GALLERY
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Extract:
In the lower part of the townland of Kylea is an area called Garraí na Saileog or the Garden of Sally or Willows. Garraí na Saileog was the location of Garrett Barry's birth in 1847 at the height of the Great Famine. Indeed, the name of this place seems to have been dear to him, as one of the tunes still associated with him carries this as its title.
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Extract:
One enduring reminder of these times is the Famine Relief roads, some of which can still be seen in County Clare. Their construction was a non-essential project, undertaken for little reason other than to justify payment of the workforce, so that they could afford to eat. Of one such scheme in west Clare, the Clare Journal reported that 'men are actually seen staggering on the works and the stewards state that hundreds of them are never seen to taste food from the time they come upon the works in the morning until they depart at nightfall.'
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Extract:
The dominance of Slieve or Mount Callan over the Barry family's farmstead was almost palpable. The mountain has contributed to the regional culture - through the folklore relating to it. It is believed, for example, to be one of the high places in Ireland where the pagan Celtic festival of Lughnasa was celebrated and, as such, it is associated with sun worship.
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Extract:
The typical country farmhouse, built in the second half of the 1800s, was seldom larger than an elongated double garage, yet a few of these gained a reputation as venues for what was known as 'cooring'. Neighbours from some distance around would visit regularly for social evenings that might involve anything from playing cards and storytelling to performing music, singing and dancing.
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Extract:
It is uncertain what became of Garrett Barry's own instrument but the Vandeleur set of union pipes, made by the Moloney brothers of Kilrush, are the only existing complete set of pipes that he must have played. Although he did not own these particular pipes, there would have been ample opportunities for Garrett to try out John Carroll's extraordinary instrument during their many sessions together in Freagh, near Miltown Malbay.
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Extract:
Patsy Murrihy, who died aged eighty-five in 1918, told an intriguing story about Garrett: 'He would sit on the little 'battlement' of this bridge and he'd play tunes. But he had one hornpipe that he liked. He'd open with that and he'd finish with that. And people would stand listening to the music and some of them picked up the hornpipe. And the name they called it was Sruthán na gCat, Stream of the Cats.'
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Extract:
'His music brought him from Inagh to many places in west Clare including Ennistymon, Miltown Malbay, Quilty, Kilmihil and Cooraclare but in no way could he be described as a street musician trying to eke out a livelihood. Garrett Barry was a welcome guest in the homes of his fellow Clare people and in fact they were vying with one another to act as his host.'
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Extract:
Willie's sister, the late Brigid Clancy, remembered her family's relationship with Garrett Barry: 'They were very good friends. He used to stay in their house in Illaunbaun and because my grandmother loved music [...] he was a welcome, very welcome, visitor when he came with the pipes; a quiet man but very musical [...] I don't know if there were any other pipers around that my father mentioned but it would be Garrett was what I always heard.'
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Extract:
The silver spade presented to Charles Stewart Parnell in Miltown Malbay on 26th January 1885. The occasion was the 'sod-turning' ceremony to initiate the construction locally of the West Clare Railway. As leader of the Home Rule Party, Parnell was at the height of his influence and popularity and addressed that day a crowd of some twenty thousand people from all over County Clare. Tradition has it that Garrett Barry was introduced to and played for 'the Un-crowned King of Ireland' at this momentous event.
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Extract:
Garrett Barry spent almost the last three years of his life in the Ennistymon Poor Law Union workhouse. 'Perhaps he could imagine himself elsewhere; his memory could still provide some distraction and his dreams some release. The workhouse bell would measure his days. Of natural sound now there was little - only the wind and the rain; the crows in winter and the swallows in summer.'
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Extract:
'Spare a thought for the poor blind man who, a century and a half ago, did not simply kindle a light. He lit a beacon in one of the darkest passages of Irish history. This he did in order to proclaim his own being through the music and language of his people. What is more, his uncompromising attitude and remarkable ability were both dedicated to the service of his community, which responded accordingly.'