our essence? Perhaps Australian lore-keepers are more likely to be pluralists than purists?
At our 2016 Australian Fairy Tale Society conference, we discussed how universality might be “just another form of imperialism”. As Jackie quipped, “What if I don't want to belong to your collective unconscious?” (By “your”, she did not mean anyone specifically; it was an explorative question that has been circulating for a while.) Whilst I respect such reservation, I suggest we make allowance for transitory intercultural efforts. The movement under criticism, which led to such inspiring collections as World Tales by celebrated author Idries Shah, The Masks of God by anthropologist / mythographer Joseph Campbell, and various Jungian trends, emerged in a 20th century context, in the wake of the Holocaust, Cold War, Vietnam War, Apartheid in South Africa, The Stolen Generations here in Australia, and other travesties of division. A transcontinental Civil Rights movement kicked against the pricks. Universalism, or transcendentalism, was part of its energy. Now, in the 21st century, conflicts between fanatic monotheists have resurfaced. Seeking common ground is a basic tool that teachers use with dysfunctional youths. It might be simplistic, but it's better than segregation or persecution. It's a peg to hold, as we drag this mortal coil up the cliff from ravines of prejudice. To use a French analogy: “How can you expect them to fly, when you cannot even give them a feather?” Humanity is still halfway up the precipice. Rapids churn below. Let's shift the pegs of refinement later, once on firmer turf. One person's high moral ground might be a distant peak for others.
(NB: The views expressed in the above two paragraphs are my own, and still forming - Louisa.)
At our 2016 Australian Fairy Tale Society conference, we discussed how universality might be “just another form of imperialism”. As Jackie quipped, “What if I don't want to belong to your collective unconscious?” (By “your”, she did not mean anyone specifically; it was an explorative question that has been circulating for a while.) Whilst I respect such reservation, I suggest we make allowance for transitory intercultural efforts. The movement under criticism, which led to such inspiring collections as World Tales by celebrated author Idries Shah, The Masks of God by anthropologist / mythographer Joseph Campbell, and various Jungian trends, emerged in a 20th century context, in the wake of the Holocaust, Cold War, Vietnam War, Apartheid in South Africa, The Stolen Generations here in Australia, and other travesties of division. A transcontinental Civil Rights movement kicked against the pricks. Universalism, or transcendentalism, was part of its energy. Now, in the 21st century, conflicts between fanatic monotheists have resurfaced. Seeking common ground is a basic tool that teachers use with dysfunctional youths. It might be simplistic, but it's better than segregation or persecution. It's a peg to hold, as we drag this mortal coil up the cliff from ravines of prejudice. To use a French analogy: “How can you expect them to fly, when you cannot even give them a feather?” Humanity is still halfway up the precipice. Rapids churn below. Let's shift the pegs of refinement later, once on firmer turf. One person's high moral ground might be a distant peak for others.
(NB: The views expressed in the above two paragraphs are my own, and still forming - Louisa.)
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| A Holloway: a well worn ancient path, linking past to future |
Do you have a word, adapted or invented, to describe an Australian storyteller of any cultural origin, whom you consider both wise and a keeper of lore?
Email Louisa John-Krol
More info on this topic here
Jack at Storytellers of Ireland
Jack Lynch's website
Jackie Kerin’s website
This article is by Louisa John-Krol
*Resources for Aboriginal culture in Victoria:
This article is by Louisa John-Krol
I respectfully acknowledge the traditional owners of this land, associated with the Kulin Nation, on which this blog was created.
Thanks for sharing information about this fairy tale group and this workshop. I want to arrange a charitable function for old homeless people next month and searching for affordable venues in Houston. Hope to find one quickly.
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