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celtic woman grand junction 주제에 대한 동영상 보기
여기에서 이 주제에 대한 비디오를 시청하십시오. 주의 깊게 살펴보고 읽고 있는 내용에 대한 피드백을 제공하세요!
d여기에서 Celtic Woman show in Grand Rapids highlights 2022 – celtic woman grand junction 주제에 대한 세부정보를 참조하세요
I went to see Celtic Woman in Grand Rapids Michigan at the DeVos performance hall.
celtic woman grand junction 주제에 대한 자세한 내용은 여기를 참조하세요.
Celtic Woman: Postcards from Ireland – The Avalon Theatre
Celtic Woman: Postcards from Ireland. Fray, May 27, 2022; 7:30 PM 9:30 PM. Avalon Theatre 645 Main Street Grand Junction, CO, 81501 United …
Source: www.avalontheatregj.com
Date Published: 12/24/2022
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Celtic Woman – Grand Junction, CO – May 27, 2022 – JamBase
See all about Celtic Woman at Avalon Theatre in Grand Junction, CO on May 27, 2022. … 645 Main St, Grand Junction, CO 81501, United States …
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Date Published: 4/30/2021
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Celtic Woman – Grand Junction, CO – May 27, 2022
Celtic Woman. Open Date: Fri, May 27, 2022. Close Date: … Grand Junction. Grand Junction, CO. 81501. Hours: 7:30pm. Admission: Admission Charge.
Source: www.eventcrazy.com
Date Published: 9/1/2022
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Celtic Woman Tickets – Grand Junction – – Stereoboard
Buy Tickets Now for Celtic Woman at Grand Junction on . Compare ticket deals at Stereoboard.com – The Ticket Price Comparison Site!
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Date Published: 6/24/2021
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Celtic Woman: Celebration – The 15th Anniversary Tour
… na koncert Celtic Woman: Celebration – The 15th Anniversary Tour, který se koná 27.5.2022 19:30 (Avalon Theatre, Grand Junction).
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Date Published: 5/13/2022
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Celtic Woman The Avalon Theatre Grand Junction Tickets
Buy & sell Celtic Woman tickets at The Avalon Theatre, Grand Junction on viagogo, an online ticket exchange that allows people to buy and sell live event …
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Date Published: 10/9/2021
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Celtic Woman – GodTube
Find Christian Concerts near you! May 27. CELTIC WOMAN Celtic Woman. Avalon Theatre. Grand Junction, CO 81501. 7:30 PM. Celtic Woman …
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Date Published: 2/16/2021
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주제에 대한 기사 평가 celtic woman grand junction
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- Date Published: 2022. 4. 8.
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What does it mean to be a Celtic Woman?
The ancient authors regularly describe Celtic women as large, crafty, brave and beautiful. Diodorus and Suetonius, in particular, describe the sexual permissiveness of Celtic women.
Who are the current Celtic Woman?
Currently, there are four members: Mairéad Carlin, Tara McNeill, Megan Walsh and Chloë Agnew that promote the Irish spirit around the world.
Is the Celtic Woman tour Cancelled?
Celtic Woman has been postponed their 2021 tour.
If you purchased ticket(s) for the original 2020/2021 dates (March 22, 2020 or March 25, 2021) your ticket(s) will be honored at the rescheduled date (April 1, 2022).
Are there any original Celtic Woman?
Membership. The original performers in Celtic Woman were Chloë Agnew, Órla Fallon, Lisa Kelly, Méav Ní Mhaolchatha, and Máiréad Nesbitt. During Méav’s pregnancy in 2005, Deirdre Shannon was selected to fill her place during tours.
Who is the most famous Celtic Woman?
Chloë Agnew is an internationally renowned singer who shot to fame for her integral part as the youngest and one of the original members of the world-famous music group ‘Celtic Woman’ which she joined when she was just 14.
What are Celtic features?
To them great stature, fair hair, and blue or grey eyes were the characteristics of the Celt. … It is distinguished by a long head, a long face, a narrow aquiline nose, blue eyes, very light hair and great stature. Those are the peoples usually termed Teutonic by modern writers.
Is there a difference between Celtic and Irish?
The Irish language is the Celtic language of Ireland (the same one as “Irish Gaelic”). Irish people generally refer to the language of Ireland simply as “Irish“.
What is difference between Gaelic and Celtic?
Gaelic is a language, whereas, Celtic was a group of people with a specific culture that used the Celtic languages. Gaelic is a ‘subset’ of the Celtic languages, specifically belonging to the Goidelic family of Celtic languages.
What language do the Celtic Woman sing in?
Éabha McMahon was raised in the Irish language. I thought I had the band Celtic Woman pegged: old songs, modern twist, dramatic television performances, mass market Irish culture—you get the picture.
How long does the Celtic Woman show last?
Most Celtic Woman concerts last about 2-3 hours but can run shorter or longer depending on the opening acts, encore, etc.
Where are the Celtic Woman performing?
Grammy-nominated Celtic Woman, the most successful all-female Irish group in history returns with an 83-city North American tour in 2022 and a stopover at the Pasadena Civic Auditorium on May 6, 2022. This year brings a new PBS special begins airing November 27 and their first brand-new studio album in three years.
Where are the Celtic Woman playing?
| Tour | Date | Venue |
|---|---|---|
| A Christmas Symphony | 18 Dec ’22 | Charleston Gaillard Center |
| A Christmas Symphony | 20 Dec ’22 | Ferguson Center for the Arts |
| A Christmas Symphony | 21 Dec ’22 | Count Basie Theatre |
| A Christmas Symphony | 22 Dec ’22 | Del Lago Resort & Casino – The Vine |
Are the Celtic Woman from Ireland?
Celtic Woman is comprised of four young Irish women whose performing skills bring centuries of musical and cultural tradition to life.
How do you audition for Celtic Woman?
Requirements For Audition
Applications for this audition, along with CV, headshot, and recent self recorded video should be sent to [email protected] by Friday 22nd July, 2022 5PM GMT.
Are the Celtic Woman married?
Celtic Woman singer Susan McFadden has married her fiancé Anthony Byrne. The musically talented couple tied the knot in the stunning Tinakilly Country House Hotel in Wicklow.
Are the Celtic Woman from Ireland?
Celtic Woman is comprised of four young Irish women whose performing skills bring centuries of musical and cultural tradition to life.
Are the Celtic Woman married?
Celtic Woman singer Susan McFadden has married her fiancé Anthony Byrne. The musically talented couple tied the knot in the stunning Tinakilly Country House Hotel in Wicklow.
What did female Celts wear?
The Celts’ clothes showed their status and importance within the tribe. Men would wear a tunic with a belt, a cloak and trousers. Women wore dresses fastened with brooches. And if you were an important member of the tribe, you would wear a neck torc of gold, silver or iron, decorated with patterns.
How do you audition for Celtic Woman?
Requirements For Audition
Applications for this audition, along with CV, headshot, and recent self recorded video should be sent to [email protected] by Friday 22nd July, 2022 5PM GMT.
Celtic Woman: Postcards from Ireland — The Avalon Theatre
SOLD OUT
Doors open at 6:30 PM
Tickets: $49/$69/$79 +fees
The four fantastic CELTIC WOMAN soloists – Tara McNeill on fiddle and Irish harp who weaves her magic around the spine-tingling voices of Mairéad Carlin, Éabha McMahon and Megan Walsh – touch the hearts of a global audience with the centuries-old Irish tradition of telling stories through song: stories of the land, stories of love, and stories of dancing that bring a piece of Ireland to audiences everywhere. Joined by a stunning band of two pipers, two drummers, traditional step-dancers, and backing vocalists, CELTIC WOMAN celebrates Ireland’s rich musical and cultural heritage and combines the finest musical talent with epic stage productions to present a unique, inspiring live experience.
The band, favorites on PBS stations, transports audiences to Ireland with the siren call of Orinoco Flow, the playful energy of Teir Abhaile Riu, the power of the uplifting anthem You Raise me Up, the soaring harmonies of Danny Boy, and a bagpiper-led Amazing Grace. This magical evening underscores why CELTIC WOMAN has been described as being “Riverdance for the voice.”
Ancient Celtic women
The position of ancient Celtic women in their society cannot be determined with certainty due to the quality of the sources. On the one hand, great female Celts are known from mythology and history; on the other hand, their real status in the male-dominated Celtic tribal society was socially and legally constrained. Yet Celtic women were somewhat better placed in inheritance and marriage law than their Greek and Roman contemporaries.
Our knowledge of the situation of Celtic women on the European mainland is almost entirely obtained from contemporary Greek and Roman authors, who saw the Celts as barbarians and wrote about them accordingly. Information about Celtic women of the British Isles comes from ancient travel and war narratives, and possibly the orally transmitted myths later reflected in Celtic literature of the Christian era. Written accounts and collections of these myths are only known from the early Middle Ages.
Archaeology has revealed something of the Celtic woman through artefacts (particularly grave goods), which can provide clues about their position in society and material culture. Reliefs and sculptures of Celtic women are mainly known from the Gallo-Roman culture. A consistent matriarchy, which was attributed to Celtic women by Romantic authors of the 18th and 19th centuries and by 20th century feminist authors, is not attested in reliable sources.
Duration and extent of Celtic culture [ edit ]
Area of the Area of the Hallstatt culture in the 6th century BC. Great Celtic expansion, c.275 BC. Lusitania (Celtic settlement uncertain) The area of the Celtic languages today Extent of Celtic people and language:
The Celts (Ancient Greek Κέλτοι Keltoi; Latin Celtae, Galli, Galati) were tribes and tribal confederations of ancient Europe, who resided in west central Europe in the Late Bronze Age and early Iron Age (the Hallstatt culture). In the La Tène period they expanded, through migration and cultural transmission, to the British Isles, northern Iberia, the Balkan peninsula and Asia Minor. The Greeks and Romans commonly referred to areas under Celtic rule as Κελτική or Celticum.[1] They had a relatively uniform material culture (especially in the La Tène period) and non-material culture (customs and norms), which differed from neighbouring peoples like the Italians, Etruscans, Illyrians, Greeks, Iberians, Germans, Thracians and Scythians.[2]
The Celtic mainland was characterised by this culture from c. 800 BC at the earliest until about the fifth century AD (end of the Roman rule in the Celtic sphere and Christianisation of Ireland). Claims made by some Celtic scholars, that traces of Celtic culture are already visible in the second millennium BC, are controversial. In Post-Roman Britain, Celtic culture and rule continued, until pushed to the margins of the island after the arrival of the Anglo-Saxons. In Ireland, Celtic culture remained dominant for even longer.[2]
Linguistically, the Celts were united as speakers of Celtic languages, which were and are Indo-European languages related most closely to German and Latin, with clear common features.[3]
Women in Celtic society [ edit ]
References to Celtic women are not only rare but are also excluding[clarification needed] medieval source material from the inhabitants of Brittany, Wales, Ireland and Scotland, derived from the writings of the Celts’ Greek and Roman neighbours. In addition, the overwhelming majority of these sources come from the first century BC and the first century AD. The main problem, however, is the fact that the term Celtic spans such an enormous area, from Ireland to Anatolia; there is no reason to expect that the position of women was the same over this whole area. Source material must, therefore, be clarified by archaeological evidence, which, however, can only answer certain kinds of questions.
Evidence [ edit ]
Archaeology [ edit ]
The Vix Krater , an imported Greek wine-mixing vessel found in the famous grave of the “Lady of Vix”
Archaeological finds are almost entirely burials; in the Hallstatt culture area, which is the dispersion area of this cultural material, especially at Dürrnberg near Hallein, this material can already be identified as Celtic in the Late Hallstatt phase (sixth century BC). The grave goods of female inhumations indicate cultural exchange with southern Europe, especially the North Italian Este and Villanovan cultures.[4]
Female burials are associated with specific grave goods, such as combs, mirrors, toiletries (nail cutters, tweezers, ear spoons[5]), spinning whorls (flywheel of a pindle, a tool for making yarn,[6]) pottery vessels, necklaces, earrings, hairpins, cloak pins, finger rings, bracelets and other jewellery. A large majority of graves have no gender-specific grave goods, but where such goods are found, they almost always belong to female graves.[7]
The Vix Grave from modern France is the most famous rich female burial, but there are several other significant ones. In the Vix Grave a huge bronze krater or mixing bowl was found which indicates the high status of the woman buried there. It derives from a Greek workshop and is 1.6 m high, weighs over 200 kg and has a volume of 1100 litres, making it the largest metal vessel to survive from the ancient world.[8] In eight cremation graves from Frankfurt Rhine-Main from the middle and late La Tène period, which contained young girls, statues of dogs were found, measuring 2.1 to 6.7 cm in length. They were made of jet, clay, glass and bronze; their purpose, whether amulet, votive gift or toy, cannot be determined.[9] There is evidence that in the earlier Celtic periods rich torcs of precious metal were mainly worn by females; later this changed.
Another example of a richly furnished female grave is a grave chamber of the necropolis of Göblingen-Nospelt (Luxembourg), containing an amphora of fish sauce (garum fish sauce from Gades was a widely popular food seasoning), a bronze saucepan with strainer lid, a bronze cauldron, two bronze basins with a bronze bucket, a Terra sigillata plate, several clay cups and jugs, a mirror and eight fibulae.[10]
Archaeological finds in the 19th century were often interpreted in light of contemporary ideas about gender without consideration of differences between modern and ancient cultures. Gender roles were assumed to be unalterable and, accordingly, grave goods were identified as “male” or “female” without ambiguity. Only when it became possible to determine the sex of human remains through osteological analysis was this approach revealed as overly simplistic.[11]
Literary sources [ edit ]
Written evidence is first transmitted by the Greeks: the historian and geographer Hecataeus of Miletus (Periegesis), the seafarer and explorer Pytheas of Massilia (On the Ocean) (both of these works survive only in fragments), the geographer and ethnologist Herodotus (Histories) and the polymath Poseidonius (On the Ocean and its Problems). Nothing of Poseidonius’ work survives directly; it is only transmitted as citations in other authors, such as Julius Caesar’s (Commentarii de Bello Gallico). Other Greek writers include Diodorus Siculus (Bibliotheke), who used older sources, Plutarch (Moralia), who took a position on the role of women, and Strabo (Geography), who expanded on the work of Polybius (Histories) through personal travels and research.
Among the works of Roman historians are the universal history of Pompeius Trogus (Philippic History) which only survives in the epitome[clarification needed] of Marcus Iunianus Iustinus. As a Gaul himself (he belonged to the Vocontii tribe), Trogus would have transmitted much of his information at first hand.[2] Tacitus (Annals) described Britannia and its conquest by the Romans; Ammianus Marcellinus (Res Gestae) had served as a soldier in Gaul; Livy (Ab Urbe Condita) reported on Celtic culture; Suetonius (Lives of the Caesars) was also a Roman official and describes Caesar’s Gallic Wars; and the senator and consul Cassius Dio (Roman History) recounted the campaign against the Celtic queen Boudicca. Julius Caesar had portrayed an image of the Celts in his Bellum Gallicum, tailored above all to his own domestic political purposes.[12]
Among later historians, there is also Gerald of Wales who was born to a Cambro-Norman family in the 12th century and composed an important account of the history and geography of the British Isles.
Social position [ edit ]
Irish: is ó mhnáibh do gabar rath nó amhrath English: It is women who fortune or misfortune give. Irish proverb, Acallam na Senórach (The Colloquy of the Ancients)[13]
Princess Tomb of Reinheim
Women as secular and religious leaders [ edit ]
The social position of women differed by region and time period. The mainland Celtic “Princess” tombs of Bad Dürkheim,[14] Reinheim,[15] Waldalgesheim[16] and Vix show that women could hold high social positions; but whether their position was a result of their marital status is unclear. Thus modern authors refer to them as both “ladies” and “princesses”.[17] The chariot found in the grave of an elite female person in Mitterkirchen im Machland is accompanied by valuable goods like those listed above.[18] Plutarch[19] names the women of Cisalpine Gaul as important judges of disputes with Hannibal. Caesar[20] stresses the “power of life and death” held by husbands over their wife and children. Strabo [21] mentions a Celtic tribe, in which the “Men and women dance together, holding each other’s hands”, which was unusual among Mediterranean peoples. He states that the position of the sexes relative to each other is “opposite… to how it is with us.”[22] Ammianus Marcellinus,[23] in his description of the manners and customs of the Gauls, describes the furor heroicus[24] (heroic fury) of the Gallic women, as “large as men, with flashing eyes and teeth bared.”[25]
Recent research has cast doubt on the significance of these ancient authors’ statements.[26] The position of Celtic women may have changed, especially under the influence of Roman culture and law, which saw the man as head of his household.[27]
British female rulers, like Boudicca and Cartimandua, were seen as exceptional phenomena; the position of king (Proto-Celtic *rig-s) – in Gaul mostly replaced by two elected tribal leaders even before Caesar’s time – was usually a male office.[28] Female rulers did not always receive general approval. Thus, according to Tacitus, the Brigantes “goaded on by the shame of being yoked under a woman”[29] revolted against Cartimandua; her marital disagreement with her husband Venutius and the support she received from the Romans likely played an important role in her maintenance of power. On the other hand, he says of Boudicca, before her decisive defeat, “[The Britons] make no distinction of gender in their leaders.”[30]
Whether a Celtic princess Onomaris (Ὀνόμαρις), mentioned in the anonymous Tractatus de Mulieribus Claris in bello (“Account of women distinguished in war”), was real, is uncertain. She is meant to have taken leadership when no men could be found due to a famine and to have led her tribe from the old homeland over the Danube and into southeastern Europe.[31]
In later times, female cultic functionaries are known, like Celtic/Germanic seeress Veleda[32] who has been interpreted by some Celtologists as a druidess.[33]). Celtic druidess [de]es, who prophesied to the Roman emperors Alexander Severus, Aurelian und Diocletian, enjoyed a high repute among the Romans.[34]
On the lead Curse tablet from Larzac (c. 100 AD), which with over 1000 letters is the longest known text in the Gaulish language, communities of female magic users are named, containing ‘mothers’ (matīr) and ‘daughters’ (duxtīr), perhaps teachers and initiates respectively.[35]
Female slaves [ edit ]
Slave women were mostly war booty, female property given up by insolvent debtors,[36] or foreign captives and could be employed within the household or sold for profit. As slaves, women had an important economic role on account of their craft work, such that in Ireland, the word cumal (‘slave woman’, Old Welsh: aghell and caethverched) was also the term for a common measure of wealth (a cumal, worth ten sét [‘cows’]).[37]
According to Caesar, favorite slaves were thrown on their masters’ funeral pyres and burnt along with their corpses.[38]
Childrearing [ edit ]
That caring for children was the role of the women is stated by ancient authors. In addition, in families of higher social standing, there was an institution of foster parentage (Old Irish: aite [foster father] and muimme [foster mother], similar to the Gothic atta [dear father], German Mama and English mummy), in which children of household were given away. The cost which the birth parents had to pay to the foster parents was higher for girls than for boys, because their care was considered more expensive. But there was also a form of foster parentage in which no fee was charged, designed to tighten the links between two families.[39]
Matriarchy [ edit ]
Ancient evidence [ edit ]
The mythic rulers of British Celtic legends and the historical queens Boudicca, Cartimandua and (perhaps) Onomarix can be seen only as individual examples in unusual situations, not as evidence of a matriarchy among the Celts. The transmitted texts of pre-Christian sagas and ancient authors speak strongly against its existence.[26]
Modern speculation [ edit ]
The idea of a Celtic matriarchy first developed in the 18th and 19th centuries in connection with the romantic idea of the “Noble Savage”. According to 19th century Unilineal evolutionism, societies developed from a general promiscuity (sexual interactions with changing partners or with multiple simultaneous partners) to matriarchy and then to patriarchy.[40] Heinrich Zimmer’s Das Mutterrecht bei den Pikten und Skoten (The Matriarchy of the Picts and Scots) of 1894 argued for the existence of a matriarchy in Northern Ireland and Scotland.[41] The evidence was British Celtic sagas about great queens and warrior maidens. The contents of these sagas were falsely presented related to the reality of the relationship between the sexes.[26]
In 1938 in his work Die Stellung der Frau bei den Kelten und das Problem des keltischen Mutterrechts (The Position of the Woman among the Celts and the problem of the Celtic Matriarchy), Josef Weisweiler pointed out the misinterpretation:
About the social structure of the Pre-Indo-European inhabitants of Britain and Ireland we know no more than about the situation of the pre-Celtic inhabitants of what would later be Gaul. […] It is therefore inaccurate and misleading, to speak of a matriarchy of the Celts, since a significant portion of this race was, we know for sure, always and continually organised as a patriarchy — Josef Weisweiler, Die Stellung der Frau bei den Kelten. p. 272.
The feminist author Heide Göttner-Abendroth assumes a Celtic matriarchy in Die Göttin und ihr Heros (1980), but its existence remains unsubstantiated. Marion Zimmer Bradley depicted a matriarchal reinterpretation of the stories of King Arthur, Lancelot and the Holy Grail in The Mists of Avalon (1987), which were dominated by the female characters. She employed the contrast between the Celtic matriarchal culture and the Christian patriarchy as a theme of her work.[41] Ingeborg Clarus attempted in her book Keltische Mythen (1991) to reduce the Celtic sagas of Britain to a battle between the sexes, as part of her theory about the replacement of a matriarchy by a patriarchy. She thus continues the evolutionary theories of the 19th century. She calls matriarchy the “Pre-Celtic heritage of Ireland”, and she claims that the transition to patriarchy took place in the 1st century AD in the time of King Conchobar mac Nessa of Ulster.[42]
Matrilineality [ edit ]
Matrilineality (the transmission of property through the female line) is not attested for the Celts either. In a matrilineal society, children are related only to the family of the mother not to the family of the father. A situation like that among the Picts, where, according to some accounts, kingship was inherited through the maternal line, but not inherited by the women themselves,[43] The Irish clan (fine, compare with the Old High German word wini, ‘friend'[44]) was patrilineal and the relatives of the mother had only a few rights and duties relating to the children.[45] Thus they received only a seventh of the weregild if a child was killed and the male relatives had a duty to seek vengeance for the deed.[46]
Describing the Celtic expansion into southern and southeastern Europe around 600 BC, Livy claims that the two war leaders Bellovesus and Segovesus elected by the army were the sons of the sister of Ambicatus, king of the Bituriges.[1] Here perhaps matrilineality could be a reason for the selection of these leaders, rather than the king’s own sons, but other reasons cannot be ruled out, even if the story is not fictional.[47]
Among the Iberian, Gallaeci, women had an important role in the family and the clan, despite the importance of men as warriors, indicated by frequent matrilineal succession among them.[48]
Legal position [ edit ]
Nearly all of the following legal matters seem to have been similar, with some regional variation, both on the mainland and in the British Isles.
General legal position [ edit ]
General legal equality – not just equality between men and women – was unusual among the Celts; it was only a possibility within social classes, which were themselves gender-defined. Celtic women were originally not allowed to serve as legal witnesses and could not conclude contracts with[clarification needed] the assistance of a man.[where?] In the law and proverb collections Críth Gablach (‘The split cow’) and Bretha Crólige (‘Decisions concerning blood guilt’), the wergeld[not a Celtic term?] was specified exactly for men and women of different social classes and the compensation for women (or their heirs in the event of their death) was significantly smaller, often half the cost for a man of the same class.[49]
Marriage law [ edit ]
In British Celtic law, women had in many respects (for instance marriage law) a better position than Greek and Roman women.[25] According to Irish and Welsh law, attested from the Early Middle Ages, a woman was always under the authority of a man, first her father, then her husband, and, if she was widowed, her son. She could not normally give away or pass on her property without their agreement. Her marriage was arranged by her male relatives, divorce and polygyny (the marriage of one man to several women) were controlled by specific rules. Polyandry (the marriage of one woman to several men) was unusual, although some Celtologists conclude that it sometimes occurred from the Irish saga Longas mac nUislenn (The Exile of the Sons of Uislius).[26]
Caesar provides an example of the subordinate position of women: according to him, men had the power of life and death over their wives, as they did over their children, in a similar manner to the Roman pater familias. If the head of a high ranking family died, his relatives would gather and interrogate the wives as well as the slaves, when the death seemed suspicious. Should they consider their suspicions to be correct, they would burn the wives, after torturing them in every possible way. However, he also describes the financial role of the wives as remarkably self-sufficient.[50]
Caesar also says that among the Britons, up to a dozen men (father, sons and brothers) could jointly possess their women.[51] The resulting children would be assigned to whichever man was willing to marry the woman. Today this is seen as a common cliche of ancient barbarian ethnography and political propaganda intended by Caesar to provide a moral justification for his campaigns.[52]
In general, monogamy was common. Having several legal wives was limited to the higher social classes.[53] Since marriage was seen as a normal agreement between two people (cain lanamna, ‘agreement of two’), it could be dissolved by both partners. A “temporary marriage” was also common. The position of the wife (Irish: cét-muinter, ‘first of the household’, or prím-ben, ‘chief woman’) was determined by the size of the dowry she brought with her. There were three kinds of marriage: that in which the woman brought more than the man, that in which both brought about equal amounts and finally that in which the woman brought less. If the husband wished to carry out a clearly unwise transaction, the wife possessed a sort of veto power. In a divorce, the wife usually had full control over her dowry. The concubine (Irish: adaltrach, cf. Latin adultera, ‘adultress’) had much less power and was subordinate to the main wife. She had a legal duty (Lóg n-enech) to assist the first wife in case of illness and could be harassed and injured by her with impunity for the first three days after her marriage, with only very restricted rights of self-defence (pulling hair, scratching and punching back). After these three days, the ordinary punishments would apply to both in the event of injury or murder.[54]
Adultery by the wife, unlike adultery by the husband, could not be atoned for with a fine. A divorce in the case of adultery could only occur with the agreement of both parties and the wife was not permitted to seek one so long as her husband maintained intimate relations with her. If she was pregnant with her husband’s child, she could not have intercourse with other men before the birth of the child, even if thrown out by him. These rules were binding for Celtic noblewomen, but they may have been less strictly binding on the lower classes.[43] In Wales, the wife was allowed to leave her husband if he committed adultery three times, if he was impotent, and if he had bad halitosis taking with her the property which she had brought into the marriage or acquired during it. A rape had to be atoned for by the culprit by handing over the sort of gifts customarily given at a wedding and paying a fine since it was considered a form of “temporary” marital tie.[46]
Inheritance law [ edit ]
The inheritance law of the British Celts disadvantaged women, especially daughters, in similar ways to marriage law. Only if the inheritance came from the mother or if the daughters originated from the last marriage of a man and the sons from an earlier marriage, were the two genders treated the same.
A daughter inherits no land from her father, except if she has no brothers, if she is an inheriting-daughter (ban-chomarba), and even then she inherits only for her lifetime. — Josef Weisweiler, Die Stellung der Frau bei den Kelten. pp. 227 f.
After that, the inheritance returned to her paternal relatives (Fine). This institution of the ‘inheriting-daughter’ has a parallel in ancient Indian law, in which a father without sons could designate his daughter as a putrikā (son-like daughter).[35]
In Gallic law, widows (old Irish: fedb, Welsh: gweddwn, Cornish gwedeu, Breton: intañvez) inherited the entire property left behind by their husband. They could dispose of this property freely, unlike in Old Irish law, in which the widow was under the control of her sons. Only a right to make gifts and a restricted power of sale were granted to her, which was called the bantrebthach (‘female householder’). The right to make gifts was restricted to transfers within the family.[55]
Welsh women only received the right to inherit under king Henry II of England (1133–1189).[55]
Cáin Adomnáin [ edit ]
The abbot and saint Adomnan of Iona produced the legal work Cáin Adomnáin (The Canon of Adomnan) or Lex Innocentium (The law of the innocents) on the property of women (especially mothers) and children. He describes the condition of women up till that point, with self-aware exaggeration, as cumalacht (enslavement), in order to highlight the importance of his own work. Adomnan reports that a woman who:
… had to stay in a pit so deep that her genitals were covered and had to hold a spit over the fire so long for it to be roasted, further she had to serve as a candlestick holder till it was time to sleep. In battle, she carried her rations on one shoulder and her young child on the other. On her back she bore a 30 foot long pole with an iron hook, with which she would grab opponent amongst her enemies by their braids. Behind her came her husband, who drove her into battle with a fence post. As trophies one took the head or the breasts of the women. Adomnan, Cáin Adomnáin[25]
According to legend, an experience of Adomnan and his mother had been the impetus for this legal text. The view of a slain Celtic woman and her child—”mother’s blood and milk streaming over”—on the battlefield, shocked his mother so much that she forced her son, by fasting, to compose this law book and to present it to the princes.[56]
Sexuality [ edit ]
In the Trencheng Breth Féne (The Triad of Irish Verdicts, a collection of writings dating from the 14th to the 18th centuries) the three female virtues were listed as virginity before marriage, willingness to suffer, and industriousness in caring for her husband and children.[57]
The ancient authors regularly describe Celtic women as large, crafty, brave and beautiful. Diodorus and Suetonius, in particular, describe the sexual permissiveness of Celtic women. According to Suetonius, Caesar spent a lot of money on sexual experiences in Gaul. His legionnaires sang in the triumph that he had seduced a horde of Gallic women, calling him a “bald whoremonger”.[58]
Celtic women were described as fertile, prolific and good breastfeeders. These are all clichés of the Greeks and Romans about barbarian peoples.[59] Gerald of Wales describes how the Irish are “the most jealous people in the world”, while the Welsh lacked this jealousy and among them guest-friendship-prostitution was common.[60][61] In the Irish saga of Conchobar mac Nessa, the king is said to have the right to the first night with any marriageable woman and the right to sleep with the wife of anyone who hosted him. This is called the Geis of the king.[62] Whether this right actually existed and was exercised by the Celts is not attested outside the sagas.[63] In the saga Immram Curaig Maíle Dúin (The Sea Voyage of Maíle Dúin), the conception of the main character occurs when a random traveller sleeps with a nun of a cloister. She says before this “our act is not beneficial if this is finally the time when I conceive!” The suggestion that Irish women used this knowledge for birth control, sometimes drawn from this is questionable. Large numbers of children are mentioned among the Celts by the ancient authors.[64][65]
The statement of Gerald of Wales that incest had a pervasive presence in the British Isles is false according to modern scholars, since he complains only that a man can marry his cousins in the fifth, fourth and third degrees.[66][67] Incest played a key role in British Celtic myth, such as in Tochmarc Étaíne (‘The Courting of Étaín’) as in other ancient cultures (like Ancient Egypt or the pair of Zeus and Hera in classical Greece. In actual social life, however, a notable meaning cannot be found.[68]
Health [ edit ]
Palaeopathological research based on bone samples and, in the best-case scenario, on mummified corpses indicates illnesses found among the ancient Celts. Diseases like sinusitis, meningitis and dental caries leave typical traces. Growth disorders and vitamin deficiencies can be detected from the long bones. Coproliths (fossilised fecal matter) indicate severe worm infections. In total, the data indicates a society which, as a result of poor hygiene and diet, suffered from weak immune systems and a high rate of illness. This is even more marked in women than in men and was quite normal for people of this time and area. Among Celtic women degenerative damage to the joints and spinal column were particularly notable on account of the amount of heavy lifting they did. Trauma from violence was more common among men. Differences as a result of social position are not visible. The “Lady of Vix” was a young Celtic woman of exceptionally high standing, who suffered from pituitary adenoma and otitis media.[69]
Skeletal finds in graves provide the following age statistics for the ancient Celts: the average age at death was 35 years old; 38 for men and 31 for women.[70][disputed – discuss]
Appearance of Celtic women [ edit ]
Clothing [ edit ]
On account of the poor survival rate of materials (cloth, leather) used for clothing, there is only a little archaeological evidence; contemporary images are rare. The descriptions of ancient authors are rather generalistic; only Diodorus transmits something more detailed.[71] According to his report, normal clothing of Celtic men and women was made from very colourful cloth, often with a gold-embroidered outer layer and held together with golden fibulae.[72]
The women’s tunic was longer than the men’s; a leather or metal belt (sometimes a chain) was tied around the waist. The regional variation in fashion (as well as differences based on age and class) were more complex than the simple tunic. The boldly patterned dresses seen on vases from Sopron in Pannonia were cut like a kind of knee-length maternity dress from stiff material with bells and fringes attached. Tight-waisted skirts with bells in the shape of a crinoline are also depicted. An overdress with a V-shaped cut which was fixed at the shoulders with fibulae was found in Noricum.[73] The chain around the waist had hooks for length adjustments, the leftover chain was hung on a chain-link in a loop. The links of this chain-belt could be round, figure-8 shaped, with cross-shaped or flat intermediate links, doubled, tripled, or more with enamel inlays (see Blood enamel). The so-called Norican-Pannonian belt of Roman times was decorated with open-worked fittings. A pouch was often hung from the belt on the right side.[74]
In the British Isles during the Iron Age, ring-headed pins were often used in place of fibulae on dresses and for fixing hairdos in place. This is demonstrated by the different positions the needles are found in burials.[75]
On a first century AD Celtic gravestone from Wölfnitz [de], a girl is depicted in Norican clothing. It consists of a straight under-dress (Peplos) which reaches to the ankles, a baggy overdress reaching to the knees, which is fastened at the shoulders with large fibulae. A belt with two ribbons hanging down at the front holds the dress in place. In her right hand she holds a basket, in her left hand she holds a mirror up before her face. On her feet there are pointed shoes. Her hair is mostly straight, but coiffed at the back.[76]
In everyday life, Celtic women wore wooden or leather sandals with small straps (Latin: gallica, ‘Gallic shoe’).[73] Bound shoes made from a single piece of tanned leather tied together around the ankle are often only detectable in graves from the metal eyelets and fasteners which survive around the feet.[77]
Three mannequins with reconstructed Helvetic/Celtic women’s outfits were displayed in the exhibition Gold der Helvetier – Keltische Kostbarkeiten aus der Schweiz (Gold of the Helvetii: Celtic Treasures from Switzerland) at the Landesmuseum Zürich in 1991.[78]
Jewelry [ edit ]
Gold jewelry (necklaces, bracelets, rings) were worn as symbols of social class and were often of high craftsmanship and artistic quality. Girls of the Hallstatt and early La Tène culture wore amber chains and amulets as individual chains or multiple string colliers; the colliers had up to nine strings and over a hundred amber beads.[79] Amulets were both decoration and apotropaic charms. They were probably added to the tombs of women who were killed violently, to protect the living.[80] Torcs (neck rings) are found in graves of important men and women up to about 350 BC, after that they are usually restricted to male graves.[81] The “Lady” from the tomb at Vix had a torc, placed on her lap, as a grave good; the woman in the tomb at Reinheim wore one around her neck. Boudicca, Queen of the Iceni in Britain around 60 BC is described as wearing a torc, which might reflect her exceptional circumstances as a war leader or be an embellishment of the Roman chronicler.[82]
Over a colourful shirt she wore a twisted gold torc and a thick cloak closed with a fibula. — Cassius Dio, Roman History 62.2.4
The Hallstatt-period limestone statue of a Celtic woman found at the entrance to the tomb of the “Lady of Vix” wears a torc and sits on a throne.[83]
Bust of a Norican woman with a Modius cap, Wölfnitz-Lendorf, Carinthia
Head coverings and hairstyles [ edit ]
Since almost no depictions of women survive from the La Tène period, archaeologists must make do with Roman provincial images. In these, women are seldom depicted bare-headed, so that more is known about headcoverings than about hairstyles. Celtic women of this time wore winged caps, felt caps in the shape of upturned cones with veils, cylinder-shaped fur caps, bronze tiaras or circlets. The modius cap was a stiff cap shaped like an inverted cone which was especially common in the first century AD around Virunum. It was worn with a veil and rich decoration and indicated women of the upper class. The veil worn over the cap was often so long that it could cover the entire body. In north Pannonia at the same time, women wore a fur cap, with a spiked brim, a veil cap similar to the Norican one and in later times a turban-like head covering with a veil.[84] Among the Celtiberian women a structure, which consisted of a choker with rods extending up over the head and a veil stretched over the top for shade, was fashionable.[85]
The hair was often shaved above the oiled forehead. In the Hallstatt period, hairnets have been found; in some accounts, individual emphasised braids (up to three) are mentioned, but most women tied their hair back in a braid. The hair was often coloured red or blonde.[86] The seer Fedelm in Irish sagas is described with three braids, two tied around her head and one hanging from the back of her head down to her calves.[84] Unlike married women, unmarried women usually wore the hair untied and without a headcovering.[87]
Hair needles for fixing caps and hairdos in place are common grave finds from the late Hallstatt period. They have ring-shaped heads which could be richly decorated in some regions. From the La Tène period, such needles are only rarely found.[88]
Women in Celtic mythology [ edit ]
Matrona (National Archaeology Museum, England)
In the mainland Celtic area, a great number of goddesses are known; on account of the lack of political unity of the Celts, they seem to have been regional deities. Unlike the Greeks and Romans, the Celts never had a single pantheon, although the Romans attempted to connect them up on the basis of their functions, through the Interpretatio Romana. The mother goddesses which had great importance in Celtic religion were also united in this way under the names Matres and Matronae.[87]
In the mythology of the British Celts almost no goddesses are present. The female figures named in the local Irish sagas mostly derive from female figures of the historically unattested migrations period, which are recounted in the Lebor Gabála Érenn (Book of the Taking of Ireland). They were originally described as mythic people, transformed into deities and later into demons after their respective expulsions by the following wave of invaders – mostly these resided in the Celtic Otherworld. An enumeration of the most important female figures of history (not exclusively Irish) is found in the account of the poet Gilla Mo-Dutu Ó Caiside which is known as the Banshenchas (contains 1147 entries). A similar development occurred in Britain, especially in Wales.
Very often these mythic female figures embody sovereignty over the land or the land itself (see hieros gamos).[89] Examples from Ireland include Macha and Medb, from Wales, Rhiannon. The dispute between Medb and her husband Ailill mac Máta over the wealth brought into the marriage by each of them is the indirect trigger for the Táin Bó Cuailnge (The Cattle Raid of Cooley).
All kinds of legal issues in marriage are described in the Celtic myths: The marriage of a sister by her brother (Branwen ferch Llŷr, ‘Branwen, daughter of Llŷr’), the marriage of a widowed mother by her son (Manawydan fab Llŷr, ‘Manawydan, the son of Llŷr’), rape and divorce (Math fab Mathonwy, ‘Math, the son of Mathonwy’), marriage of a daughter against the will of her father (Culhwch and Olwen). If the girl objected to the marriage, the only way out is self-help: the imposition of almost impossible tasks on the prospective groom (Tochmarc Emire, ‘The Wooing of Emer’); escape with a husband of her own choosing (The Pursuit of Diarmuid and Gráinne), or suicide (Longas mac nUislenn, ‘The Exile of the son of Uislius’).
The already mentioned Queen of Connacht, Medb, broke with all conventions and selected her own husbands, whom she later repudiated when she tired of them. To each warrior from whom she desired support, she promised the ‘Favour of her leg’ (Lebor Gabála Érenn) and even marriage to her daughter Findabair – when Findabair discovers this, she takes her own life out of shame.
Other female figures from Celtic mythology include the weather witch Cailleach (Irish for ‘nun,’ ‘witch,’ ‘the veiled’ or ‘old woman’) of Scotland and Ireland, the Corrigan of Brittany who are beautiful seductresses, the Irish Banshee (woman of the Otherworld) who appears before important deaths, the Scottish warrior women Scáthach, Uathach and Aoife. The Sheela-na-Gig was a common grotesque sculpture which presented an exaggerated vulva. Her significance – ultimately as a fertility symbol – is debated and her dating is uncertain.[90] Possibly the display of the vulva was meant to have an apotropaic power, as in the Irish legend in which the women of Ulster led by Mugain the wife of King Conchobar mac Nessa unveil their breasts and vulvae in order to prevent the destruction of Emain Macha by the raging Cú Chulainn.[91]
References [ edit ]
Bibliography [ edit ]
Josef Weisweiler: “Die Stellung der Frau bei den Kelten und das Problem des “keltischen Mutterrechts”.” Zeitschrift für celtische Philologie, Vol. 21, 1938.
General works on the Celts
Particular aspects of Celtic culture
Helmut Birkhan: Nachantike Keltenrezeption. Praesens Verlag, Wien 2009, ISBN 978-3-7069-0541-1.
Praesens Verlag, Wien 2009, ISBN 978-3-7069-0541-1. David Rankin: Celts and the Classic World. Croom Helm Ltd. 1987, Paperback 1996 by Routledge, London/New York, ISBN 0-415-15090-6.
Croom Helm Ltd. 1987, Paperback 1996 by Routledge, London/New York, ISBN 0-415-15090-6. Ingeborg Clarus: Keltische Mythen. Der Mensch und seine Anderswelt. Walter Verlag, Freiburg im Breisgau 1991 (Patmos Verlag, Düsseldorf, 2000, 2nd edition) ISBN 3-491-69109-5.
Reference works on the Celts
Sylvia und Paul F. Botheroyd: Lexikon der keltischen Mythologie. Tosa Verlag, Wien 2004.
Tosa Verlag, Wien 2004. Bernhard Maier: Lexikon der keltischen Religion und Kultur. Kröner, Stuttgart 1994, ISBN 3-520-46601-5.
Kröner, Stuttgart 1994, ISBN 3-520-46601-5. Susanne Sievers/Otto Helmut Urban/Peter C. Ramsl: Lexikon zur Keltischen Archäologie. A–K und L–Z. Mitteilungen der prähistorischen Kommission im Verlag der Österreichischen Akademie der Wissenschaften, Wien 2012, ISBN 978-3-7001-6765-5.
Matriarchal religion
Celtic Woman
Grammy-nominated global music sensation Celtic Woman is thrilled to return in 2022 with a brand-new show Postcards from Ireland.
Postcards from Ireland celebrates the rich musical and cultural heritage of Ireland; taking audiences on a journey of story and song from across the Emerald Isle.
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Celtic Woman’s fresh fusion of traditional Irish music and contemporary songcraft celebrates Ireland’s ancient heritage while reflecting the vibrant spirit of modern Ireland.
With Irish dancers, bagpipers and an array of traditional Irish instruments – including the bodhran, tin whistle and uilleann pipes – this dynamic and multi-talented group has captivated audiences all around the world.
Join us for this very special show Postcards from Ireland, and experience the beauty of Ireland brought to life by Celtic Woman. For more information please visit www.celticwoman.com
Celtic Woman
All-female Irish musical ensemble
Celtic Woman is an all-female Irish musical ensemble conceived and created by David Kavanagh, Sharon Browne[1][2] and David Downes, a former musical director of the Irish stage show Riverdance.[3][4] In 2004, Downes recruited five Irish female musicians who had not previously performed together, vocalists Chloë Agnew, Órla Fallon, Lisa Kelly and Méav Ní Mhaolchatha, and fiddler Máiréad Nesbitt, as the first lineup of the group that he named “Celtic Woman”. Downes chose a repertoire that ranged from traditional Celtic tunes to modern songs.
The show was meant to be a one-time event held in Dublin, Ireland, but multiple airings on PBS helped boost the group’s popularity.
The group’s line-up has changed over the years. Fourteen albums have been released under the name “Celtic Woman”: Celtic Woman, Celtic Woman: A Christmas Celebration, Celtic Woman: A New Journey, Celtic Woman: The Greatest Journey, Celtic Woman: Songs from the Heart, Celtic Woman: Lullaby, Celtic Woman: Believe, Celtic Woman: Home for Christmas, Celtic Woman: Emerald – Musical Gems, Celtic Woman: Destiny, Celtic Woman: Voices of Angels, Celtic Woman: Ancient Land, Celtic Woman: The Magic of Christmas, and Celtic Woman: Postcards from Ireland. The group has undertaken a number of world tours. Cumulatively, albums by Celtic Woman have sold over nine million records worldwide.[5] Celtic Woman has been described as being “Riverdance for the voice.”[6]
Celtic Woman has been named Billboard World Album Artist of the Year six times.[7][8]
Tours [ edit ]
Celtic Woman has performed numerous tours in North America, with additional ones overseas. The group appeared live in more than a dozen US cities in 2005 for their original album debut, Celtic Woman The Show.[9] This was followed by all five members’ solo albums recorded between 2000 and 2004 being released in the US on 10 January 2006.
The group toured the United States twice with their A New Journey tour, visiting 88 cities in 2007 and over 75 cities in 2008. In early April 2008 it was announced that The High Kings would be opening the act for the group through June 2008.[10] The tour began on 14 February 2007 in Tampa with initial dates announced through 29 June 2007. New dates for Europe running 22 September 22 to 9 October 2007 were announced in May 2007 along with fall North American dates running 10 October to 17 November 2007 and some Japan dates. The tour finished on 6 October 2008 in Amsterdam.
The 2009 Isle of Hope tour was announced in late 2008. It began in the Spring of 2009 and finished on 22 November 2009.
The 2010 tour called Songs from the Heart, featured some of the same music and some new music. The tour featured Chloë Agnew, Lisa Kelly, Lynn Hilary, Alex Sharpe, and Máiréad Nesbitt. It began in February 2010.[11][12]
A second “Songs from the Heart” tour opened in February 2011 with Agnew, Kelly, new member Lisa Lambe, and Nesbitt and consisted of about 80 concerts in North America in spring 2011[13] and 10 performances in Germany and Austria during summer 2011.[14]
The Christmas Symphony Tour featuring songs from their Christmas Album A Christmas Celebration took place during December 2011.[15]
The Believe 2012 North American Tour ran between February 2012 and April 2012.[16] Following directly onto this, the BELIEVE European tour took place between May and June 2012.[17] Lisa Kelly, who was expecting her fourth child, did not participate in the 2012 tours,[18] and was replaced by Susan McFadden,[18] the younger sister of former Westlife member Brian McFadden.
Another Symphony Tour was announced for the 2012 Christmas season, featuring Agnew, Lambe, Nesbitt and McFadden. The tour began on 1 December and continued on till 22 December.
Celtic Woman took “Believe” on tour again from February to June 2013, with the same line-up. On 15 January 2013, Lisa Kelly announced her intentions to open “The Lisa Kelly Voice Academy”, located in Peachtree City, GA, and confirmed that she would not be returning to Celtic Woman. Her husband, Scott Porter, also announced his departure as CEO of Celtic Woman.
On 5 August 2013, Chloë Agnew announced that she was taking a break from Celtic Woman to focus on solo projects. She was replaced by Derry-born singer Mairéad Carlin for the second “Believe” European tour.
Celtic Woman took “Believe” to Europe in October 2013 and visited the US on their Symphony Tour in December 2013. The lineup featured Carlin, McFadden, Lambe and Nesbitt. The Australian Tour for “Believe”, previously scheduled for September 2013, was rescheduled to January 2014.
Celtic Woman toured in the US from February to June 2014 on their Emerald Tour to promote their new album called Celtic Woman: Emerald Musical Gems. Lynn Hilary came back for the Emerald Tour as Lisa Lambe left in mid-March for a role in the play Breaking Dad, Ross O’Carroll-Kelly’s sequel to Between Foxrock and a Hard Place.”[19] As well as the US, Celtic Woman visited Brazil, the UK, and Europe in Autumn 2014 on their Emerald Tour, making their debut in Brazil and the UK.
Celtic Woman toured the US for their “Symphony Tour” in December 2014.
They returned to the U.S. for their Decade 10th Anniversary Tour in March 2015 to celebrate the group’s 10th anniversary. Their November 2014 Emerald European Tour was rescheduled to February 2015 and became part of the Decade 10th Anniversary Tour instead.
They visited Australia for the Decade 10th Anniversary Tour in September 2015 for the first time since January 2014, and returned to the UK in November 2015.
The Destiny World Tour was from 4 March – 29 October 2016.
The Voices of Angels World Tour was from 2 March – 2 November 2017.
On 6 October 2017, Celtic Woman officially announced their 2018 tour, the Homecoming World Tour. The North American leg of the Homecoming Tour ran from 1 March 2018 – 17 June 2018.[20][21]
On 31 July 2018, the group announced The Best of Christmas Tour, which ran from 26 November – 22 December 2018.
On 17 October 2018, the group announced The Ancient Land Tour, which ran from 28 February 2019 – 18 November 2019.[22]
On 4 October 2019, The Celebration 15th Anniversary Tour was announced to run from 27 February 2020 – 7 June 2020 to celebrate the group’s 15th Anniversary, but was cut short in March due to the coronavirus pandemic. On 13 March 2020, an announcement was made that the cancelled dates would be rescheduled. On 20 March 2020, the rescheduled Celebration 15th Anniversary Tour was announced to run from 25 February 2021 – 4 June 2021 and more tour dates would be announced soon. However on 7 January 2021, it was announced that the rescheduled Celebration 15th Anniversary Tour was postponed to spring 2022.[23][24][25] On 20 April 2021, it was announced that the rescheduled Celebration 15th Anniversary Tour was renamed to Postcards from Ireland Tour and it will run from 24 February 2022 – 3 June 2022.[26]
Tours [ edit ]
Albums [ edit ]
Celtic Woman was taped on 15 September 2004 for PBS television at The Helix in Dublin in front of a sold-out audience. Organized by producer Sharon Browne, Chairman & CEO Dave Kavanagh, television producer and director Avril MacRory, and musical director and composer David Downes, this performance was first broadcast on PBS during March 2005 in the United States. Within weeks the group’s eponymous debut album, Celtic Woman, reached No. 1 on Billboard’s World Music chart, eventually breaking Andrea Bocelli’s long-standing record of chart-topping longevity on 22 July 2006 by having stayed at No. 1 for 68 weeks.[27] The album held the top position on the Billboard World Music chart for 81 weeks total.[28] Much of the group’s success in America has been credited to the extensive PBS publicity throughout 2005. The live performance at The Helix was released on DVD alongside the studio album.
The release of the second album, Celtic Woman: A Christmas Celebration, on 19 October 2006 knocked their first album to the No. 2 spot on the World Music chart.[28]
In preparation for their third studio album, Celtic Woman performed at Slane Castle in County Meath, Ireland, on 23 and 24 August 2006, with this show airing on PBS during December 2006. The studio album, titled Celtic Woman: A New Journey, was released on 30 January 2007. As with their debut, the live performance was released on DVD simultaneously. This album immediately hit the Billboard 200 at No. 4[29] and the Billboard World Music chart at No. 1,[30] moving their previous two releases down a notch and securing the top three positions on that chart for the group.
In response to the popularity of the performance at Slane Castle in 2006, PBS aired a special concert of Celtic Woman performing again in The Helix Theatre, Dublin, Ireland on 7 December 2007. This performance included songs from the group’s second album, Celtic Woman: A Christmas Celebration.
A fourth album, Celtic Woman: The Greatest Journey, was released on 28 October 2008.
The group’s fifth album, Celtic Woman: Songs from the Heart, was released 26 January 2010. It peaked at No. 48 in July 2010 on the ARIA Top 50 Albums chart.[31] For the album, PBS television presented a special concert starting 28 November 2009. It was taped in HD at Powerscourt House and Gardens in Enniskerry, County Wicklow. It included a 27-member film orchestra, Discovery Gospel choir, 12-member Aontas Choir, 10-member Extreme Rhythm Drummers with an 11-piece bagpipe ensemble.[32]
The group released their sixth album, Lullaby, available through PBS pledge or the QVC shopping website.[33] On 15 February 2011, it was released by other major retailers as a limited edition album. It reached No. 1 on the World Charts and No. 3 on the Children’s Charts, a first for Celtic Woman.
The group filmed a new special on 6 and 7 September 2011 at the Fox Theater in Atlanta, Georgia for PBS broadcast and DVD release. It is titled Celtic Woman: Believe. The show aired on PBS stations on 3 December 2011. The CD/DVD was released on 24 January 2012.[34]
On 9 October 2012, the group released its second worldwide Christmas album Home for Christmas. This album features the voices of Lisa Lambe, Chloë Agnew, Meav Ni Mhaolchatha, and Mairead Nesbitt on the fiddle. Another Christmas album, Celtic Woman: Silent Night was released on the same day for the United States exclusively.
In July 2013, Celtic Woman released a promotional video on its YouTube channel for a new PBS special, due to be screened in early 2014. On 24 February 2014, Celtic Woman released a new CD/DVD set and PBS Special, called Celtic Woman: Emerald – Musical Gems. It features Lisa Lambe, Chloë Agnew, Mairead Nesbitt, and Susan McFadden. The DVD was filmed in April 2013 at a tour stop in South Bend, Indiana and was aired on PBS, starting in March.[35]
On 29 May 2015, the group released an album called Solo featuring ten of the former and current members. On 10 July 2015, the group released an album called Decade: The Songs, The Show, The Traditions, The Classics featuring all of the former and current members. The albums were released to commemorate the group’s 10th Anniversary.
In August 2015, the group filmed a DVD / TV special and recorded an accompanying album called Celtic Woman: Destiny, the first for Mairead Carlin and Éabha McMahon. Nesbitt was the only founding member on the album, although Meav Ni Mhaolchatha appeared and sang as a guest. Destiny was nominated for Best World Music Album at the 59th Annual Grammy Awards. This was the first Grammy nomination for the group.
In August 2016, the group recorded an album called Celtic Woman: Voices of Angels. The album was the first to feature Tara McNeill and was also the first album to feature none of the founding members, although Meav Ni Mhaolchatha again appeared as a guest.
Celtic Woman recorded a live album, Celtic Woman: Homecoming – Live from Ireland, at the 3Arena in Dublin on 2 September 2017. The album released in January 2018. It was the first album released by the group to consist entirely of live tracks.[36][37][38]
On 19 July 2018, Celtic Woman announced a new TV special and DVD, to be recorded on 13–14 September 2018 at Johnstown Castle in Wexford, Ireland. This was the group’s first outdoor TV special in nine years. The following day, the group announced a studio album to accompany the DVD.[39][40] The DVD and album were named Ancient Land.[41]
The Magic of Christmas is the group’s most recent studio album, was released on 25 October 2019 in North America and on 8 November 2019 internationally.[42]
On 21 February 2020, Celtic Woman announced their album Celebration: 15 years of Music and Magic to commemorate the group’s 15th Anniversary, it was digitally released on 27 February 2020 and the CD was released 27 March 2020.[43][44]
On 10 September 2021, Celtic Woman announced their album Postcards from Ireland, it was released on 29 October 2021[45][46]
Members [ edit ]
Present [ edit ] [47]
Former [ edit ]
Membership [ edit ]
The original performers in Celtic Woman were Chloë Agnew, Órla Fallon, Lisa Kelly, Méav Ní Mhaolchatha, and Máiréad Nesbitt. During Méav’s pregnancy in 2005, Deirdre Shannon was selected to fill her place during tours. Méav returned to the group in time to record A New Journey and tour for that album, coinciding with Deirdre’s departure from the group in February 2006.
The second line-up change was announced on 6 September 2006, with the announcement that Hayley Westenra officially joined Celtic Woman on 24 August 2006.[66] As well as being featured on the album and DVD for A New Journey, Hayley alternated with Méav during tour events to maintain the live five-person line-up.[67]
On 20 August 2007, Méav left Celtic Woman to focus on her solo career. Méav’s replacement, Lynn Hilary, made her first appearance on 10 October 2007 in Estero, Florida, United States.[68][69]
In December 2007, Lisa Kelly, who was expecting her third child in 2008, took maternity leave from the group. Alex Sharpe filled her position on the A New Journey tour during this leave.[70]
It was announced on the group’s website in 2009 that Órla Fallon was taking a full break to spend time with her family and to focus on recording a new solo album, and that as a result of this, Alex would be replacing Órla as a member of Celtic Woman.
For the 2009 Isle of Hope Tour, the group comprised vocalists Chloë Agnew, Lynn Hilary, Lisa Kelly, and Alex Sharpe; and fiddler Máiréad Nesbitt. This group completed the entire 2009 tour as well as the first leg of the Songs from the Heart tour, from February to May 2010, with this line-up. After the tour ended, it was announced that Alex Sharpe would take a full-time break from Celtic Woman to spend time with her family.[71]
After the Songs from the Heart tour, in November 2010, Lynn Hilary announced that she was leaving the group to return to Ireland.[72] Singer and actress Lisa Lambe joined the group as a replacement for Lynn in early 2011.
In December 2011, Lisa Kelly announced that she would be taking maternity leave from the group after the “Symphony Tour” was over. The group’s website announced in January 2012 that actress Susan McFadden would be filling in for Kelly until she returned to the group. However, Kelly announced the opening of “The Lisa Kelly Voice Academy” in Peachtree City, Georgia, in January 2013 say that she was moving on from performing to teaching. Susan has since become a full member of the line-up and appeared on the new Celtic Woman PBS special and DVD Emerald, released in early 2014.
In 2012, Méav Ní Mhaolchatha returned briefly to Celtic Woman to record Celtic Woman: Home for Christmas, the first time she had appeared with the group since her departure in 2007. She announced that she would return to the group again, temporary, in August 2013 to film the Celtic Woman: Home for Christmas PBS show and DVD.
Shortly before the “Home for Christmas” DVD show, Chloë Agnew announced she would be taking a break from Celtic Woman to work on solo projects and was not featured in the PBS special. On 23 August 2013, it was announced that Derry-born singer Mairéad Carlin would be taking Chloë’s place.
Shortly before the beginning of the Emerald Tour on 14 February 2014, management announced that Lisa Lambe would be leaving the tour at the beginning of March, with Lynn Hilary returning to take her place. Lambe was slated to return during the summer, though no specific date was given.
In late 2014, Lambe shared she would be leaving Celtic Woman for a while to work on a solo album. She announced that her departure was permanent in early 2015 to promote her solo album and tour.[54] Lynn Hilary again returned and took Lambe’s place. It was later announced both Hilary and Alex Sharpe would be returning for the Decade 10th Anniversary tour along with Méav.
On 11 August 2015, it was announced that Éabha McMahon was joining Celtic Woman as a principal singer.[73]
On 7 August 2016, it was announced that long-time member Máiréad Nesbitt was stepping away from Celtic Woman to focus on her own projects. Tara McNeill, a violinist, harpist, and singer, was announced as a new member of Celtic Woman.[59][60]
From 11 to 23 March 2018, McFadden took a leave from the Celtic Woman: Homecoming tour to attend to a family emergency. Sharpe temporarily took McFadden’s place in the lineup. McFadden returned to the tour on 24 March 2018 and remained with the group until the end of the tour.[74][non-primary source needed][75][non-primary source needed][76][non-primary source needed]
On 12 August 2018, it was announced that McFadden, expecting her first child, was taking a leave from the group. On 16 August 2018, Megan Walsh was announced as a new member of the group, taking McFadden’s place.[56][77][non-primary source needed] In October 2019, Susan McFadden returned for a few shows on the group’s European Tour while Mairéad Carlin recovered from appendicitis.
On 22 January 2020, it was announced that Éabha McMahon was taking a leave from the group to pursue her own projects. Chloë Agnew returned to the group for the US Celebration tour to take McMahon’s place for the majority of the tour, and Susan McFadden would fill in for the dates Agnew would not be performing on.[48] On 13 January 2021, it was announced that Mairéad Carlin was taking a leave from the group to pursue other projects.[78] On 4 June 2021, Muirgen O’Mahony was announced as a new member of the group, taking Carlin’s place. Auditions for a new principal vocalist were announced in July of 2022, with no indication given as to which current vocalist might be replaced.
When asked how the group members got along, founding former member Lisa Kelly responded,
According to Chloë Agnew, the friendship among the vocalists was the number one question they were asked. She explained:
“I think people are always looking for a ‘Desperate Housewives’ story, that they all hate each other and nobody actually gets along. It’s all for show. And the truth of the matter is, it’s not. The reality is we do all get along. The five of us are like sisters, best friends.”[80]
Member Timeline [ edit ]
Discography [ edit ]
Awards and honours [ edit ]
In 2007, Celtic Woman won an EBBA Award.[93] Each year the European Border Breakers Awards (EBBA) recognize the success of ten emerging artists or groups who reached audiences outside their own countries with their first internationally released album in the past year. Celtic Woman: Destiny received a nomination for the 59th (2017) Grammy Awards in the “Best World Music Album” category.[94]
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