Britain and Ireland in the mid-5th century, between the Roman departure and the founding of Anglo-Saxon kingdoms.

  Mainly Goidelic areas.

  Mainly Pictish areas.

  Mainly Brythonic areas.

Gaelic language and culture would eventually become dominant in the Pictish area and far northern Brythonic area.

The Gaels or Goidels are speakers of one of the Goidelic Celtic languages: Irish, Scottish Gaelic and Manx.^[1] Goidelic speech originated in Ireland and subsequently spread to western and northern Scotland and the Isle of Man.

The Goidelic languages are one of the two branches of the Insular Celtic languages, the other being Brythonic.

Terminology[link]

The modern English term Gael derives ultimately from the Old Irish (Ancient Gaelic) word Goídel, which was spelled in various ways by Gaelic writers at different times. The modern Gaelic spellings are Gael (Irish) and Gàidheal (Scottish Gaelic).

Early Greek and Roman authors called the Irish Ιουερνοι and Iverni, respectively, both derived from the Proto-Irish ethnic name *Iwerni ("people of *Iweriū"). Later Greek and Latin variants of this name included Ίερνοι, Hierni, and Hiberni.^[2]

Scoti or Scotti was another generic Latin name for the Irish that came into use by the 4th century.^[3][4] It is not believed that any Gaelic groups called themselves Scot(t)i in ancient times, except when referring to themselves in Latin.^[3] It is also conjectured that the Latin term may mean "raider/pirate" as it is widely accepted that raiders from Ireland were attacking Britain's west coast during and following the Roman occupation.

Goidel is thought to have been borrowed some time during the 7th century from the (not directly attested) Primitive Welsh form which became Old Welsh Guoidel, i. e., "Irishman" (which is attested as a male personal name in the Book of Llandaff), and may ultimately be derived from an Proto-Indo-European *weidh-(e)l-o-, perhaps meaning "forest people," partially cognate with the Old Irish ethnic name Féni (from Proto-Indo-European *weidh-n-jo-, "forest people," later becoming simply "warriors" in Proto-Irish).^[5][6]

History of use[link]

Since the disappearance of Gaelic as a community language in the south and east of Scotland in the late medieval period, and the popularity of the terms 'highland Scot' and 'lowland Scot', the term Gàidheal has been used in Gaelic language conversation not merely to denote Gaelic identity but also as an equivalent for the single English word 'highlander'.

Up until the late 15th century, the Gaelic language in Scotland was generally named Scottish, both in its Latin form and in Early Scots. For example, the usage in The Flyting of Dumbar and Kennedie at the start of the 16th century is Erse (= Irish) and Inglis (= English). After this time, the Gaelic language generally became called Erse (Irish) and the lowland tongue Scots (= Scottish).

Documentary evidence shows other subsequent alterations in general terminology, such as the appearance of the Latin term "Scotos Hibernicos" in 1521 and its English equivalent, "Scottish-Irish," by the English diplomat Ralph Sadler in 1558 to refer to Scottish Gaels.^[7]

In earliest surviving writings in the Lowland Scots tongue (which had hitherto been called Inglis), a form of the term Gaidheal appears to discriminate between Gaels from the Scottish Highlands and Gaels from Ireland. In 1596, it appears in James Dalrymple's translation from Latin into Lowland Scots of the Historie and Chronicles of Scotland, 1436–1565 as the main element within the word Gaelic, referring to the language in Scotland, rather than in Ireland.

Current definitions[link]

• Gaels – the ethno-linguistic group.
• Gaelic – of or relating to the Gaels.
• Goidels – an alternative term sometimes used to describe the Gaels in antiquarian contexts
• Goidelic – of or relating to the Gaels, particularly their language, in antiquarian contexts

Gaelic culture and society[link]

This section requires expansion.

History[link]

Mythological origins[link]

The Gaels, during the beginning of the Christian era, believed themselves to be descendants of the Milesians - the sons of Míl Espáine. Much of this is covered in the Lebor Gabála Érenn, which catalogues the Milesian invasion of Ireland from the Iberian Peninsula. While this account is mostly mythical, it may be an embellished version of actual historical events. Recent genetic studies by Brian Sykes, Oxford University, suggest that these myths are based on historical facts since the people of northwestern Iberia, especially those from Galicia and Asturias are genetically closely related to the Gaels.

Emergence of Gaelic language[link]

The vowels of the Ogham alphabet.

It is not known with any certainty when the Goidelic (or Q-Celtic) language developed in prehistoric Ireland, or how the Gaels came to be the dominant culture.

Estimates of the arrival of proto-Gaelic in Ireland vary widely from the introduction of agriculture circa 7000-6000 BC to around the first few centuries BC. Little can be said with certainty, as the language now known as Old Irish, ancestral to modern Irish, Scots Gaelic and Manx, first began to be properly recorded with the Christianisation of Ireland in the 4th Century, with the introduction of the Roman script. Old Irish does appear in a specialized written form, using a unique script known as Ogham. The oldest examples of Ogham have survived in the form of memorial inscriptions or short epitaphs on pillar-like stone monuments (see Mac Cairthinn mac Coelboth.) Ogham stones are found throughout Ireland as well as in other areas where Gaelic invaders settled across post-Roman Britain. This form of written Old Irish is thought to have been in use as early as 1000 BC. The script frequently encodes a name or description of the owner and surrounding region, and it is possible that the inscribed stones may have represented territorial claims.

Expansion[link]

Red: Historical maximum expansion of known Gaelic-speaking areas in the British Isles
Orange: Other areas where ogham inscriptions have been found
Green: Areas where Goidelic languages are commonly spoken in modern times

Starting some time around the 5th century Gaelic language and culture spread from Ireland to the southwest coast of modern Scotland, where it may have already existed since Roman times. Uncertainty over this comes as a result of the fact that there is disputed archaeological evidence to support the generally accepted tale of migration while there is some to suggest that there was none — the evidence also points to the population of the area (modern day Argyll) being constant during the time of the alleged invasion of Scotland^{[citation needed]}. This area was known as Dál Riata. The Gaels soon spread out to most of the rest of the country. Culturo-linguistic dominance in the area eventually led to the Latin name for Gaelic speaking peoples, "Scoti," being applied to the state founded by the Gaels: "Scotland." Since that time Gaelic language rose and, in the past three centuries, greatly diminished, in most of Ireland and Scotland. The most culturally and linguistically Gaelic regions are in the north west of Scotland, the west of Ireland and Cape Breton Island in Nova Scotia where the descendants of the Highland Clearances were transplanted.

The Isle of Man (Manx: Ellan Vannin, 'Mannin's Isle', from the pre-Christian deity known as Manannán mac Lír) also came under massive Gaelic influence in its history. The last native speaker of Manx died in the 1970s, though use of the Manx language never fully ceased. There is now a resurgent language movement and Manx is once again taught in all schools as a second language and in some as a first language. A large part of the island's cultural heritage is Gaelic.

Today[link]

Gaeltacht areas in Ireland.

Distribution of Gaelic speakers in Scotland.

The two comparatively 'major' Gaelic nations in the modern era are Ireland (which in the 2002 census had 185,838 people who spoke Irish "daily" and 1,570,894 who were "able" to speak it).^[8] and Scotland (58,552 "Gaelic speakers" and 92,400 with "some Gaelic language ability"^[9] in the 2001 census) Communities where the language is still spoken natively are restricted largely to the west coast of each country and especially the Hebrides in Scotland. However, a large proportion of the Gaelic speaking population now lives in the cities of Glasgow and Edinburgh in Scotland, as well as Donegal, Galway, Cork and Dublin in Ireland. There are about 2,000 Canadian Gaelic speakers although they are generally of a very advanced age and concentrated in Nova Scotia and Cape Breton Island.^[10] According to the 2000 US CensusPDF (123 KiB), there are over 25,000 Irish-speakers in the United States with the majority found in urban areas with large Irish-American communities such as Boston, New York City and Chicago.

See also[link]

References[link]

External links[link]

• Aberdeen University Celtic Department Information and courses on all aspects of Celts, Gaels and related peoples, languages and cultures
• Iomairt Cholm Cille (The Columban Institute) An institute with the aim of promoting links between Irish and Scottish Gaelic speakers.
• DNA shows Scots and Irish should look to Spain for their ancestry

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Dan ar Braz at Lorient

Dan Ar Braz, born Daniel Le Bras (15 January 1949, Quimper, Brittany), is a French (Breton) guitarist and the founder of Héritage des Celtes.

Apprenticeship years[link]

At the age of 13 Daniel Le Bras owned his first guitar. He modelled himself on The Shadows, then Bob Dylan then Jimi Hendrix. Daniel's father insisted that he study catering instead of music. In 1967, while on a catering course in Benodet he met Alan Stivell who invited him to join his group.^[1] Alan Stivell and his musicians embraced Breton, Scottish, Irish music, and included Gabriel Yacoub who later formed Malicorne. After a successful tour in France in 1972 they travelled around Europe, North America and Australia. Alan's father had made a reconstruction of the ancient Breton harp in 1953 and Alan learned to play the harp, bagpipes and Irish flute. Daniel Le Bras changed his name to Dan Ar Bras to show that he belonged to Breton culture rather than French. The sound of his electric guitar made an exciting mix with Alan's celtic instruments and voice.

Ar Braz as a soloist[link]

In 1972 he formed his own group called Mor. Compared to Stivell's group, this was middle-of-the-road (MOR) and broke up shortly after recording one album. A solo album of Irish jigs and reels followed, but was not commercially successful. In 1976 he relocated to England and joined Fairport Convention. He changed his name again, this time to Dan Ar Braz. For about a year he played in concerts with Fairport but did not record any studio albums with them. The experience renewed his confidence. He returned to Brittany to record three solo albums in three years, each one using Celtic music. He sang in French and English. By this time he was making sales in the United States.

1980s[link]

For several years Dan Ar Braz seemed to turn his back on Celtic music. In 1981 he toured Europe with his "Acoustic" album, a subdued collection of instrumentals, written by himself. He then joined a blues-rock trio. Between 1984 and 1987 he toured the United States over a dozen times. By the time he recorded "Musiques pour les silences à venir" in 1985, he was being described as "New Age". After another instrumental album, he surprised everyone by recording a collection of songs in English - "Songs" (1990). Most were written by him plus one each by Richard Thompson and Donovan. He teamed up with John Kirkpatrick to record a film score in 1992.

L'Héritage des Celtes[link]

Dan Ar Braz's greatest moment occurred in 1992 when the organiser of the Festival de Cornouaille in Quimper asked him to create a live show uniting traditional music with modern styles. Dan had many contacts in Britain, France and America and delivered beyond all expectations. Donal Lunny came from Ireland, Karen Matheson from Scotland, Elaine Morgan from Wales and Bagad Kemper (bagpipers) and also Alan Stivell from Brittany. Altogether 75 musicians were involved. The group, called "L'Héritage des Celtes" performed at the Quimper festival in July 1993 then went on to Rennes in 1994. A hugely successful studio recording recreated the show. It sold 100,000 copies in over ten countries. A live album followed. Their fame within France was so great that in 1996 they represented France in the 41st Eurovision Song Contest.

Finisterres[link]

In 1997 they recorded "Finisterres" and again sold 100,000 copies. The music awards ceremony "Victoires de la Musique" awarded them "Best Traditional Music Album" in 1998. They went on tour in France and played at Le Zenith in Paris on St Patrick's Day to 3,000 fans. In August 2000 the group played at the "Festival Interceltique" in Lorient where Dan announced that it would be the final concert.

Return to solo work[link]

Much to the disappointment of many fans, Dan Ar Braz returned to solo work. "La mémoire des volets blancs" (2001) is a tribute to deceased friends from his childhood. It is an instrumental nostalgic piece. Clearly Dan has two very different sides - the personal and the public. He performed in another huge show at the Stade de France on St Patrick's Day 2002.

Discography[link]

With the band Mor (as a founding member guitarist)[link]

• - Stations (1974)

With Alan Stivell (as a guitarist)[link]

• - Renaissance of the Celtic Harp (1972)
• - Olympia Concert (1972)
• - From Celtic Roots (1973)
• - E Langonned (1974)
• - Live in Dublin (1975)
• - Treman Inis (1976)
• - Before Landing (1977)
• - Again (1993)

As Dan Ar Braz[link]

Solo albums[link]

• - Douar Nevez (1977)
• - Allez dire à la ville (1978)
• - The Earth's Lament (1979)
• - Acoustic (1981)
• - Music For the Silences To Come (1985)
• - Septembre Bleu (1988)
• - Songs (1990)
• - Frontiers de sel/Borders Of Salt (1991)
• - Rêve de Siam (OST) - (1992)
• - Xavier Grall chanté par Dan Ar Bras - (1992)
• - Theme For The Green Lands - (1994)
• - Kindred Spirit - (1995)
• - La Memoire Des Volets Blancs (2001)
• - Celtiques (2003)
• - A Toi Et Ceux (2004)
• - Frontières de sel (2006) DVD&CD
• - Les Perches du Nil (2007)
• - Comptines celtiques et d'ailleurs (2009)
• - Celebration (2012)

Various Artists[link]

• - Irish Reels, Jigs, Airs & Hornpipes (1979) (with Duck Baker, Dave Evans, Davey Graham)

Solo compilations[link]

• - Islands of memories - Les îles de la mémoire (1992)
• - Made in Breizh (2002)
• - Bretagnes : ici, ailleurs, là-bas (2011)

With L'Héritages des Celtes[link]

• - Héritage des Celtes -(1994)
• - L'Héritages des Celtes - Live (1997)
• - L'Héritages des Celtes - Finisterres (1997)
• - L'Essential en 3 CD (1998) (best-of)
• - Bretagnes à Bercy (1999) (various artists)
• - Zenith (2001)

References[link]

Karen Matheson
Matheson performing with Capercaillie at Celtic Rock 2007, Glamis Castle, Scotland, 31st August 2007
Background information
Birth name	Karen Matheson
Born	(1963-02-11) 11 February 1963 (age 49)
Origin	Taynuilt, Argyll, Scotland
Genres	Folk music
Occupations	Singer
Instruments	Vocals
Years active	1980s–present
Associated acts	Capercaillie
Website	www.karenmatheson.com

Karen Matheson OBE (born 11 February 1963) is a Scottish folk singer, who frequently sings in Scottish Gaelic. She is lead singer of the group Capercaillie and was a member of Dan Ar Braz's group L'Heritage des Celtes, with whom she often sang lead vocals, either alone or jointly with Elaine Morgan. She and Morgan received much acclaim for their joint lead vocal on the Breton language song "Diwanit Bugale", the French entry to the Eurovision Song Contest 1996. She made a cameo appearance in the 1995 movie Rob Roy singing the song "Ailein duinn".

She grew up in the small village of Taynuilt in Argyll. She was awarded an OBE in the 2006 New Year's honours list.

Matheson also appeared as a guest musician on Spirit of the West's 1997 album Weights and Measures.

Matheson performed a solo in Secret Garden's song "Prayer" in the 1999 album Dawn of a New Century.

She is married to fellow Capercaillie member Donald Shaw, and they have a son named Hector.

Solo discography[link]

• The Dreaming Sea (1996)
• Time to Fall (2002)
• Downriver (2005)
• TBC (Spring 2010) ^[1]

References[link]

External links[link]

• Karen Matheson's website
• BBC report of 2006 honours list, including Matheson's OBE

This biographical article about a British singer is a stub. You can help Wikipedia by expanding it. v t e

Damien Dempsey (born in Donaghmede, Dublin in 1975; Irish: Damien Ó Díomasaigh) is an Irish singer and songwriter who mixes traditional Irish folk with contemporary lyrics to deliver social comment on the positive and negative aspects arising from Ireland's Celtic Tiger society. He sings in English, and to a lesser extent Irish.

Early life[link]

Born and raised in Donaghmede, a Northside suburb of Dublin, his earliest musical influences came from the post-pub musical sessions that were held in his parents house when he was a toddler. This developed into a love of artists such as Christy Moore, Luke Kelly, Shane MacGowan, Bob Marley and Elvis Presley.

Growing up on the northside of Dublin, the six foot two inch Dempsey trained and competed as an amateur boxer before committing himself to studying music.

Upon completing secondary school at Mount Temple Comprehensive School, he attended Ballyfermot College of Further Education - the "Rock School" - for 2 years before graduating in 1995. There he studied musical performance and management and his first EP, "The Contender" was released in 1995 on the school's record label.

Musical career[link]

His first commercial single "Dublin Town" was released in 1997, and reached number 18 in the Irish music charts. The Irish music magazine "Hot Press" praised the single, remarking that it was "..an underground anthem for disaffected youth and closet balladeer alike". His first full length album, titled "They Don't Teach This Shit In School" was released in 2000 and contained a re-recorded version of this song.

Dempsey's talent was beginning to get noticed, not least by Irish singer Sinéad O'Connor who invited him out on tour with her and championed him as one to watch - “I don't think there's ever been anyone like him. I think he represents the sort of voice in Ireland that is not allowed to be heard", she said. Dempsey would later joke onstage that when he got the call from O'Connor to join the tour, he assumed it would be on the door as a bouncer.

His next release, in 2002, the "Negative Vibes EP" featured Sinéad O'Connor on the title track and led to an invitation to support Sinéad on her 2002/2003 Irish, UK, and European tour.

Damien's second full-length album, "Seize the Day", was released in May 2003 in Ireland on Clear Records via Sony and entered the charts in its first week of release at No. 5. It has since achieved double-platinum sales.

In 2004 Dempsey toured extensively headlining his own shows as well as supporting Bob Dylan during the Irish leg of his European tour and making his debut appearances at The Fleadh and Womad.

He has earned the support of his peers, particularly Morrissey, who invited Damien to support him on various UK and Irish dates as well as his autumn 2004 US tour. Morrissey went on to sign Damien to his label (Attack), and "Seize the Day" had its U.S. release in October 2004.

	"Patience" noicon single from Shots (2005)
Problems listening to this file? See media help.

His third album, "Shots", simultaneously released in Ireland and the UK in March 2005 entered the Irish album charts at #19.

At Oxegen 2006, on the main stage on Saturday afternoon, the Dempsey said that Patrick Pearse would be "turning in his grave" at the state of modern Ireland.^{[citation needed]} This sparked off controversy.^{[citation needed]}

He supported British folk-rock band The Levellers on their UK tour in the spring of 2006 as well as playing at The Levellers' music festival Beautiful Days in August 2006.

Damien's first live album,"Live at The Olympia" was released June 2006 in Ireland and the UK. The album was recorded at Dublin's Olympia Theatre on 15 December 2005.

"Shots" was released in the U.S. on the United For Opportunity label in June 2006 and Damien undertook a coast to coast tour.

On the Fleadh 2007 tour Damien, along with Sharon Shannon's Big Band, toured Ireland and the UK with Willie Nelson.

His fourth studio album, "To Hell or Barbados" released in June 2007, entered the Irish album chart at No. 2. An extended version of the album, which included a bonus CD featuring previously unreleased and rare tracks, was released in Ireland via Sony BMG in November 2007.

Dempsey's fifth studio album, a covers album entitled The Rocky Road, was released on 6 June 2008 in Ireland via Sony BMG, with a UK release via IRL on 9 June 2008 and on August 26 via United For Opportity. The lead single "A Rainy Night In Soho", a cover of the Pogues' original, was released on 30 May 2008.

Discography[link]

• They Don't Teach This Shit in School (2000)
• Seize the Day (2003)
• Shots (2005)
• To Hell or Barbados (2007)
• The Rocky Road (2008)

Between The Canals[link]

The Irish crime film Between the Canals was Dempsey's debut performance as an actor. He played the fictional Dublin crime boss Paul Chambers. The film has been well received by critics. The Irish Times stated that the film "has all the raw, angry energy of the great man’s roaring songs."^[1] The film is due to be released in cinemas in March 2011.^[2]

Documentary[link]

A documentary, It's All Good: The Damien Dempsey Story, by independent filmmaker Dara McCluskey, that followed Damien's career progression up to the release of "Seize the Day", was broadcast on Ireland's national television station RTÉ and shown at film festivals in Ireland and New York. It shows how far Damien Dempsey has come in becoming a Platinum selling artist ("It's All Good: The Damien Dempsey Story" 52 Minute Documentary online).

Awards and nominations[link]

Nominated in 4 categories in the 2004 Irish Meteor Music Awards, Damien walked away with two, the only 2004 double winner. In 2006 and 2007, Damien added to his collection of Meteor Awards when he won Best Irish Male. Nominated in 2 categories in the Irish Meteor Awards 2008 and won “Best Folk/Traditional”.

Meteor Music Awards[link]

References[link]

External links[link]

• Official website
• Damien Dempsey on Myspace
• Damien Dempsey at Allmusic
• United for Opportunity (Record label's artist information page)
• Fleming Artists (U.S. Booking Agent's artist information page]
• cluas.com (Early career interview with Damien Dempsey)
• It's All Good: The Damien Dempsey Story (Documentary by Dara McCluskey)