This story was first published in Classical KC's "Take Note" newsletter. You can sign up to receive stories like this in your inbox the first Wednesday of every month.
When you think of the harp, a few images may come to mind - a concert harpist sitting in an orchestra, waiting for their cue. A cherubic figure plucking away amongst clouds and hearts. Or, perhaps, a celtic harp positioned against the backdrop of green, sweeping Irish fields.
As a harpist, all of these stereotypes and associations are familiar to me. But beyond each of these surface-level images lie centuries of history, artistry and cultural importance. I became even more acutely aware of the importance of the latter during the year I spent pursuing a graduate degree in Dublin, Ireland.
I grew up as a student of classical harp, but the earliest songs I learned were Irish. My first harp teacher was the daughter of Irish immigrants, so the tunes of 17th century harper Turlough O’Carolan, perhaps the most prominent Irish bard, were quickly embedded in my fingers.
When I decided to go to school in Ireland, my goal wasn’t to play music myself. My goal was to absorb as much as I could about the harping traditions in Ireland and perhaps get to play a gig or two myself. I quickly learned how deeply the harp is entrenched through Irish society and life.
The beginnings
The earliest records of the harp and harp-like instruments can be found in Mesopotamia/Ancient Egypt, dating to around 4000 BC. The harp eventually made its way to Europe, finding its footing during the medieval period, before becoming a part of Gaelic society over 1,000 years ago. One of the world’s oldest surviving medieval harps, the Brian Boru harp, is on display in Trinity College, Dublin.
Harpers became a central part of old Gaelic life, cultivating social connection and status as bards. They were so important that their fingernails were protected by law as they were considered such a valuable asset. Harps have been brought onto battlefields, played in pubs alongside songs promoting solidarity against the English, and eventually becoming the official symbol of the Irish free state in 1922.
In 1876, the Guinness brewery trademarked its harp logo - which is based off of the Brian Boru harp - before the modern Irish free state was established in 1922. Which is why the harp used for official Irish government documents, departments, and iconography has to face left instead of right, as the Guinness logo does.
Promotion and living legacy
Irish harping was inscribed as Irish intangible cultural heritage by UNESCO in 2019. This designation codifies the protection and promotion of Irish harping traditions in Ireland and abroad. Harp Ireland is the national resource organization that supports harp education, performances, and advocacy on the island.
During my time in Dublin, I had the chance to attend lectures and performances by Irish harpers. Along with preserving traditional Irish harping techniques and songs, there are genre-defying musicians redefining and stretching the instrument’s capabilities. Maebh McKenna is a sound artist who combines their traditional harping background with field recordings and extended techniques to create new sounds. Una Monaghan is another harper who combines traditional Irish harp, electronics, and improvisation to create new, unique sounds.
As with any cultural tradition, there can be tension between preserving what exists and pushing the artform forward. What I witnessed in Ireland exemplifies the balance between those two extremes, with traditional Irish harping being kept alive through performances, recordings and lectures while also supporting musicians that choose to put a new spin on a musical tradition that has existed for thousands of years.
Harp up your life
Kansas City has its own community of harpers who perform and teach around town. KC Lyra is the Kansas City chapter of the American Harp Society and a resource for lessons, events, and competitions. The Kansas City Irish Center puts on events that feature harpists on occasion, and is the resource for maintaining and preserving Irish heritage in the region.
Some Kansas City based harpists:
- Calvin Arsenia
- Erin Wood
- Theresa Bentley
- Chai Lee
- Wesley Snell
- Debbie Clark
- Roseanne Gortenburg
- Brooke Knoll
Know a local harpist or resource that we should add to this list? Email classical@classicalkc.org.
