Beltane
A Beltane bonfire on Calton Hill in Edinburgh
Also called	Irish: (Lá) Bealtaine, Scottish Gaelic: (Là) Bealltainn, Manx: (Laa) Boaltinn/Boaldyn
Observed by	Gaels, Irish people, Scottish people, Manx people, Neopagans
Type	Religious (Celtic polytheism, Celtic Neopaganism, Wicca) Cultural
Significance	traditional first day of summer in Ireland, Scotland and Isle of Man
Date	sunset 30 April – sunset 1 May (N. Hemisphere) sunset 31 October – sunset 1 November (S. Hemisphere)
Celebrations	lighting bonfires, making 'May boughs' or 'May bushes', dancing, singing, feasting
Related to	May Day, Calan Mai, Walpurgis Night

Beltane ( /ˈbɛlteɪn/) is the anglicised spelling of the Goidelic name for either the month of May or the festival held on the first day of May. In Irish Gaelic it is Bealtaine ([ˈbʲal̪ˠt̪ˠənʲə]), in Scottish Gaelic Bealltainn ([ˈbʲal̪ˠt̪ˠənʲ]) and in Manx Gaelic Boaltinn or Boaldyn.

Beltane was an ancient Gaelic festival celebrated in Ireland, Scotland and the Isle of Man. It marked the beginning of summer and was linked to similar festivals held elsewhere in Europe, such as the Welsh Calan Mai and the Germanic Walpurgis Night. Beltane and Samhain were the leading terminal dates of the civil year in medieval Ireland, though the latter festival was the more important. It is a cross-quarter day, marking the midpoint in the Sun's progress between the spring equinox and summer solstice. The astronomical date for this midpoint is nearer to 5 May or 7 May, but this can vary from year to year.^[1]

Beltane regained popularity during the Celtic Revival and is still observed as a cultural festival by some in Ireland, Scotland, the Isle of Man and among their diasporas. Today, Beltane is also observed as a religious festival by Celtic neopagans. Wiccans adopted the name Beltane for their May festival.

History[link]

Pre-medieval period[link]

According to Nora Chadwick, in Celtic Ireland "Beltine (or Beltaine) was celebrated on 1 May, a spring-time festival of optimism. Fertility ritual again was important, in part perhaps connecting with the waxing power of the sun, symbolized by the lighting of fires through which livestock were driven, and around which the people danced in a sunwise direction."^[2] The ninth century Sanas Cormaic (or "Cormac's Glossary") says the "...Druids used to make [the fires] with great incantations,"^[3] and were lit to safeguard against diseases.^[3]

In Irish mythology, the beginning of the summer season for the Tuatha Dé Danann and the Milesians started at Bealtaine. Great bonfires would mark a time of purification and transition, heralding in the season in the hope of a good harvest later in the year, and were accompanied with ritual acts to protect the people from any harm by Otherworldly spirits, such as the Aos Sí.^[4] Like the festival of Samhain, opposite Beltane on 31 October, Beltane was also a time when the Otherworld was seen as particularly close at hand. Excavations at Uisnech in the 20th century provided evidence of large fires taking place.^[5]

Medieval period[link]

According to Geoffrey Keating, the main Beltane fire in medieval Ireland was on the hill of Uisneach,^[6][7] in what is now County Westmeath. There is no corroborating reference to the Beltane fires at Uisneach in the annals, so Keating's claims cannot be proven. However, there is evidence of large fires and charred bones from excavations at the site, showing it to have been ritually significant.^[7][6]

The lighting of bonfires on Beltane Eve seems to have lasted to the present day only in County Limerick, especially in Limerick itself, and in Arklow, County Wicklow.^[8] However, some cultural groups have sought to revive the custom at Uisneach and perhaps at the Hill of Tara.^[9]

Beltane marked the beginning of the pastoral summer season, when the herds of livestock were driven out to the summer pastures and mountain grazing lands. Due to the change from the Julian calendar to the Gregorian calendar, Bealltainn in Scotland was commonly celebrated on 15 May while in Ireland "Old Beltane" or "Old May" began about the night of 11 May.^{[citation needed]}

Modern period[link]

Edward Dwelly in Bealltuinn (1911) describes a 1 May custom of his day, practised in the Scottish Highlands, where young people met on the moors, lit a bonfire and made an oatmeal cake toasted at the embers. The cake was cut and one of the pieces marked with charcoal. Drawing the pieces blindfolded, whoever got the marked piece would have to leap over the flames three times.^[10]

Another common aspect of the festival in early 20th century Ireland was the hanging of May Boughs on the doors and windows of houses and the making of May Bushes in farmyards, which usually consisted either of a branch of rowan/caorthann (mountain ash) or more commonly whitethorn/sceach geal (hawthorn) which is in bloom at the time and is commonly called the 'May Bush' or just 'May' in both Ireland and Britain.^[11] Furze/aiteann was also used for the May Boughs, May Bushes and as fuel for the bonfire.^[11] The practice of bedecking the May Bush/Dos Bhealtaine with flowers, ribbons, garlands and coloured egg shells is found among the Gaelic diaspora, most notably in Newfoundland, and in some Easter traditions on the East Coast of the United States.^[11]

The festival persisted widely up until the 1950s, and in some places the celebration of Beltane continues today.^[5][12][13] The town of Peebles in the Scottish Borders holds a traditional week-long "Beltane Fair" every year in June, when a local girl is crowned Beltane Queen on the steps of the parish church. Like other Borders festivals, it incorporates a Common Riding.^[14]

Revival[link]

Edinburgh festival[link]

Beltane Fire Festival dancers, 2012

A Beltane Fire Festival has been held every year since 1988 during the night of 30 April on Calton Hill in Edinburgh, Scotland and attended by up to 15,000 people. While inspired by traditional Beltane, this festival is a modern arts and cultural event (compared by organizers^{[citation needed]} to the American Burning Man festival) which incorporates myth and drama from a variety of world cultures and diverse literary sources.^[15]

Gaelic diaspora[link]

The lighting of a community Beltane fire from which each hearth fire is then relit is observed today in some parts of the Gaelic diaspora, though in most of these cases it is a cultural revival rather than an unbroken survival of the ancient tradition.^[11][16][17] In some areas of Newfoundland, the custom of decorating the May bush, or bough, is also still extant.^[18]

Neo-Paganism[link]

Beltane and Beltane-based festivals are held by some Neopagans. As Neopaganism can vary largely from tradition to tradition, representations can vary greatly despite the shared name. Some celebrate in a way as near as possible to how the ancient Gaels did,^[19] while others observe the holiday with rituals taken from sundry unrelated sources, Gaelic culture being only one of the sources used.^[20][21]

Celtic Reconstructionist[link]

Like other Reconstructionist traditions, Celtic Reconstructionist Pagans emphasize historical accuracy. They base their celebrations and rituals on traditional lore from the living Celtic cultures, as well as research into the older beliefs of the polytheistic Celts.^[19][22]

Celtic Reconstructionists usually celebrate Lá Bealtaine when the local hawthorn trees are in bloom, or on the full moon nearest this event. Many observe the traditional bonfire rites, to whatever extent this is feasible where they live, including the dousing of the household hearth flame and relighting it from the communal fire.^[23] Some decorate May Bushes and prepare traditional festival foods.^[23] Pilgrimages to holy wells are traditional at this time, and offerings and prayers to the spirits or deities of the wells are usually part of this practice.^[23] Crafts such as the making of equal-armed rowan crosses are common, and often part of rituals performed for the blessing and protection of the household and land.^[23][24]

Wicca[link]

Wiccans and Wiccan-inspired Neopagans celebrate a variation of Beltane as a Sabbat, one of the eight solar holidays. Although the holiday may use features of the Gaelic Beltane, such as the bonfire, it is more alike the Germanic May Day festival, both in its significance (focusing on fertility) and its rituals (such as maypole dancing). Some Wiccans celebrate "High Beltaine" by enacting a ritual union of the May Lord and May Lady.^[25]

Among the Wiccan Sabbats, Beltane is a cross-quarter day; it is celebrated in the northern hemisphere on 1 May and in the southern hemisphere on 1 November. Beltane follows Ostara and precedes Midsummer.^[25]

Name[link]

In Irish Gaelic, the month of May is known as Mí Bhealtaine or Bealtaine, and the festival as Lá Bealtaine ('day of Bealtaine' or, 'May Day'). In Scottish Gaelic, the month is known as either (An) Cèitean or a' Mhàigh, and the festival is known as Latha Bealltainn or simply Bealltainn. The feast was also known as Céad Shamhain or Cétshamhainin from which the word Céitean derives. Beltane was formerly spelt Bealtuinn in Scottish Gaelic; in Manx it is spelt Boaltinn or Boaldyn. In Modern Irish, Oíche Bhealtaine is May Eve, and Lá Bealtaine is May Day.

In modern Scottish Gaelic, Latha Buidhe Bealltainn or Là Buidhe Bealltainn ('the yellow day of Bealltain') is used to describe the first day of May. This term Lá Buidhe Bealtaine is also used in Irish and is translated as 'Bright May Day'. In Ireland it is referred to in a common folk tale as Luan Lae Bealtaine; the first day of the week (Monday/Luan) is added to emphasise the first day of summer.

Etymology[link]

Since the early 20th century it has been commonly accepted that Old Irish Bel(l)taine is derived from a Common Celtic *belo-te(p)niâ, meaning "bright fire" (where the element *belo- might be cognate with the English word bale [as in 'bale-fire'] meaning 'white' or 'shining'; compare Anglo-Saxon bael, and Lithuanian/Latvian baltas/balts, found in the name of the Baltic; in Slavic languages byelo or beloye also means 'white', as in Беларусь (White Russia or Belarus) or Бе́лое мо́ре [White Sea]). A more recent etymology by Xavier Delamarre would derive it from a Common Celtic *Beltinijā, cognate with the name of the Lithuanian goddess of death Giltinė, the root of both being Proto-Indo-European *gʷelH- "suffering, death".^[26]

According to Dáithí Ó hÓgáin^{[year needed]}, the term Céad Shamhain or Cétshamhainin means "first half", which he links to the Gaulish word samonios (which he suggests means "half a year") as in the end of the "first half" of the year that begins at Samhain. Ó hÓgáin proposes that this term was also used in Scottish Gaelic and Welsh.^{[citation needed]} In Ó Duinnín's Irish dictionary^{[year needed]} it is referred to as Céadamh(ain) which it explains is short for Céad-shamh(ain) meaning "first (of) summer". The dictionary also states that Dia Céadamhan is May Day and Mí Céadamhan is May.

Toponymy[link]

Place names in Ireland that contain remnants of the word 'Bealtaine' include a number of places called 'Beltany' – indicating places where Bealtaine festivities were once held. There are three Beltanys in County Donegal – one near Raphoe – another near Killybegs [Bealtine Bridge] and the third in the parish of Tulloghobegly. Two others are located in County Tyrone, one near Clogher and the other in the parish of Cappagh. In the parish of Kilmore, County Armagh, there is a place called Tamnaghvelton/Tamhnach Bhealtaine ('field of the Bealtaine festivities'). Lisbalting/Lios Bealtaine ('fort or enclosure of Bealtaine') is located in Kilcash Parish, County Tipperary. Glasheennabaultina ('the Bealtaine stream') is the name of a stream joining the River Galey near Athea, County Limerick.

See also[link]

Holidays portal

References[link]

Further reading[link]

• Carmichael, Alexander (1992). Carmina Gadelica. Lindisfarne Press. ISBN 0-940262-50-9
• Chadwick, Nora (1970) The Celts. London, Penguin ISBN 0-14-021211-6
• Danaher, Kevin (1972) The Year in Ireland. Dublin, Mercier ISBN 1-85635-093-2
• Evans-Wentz, W. Y. (1966, 1990) The Fairy-Faith in Celtic Countries. New York, Citadel ISBN 0-8065-1160-5
• MacKillop, James (1998). Dictionary of Celtic Mythology. Oxford University Press ISBN 0-19-280120-1
• McNeill, F. Marian (1959) The Silver Bough, Vol. 1-4. William MacLellan, Glasgow
• Simpson, Eve Blantyre (1908), Folk lore in lowland Scotland, London: J.M. Dent.

External links[link]

• Edinburgh's Beltane Fire Society
• Extract on The Beltane Fires from Sir James George Frazer's book The Golden Bough - 1922

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Loreena McKennitt
Background information
Birth name	Loreena Isabel Irene McKennitt
Born	(1957-02-17) 17 February 1957 (age 55) Morden, Manitoba, Canada
Origin	Stratford, Ontario, Canada
Genres	Celtic, world, New Age
Occupations	Musician, songwriter, producer
Instruments	Voice, piano, harp, accordion
Years active	1985–present
Labels	Quinlan Road, Warner Bros., Verve Forecast/Universal
Website	quinlanroad.com

Loreena Isabel Irene McKennitt, CM, OM (born February 17, 1957) is a Canadian singer, composer, harpist, accordionist and pianist who writes, records and performs world music with Celtic and Middle Eastern themes. McKennitt is known for her refined, clear soprano vocals.^[1] She has sold more than 14 million records worldwide.^[2]

Early life[link]

McKennitt was born in Morden, Manitoba of Irish and Scottish descent to parents Jack (died 1992; a livestock dealer) and Irene McKennitt (1931-2011; a nurse). She moved to Stratford, Ontario in 1981, where she still resides.

When Loreena was young she wanted to become a veterinarian but she found that music chose her rather than she it.^[3] Developing a passion for Celtic music, she learned to play the Celtic harp and began busking at various places, including St. Lawrence Market in Toronto in order to earn money to record her first album.^[4]

Career[link]

McKennitt's first album, Elemental, was released in 1985, followed by To Drive the Cold Winter Away (1987), Parallel Dreams (1989), The Visit (1991), The Mask and Mirror (1994), A Winter Garden (1995), The Book of Secrets (1997), An Ancient Muse (2006), A Midwinter Night’s Dream (2008), and The Wind That Shakes the Barley (2010). All of her work is released under her own label, Quinlan Road.

In 1990, McKennitt provided the music for the National Film Board of Canada documentary The Burning Times, a feminist revisionist account of the Early Modern European witchcraft trials. The main theme would later be rerecorded by her and her band and called "Tango to Evora", a track that appears on her album The Visit.

In 1993, she toured Europe supporting Mike Oldfield. In 1995, her version of the traditional Irish song "Bonny Portmore" was featured in the Highlander series. McKennitt's single "The Mummers' Dance" received airplay in North American markets during the spring of 1997, and was used as the theme song for the short-lived TV series Legacy. It also saw use in the trailer for a wide-release 1998 Drew Barrymore film Ever After.^[5]

Her music appeared in the movies The Santa Clause, Soldier, Jade, Holy Man, The Mists of Avalon and Tinkerbell; and in the television series Roar, Due South, and Full Circle (Women and Spirituality).

Personal life[link]

In 1998, McKennitt's fiancé Ronald Rees, his brother Richard and their close friend Gregory Cook drowned during a boating accident on Georgian Bay. She was deeply affected by the event and subsequently founded the Cook-Rees Memorial Fund for Water Search and Safety in the same year.

At the time of the incident, she was working on a live album of two performances called Live in Paris and Toronto. The proceeds from this album were donated to the newly created memorial fund, totaling some three million dollars.^[6] After the release of the live album, McKennitt decided to substantially reduce the number of her public performances and did not release any new recordings until the studio album An Ancient Muse in 2006.

Honours[link]

• Juno Award, Best Roots/Traditional Album 1992, for The Visit.
• Juno Award, Best Roots/Traditional Album 1994, for The Mask and Mirror.
• Billboard Music Award for International Achievement, 1997.
• Headline performer for Queen Elizabeth II and Prince Philip at The Golden Jubilee Celebrations, Province of Manitoba, 2002.
• Honorary Doctor of Letters, Wilfrid Laurier University, 2002.
• Member of the Order of Manitoba, July 2003.
• Member of the Order of Canada, July 2004.
• Honorary Doctor of Laws, University of Manitoba, June 2005
• Canadian Ambassador, Hans Christian Andersen Bicentennary, June 2005
• Honorary Doctor of Laws, Queen's University, October 2005
• Investiture as Honorary Colonel, 435 Transport and Rescue Squadron, Royal Canadian Air Force, December 2006
• Nominated for a Grammy award, Best Contemporary World Music Album, in 2007
• Western Canadian Music Awards Lifetime Achievement Award, September 2009
• Performed at Vancouver 2010 Winter Olympics, Opening Ceremonies, February 12, 2010
• Honorary Bachelor of Applied Business, George Brown College, June 2010

Genre and work[link]

This section may require cleanup to meet Wikipedia's quality standards. No cleanup reason has been specified. Please help improve this section if you can; the talk page may contain suggestions. (September 2011)

McKennitt's music has generally been classified as World / Celtic music even though it contains aspects and characteristics of music from around the globe and is sometimes classified as Folk music in record stores.^{[citation needed]}

Before McKennitt composes any music, she engages in considerable research on a specific subject which then forms the general concept of the album.^{[citation needed]} Before creating Elemental and Parallel Dreams, she traveled to Ireland for inspiration from the country's history, folklore, geography and culture. The album The Mask and Mirror was preceded by research in Spain where she engaged in studying Galicia, a Celtic section of Spain, along with its abundant Arabic roots.^{[citation needed]} The result was an album that included elements of Celtic and Arabic music. According to the jacket notes, her album An Ancient Muse was inspired by travels among and reading about the various cultures along the Silk Road.

McKennitt is compared to Enya,^{[citation needed]} but McKennitt's music is more grounded in traditional and classical invocations,^{[citation needed]} using literary works as sources of lyrics and springboards for interpretation such as "The Lady of Shalott" by Lord Tennyson, "Prospero's Speech" (the final soliloquy in William Shakespeare's The Tempest), "Snow" by Archibald Lampman, "Dark Night of the Soul" by St. John of the Cross, Dante's Inferno, William Blake's "Lullaby", Yeats' "The Stolen Child", "The English Ladye and the Knight" by Sir Walter Scott and "The Highwayman" by Alfred Noyes.

Court case[link]

In 2005, McKennitt was involved in an acrimonious court case in Britain when her former friend and employee, Niema Ash, published a book that contained intimate details of their friendship. McKennitt argued that much of the book contained confidential personal information that Ash had no right to publish. The British courts found that there had indeed been a breach of confidence and a misuse of McKennitt's private information, and the case is likely to set important precedents in British law on the privacy of celebrities.^[7] The House of Lords affirmed the lower court's decisions in 2007.

2006 and later[link]

In September 2006, McKennitt performed live at the Alhambra. The performance premiered on PBS and in August 2007 was released on a three-disc DVD/CD set titled Nights from the Alhambra.

In 2008, McKennitt wrote and composed a song she titled "To The Fairies They Draw Near" as the theme song for Disney's direct-to-video animated film Tinker Bell. She also provided the narration for the film.^[8]

In early 2008, she returned to Peter Gabriel's Real World Studios to record A Midwinter Night’s Dream, an extended version of her 1995 mini-album A Winter Garden: Five Songs for the Season. The album was released on October 28, 2008.^[9]

Since the release of An Ancient Muse, Loreena has toured consistently, with a European and North American tour in the spring of 2007, an extensive cross Canada and United States tour in the fall of 2007, a summer tour of Europe in 2008 and a Mediterranean tour in the summer of 2009 with stops in Greece,^[10] Turkey, Cyprus, Lebanon, Hungary and Italy.

On September 17, 2009, McKennitt announced that she planned to release a two-disc album titled "A Mediterranean Odyssey" in the fall of 2009. The first CD, "From Istanbul to Athens," consisted of ten new live recordings made during McKennitt’s 2009 Mediterranean Tour, including songs she had never before recorded in concert. The second CD, "The Olive and the Cedar," had a Mediterranean theme which McKennitt herself curated. It contained previously released studio recordings created between the years of 1994 and 2006.

November 16, 2010 saw the US release (November 12 for Europe) of McKennitt's latest studio album, "The Wind That Shakes the Barley." Recorded at the Sharon Temple, Ontario, it consists of nine traditional Celtic songs. "Every once and again there is a pull to return to one's own roots or beginnings, with the perspective of time and experience, to feel the familiar things you once loved and love still," says Loreena.

Documentaries[link]

Late in the 1990s, McKennitt created No Journey's End, a half-hour documentary, for American television. In it, she discussed the influences behind her music. No Journey's End contained excerpts from several songs from the albums Parallel Dreams, The Visit, and The Mask and Mirror. It also shows live performances of the songs "The Lady of Shalott," "Santiago," and "The Dark Night of the Soul." It was later released on DVD and VHS, the former also containing music videos for "The Mummers' Dance" and "The Bonny Swans." A bonus copy of the DVD was included with the 2004 remastered versions of McKennitt's CDs.

In 2008, Loreena released A Moveable Musical Feast, based on her 2007 An Ancient Muse tour. The DVD included interviews with Loreena, her band, crew, fans and professional colleagues from the Canadian music industry.

Discography[link]

Studio albums[link]

Live albums[link]

Compilations[link]

EPs[link]

Boxed sets[link]

• The Journey Begins (2008)

Singles[link]

Videos[link]

• H.M.S. Pinafore Live performance recorded during the 1981 Stratford Festival in Stratford Ontario, Canada, starring Michael Burgess, Katherine Terrell, Eric Donkin, Kenneth Pearl, Jim White, et al.; Loreena McKennitt performed in the chorus. (CBC VHS 1986)
• The Mummers' Dance (1997)
• The Bonny Swans
• Nights from the Alhambra (2007, Live concert in Spain premiered on PBS)^[22]
• A Moveable Musical Feast (2008, A tour documentary from Loreena's 2007 North American Tour)^[22]

Other[link]

• No Journey’s End (half-hour profile, aired on PBS; DVD)
• Heaven on Earth (TV Movie 1987 - played "Lady Traveler")
• Highlander III (Soundtrack contribution)
• The Santa Clause (Soundtrack contribution, "The Bells of Christmas")
• Léolo (Soundtrack contribution)
• Una casa con vista al mar (Soundtrack contribution)
• The Mists Of Avalon (Soundtrack use)
• The Burning Times (Soundtrack contribution)
• Due South (Soundtrack use)
• Northern Exposure (Soundtrack use)
• Tinker Bell (Direct to DVD movie, 2008 - Narrator)
• Soldier (Soundtrack use)

References[link]