The bodhran is one of the primary drums found in Irish folk music, yet its history and heritage remain relatively unexplored.

The drum consists of a stretched goatskin surface adorned with decorative designs. To play it, players use an instrument known as a cipin to hit it against an upright frame.

A beater may be struck from either end and one style of playing is known as Kerry or West Limerick.

Origins

The Bodhran is an instrument which has attracted considerable scholarly interest, with plenty of information readily available; however, much has become misconstrued through folklore or received wisdom, leaving much room for interpretation and speculation surrounding its purpose and design.

One theory suggests that the bodhran evolved from being used by agricultural workers to separate grain seed from light shells or chaff, then struck with a stick or beater for sound production. It may also have been employed by Wren Boys and Mummers during their house-to-house visits known as La an Dreoilin or “Wren Hunt”, to entertain local people during annual house visits known as La an Dreoilin (“Wren Hunt”).

As soon as Sean O Riada reintroduced the bodhran into Irish Traditional Music during the 1960s, it quickly gained recognition through Ceoltoiri Chualann and later The Chieftains. Since then bodhran players have created playing techniques. Peadar Mercier, Johnny Ringo McDonagh of De Dannan, Christy Moore and Tommy Hayes have taken this instrument to unprecedented new levels, expanding Irish percussion repertoire beyond all expectations.

Construction

In general, the bodhran drum consists of a shallow circular frame over which is stretched a skin made of goatskin or synthetic material (less expensive instruments may use synthetic material instead). To ensure optimal use and sound production, its rim may be submerged in cow manure in order to preserve its characteristic sound and ensure long term use.

The skin of a bodhran is secured by strips of wood which crisscross at right angles to form its handle, while to produce its sound it must be struck with an instrument known as a tipper which strikes against its skin to produce sound waves.

The term bodhran may have its roots in Irish Gaelic as “bodhar,” which translates as deafness, numbness or dullness. Additionally, timpan, an old term for drum, is sometimes used interchangeably with “bodhran.” Initially used for both its practical purposes as an agricultural device and musical instrument – winnowing baskets/peat carriers etc – as well as for musical playing purposes the Bodhran has even been described as winnowing baskets!

Tuning

As with any instrument, there are various styles for playing the bodhrans. Traditionally, performers used their hands to strike the drum; today this practice is less common as sticks known as cipins are typically employed; typically made of wood and ideally its length should match that of the performer’s wrist from thumb to outstretched baby finger.

Before 1950, the bodhran was predominantly an agricultural tool, though Irish composer Sean O Riada is widely credited with changing this and turning it into a musical instrument. Before this change occurred, however, it had long been associated with ritualistic activities of St Stephen’s Day (December 26th) such as hunting wrens for hunting practiced every December 26th.

Since O Riada reintroduced the bodhran into music culture, players such as Peadar Mercier and Johnny “Ringo” McDonagh have helped develop it into its current state. These and other players have pioneered new techniques for the drum that have transformed it from being just another farm implement into a highly sophisticated musical instrument.

Playing

The bodhran is one of Ireland’s fastest-evolved traditional music instruments in recent times, quickly outpacing other instruments in terms of design and playing style change – far beyond any expectation fifty years ago by folk musicians or rural celebrations alike. Today its use can be found anywhere from concert halls to rural celebrations!

Bodhrans are traditionally played while sitting and holding them with both hands on the skin of the drum, either with or without a stick, depending on personal taste and musician preference. A percussionist may use his or her hand to dampen sound or change pitch and other characteristics by touching different spots of its skin.

Peadar Mercier and Sean O Riada brought the bodhran into prominence through Ceoltoiri Chualann in the 1960s, while John Joe Kelly introduced rhythms from other genres into melodic bodhran playing in the 1990s. Meanwhile, inventive players and tippermakers contributed significantly to its development; today’s bodhrans come in various shapes and sizes with only minor modifications needed for proper operation remaining largely the same.

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