1. Where did it come from?

Various theories are proffered as to the provenance of this remarkable drum and its similarity to other hoop framed drums around the world.

a. An Gaelic invention.
The drum is such a simple device that there are those who say that it developed naturally, and that though there is a resemblance between this drum and similar drums in other parts of the world is coincidental

Certainly, as far as I am aware, there is no firm archaeological evidence in Britain or Ireland for the provenance of a Bodhrán type of drum beyond the 1850’s.
However, it has been suggested the reason there is no literary reference to the Bodhrán, or to any of the surviving hoop drums of other cultures, may be that these drums were the instruments of the people and therefore were unworthy of the attention of the ancient writers of national and cultural histories. The harp of the Celts and the lyre of the Greeks, of course, find their way into every historical record because they were the choice of kings and those of refined and cultured tastes. The same is true today to some extent in that books on traditional music rarely accord more than a mention to the percussive instruments even though percussion has always played a part in folk music and the skill required to play professionally is no less than with any other instrument.

b. Celtic Origins
The existence of Bodhrán style drums in the Ireland, Scotland and Cornwall has led to suggestions that there is a “Celtic’ strand to bodhrán history. The argument for its Celtic origins suggests that it was brought to these lands simply by Celtic migration, either in the first wave of Celts in the 6th Century BC or the later migrations during the post Roman era. Sadly, we must accept that, until archaeological or literary evidence proves otherwise, we can never be really sure whether, or how the Celts played the bodhrán.

c. Arabic Origins
Another strand is the route along the North African Coast. Certainly the Arab rhythms of North African have a uncanny resemblance to modern Bodhrán playing. . We know that there were Celtic tribes to be found in Turkey, speaking the old Celtic tongue for 700 years between 300BC and a least 400AD, and that there was a dispora of elements of these tribes into Syria and beyond in later times. Perhaps the bodhrán came to Britain and Ireland by this route.

d. Agricultural origins
An agricultural strand may be woven into the Bodhrán's cultural history, in that an identical shaped utensil, a hooped frame with an animal skin on one side was used for winnowing and sifting grain on traditional farms. In some instances it was even called a Bodhrán.

2. What was it used for?

Whatever its origins, the cultural use of the Bodhrán has come to be used in a variety of traditional ways.

Until the 20th Century the Bodhrán or Dallan seems to have faded from popular Irish usage. The only recorded appearances being at the St. Stephens Day Wren Boys marches, where it was used as a rallying cry to the hunters. As a ceremonial drum the Bodhrán is still used today to accompany marching groups of mummers or street theatre performers. With Mummers it is used to announce a performance, or often, with more skilful players, it is used to interpret or to dramatize the events being portrayed. In ceremonial street parades the Bodhrán is used either to keep a marching group in step, or as a performance piece in itself.

Various types of hoop framed hand drums have been used throughout history as aids to altering consciousness in preparation for shamanic rituals or for healing. These rituals still survive in many parts of the world. However, in Britain and Ireland there is little or no evidence that such traditional uses have survived intact from ancient times. Although bodhráns are used extensively in modern shamanic, magical and pagan craft ceremonies, the drummers do not claim any historical precedence for the rhythms they use. Perhaps there may indeed be a wise woman somewhere drumming in the styles of her ancestors, but until such a person declares themselves, we must assume that the drumming used today is a modern reinvention of old mysteries.

However, despite the lack of historical precedence, let me make one thing clear, the unique modern way of playing the bodhrán sets it apart from history and all other similar drums. The way the beater is held and the use of the non beating hand to attenuate the notes is a way of playing not found in other cultures. Whether, again, the style we have today has historical provenance is impossible to say, but the modern bodhrán has a subtlety and range of tones that is without parallel, and therefore if we are ever to rediscover modern ‘Celtic’ pulse there is no better place for us to start than with the drum itself. When the mind has a clear intention, the drum itself responds accordingly.