Category: Community, Family & Sport

Operation Nollaig community cards

Write your first Christmas card to a stranger…

The Liverpool Irish community has within it isolated members, who -particularly in lockdown- have few contacts or digital interactivity to rely on. Help us let them know they are being thought about this festive season by sending them a Christmas card using our CARA service. We have almost 1,000 addresses on our list and our aim is to get a card to everyone of them.

For some individuals, your card may be the only card they get.

To see how we are getting along you can follow the count down (below, left). We’ll keep the barometer below updated as we send batches of cards out.

Card counter

It’s easy

  1. Using one of your Christmas cards, write “Dear” and leave the name blank.
  2. Write a positive festive message and sign off as you ordinarily would or a way you feel most comfortable. We just ask you not to include contact details.
  3. Please don’t seal the card envelope, but do put a stamp on it (second class is welcome). Put this into another envelope and post it to us at:

          c/o Community Christmas Cards. Irish Community Care. 121 Dale Street, Liverpool L2 2AH.

We’ll add their first name to the card and a community message insert, then address it and mail it on to adorn someone’s mantle for Yule. The deadline for posting your cards to us to process ahead of the holiday is Sat 12 Dec 2020.

Decorative ideas

Kids could decorate the card however they like, but to provide a little help, you can use one of our card inserts to help guide them in the activity. Add festive greetings messages and personalise your card, but please don’t include any address or contact details.

We are in the process of developing more templates for card inserts, plus cut and colour kits for kids. Two sheets are already available here: Baubles / Trees. Cut out the shapes and stick them in your card. More of these will follow.

You can also click this link for free online resources that you could use to add to your card. To print off and cut out label templates you could use in the middle of your card (English only), click here to download Belvedere Design Templates (a free online resource).

In the meantime, feel free to go freeform with personal messages, illustrations, poems or a simple: “Dear… Thinking of you this Christmas. Stay safe. Kindest regards, Emma, Kathleen and Carl” (or whoever makes up your family!). Other festival lines you could include (in English/Gaelic):

  • Happy Yuletide to you and yours/Yuletide sona duit féin agus leatsa
  • A little note to say ‘your community thinks of you’/Nóta beag le rá ‘smaoiníonn do phobal ort’
  • Wishing you a peaceful Christmas/Ar mian leat Nollaig shíochánta
  • Even dark years have bright stars. We hope this brings you a little light/Tá réaltaí geala ag fiú blianta dorcha. Tá súil againn go dtabharfaidh sé seo solas beag duit
  • Wishing you a warm and restful Christmas/Ar mian leat Nollaig te agus suaimhneach duit
  • Happy holidays!/Laethanta saoire sona duit!
  • Cheers to you. We hope you have a merry time/Cheers duit. Tá súil againn go mbeidh am sona agat..

Thank you! We really think this will brighten many homes this holiday.

#OperationNollaig

#OperationNollaig (#OperationChristmas in Gaelic) is a combined project, run by CARA members (more info here), with funded support from the Irish Government’s Christmas Fund. CARA is a network of Irish led service providers working across the North West to prevent isolation and promote better wellbeing during Covid-19.

Follow #OperationNollaig on social media to find out more.

 

Lockdown Lights: A reading list

During lockdown we’ve kept chatting with Sefton Park Palm House, continuing from our fundraiser last year, through #GlobalGreening in March to today. Over that time, the Palm Readers group has taken on new meaning; connecting readers and friends and providing opportunities for people to escape in to other worlds via the book selections they make. Consequently, they asked us to provide a reading list for them to make a selection from, which we thought might be of wider interest to Festival audiences.

The following is a compilation of the writers and authors who have been influential over -or within- the Liverpool Irish Festival over the last five years, either as direct contributors, the focus of creatives we’ve worked with or in catalysing other work. It is not a comprehensive list, but a start point from which to explore aspects of Irish writing, across form and subject, time and class.

Sefton Park Palm House Palm Readers group selected books 6 and 20 to read and discuss in their group.

Classics

  1. Brendan Behan – Borstal Boy (1958)
  2. James Joyce – Ulysses (1922)
  3. Flann O’Brien/Miles Na Gopaleen – The Poor Mouth/An Beál Bocht (1941)
  4. George Bernard Shaw – Heartbreak House (1928, play)
  5. John Millington Synge – Riders to the Sea (1904)
  6. Robert Tressell – The Ragged Trousered Philanthropists (1914)

Contemporary (mostly!) fiction

  1. Kevin Barry – Beatlebone (2015)
  2. Sebastian Barry – Days Without End (2016)
  3. Blindboy Boatclub – The Gospel According to Blindboy (2017)
  4. Hannah Kent – The Good People (2016)
  5. Henry McDonald – Two Souls (2019)
  6. Lisa McInerney – The Glorious Heresies (2015)
  7. Iris Murdoch – The Black Prince (1973)
  8. Sally Rooney – Conversations with Friends (2015, writer of Normal People)
  9. Colm Toibin – House of Names (2016)

Poetry

  1. Eavann Boland – Code
  2. Nick Laird – Feel Free
  3. Stephen James Smith – Fear Not

History

  1. Ray Rooney – The Spirit of the Reels (2019, about the internationally acclaimed Liverpool Céilí Band)
  2. Greg Quiery – In Hardship and In Hope (2018, a history of the Irish in Liverpool)
  3. Colin Cousins – Cinderella Soldiers: The Liverpool Irish in the Great War (2019)
  4. Michael Pierse and Dr Feargal Mac Ionnrachtaigh – Feile Voices at 30 (2018, about Belfast’s 30 year unity festival)
  5. Eamonn Hughes – The Train and the River (2018, about Van Morrison)
  6. Shaun Harkin – The James Connolly Reader (2018)
  7. Dr Sonja Tiernan – Eva Gore-Booth: An Image of such Politics (2012).

Want to send us a review?

If you have read any of the above and would like to send us a review to publish on our website, please do so by emailing [email protected]


Lockdown Lights is an open source project, collecting community stories about people’s experience of the lockdown during the 2020 Coronavirus restrictions. The project was funded by the Irish Government’s Emigrant Support Programme Covid-19 relief fund. We would like to thank all the participants and the Irish Government for their support.

Lockdown Lights: A reflection…

Siubhán Macauley – A reflection…

Lifting, carrying, hoisting, heaving, we were mid-move when Boris Johnson announced the UK-wide lockdown on account of the coronavirus. Settlers, we made new turf our own, and filled our áít shona nua with colour, kindness, curries.

There is no one good word for my community. It hasn’t filled the corners of the city. It doesn’t contain heroes, or monsters. Maybe some ghosts. Just two of us alike and different, together and apart, feeling for the fluid and changing needs and expectations of the other. I have never felt the need to define so firmly what we are, and just being there, in tandem, in two, almost always feels enough. I cast around for different words, “buachaill”, “partner”, “boyfriend”, “best friend”, “love”, “taisce”, but each of them are clunky and clumsy in and out of my mouth. A name is enough, but far from me to give it.

He has been my small and content world for the length of this virus. One eye on the bitter and the sweet that came before this, and one eye staring directly into the face of the new.

I have sat despondent, creativity gone, nothing but blankness and tools out of reach. He has asked me for thoughts, for opinions, for feelings and fondness. I have created again. He has accompanied me endlessly throughout the city, four soles meeting the historic dock over and over until they are firm fast friends.

The pull of home is strong in our community. A turn of phrase, a fluent ability to keep pace in a place where I repeat my name over and over. A knowledge of the bend and twist to fit into a different space, a slowing of speech, a recognition of the pain and guilt of leaving and the excitement of return.  A sense of what it means to have somewhere to put this occasional disillusion, and longing for mo thinteán féín, the tidal force of the diaspora.


  • áít shona nua – happy new place
  • buachaill- boy
  • taisce – treasure, something like an endearing name
  • mo thinteán féín – my own hearth

Lockdown Lights is an open source project, collecting community stories about people’s experience of the lockdown during the 2020 Coronavirus restrictions. The project was funded by the Irish Government’s Emigrant Support Programme Covid-19 relief fund. We would like to thank all the participants and the Irish Government for their support.

Lockdown Lights: On Exchange Flags

Back in old glory days, long since forgotten,
The flags here were smothered in snowy white cotton.
Soft as a carpet beneath merchant feet
King Cotton was plenty, King Cotton was cheap
It came by the Mersey, it came by the seas
By white canvass aloft in the westering breeze.
By Liverpool sailors, nimble and yar
Tough as mahogany, weathered as tar.

It came from the rivers, it came from the mud
It came from the kick and the stick and the blood
It came from the work line, the whip, the plantations
It came from the fracture and breaking of nations.
For cotton is gentle, fragile and light
Cotton is pure and pristine and white.
But the commerce of cotton, darker than death
Would barter your soul and crush your last breath.

It went by the engine, the steam and the rail
It went by the hundredweight, bail over bail
It went by Manchester, Bury and Preston
Blackburn and Bolton, and Darwen and Nelson
Where there’s brass for the boss, and poor spinning Jenny
Works hour by long hour for less than one penny.
Where the air is so thick it smothers the lung
And thundering loom drowns the Lancashire tongue.

Cotton by boll, by bag and by bale
For smocks and for shirts, for duck cloth and sail.
Cotton for mills, for ships and plantations
Enriching mill owners, impoverishing nations
Cotton for tyranny, hardship and slavery
Cotton for unions, resistance and bravery
Back in its glory days, long since forgotten
It came by the Mersey, that snowy white cotton.

Written and provided by Greg Quiery (20 Aug 2018), poet, historian and author.


Lockdown Lights is an open source project, collecting community stories about people’s experience of the lockdown during the 2020 Coronavirus restrictions. The project was funded by the Irish Government’s Emigrant Support Programme Covid-19 relief fund. We would like to thank all the participants and the Irish Government for their support.

This poem was offered specifically in relation to the Black Lives Matter protests of summer 2020 following the brutal murder of George Floyd in Minneapolis, Minnesota, USA on 25 May 2020. Black Lives Matter. Full stop.

Lockdown Lights: Shenanigans Guinness takeaway

Shenanigans Liverpool is an independent Irish bar in Liverpool’s business district, known for its warm friendly welcome, quality drinks, live music and sports.

They are back open now, serving delicious food and beverages, including briliant breakfasts and takeaway drinks. You can book a table by DMing the team or emailing [email protected]. Follow their social media pages:

During lockdown, owner Connor McDonald realised just how much people were missing a pint and a chat so oped up The Talk Hatch, inviting people to bring their milk botttles and take away pints of Guinness, cider and other draft drinks. You can hear him here:

https://www.facebook.com/IrishCommunityCare1/videos/1475121872675946

 

This was his quote: “Fáilte arais arís. Welcome back again to all our friends after lockdown. Delighted to say we are now open again and look forward to seeing you! During lockdown we opened our Talk Hatch which proved very popular particularly for people living in and around the city centre, young students and older people alike. People enjoyed that little taste of ‘home’, the chance to have a chat, (socially distanced of course), discuss their worries, find out what’s going on, pick up a copy of the CARA Newsletter, enjoy some good food and a lovely ‘takeaway’ Guinness in a milk bottle.

“The Talk Hatch became a focal point that kept the community spirits up”, Conor Mc Donald.


Lockdown Lights is an open source project, collecting community stories about people’s experience of the lockdown during the 2020 Coronavirus restrictions. The project was funded by the Irish Government’s Emigrant Support Programme Covid-19 relief fund. We would like to thank all the participants and the Irish Government for their support.

Lockdown Lights: Vin Finn

Vincent Finn
In memoriam

The recent passing of Vin Finn was a heavy loss for the Liverpool Irish community. Vin took a great interest in Irish music, and was a stalwart of the Festival for many years. Those who have attended the history walks will have encountered Vin, taking care of registration, managing the mike, and generally lending a hand. For years he was the sound engineer for the popular ceilidh band Finn’s Hotel, based in south Liverpool. He was the guiding hand behind the scenes on many hectic nights at ceilidhs around the city, including the old Irish Centre, Mount Pleasant, parish halls, pubs and hotels.

But there are many other things for which this quintessential Liverpudlian will be remembered. From a north end Liverpool Irish family, in the sixties and seventies he ran music venues, first in his local parish hall, later on the Wirral, and eventually in the city centre, at the Blackie, in Hope Street and at Stanley House. These were packed houses, where you had to arrive on time to be sure of getting in. Vin and his partner Jenny together organised the music and comedy acts. They were the first to put Declan McManus – better known as Elvis Costello – on stage, at the Blackie in 71. Other acts they nurtured at a variety of venues included Craig Charles, Ian Hart and Clive Gregson.

In common with many Liverpudlians Vin felt a strong affinity with football – in Vin’s case LFC – and the sea. In his own small craft he sailed the Mersey and Dee estuaries, at times venturing further as crew on larger boats out of the Liverpool marina. Vin had a passion for the history of Liverpool mariners, and a hankering for tall ships. He was a key member of the team running the Merseyside Adventure Sailing Trust, which each year provided hundreds of young people the opportunity of adventure at sea in sailing ships. Vin and his colleagues brough them on voyages to Belfast and Dublin. He also acted as a mentor to young participants from both Dublin and Liverpool.

In recent years Vin organised packed houses at the Pilgrim and the Handyman’s, Smithdown Road. He was a regular at the renowned Edinburgh session on Sandown Lane. He was a frequenter of Fleadh’s and festivals, and enjoyed nothing more than a pint and good craic at a music session. He will be long remembered and sorely missed.

Greg Quiery, 2020.


Lockdown Lights is an open source project, collecting community stories about people’s experience of the lockdown during the 2020 Coronavirus restrictions. The project was funded by the Irish Government’s Emigrant Support Programme Covid-19 relief fund. We would like to thank all the participants and the Irish Government for their support.

Lockdown Lights: Auntie Joan

In memoriam
Auntie Joan (Joan Boyce)

I can’t remember a time Joan was not in my life, she is in so many of my significant memories. Being her bridesmaid when I was six, with my sister and cousin. Many visits to see her where she and Uncle John first set up home,in The Nook, Ullet Road. I thought it was so unusual and impressive that they lived in a park! She looked after me for two months when I became very ill in Liverpool aged eleven, this was just after her first son was born, and can’t have been easy for her.

One series of memories stands out above all others: large family meals in the hall of their eventual Mersey Road home. Saying Joan was an excellent cook does not come close to describing the way the food contributed to the conviviality of the occasions, arguments and all, that I remember very fondly. Particularly great were the times when my mother, Philomena, was staying and she and Joan between then produced some truly magnificent meals.

In between cooking all these meals and looking after a large family she taught at Otterspool Special School and St Charles primary school in Aigburth, making a lasting contribution to each.

Many years later I remember turning up at the pub she and John ran, as a holiday, in Castle Gregory in Kerry. I was on my bike, soaked to the skin after cycling from Tralee in a storm, Joan gave me a large bowl of soup, delicious, of course, a triple Gin and Tonic and told me as soon as I got it down me I was needed to serve behind the bar.

One other memory is very important to me. I was having Sunday lunch at Mersey Road on January 30 1972. When we put the TV on for the 6pm news the screen was full of images of Bloody Sunday in Derry, with 13 civilians already dead, killed by the Paratroopers, and a fourteenth to die later. I will never forget Joan’s reaction. She stormed round the house giving vent to her anger and frustration and then seized the phone and rang her MP, her local councilor, a newspaper and the television station, whomever she could. The news and her response had a lasting impact on me with its lessons about accountability and the importance of speaking up about events carried out in ‘our name’. I miss her tremendously.

Mary J Hickman


Lockdown Lights is an open source project, collecting community stories about people’s experience of the lockdown during the 2020 Coronavirus restrictions. The project was funded by the Irish Government’s Emigrant Support Programme Covid-19 relief fund. We would like to thank all the participants and the Irish Government for their support.

CARA

As Coronavirus swept the globe and organisations planned what their next steps would be, a new Liverpool network of Irish service providers emegered called CARA.

Spearhaded by colleagues at Irish Community Care, numerous organisations came together to reach in to communities to make sure we and they were networked, supported and heard. The exchanges this network developed revealed opportunities to share skills, enormous compassion and friendship across the region. It has been exemplary and shows what can be achieved when we really communicate ideas with one another and collaborate.


CARA: Irish Communties Together

CARA, the Irish word for friend. What happens when friends all across the North West join together with an aim to keep their communities safe, well and connected during Covid-19? The answer, CARA: Irish Communities Together.

The CARA programme has brought Irish community groups throughout the North West, including GAA clubs, academics, Irish community centres, festivals, music clubs and more to join forces and help their communities through Covid-19. The journey that lay ahead for all CARA partners was unknown, these were and remain unprecedented times. However, this did not phase an enthusiastic and passionate bunch of partners and volunteers, who knew many people within their communities would need a helping hand and a listening ear.

The programme set its sights on helping all community members, whether this was collecting prescriptions, shopping for groceries, or having a friendly chat over the phone with a likeminded volunteer.

CARA sought to recruit a team of volunteers to help with the tasks ahead and were blown away by the response they received! Volunteers came from all around, all ages, locations, interests and most importantly a shared aim; keeping their communities safe, well and connected.

The CARA programme has -to date- recruited over 70 volunteers, who are continuing to engage in weekly conversations or lively debates depending on the topic of conversation! Volunteers have also organised and delivered weekly shopping and prescriptions for over 45 isolated community members. The CARA programme didn’t stop at just local community support, but reached further to work with prisons across the North West. Phone credit, stamped postcards and reading material were supplied to 140 Irish community members in prison.

CARA monthly newsletter reaches over 1,000 homes across the North West and many more online. Each newsletter is jam-packed with stories, updates, quizzes and important announcements. CARA partners have even managed to take the newsletter articles and turn them into an audio letter! Irish communities can listen to the newsletter articles at any time on social media, a fantastic way to experience the stories coming to life. If you would like to receive the CARA: Irish Communities Together newsletter, contact [email protected]; +44 (0)151 237 3987 or follow us on social media: @IrishCommCare.

A recipient of the CARA monthly newsletter got in touch to share her joy at learning new digital skills during the Covid-19 lockdown, a tale involving an iPad, weekly Mass and a bit of luck!


‘Blessed is the iPad’

Bridie, from Cork, is a regular churchgoer who has missed attending weekly Mass since Covid-19 came along. She has lived in England for over 60 years and has a grown-up family, grandchildren and great grandchildren and was missing them even more. She was introduced to an iPad -bought by her family- and at first she thought she’d never get the hang of it! She persevered with telephone support from family members. Not a one to give up, she surprised herself and -not without a struggle- she discovered the magic of Google search engine. Well, with regular use for a few hours each day, Bridie is now attending Mass in every county of Ireland – you can imagine her delight. Bridie says if she types “live Mass in Ireland” or “RTE live Mass” into Google it gives her details of churches all over Ireland; you can take your pick of the priests!

This has given her great comfort, remembering too all the hymns she sang as a child growing up in Ireland. Bridie is delighted to be learning new skills, with all that new language. Some days she can’t quite work her magic and other days she amazes herself and is often not sure how that happened! She regularly thinks “What did I press to get this information and will I find it again” She’s a devoted fan of Joe Dolan and you can find her singing and dancing round her kitchen to his music on her iPad. She is proud to be digitally included and still flying the flag at 82 years young!


The impact of the CARA project is felt far and wide, from learning new digital skills to creating lasting friendships over the phone or during doorstep shopping deliveries.

A huge word of thanks to all CARA: Irish Community Together partners; Brian Boru Club in Wigan, Comhaltas Ceoltóirí Éireann, GAA (John Mitchels and Wolfe Tones), Institute of Irish Studies at University of Liverpool, Irish Community Care, Irish Community Care Manchester, Liverpool Irish Centre, Liverpool Irish Festival, Mersey Harps and Shenanigans – their dedication to the welfare and empowerment of Irish communities is unwavering.

A note of thanks to all CARA volunteers and supporters, without your hard work, goodwill and compassion it would not have been possible to achieve the amazing community network that continues to grow. We are indebted to the many GAA teams across the North West for the tremendous support they have given to CARA and our communities since Covid-19. As well as volunteering their time to help the most vulnerable –from completing shopping tasks, collecting prescriptions to making befriending calls- they also found time to put on their running shoes! St. Peters GAC, Liverpool Wolfe Tones GAA and St. Lawrence’s GAA organised a sponsored ‘Virtual Run’ competition over the 2020 May Bank Holiday weekend. 80 runners took part, collectively running over 1300 miles. Members of Liverpool John Mitchels GAA organised a very successful July Sports Day. Collectively the teams raised over £3000 for CARA, what a fantastic achievement!

We extend our sincere thanks to our funders the Irish Government’s Emigrant Support Programme, Covid-19 Response Fund and the UK Government’s Coronavirus Community Support Fund (distributed by the National Lottery Community Fund). This support has enabled CARA to grow and develop and continue delivering services until early next year. We look forward to sharing exciting plans in the months ahead. If you would like to get involved as a volunteer or know someone who is isolated or likely to need a bit more support during the coming months, please help spread the word to them or contact us directly on +44 (0)151 237 3987 or [email protected] for further information.

Irish in Britain

Brian Dalton is the CEO of Irish in Britain, a membership agency representing Irish communities across the country, at local and national level. In recent months, our organisational exchanges have been based on shared advocacy, cultural collaboration and having Irishness understood properly within the context of policy, funding and BAME. On a more personal level, the exchanges have been about sharing concerns, affirming the challenges and being positive with and for one another. Here, Brian sets out Irish in Britain’s Coronavirus responses and hopes for communities in times ahead.


For so many of us, there is a sense of uncertainty as we adjust to new norms and practices in how we live and work. As a voluntary sector organisation, we have an obligation to promote a sense of hope and to imagine a future where our services are needed more than ever. We take comfort in the proud history of community organisations to know and meet the needs of their people and we at Irish in Britain salute the work of our member organisations during the crisis and beyond. Our priority now is to help ensure sustainable futures for these same organisations that made such a difference in keeping us connected and safe during the most trying of times.

Self-care and relatedness, conversation and kinship, the daily routines that keep us healthy and connected are made more difficult now; mental health will, without doubt, be the next public health challenge for providers, for services, for communities.

As an umbrella organisation for 120 Irish clubs, societies and centres across Britain, Irish in Britain has seen first-hand the impact the Coronavirus outbreak has had on the Irish community at large. Given that we have the oldest median age of any community here (53), the crisis has undoubtedly affected us disproportionately and as we mourn those who passed we also celebrate the incredible contribution of Irish organisations and the many Irish people in frontline and NHS care settings.

As a membership body for Irish community organisations, the Covid-19 crisis has meant that we have had to adapt quickly to a new operating environment and find a means to ensure we maintain close working relationships with those in our community.

We have shared fundraising opportunities with trusts, corporate aid and bespoke Covid-19 initiatives with our membership. Both furloughing schemes and the central government grants will support many in the short term, but the future of many organisations will depend on how quickly normal operations can resume.

For cultural organisations and those providing hospitality the social distancing limits upon groups of people will have profound effects on financial planning and resources. Organisations have adapted with incredible creativity, but it is footfall that is the lifeblood for community arts and culture. Patronage, membership, support and fundraising will be vital as organisations plan for a different future and new ways of engaging audiences. Many members will be managing disrupted financing this year as income from venues, community halls and fundraising events are limited because of the emergency.

However, we have been heartened by the sense of joint enterprise and collaboration that the crisis has fostered, and we have had huge engagement with our online forums over the last six months. This includes greater partnership and sharing between cultural organisations where so many of the challenges such as funding shortfalls are common. Though we support many welfare organisations with resources, policy and practice we are acutely aware the role that culture will play in our healing and recovery as we move into a post-Covid world. We will need restoration through our music, our art, our songs and writings. Irish people thrive in the act of the communal; working together to solve common problems, coming together for kinship and the meitheal (team).

There is of course a wider debate now needed about the role of voluntary sector and community organisations to meet the needs of their community. Our value in a crisis is no longer a debating point. The crisis has reminded many, if they needed reminding, that grassroots organisations are best placed to respond and adapt quickly. Our job is to now ensure that the goodwill and sense of community endures and is properly resourced.

If we have learned anything through this it is that community cohesion and development is now a task in which we can all participate – indeed it is our sector that will lead the rebuild and recovery. Irish in Britain has waived membership fees for all its member organisations during the crisis and has extended an invitation to all groups who want to be part of a “coalition for recovery” to join us. We will need all comers to help in the recovery – we all have some capacity, maybe even an obligation, to be community champions now.

For information on how you can help, how to be part of your local Irish network or volunteer contact [email protected] or visit www.irishinbritain.org


Liverpol Irish Festival and Irish in Britain are teaming up in 2020 to deliver a Cultural Connectedness Exchange, on 15 Oct 2020. Click here to book. Ahead of this, read Irish in Britain‘s interview with our Festival Director, Emma Smith, A little light in the gloom.

 

 


 

Thriving after The Troubles

Exchanges begin with introductions.

A chance meeting at a funding session led the Festival to be introduced to the Commission for Victims and Survivors, who -interested in the Festival’s work with dual heritage Irish lives, women and other marginalised groups- opened complex discussions about trauma and reconciliation. Ultimately, this introduction has opened an ongoing exchange in which we will learn how to work together to continue important reconciliation work. This, and our event Hard Histories, Positive Futures with Patrick Kielty, mark the first step in that exchange.


Exchange. A word with a relatively simple definition of giving and receiving. We hear it often when speaking of gifts, trade and currency. But what does “exchange” look like for a country recovering from over 30 years of conflict?

At this year’s Liverpool Irish Festival, the comedian Patrick Kielty and Northern Ireland’s Commission for Victims and Survivors explore notions of identity and recovery after adversity. They will consider why building dialogue, exchanging views and understanding the many complexities of the human experience can help people not just heal, but pave the way for a more inclusive and compassionate society.

For the Commission for Victims and Survivors, exchange is at the heart of all of its work.

They are different from the Victims Commission in England and Wales. Northern Ireland’s Commission is founded in law specifically for those impacted by the Northern Ireland Troubles, no matter where they reside.

Patrick has been no stranger to hurt and loss resulting from the violence in Northern Ireland. Having lost his father just days before his seventeenth birthday, Patrick has spoken often of his vision for a more reconciled Northern Ireland. At a time when discussing the difficulties and nuances of life in Northern Ireland was still treated with trepidation, Patrick was a leader in using the subject as material for his comedy work. In 2018 Patrick also presented a documentary, My Dad, the Peace Deal and Me to mark the twentieth anniversary of the Good Friday Agreement.

In 1998 Northern Ireland was a very different place to today. Governments internationally had committed to helping broker peace on the island of Ireland, which culminated in the Agreement. Only following 10 years of the peace process and the learning that generated, could the Commission start to address victim’s needs at government level. At the time, such an undertaking was still in its infancy. This was to be a new era of learning and teasing out issues; psychological and social. The decade between 1998 and 2008 prioritised a new and relative peace, addressing ‘the new normal’. This peace was to be the foundation upon which to build economic prosperity and a thriving tourist industry; victim’s needs had not yet been seen as central to that process.

In the spirit of ‘nothing about us without us’, the Commission established a Victims and Survivors Forum. This group of individuals -harmed in different ways, by varying aspects of conflict and The Troubles- embody the generosity of exchange needed to better understand the experiences of “the other”. They guide the Commission in its policy and research work.

For the Commission and its Forum, exchange is about such generosity and dialogue. It is hearing and understanding complex views -about a past much contested- and finding a way to mediate political ideologies and lived experiences to pave a way forward that benefits social cohesion. This is no mean feat as the issues they deal with go right to the heart of identity and culture – issues often at the root of division. The Commission and its Forum are deeply committed to the importance of that dialogue, no matter how uncomfortable, and to making compromises to find the common ground they can all stand on. In the words of one Forum member ‘it’s no good waiting for perfect, we have to do what we can here and now’.

So, why do these issues still matter over 20 years from the Good Friday Agreement?  And what relevance do they have to the Irish here in Liverpool? In the discussion, Patrick Kielty and two members of the Victims and Survivors Forum explore the many facets of Irish identity, culture, heritage and belonging. Of what it is to people to be Irish, Northern Irish, British and the other “ish-es” that make up the essence of “us”. Of how victims can have a positive impact on inclusivity, of shaping public spaces and ensuring that the arts and culture are used to create a thriving environment, which can simultaneously mark the past and indicate a brighter future.

They will consider how the unaddressed needs of truth recovery can stymie growth and transition from victim to survivor and ‘thriver’, delving into the notion of untold identity stories beyond “neat” conflict narratives.

Amongst those lesser heard stories is the English perspective. When the governments of Ireland, Northern Ireland and first sought to deal with societal issues arising from the conflict, the approach centred greatly around those from or resident in Northern Ireland. But what of the British Army veterans -or their widows- who served in Northern Ireland?  Or those in Warrington, Manchester, London and Birmingham whose lives were shaped by events that unfolded as a result of Northern Ireland’s conflict?  What are the prejudices faced by Irish people, and the children of Irish people, in Britain today as a consequence of The Troubles and memories -or received understanding- of the conflict?

The Commission’s passion for understanding this rich tapestry of different needs and experiences boils down to one simple factor: when dealing with human beings, no two experiences are the same. In understanding this, the Commission can better fulfil its objective to represent all victims, and ensure a better future for the children and grandchildren of victims and survivors.

Today Northern Ireland still enjoys relative peace, but the past’s impact can still very much be felt in the present. Political power-sharing still relies on very traditional nationalist/unionist allegiance amongst Northern Ireland voters. Education, housing and even sport are still very much segregated, whilst issues like Brexit amplify many pre-existing tensions. These are issues that remain difficult to address despite with the passage of time. The people of Northern Ireland are deeply committed to a long and lasting peace, but with the world’s gaze now diverted from Northern Ireland, are they yet able to pave this new road alone?


To learn mor abou the work of the Commission, we recommend atending our event, Hard Histroies, Positive Futures with Patrick Kielty on 17 Oct 2020, which you can find more about using this link.

Visit the Commission for Victims and Suvivors website.

 

Investor opportunities

The Liverpool Irish Festival has developed a number of ways investors can use the Festival to reach audiences, by providing space online and in our print.You can use our creative network to reach people in the community with your messages.In 2021, we have printed and are distributing 30,000 newspapers to communities who are interested in Liverpool, Liverpool Irish and Irish people, business, history, tourism, and culture. It will also be broadcast online, at a time when the internet has never been in so much demand. All of this will land in October, this year.

With space sizes and prices ranging from tens of pixels at £75 to thousands of deliveries and £5,000 there really is an option for everyone, no matter what your business size.

Download our investor pack, here.

All proceeds go to support our charitable work, improving access to creativity and supporting artists. This is needed more than ever as arts funding has predominantly been redirected in to emergency and frontline resources. Your investment makes a difference for us.

If you would like to secure space with us, please email [email protected] ensuring your artwork is properly set up with 300dpi resolution and pixel sizes to suit the format you have selected. In addition, cmyk files are preferred, supplied as .pdf, .tiff or .eps files, with the fonts outlined. To find out how to outline fonts, click here.

Our initial submission deadline will be the end of August.

Please note space is limited: priority is offered to cultural organisations and businesses from within Liverpool or Ireland and from those with Irish connections, based on our readership. Other will be considered. All adverts must be inclusive, licence free and within the bounds of decency. This newspaper is distributed by the Festival to family audiences. Selection will be at Liverpool Irish Festival‘s discretion.

We look forward to presenting your business to our audience.

Equality and Black Lives Matter

<page originally published.

11 August 2022: update

In July 2021, Liverpool Irish Festival took part in a series of discussions alled ‘Firestarters’, run by Matchstick Creative. The series was designed to kickstart social change and offer transformative discussion and knowledge exchanges.

The report from these sessions has just been published (see here), featuring a quote from our Festival Director (see below). The session we featured in was called ‘Building Back Equal’. The conversation aimed to help sectors return to business post-Covid, but though creating better standards than before, helping create equity, which would in turn assisting social harmony and economic standards.

As we continue to work on a sector wide Race Equality Manifesto with Liverpool Arts Regeneration Consortium and Creatve Organisations of Liverpool, we continue to see how equity is something to be worked towards. We are not there yet, but -here at the Festival- we are still trying.

1 August 2022: update

Over the past few months, Liverpool Irish Festival has been working as part of a task group to create a manifesto for race equality in the arts in Liverpool and the wider region. Made up of members of Creative Organisations of Liverpool and Liverpool Arts Regeneration Consortia, we’re working together to create an active camapign, against which we can measure race equality improvement in our practices in meaningful and beneficial ways. It is the group’s intention to become signatories to the manifesto, which we will make public, to help hold one another to account for improved practices.

We have also been made aware of some practices that can help you to stay safe online whilst supporting Black LIves Matter and linked organisations. Read the article here.

Updated 27 May 2022


Liverpool Irish Festival has an ongoing commitment to anti-racist activity and the support of anti-racist work. We are proud that the city of Liverpool is hosting an anti-racist festival in 2022 and celebrate everyone who has come together to make that happen.

To see more about the coalition of support we are part of, via allies in Creative Organisations of Liverpool (COoL) and Liverpool Arts Regeneration Consortium (LARC), please visit this page. These groups are working together to create a joint statement about race equality, which will be cited here once complete.

It is worth noting that we remain dedicated allies of Baobab and -in its new structure- will become ‘Radical Friends’, supporting our Black African and global majority peers gain access to Black-led spaces whilst acting against white supermacist models, including abelism, xenaphobia, racism, gender inequality, etc.

Updated 22 April 2022


Progress update (June 2021)

Commitment

The Liverpool Irish Festival is an anti-racist organisation, striving to ensure inclusion across our programme. By understanding that #BlackLivesMatter, we recognise that we must continue to challenge assumptions. We must make representation and work to eliminate oppression based on race. Within this work are matters that concern us all. Here at the Festival, we are using our platform to include global communities by sharing work that represents multiple heritages and building programmes that help share knowledge, build acceptance and celebrate differences.

Representation

Our Black Lives Matter solidarity statement (below) is just one part of our work on representation, which includes building inclusivity agreements and expectations in to all our contracts; building a more diverse Board (including race, gender, sexuality, class and other intersectional aspects of life); generating an artistic programme that represents these intersectional aspects and using our voice to advocate for and champion diverse communities (Black, Irish, Irish Chinese, Scousers, etc) whenever we can and in keeping with our mission to bring Liverpool and Ireland closer together using arts and culture.

We always make sure our artist and audience demographics are transparent, using our Festival Review as a monitoring device for as many intersectional qualities as we can deliver, using contemporary evaluation methods.

Connection

The Festival is an active contributor to -and member of- groups we value as leading the way in the best (and most progressive) contemporary thinking and practice in these areas, including Creative Organisations of Liverpool, Cultural Connectedness Exchange Network and the Boabab Founation, among others. We take our role as active advocates and cultural champions seriously and make challenges, despite potential hardship. The right path is not always easy, but it is the most worthwhile and we are committed to using our voice to push for equality, equity and inclusion. We are challenging institutional and structural racism and ignorance (sometimes case by case) and driving for change as hard as we can in all apsects of our work, networks, community and outputs.

Actions

  1. We are undertaking comprehensive policy review to ensure that all policy provides strong anti-racist sentiment and accountability. This included our Artistic Policy, which can already be viewed here
  2. Set up the Cultural Connectedness Exchange Network to help Irish and Northern Irish creatives, especially with mixed and dual heritage, find representation in Irish and Northern Irish cultural spaces in England
  3. Undertaken Unconscious Bias and Equality Training with The Diversity Trust and Transgender Training with Transmissions Arts Project. Through these sessions we have identified a need to shift the labour of anti-racism from Black people to our own shoulders. Black Lives Matter is society’s fight and we need to increase our active alliance through action and activism
  4. Signed petitions and supplied letters of support to counter two cases of violence against Chinese community members, including attending sessions on Asian and East Asian hate crime and MP representation
  5. We are active members of an Equality, Diversity and Inclusion task group within Creative Organisations of Liverpool. We have also joined Baobab Foundation*
  6. Signed up to Inc Arts and are working through their diversity toolkit to improve the services we can. We recognise that our capacity and structure make certain changes difficult for us. For example, not being PAYE registered and having only one contracted role means it is complicated to fulfil all the ambitions of the toolkit and diversifying our team. However, we are working as hard as we can to align with best practices and make structural change where we can, via the lens of bringing Liverpool and Ireland closer together using arts and culture
  7. Written a number of funding applications to try to expand our team. If awarded, we will ensure the opportunities are shared broadly across the sector to ensure global majority communities are informed and welcomed to apply
  8. Worked to support and provide content for #IAmIrish’s #IrishRoots programme
  9. Continue to challenge oppression or ignorance when we witness it, including with national funding agencies. We have shown this in challenges on national strategy (such as about including festivals in national agendas) and in challenging assumptions, such as “all Irish people are white” or that “hate crimes don’t happen within white communities”. We are also advcates and representatives within our own networks, ensuring oppressed, isolated or previously silenced communities have an active ally
  10. Attended Tackling Race Disparities and Debating the Report’s Recommendations, regarding The Sewell Commission.

#BlackLivesMatter. #SayTheirNames (USA and UK).

*The Festival recently became a member of Baobab, a new foundation that seeks to do things differently by being led by the communities they intend to serve.

Following the #BlackLivesMatter demonstrations and the disproportionate deaths to Covid19, the Baobab Foundation was born with a desire to bring about real change to Black, ethnic minority people and other communities faced with racial injustice.

By bringing together and centering the voices of Black people and other communities facing racial injustice, we’re able to create an accountable, transparent, and collaborative body (The Baobab Foundation) that’ll be able to distribute funds to those often left out or excluded. If you’d be interested in learning more about Baobab here’s a one pager of how you can be involved and you can also sign up to become a member (free) here.

Black Lives Matter solidarity statement (issued August 2020)

  1. Introduction

On 2 June 2020 Liverpool Irish Festival began sharing #BlackLivesMatter notifications, including anti-fascist solidarity messages from peers about the brutal murder of George Floyd by a member of the Minneapolis Police Force. The Festival believes that the ongoing fight against racial injustice requires everyone’s support. The events between George Floyd’s murder and today have shown us that it is not enough to issue statements of solidarity. We have to do more: in our programmes, our staffing and governance and with audiences, partners and stakeholders.

The Festival will keep challenging and educating ourselves and will seek ways in which we can do better and contribute more effectively to the dismantling and eradication of institutional and societal racism.

We stand firmly with the promotion, vindication and assertion of the fact that #BlackLivesMatter.

  1. Recent activity

The Festival has questioned our practices and considered what we can do differently to affect positive change. We will continue expanding our dual-heritage lives programmes and working with Creative Organisations of Liverpool (COoL) members to develop programmes for Black History Month and the city. These programmes set multiple aims to develop community opportunities and generate greater understanding about tolerance, inclusion and eradicating systems of oppression.

For some time, Liverpool Irish Festival has been challenging ‘norms’ about Irishness and its place within the BAME framework, given the propensity for any discrimination or disadvantages that Irish people in Britain experience to be invisible and pass unrecognised. Our work with dual-heritage communities opens our work to Black community members, which we aim to build on, shout about and make specific invitations to.

We do not subscribe to or wish to engage in an ‘All Lives Matter’ debate.

  1. Programming

We are committing to developing work -annually- that encourages and necessitates Black engagement. Instead of a commitment to spend a specific percentage of funds on this work, we will actively develop accessibility and energetically embrace BAME diversity, disability, LGBTQI+ and neurodiversity within our programme. Our aim is that 25% of the annual programme (events, literature and web content features) will specifically address and involve these complex topics and communities. We will monitor related creative outputs against the total programme and report findings in the Festival Review, with a specific section on other minority ethnic communities and a direct address of #BlackLivesMatter.

Programme points

Therefore we will

  • review how we commit resources to commission more Black, Asian and minority ethnic artists, curators, academics and researchers within our physical and online programmes
  • review how we support existing platforms and networks led by Black, Asian and minority ethnic people, to amplify their work and extend context and reach
  • ensure we are inclusive of Black people in our events, exhibitions and learning programmes
  • invest in and support content that centres the experience of Black, Asian and minority ethnic people by supporting the artists and creatives who are already doing this work, seeking active partnerships, commissioning new work and sharing the work of others across our social media platforms
  • host and engage in conversation with artists, audiences and local communities to explore the use of our platform and networks to effect real change in our city and the sector.
  1. Contracts and Agreements

The Festival wants to centre ethics and equity in our choice of those suppliers who provide us with services and materials. We commit to supply our #BlackLivesMatter statement, as standard, with all Liverpool Irish Festival issued contracts, augmenting our existing ‘partnership agreement for inclusivity’, meaning those we work with commit to supporting #BlackLivesMatter agendas.

  1. Recruitment

The Festival will work hard to create opportunities to make our staff team (and the freelance creatives we contract), more representative of the communities in which we work. As a matter of priority, we will review how we recruit and appoint permanent and freelance, temporary and voluntary contractors and staff. We will consult on our organisational language to better understand what barriers we may, unconsciously, create. Supplemtenting this work, we will review how to appoint Black, Asian and minority ethnic people people as Trustees to increase representation on our Festival Board.

  1. Conclusion

We are working to open ourselves to change and be positive and active allies in the #BlackLivesMatter campaign. We recommend learning more about the movement, local issues and pursuing self-exploration into unconscious bias and other forms of institutional racism.

As creative producers and community representatives, the Festival recognises its potential to strengthen communities, enrich lives and transform thinking. We take this role seriously and hope this statement evidences our intention to improve systems, support Black people and take on active advocacy in pursuing equity. Most importantly, we hope it drives home that #BlackLivesMatter.

 

Reading and resources

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#BlackLivesMatter watch and watch lists