Chapter 1: Early Life and Jeremiah Molyneaux
Chapter Summary 00:00 / Part 1 - Family Background and Early Dance Classes Pat Ahern was born near the village of Moyvane, roughly halfway between Listowel and Tarbert. His family were small farmers, as were all their neighbours. Pat became aware of all the activities associated with the animals and crops on the land at a very young age. Later, he spent seven years studying for the piesthood at Maynooth and he was ordained a priest in 1957. 01:58 / Part 2 - Music and Dance - the Background to Pat’s Young Life Pat was surrounded by music and dance when growing up. A neighbour, Eddie Moloney, was ‘a beautiful dancer’ and he also taught Pat to play the fiddle. Pat met and learnt steps in his own home from Jeremiah Molyneaux when the latter was lodging with Eddie’s family. 03:56 / Part 3 - Jeremiah Molyneaux – He Could Write on the Floor with His Feet In addition to the private dance lessons that Pat received in his own home from Jeremiah Molyneaux, he also attended some lessons after school. When he was in the local area, Molyneaux held these classes in the village hall. Pat recalls that it was mainly Hornpipes and Jigs that Molyneaux taught. He was less fluent with Reel steps. 06:50 / Part 4 - Dance as a Feature of Community Life Pat never participated in dance competitions; they were not a feature of life when he was young. Instead, there was much dancing at home and house dances took place every few months. Wren Dances were organised by the local wren boys using the money they had collected on their rounds on St Stephen’s Day. These events were very popular around Christmas time.
Chapter 2: Siamsóirí na Ríochta
Chapter Summary: 00:00 / Part 1 - St John’s Gregorian Choir, Tralee Having been ordained a priest Pat returned to Tralee where he was involved in the establishment of a Gregorian Choir. It was known as ‘St John’s Gregorian Choir’ and it was initially composed of men and boys only. However, after a short period of time and for very practical reasons, women were later admitted. 01:48 / Part 2 - Siamsóirí na Ríochta – The Early Days Pat formed a small group of musicians and dancers drawn from St John’s Gregorian Choir and various other projects that he was involved with. Among those that he recruited were the dancers Patricia Hanafin-Nolan and Jimmy Smith. The group became Siamsóirí na Ríochta, which in turn eventually evolved into Siamsa Tíre. 03:39 / Part 3 - Siamsóirí na Ríochta – Television Appearances Siamsóirí na Ríochta first appeared on ‘Newsbeat’, a current affairs programme that was hosted Monday to Friday, on ‘Raidió Teilifís Éireann’, from 1964 to 1971. This, in turn, led to the commissioning of four half-hour television recordings for the programme ‘Aililiu’, by ‘Raidió Teilifís Éireann’. 05:25 / Part 4 - A Christmas Television Performance In addition to the four appearances of Siamsóirí na Ríochta on the programme ‘Aililiu’, the group was also recorded for a Christmas special on ‘Raidió Teilifís Éireann.’ It depicted traditional Irish Christmas customs by means of music, song and dance. Dialogue was not employed. 07:05 / Part 5 - Siamsóirí na Ríochta – Seasonal Performances in Tralee The television appearances of Siamsóirí na Ríochta attracted a great deal of attention locally. Later Michael Maye, a local tourist officer, enquired whether or not the group might consider performing for tourists in Tralee town during the summer months. They were indeed interested and the show they performed in response was entitled ‘Fadó, Fadó.’ It was based on the farming activities, customs and beliefs of a small farm. 09:10 / Part 6 - The Adoption of the Name Siamsóirí na Ríochta The group felt it necessary to adopt a name at the time of their appearances on ‘Raidió Teilifís Éireann’. Sr Aquino, a Presentation nun from Tralee, together with another nun, coined the name Siamsóirí na Ríochta. The group retained this title until 1974 when the name ‘Siamsa Tíre’ was adopted.
Chapter 3: Siamsa Tíre
Chapter Summary: 00:00 / Part 1 - Pat Ahern’s Vision for Siamsa Tíre Pat’s vision was to re-create on stage the friendly neighbourly interaction that he himself experienced while growing up. The original show, Fadó, Fadó, continued to evolve from the mid-1970s onwards and was performed for audiences every summer. An old cinema, ‘The Theatre Royal’ was the company’s ‘home’ for about ten years before the new theatre was built. 02:08 / Part 2 - A European Award In 1974 Siamsa Tíre received a European award, the Alfred Toepfer Award, for its work. The same year the company opened its first Teach Siamsa at Finuge in North Kerry. Here, students received training in traditional music, song and dance. A second Teach Siamsa was opened a year later at Carraig on the Dingle Peninsula. 04:59 / Part 3 - The 1983 Dance Project Catherine Foley describes the dance collecting project that was undertaken by the Trustees of Muckross House, Killarney, in 1983. Pat confirms that the project was very important in terms of recording the traditional dance of North Kerry. Billy Vincent (A. W. Bourn Vincent formerly of Muckross House ) had previously presented the company with a video recorder for the purpose of recording the dance. 06:37 / Part 4 - Siamsa Tíre – The Formation of the ‘Core Group’ In 1985 a small ‘Core Group’ of professional Siamsa Tíre performers was formed. The principal dancers were Patricia (Pat) Hanafin-Nolan and Jimmy Smith. They learnt from Pat the steps that he himself had learnt from Jeremiah Molyneaux; they also formulated new dance steps as required. Dialogue was not employed by the performers. Dance was the medium through which stories were told. 09:03 / Part 5 - The Power of Dance Dance is, according to Pat, a very powerful means of expression. The dance employed by Siamsa Tíre performers was the everyday dance of the people. A great deal effort was employed by the dancers in trying to capture and convey everyday emotions such as sadness, joy and humour. 11:38 / Part 6 – Balancing Tradition and Innovation Pat states that the traditional steps taught by Jeremiah Molyneaux were never abandoned. The choreographers employed by Siamsa Tíre made Molyneaux’s steps the foundation of their work. The role played by music and song was also very important. Harmonies were introduced into traditional songs, which some people might have found surprising and controversial. 13:31 / Part 7 - Siamsa Tíre’s Millennium Show – Ding Dong Dederó Pat’s favourite show was entitled Ding Dong Dederó, after the forge song of the same name. It told the story of Jeremiah Molyneaux. The show was produced for the company’s millennium celebrations and was performed in the Glen Glens Arena, Millstreet, County Cork, ‘where Riverdance’ was born. 15:25 / Part 8 - Siamsa Tíre - The Future Pat discusses the hard reality of having to work within budgets set by the company manager. He states that Siamsa Tíre stage shows were not shaped by the tourism market. Pat stresses that the personalities of the performers injected authenticity into the productions. 16:42 / Part 9 - Financial Realities and Artistic Integrity In 1997 Pat stepped aside as the founding Artistic Director of Siamsa Tíre. Looking to the future he would like to see Siamsa Tíre build on its current reputation and profile. Pat believes that it is important that the company maintains a connection with its roots.
Chapter 4: The Impact of Personality on Dance
Chapter Summary: Pat explains that no two dancers will dance a step in exactly the same way. The personality of each dancer will have an impact upon their own particular dancing style. Going forward, each new group of dancers in Siamsa Tíre will inject their performances with a fresh dynamic due to their own unique personalities.