Category: News

Migrant exchanges

Over the years, the Liverpool Irish Festival has considered Irishness in terms of creative legacy and production. We have investigated Irishness via dual-heritage lives; the genetic make-up of the city; historic migration and contemporary identity theory (post-Brexit).

Though we have discussed migration and migrants a lot -including causes, diaspora groups and long-term effects- we have given less consideration to modern-day views of domestic migration, or how Irish migrancy is compared to other ‘transient’ communities.

We were contacted by Aileen Bowe, an editor for Immigration Advice Service, who had some interesting points to make on the subject, as well as some thoughts on why arts and culture can help community cohesion.>>


How Irish migrants in Britain have navigated the complexities of cultural expression

We are all familiar with the nature of the special relationship between Ireland and the UK. The long history of migration between the two countries means that the idea of separate ‘Irish’ and ‘British’ identities has become more blurred for people with immigrant backgrounds.

A common perception is that anti-Irish sentiment in the UK today is at a relatively low rate. However, the reality is that there is not enough evidence to make that claim, in part due to the lack of available statistics on white hate crime. In fact, some Irish communities in Britain have expressed that there has been an increase in sectarianism and aggressions against the community.

Add to this the experiences of people with dual heritages and dual ethnicities and the situation becomes even more complex. There is another prevailing perception that ‘Irish immigrants’ equates to ‘white immigrants,’ but where do Irish immigrants of colour fit into this matrix? For example, how have the influences of Black Irish people in the UK been recognised?

When it comes to tackling the multifaceted challenges of community integration and anti-racism initiatives, it has been shown that one of the most effective approaches is grassroots-driven activism and the work of arts and cultural organisations. These groups provide spaces for people of all backgrounds to reflect on issues and uncover new ways of thinking and cultural expression.

The Irish in the UK

The phenomenon of how second-generation migrants identify themselves is well documented. Studies have found that the motivation for moving has a major impact on how well new migrants and their families assimilate into the new country and its culture.

Traditionally, many Irish people have migrated for employment and a better quality of life, which was not necessarily always a free choice. Conditions in Britain were sometimes harsher than in Ireland, meaning that generations of Irish people suffered from high levels of poor mental health and excess mortality rates.

A 1996 study found that in the second-generation Irish population in the UK, there were “significantly higher” mortality rates when compared with the wider UK population. The authors drew the conclusion that there was evidence of enduring challenges caused by the lived experience of being in the UK, as well as socioeconomic, cultural and lifestyle factors.

Although it might appear that British society has had the bigger impact on Ireland, it’s undeniable that Ireland has shaped the culture of the UK. From the high number of Irish musicians studying and performing in the UK, to beloved television personalities, fashion designers, chefs, and artists, there has been a major contribution to the British arts and cultural scene from Irish emigrants.

Despite the fact that nowadays only between 1-3% of the Irish population speak Irish daily, with the vast majority of people in Ireland speaking the language of the British colonisers, there are many instances of the influence of Irish on the English language (think ‘brogues,’ ‘hooligan,’ ‘phoney,’ and ‘whiskey’).

The constantly evolving attitude to immigration

Known as the ‘second capital of Ireland,’ Liverpool is one of the best studied regions of Irish immigration to the UK. With an estimated 50%-75% of Liverpool residents claiming some Irish connection, it is fitting that Liverpool is today held up as an example of the many positive benefits of integration. However, this was not always the case.

While it can sometimes be tempting to focus on the contributions of just the Irish immigrants to Liverpool and the UK, it is undeniable that immigrants from all around the world shaped the UK in multiple, many faceted ways.

Whether it’s the contribution of healthcare workers, new influences on food and drink, the many contributions from scientists, and the artistic impact of people from diverse nationalities – the UK as a whole could be considered a shining example of the benefits of immigration and integration.

However, one point that is important to consider is how people from certain immigrant backgrounds were viewed as being more or less ‘worthy’ than others. The current discourse in the tabloid media is a binary view of immigration as being harmful for UK citizens as a whole, with Britain’s exit from the EU being cited as one of the outcomes of this harmful rhetoric.

Indeed, even today in official Gov.uk materials, “taking back control of our borders” is cited as one of the main reasons for the UK leaving the EU, with the unspoken implication that the border had been overrun or hitherto outside the control of immigration authorities.

It is probably quite logical that a country that colonised 90% of the world is today overly preoccupied with its own borders, especially one without a strong understanding of its history (evidenced by the fact that 59% of the UK population believe the Empire was something to be proud of). In fact, a common theme across anti-migration sentiment is a sense of dissonance and disengagement from facts.

The often-dehumanising process that migrants must undergo in order to enter or stay in another country is reflective of how attitudes to immigration and the parameters of what is acceptable and not are constantly shifting. As all Irish people know, the Great Famine destroyed the country in many ways, essentially halving the population from 8 million to under 4 million (from which it has never recovered, and is the only European country to have a smaller population today than in the 1800s).

There have been arguments that the Famine was a genocide committed by the English, but this has been debunked by historians. What is undoubtedly true, however, is that the British government failed to put in place measures that would have alleviated the starvation of the poorest people in the country, resulting in hundreds of thousands of preventable deaths.

And so, it was Irish migrants who came to the UK to escape poverty and starvation, but who were treated poorly and until relatively recently, had poorer life outcomes than UK-born citizens.

In a world where colonisation has touched almost every area of the earth, the overwhelming media portrayal of migrants is from a negative lens.

Organisations like Irish in Britain and the Liverpool Irish Festival have been doing stellar work in raising the profile of Irish immigrant communities and challenging the narrative of the ‘lazy, uncultured migrant,’ who ostensibly adds nothing to the host country.

These programmes serve as important institutions that provide an alternative perspective to the mainstream portrayal of immigrants in the media and popular culture.

Rejecting mainstream framing of immigrant communities

Despite the extensive studies into the topic of migration, there is a hard-to-challenge perception that some immigrant communities are acceptable, while others are less so.

For some Irish immigrants in the last 50 years, they have had the advantage of appearing British, with skin colour and language being less of a barrier than some other nationalities.

“They (the Irish) live on beasts only, and live like beasts. They have not progressed at all from the habits of pastoral living…This is a filthy people, wallowing in vice”- Gerald of Wales.

The language used here by a historian around the year 1188 is not dissimilar to the discourse applied today to people emigrating to the UK or around the world. Interestingly, some historians believe that Gerald wrote such an account as part of an effort to gain favour with King Henry II and justify his invasion of Ireland.

The role of social media in amplifying anti-immigrant attitudes is a topic that is frequently researched, but it is also important to consider how language is framed by supposedly reputable news organisations, and how this filters down to individual groups online.

A seminal 2008 paper into the discourse around refugees, asylum seekers, immigrants, and migrants (RASIM) in the UK press found that the media overwhelmingly framed these groups into some common negative categories. These categories included suspicion around the legality of their entry into the UK, economic burden, economic threat and the return of these people to their country of origin.

While the study found that 98.1% of tabloid mentions of RASIM were negative portrayals, the ostensibly more objective broadsheets published negatively focused articles on this topic 75.6% of the time.

As in the case of Gerald of Wales, it is worth considering whose agenda it serves to push anti-immigration rhetoric and foster distrust against migrant populations.

A look to the future

Community organisations showcase not just the benefits of immigration for the host country, but also focus on shared values, such as arts and culture, applying a progressive lens in advocating for the dignity of all community groups.

Similarly, Liverpool Irish Festival consistently shows strong support and solidarity for groups that may be facing inequalities or prejudice. For example, the organisation was quick to offer direct support to the Chinese community in Liverpool following the start of the global COVID-19 pandemic, when there was a significant increase in hate crimes against Asian communities.

Not all groups of people face the same inequalities: some face much worse conditions than others. It is important for all communities to help raise each other up, especially those groups who have undergone poor treatment themselves in the past.

With the dual challenges of COVID-19 and Brexit likely to impact on the UK and its inhabitants for the foreseeable future, it will be important to bear in mind that there are more elements that bring people together, and attempts to divide communities should be steadfastly rejected.

The ultimate goal for most people is to live a happy and peaceful life. When people from different cultures come together to share their life experiences and their ways of life, incredible things can happen. When you have more open-mindedness, tolerance, and empathy in a community, the stronger its ability will be to provide space for growth and development for each member of that community. Ultimately, no matter a person’s background, living in peaceful co-existence is something that everyone should strive towards.


<< Aileen Bowe is a writer and correspondent for the Immigration Advice Service, an organisation of immigration solicitors that provides legal aid to forcibly displaced persons.

Image credits: Aileen Bowe. Merseyside from the air (2019) and aeroplanes on the ground.

Like Aileen, it is our inate belief that by sharing creativity and culture; creating safe spaces for discussion and hearing one another; we can build stronger, safer, more connected communities.

The above article has not been fact-checked -nor does it necessarily present the precise views of the Festival- but it is presented here as a thought-piece by a collaborator we believe has an important point to make and a specific vantage that many of us are not permitted.

If you have papers you would like us to consider for the website, please email us at [email protected].

Ireland to Liverpool

The Festival has always dreamed of having its own theme song.

A tune that helps to tell our story; reflect our creativity and honour the people we serve. We thought we could use a song at the start of events -online and inperson; use it on adverts and mini-films we make for celebration days, and innumberable other occasions where we want to make an impression when a logo, banner or speech isn’t the right thing…

The right time, the right place

In December, we were alerted to a new fund; a Creative Community Fund (#CreativeCommunity), organised by the Government of Ireland. The fund was specifically to assist artists who had suffered severe economic and creative hardship as a result of the pandemic, by commissioning them to produce a piece of work. A successful application has allowed us to directly fund seven artists, and share their work with you (listed below).

Behind the scenes

Ireland to Liverpool is one of the commissions we organised with this funding. In essence, we gave Andrew Connally the following brief:

“…[we are] imagining something with both a lyric based and instrumental version. It needs to be upbeat, but not ‘mad busy’, and contemporary enough to reflect our modern and progressive position… with that innate connection that makes it (and reveals it to be) ‘Liverpool Irish’.

Previously, for digital events, we’ve used a lovely, but quiet piece called The Pebble, by Pooka. It set a very gentle tone, which was lovely, calm and ‘bright’…but it was perhaps a little too gentle to activate people for an event! We are open to bravery and risk taking, but appropriate to the context; we have an ‘All Ireland’ approach and believe in tolerance towards diversity. Key work we focus on includes:

  • Female visibility
  • Irish migration and dual-heritagism
  • Making connections
  • Celebrating Irish influence, creativity and generations.

Our strapline -in case it can be used- is ‘bringing Liverpool and Ireland closer together using arts and culture’“.

The music and song

It’s quite a challenging brief, but Andrew is a miracle-worker and developed a bright, cheerful song, that reflects Irishness in Liverpool and our use of creative expression. Here is what he came back with:

 

Ireland to Liverpool – Lyrics

1st Verse
Memories of men who’ve seen,
a motherland they’ve dared to leave,
a dream on the horizon to chase.

A mother’s hands that carefully weave,
a new life, from her make-believe,
a city with a hope and warm embrace.

2nd Verse
Welcome as we bring,
language, dance and songs to sing,
to celebrate a fondness of our past.

The future is for us to hold,
and cherish all the stories told,
each chapter penned a longing to surpass.

Chorus
Ireland to Liverpool…
Generations hand-in-hand across the sea.
Home is where the heart is,
beating strong for all to hear.

(c) Andrew Connally, 2021.

Usage

The song was premiered at our Tony Birtill-Hidden History event on 4 Mar 2021; you can see that event here. We can’t wait to break it out in October 2021 for the first festival back in the ‘real world’. We’d like to thank Andrew for his commitment to the project and ability to translate our needs in to a finished piece that we are very proud of; thank you!

Andrew Connally biography

I’m Andrew Connally, a musician/singer songwriter. I come from an Irish family that emigrated to Liverpool and the Wirral via my grandparents. Taught traditional Irish music and songs as a young boy, I have performed with many artists and bands, throughout music venues and festivals across the country, as well as over in Ireland. As a teacher I enjoy sharing music in person, group classes or online and -although a big passion of mine is to play live- I love writing my own material and to produce music in my own style, in which I try to introduce the many influences I have experienced over the years into my music writing, production and playing. As well as singing and writing, I play traditional Irish flutes, whistles, piano, guitar and bodhran.

Find Andrew on Facebook, Instagram or by email.


This commission was funded by the Irish Government‘s Emigrant Support Programme‘s creative community fund.

#CreativeCommunity

Since the onset of Covid-19, cultural organisations and artists have suffered a lack of creative opportunities because of restrictions on arts venues and engagements. #CreativeCommunity is a once-off initiative by the Embassy of Ireland to Great Britain, the Consulate General of Ireland (Cardiff), and the Consulate General of Ireland (Edinburgh) that provided creative opportunities for Irish artists living in Britain to produce cultural content, shared online. Through Creative Community, the Embassy of Ireland in London and the Consulates General in Edinburgh and Cardiff have supported arts and culture-focused projects with eight organisations, directly engaging with at least 40 Irish creatives across Britain to produce and show their work.

The artists Liverpool Irish Festival has commissioned using this programme, include: Cathy Carter / Andrew ConnallyEdy Fung (via Art Arcadia)Alison Little / Maz O’ConnorCiara Ní ÉThe Sound Agents. The links will take you to the individual commissions.

Is the Irish language alive in Liverpool?

Many of you will have read campaigns about The Irish Language Act in Northern Ireland and will have views on national languages being spoken at home and abroad. Language itself can be a contentious subject; politicised and exclusionary for some, but ‘mother languages’ often transport people to happy places; to a loved one’s voice and to connections not brought about by any other sound. In this article, Festival Board member Siubhán Macauley explores her feelings towards Gaeilge and her use of it to connect with home.

The Festival publishes this piece within our culture remit, acknowledging Siubhán as a relevant voice for today. Her piece handles her feelings for and connections with the Irish language, at home and abroad. It chimes with work we are undertaking with Gael Linn, Conradh na Gaeilge and Tony Birtill (event link here), alongside our position of working with all aspects of ‘Irishness’. To find out more about The Irish Language Act, follow this link.


An teanga Gaeilge, beo i Learpholl/The Irish Language, alive in Liverpool:

This week, a family in Coventry won a significant legal battle to overturn a ban that prevented them using Irish wording on their mother’s grave. “In ár gcríothe go deo” was the phrase considered too inflammatory to include in a Coventry graveyard, without the English translation. I will give you the translation here, but by no means do I think that it cannot exist without it. “In our hearts forever” was the sentiment that best expressed -to that family through their mother’s tongue- in the Irish language.

The Chancellor of the Consistory Court of the Diocese of Coventry gave the reason behind his ruling: “Given the passions and feelings connected with the use of Irish Gaelic there is a sad risk that the phrase would be regarded as some form of slogan or that its inclusion without translation would of itself be seen as a political statement”. It feels like a statement more at home in the anti-Irish sentiment of 1950s and 1960s in Britain, and it is sad and shocking to see it still exist. It is in Margaret’s name, and for her family’s grit, that I write this article. Ní maith liom bhur dtrioblóid[1].

Mo chuid Ghaeilge…

The appearance of the case in media, and on social media, brought me to thoughts of my current relationship with Irish. The pandemic did for me what I imagine it did for a lot of people; reorganised some priorities. I was furloughed in May 2020 and threw myself into something I had lost almost all contact with over the course of 7 years living in Liverpool. Mo chuid Ghaeilge[2].

After years of studying Irish, attending summer Irish courses in the Donegal Gaeltacht, and even working there as Ceannaire[3] a few times, I came to Liverpool in 2013 ready to continue learning and using my Irish. I met with Tony Birtill, a Liverpool born Irishman who has dedicated much of his life to researching, promoting, teaching and speaking the language. Outside my halls in the first weeks of my first term, Tony taught me a few new words, amongst them “olldord” the word for double-bass; I was studying music at the time.

…today

University, then work, and life, got in the way of the language for a number of years, and I am sorry to say that I lost words, phrases, and a wee piece of me. Now, those same bits of the language are coming back to me in aha moments. I’m overwhelmed with resources to be able to speak, learn and write in the language.

I use my Irish online on social media, and interact with people across the world who use Irish daily on sites like Reddit. I follow accounts online that give you bite-sized phrases, breakdown grammar structures and teach you using memes. I’m part of a huge Discord server (a group chatting platform) where lots of learners, native speakers and people with an interest in the language come together to chat, take lessons, and clarify things with each other. It’s an amazing place, run by people who love the language.

Personal connections

But most importantly, I meet every Monday evening on Zoom with a brilliant motley crew called Conradh na Gaeilge Learpholl (Liverpool’s Irish language Society), headed up by Tony Birtill, to talk about the craic of the week, and use the language naturally.  Each and every person that attends our comhrá cáinte[4] on a Monday night, and book club on a Thursday night, have their own reasons and personal connection to the language. Some of us are Irish, or have Irish heritage, and find Irish a way to understand our roots and connect us back to home. Others have an interest from a linguistics point of view, and take pleasure in the structures, grammar and rules of the language.

Native rights

But, unless you are actively learning and speaking the language, it is rare you get to hear na fuaimeanna áille[5] of the Irish language, as much as you hear talk about it. At home in Ireland, the language is highly politicised, and there are reasons for activism surrounding Gaeilge. Irish speaking Gaeltacht communities have about half the social infrastructure as the rest of Ireland, contributing to the rapid decline of native speakers in those areas.

An ongoing campaign to allow dual language street signs (English and Irish) has been met with furious backlash from some members of unionist communities. Organisations such as Conradh na Gaeilge and An Dream Dearg (The Red Crowd, a group whose main strapline is ‘Dearg le Fearg’ meaning ‘Red with Anger’) advocate daily on behalf of those whose speak the language every day, promoting their human rights to access the language and opposing the discrimination that Irish language speaking communities face.

Appeals

And in Britain, too, it saddens and angers me to hear that the language is levered into the kind of thinly-veiled anti-Irishness that denied Margaret Keane’s family the right to remember her through an Irish saying, used to express solidarity with loved ones. It is incredibly hard to separate the language from its politics, but amidst all the news stories, it’s just a language. A way of communicating. It was there before colonialism, spoken every day throughout the country, and it is there after, spoken in the same way by the Gaeltacht communities.

The Irish language is a mode of communication, a means of exchange, and an attack like this on a minority indigenous language signals a lack of understanding of Irish communities, their native language and their heritage, or even a desire to understand. I was incredibly happy to learn during the week that the appeal to overturn the ban on Irish on Margaret’s gravestone had been successful, and that the way had been cleared for the family to remember Margaret in their way. Comhghairdeas leo![6]

Daily intentions

In my own language learning, it is incredibly important for me to understand the context, backdrop and nature of the language and attitudes to it. Every language sits within its context in time. But when we hear these stories, what we don’t hear is Irish itself. We don’t hear the sounds and the rhythms, completely different to those of English. For those of you who would like a taste of it, best to tune into RTÉ Raidio na Gaeltachta, a radio station serving the Irish language speaking communities in the Gaeltachta (You can hear speaking on this programme, here).

Ultimately, it is the language that makes the most sense to me (I’m still working on making sense through it!). I find myself in its worldview; in the way that it looks at things and talks about them. I want to speak the language, hear it, dream in it. Beyond the politics, I want to use it in my own life, with my own people.

I am lucky to have Conradh na Gaeilge Learpholl, and the expertise of Tony Birtill here in Liverpool, and groups of people whose passion for the language is evident.

Influence and chance to learn more

An Ghaeilge[7] has had a profound effect on Liverpool itself. Tony notes in his book An Ghaeilge i Learpholl/Irish in Liverpool that a street in the Baltic Triangle, after the mass emigration of the famine, was its own Gaeltacht, with all residents using Irish as their first language. I live close to this street and I take pride and reassurance in this piece of local history. Tony Birtill presents his revised book, as part of the 2021 Year of Writing, on Thursday 4 March, exploring the history of the language here in Liverpool. I implore you to come. Event link here.

Conradh na Gaeilge Learpholl recently advertised a free six-week beginner’s course in Irish. Places filled in two days, and the response was three times what we could accommodate. We were thrilled, and I am heartened to find that the interest and respect for the language is alive here in Liverpool where Irishness touches so many lives. It speaks to the liveliness of the language persisting; the willingness of people to get in touch with their heritage, and a bravery for approaching something new with enthusiasm. We would love you to join us as we speak it, celebrate it, learn and teach it. It’s yours as much as it is mine.

Get involved

Conradh na Gaeilge Learpholl would love to hear from you if you are interested in learning or speaking the Irish language with us. We currently have an intermediate-advanced group meeting (Mondays at 8pm) to chat and a book club (Thursdays at 8pm). We’ll be running beginner’s classes from March, and have an upcoming yoga session delivered in Irish (no yoga or Irish experience needed, just follow along!) at 6pm, 11 March. To join Conradh na Gaeilge Learpholl for any of these sessions, or just to say hello, please get in touch with us on [email protected]. You can find us on Twitter @LearphollCnaG and on Facebook.

Translations

[1] Sorry for your loss

[2] Mo chuid Ghaeilge: My Irish

[3] Ceannaire: Course leader

[4] Comhrá cáinte: Conversation circle

[5] The beautiful sounds

[6] Congratulations

[7] An Ghaeilge- The Irish Language


The views expressed within this article are the author’s own.

Uploaded 26 Feb 2021.

Quarantine – a response

We began work with Alison Little in 2016 when we first launched our In:Visible Women programme. A Liverpool based artist, activist and educator, Alison’s work layers texture and printed evidence against abuse and empowerment.

Following on from the in memoriam work the Festival did with Eavan Boland’s poem Quarantine in 2020, Alison has created a visual response to this work. Working with physical materials to draw on the emotional experiences of the people within the poem, and the millions they have come to represent. We are presenting this work on St Brigid’s day as a female led-work, but also as a story that connects with St Brigid’s work for equality, as we continue to stave off disease, work together as a society to cure our ills and come to understand our history.

What we present below is a short ‘making of’ gallery of Alison’s process, making the installation, followed by images of the installation ‘in the field’, in both the snow and  wet of January weather.

Alison’s work is all the more poigniant having fought off Coronavirus herself, but who lost her partner to the virus. Our condolences go to her and their loved ones and our thanks go Alison for her courage, creativity and commitment.


You can hear and read Eavan Boland’s Quarantine. here.

Installation: Quarantine – An Artist’s statement

Installation: Quarantine reflects the poem; Quarantine, from the late Eavan Boland. Two, rather soiled, life size figurines [made] from polythene [and] brimming with printed media, represent man and wife. Using related working techniques to that of Jane (produced for the 2017 Liverpool Irish Festival), the forms contain printed statements, statistics and quotes from the literal work: Quarantine. These quotes identify that 20-25% of Ireland’s population was lost to the Famine and related emigration. Further statements reflect on the fact that there was no ban on the export of food, as there had been in the famine of 1782-3. Additional found objects and additions include modelled blighted potatoes, manifesting the poem and the period of An Gorta Mór/The Great Famine.

‘Worst’ is repeated throughout the poem, highlighting the [desparation] of the late 1840’s. Black acrylic paint was applied, using flicking techniques across the inner of the polythene, to represent the anguish and distress the couple endured, [reflecting on] 1847 being titled ‘Black 47’, the worst year of the Famine. The leaving of the workhouse [has been] determined by printed replicas of discharge papers and statements included within the forms. Newspaper articles of the period, relating to the hardships and failing crops, [occupy] the bodies. Ragged clothing is prominent; [demonstrating] how workhouse conditions often meant that clothing was often re-used from those who died from fever and dysentry, without being laundered. The roll-up (cigarette) butts draw attention to how smoking tobacco was commonplace among the poor and labouring class during the Victorian era. This led to tooth decay; studies show that up to 80% of famine victims suffered from poor oral health. The empty bottle of whiskey is equally familiar; the Irish took the drink to the United States, through the period of mass emigration, due to the Famine. A rural location is suggested through the chain and shackle, habitual within farming communities.

Walking on foot -for a prolonged distance- is implied by uncomplicated shoe soles on the outer surfaces of the man’s feet; sufficiently degraded to push the concept of ‘Worn thin’ to the extreme. Women were often barefoot, her shoe soles not present. Hunger is simulated by the inclusion of modelled blighted Irish lumber potatoes. Created from potato clay, [these were] actually produced from flour and cornstarch, but the

named potato clay due to it’s mash-like qualities in production. Acrylic paints reinforce the idea of blight through the white areas. The potatoes situated around the wife’s breast identify with the female form. Fake foliage leaves with black speckles reflect the toxins of the times. Leaves are prominent  around the groin, giving an indication of public hair and unquestionably the human form. The female form displays a kerchief; the male a cloth peak cap; both are well worn.

The figures are positioned on the floor upon a sack cloth; woven and tattered. This forms the impression of being exposed to the elements; [the couple have lain] the sack cloth  down as a blanket to protect from ground frost. Stones are added betwen the figures -at any exhibit- to represent their rough sleeping [and hardship].

The figures are [positioned to indicate/symbolide a] man and wife; an intertwining of hands and an evident physical connection. True to the poem,  the wife’s feet are held against the husband’s breastbone; red papers represent the remnant of heat present in his body, whilst the white papers present the notion of frost [which has consumed] the female.


The making of Quarantine

To see a larger version, please click on the image.

Quarantine: the art work

To see a larger version, please click on the image.


Alison Little: Artist Statement

Alison Little is a visual artist and writer based in Liverpool. She looks to integrate her visual arts and creative writing practice. As an artist, she has worked on numerous commissions from Go Superlambananas to  Kirby Town Centre Renewal. Her creative endeavours include the project management of Rags Boutique; a scheme to open a disused retail unit as an exhibition space and workshop venue.

Moving from County Fermanagh in the early 1960’s, to the UK mainland, Alison’s father came to Blackpool first then began working on the motorway systems which were being constructed at the time. He began painting the lines and eventually relocated in the South East, where Alison was born. She has links to family across the area and routes back to when many emigrated to the USA in the 1840’s.

Endeavouring to fuse her creative practices, Alison often illustrates her writings or identifies analogous matter as the focal point for later works. Rape, mental health, impotency and feminist concerns are scrutinised repeatedly; the creation of sculptural form to the penning of adjoining flash fiction, poetry and short stories. Through this, she amalgamates intense personal experiences and fact-based research, identifying with various philosophies and scientific predictions. The outcome is predominantly sculpture and conceptual photography, with varied writing and scripture. More recent works, such as Tittle-Tattle, look to question concepts around homemaking, cleanliness and marriage. Alison provokes through practice, creating a vast array of outcomes.

In 2017 she produced Jane for the In:Visible Women conference at the Liverpool Irish Festival. The installation was accompanied by a shorter fiction work, which was read at the event. The artform and literary piece tied to the Repeal the Eighth Amendment movement, a pro-[choice] movement, which lead to the successful repeal by referendum in 2018.

Alison has had a personal struggle with Covid-19 throughout 2020, succumbing to the virus in late March 2020, which  spread to her partner, who was lost to Covid-19, 8 March 2020. After his funeral, the virus re-surged and Alison became ill again. In late August, she suffered a second infection and was to experience the sickness again. Due to lock down -and the almost complete suppression of the creative industries- she has struggled to find work as an artist throughout the year. Mentally, in terms of wellbeing, Alison is now ready to produce new creative works.

Alison has had work published in Hidden Gems, that art in Liverpool website, Dwell Time and Red Brick Writing, in addition to numerous zines. Her blog; alisonlittleblog.wordpress.com is well-read and she releases a weekly article.

Alison is an artist, a writer, creative explorer.


This work was funded by the Irish Government‘s Emigrant Support Programme‘s creative community fund.

#CreativeCommunity

Since the onset of Covid-19, cultural organisations and artists have suffered a lack of creative opportunities because of restrictions on arts venues and engagements. #CreativeCommunity is a once-off initiative by the Embassy of Ireland to Great Britain, the Consulate General of Ireland (Cardiff), and the Consulate General of Ireland (Edinburgh) that provided creative opportunities for Irish artists living in Britain to produce cultural content, shared online. Through Creative Community, the Embassy of Ireland in London and the Consulates General in Edinburgh and Cardiff have supported arts and culture-focused projects with eight organisations, directly engaging with at least 40 Irish creatives across Britain to produce and show their work.

The artists Liverpool Irish Festival has commissioned using this programme, include: Cathy Carter / Andrew ConnallyEdy Fung (via Art Arcadia)Alison Little / Maz O’ConnorCiara Ní ÉThe Sound Agents. The links will take you to the individual commissions.

Retrospective future gazers

Sub-title: A quick, short, and linear exercise to map the Royal Charter’s failed-return to Liverpool against the history of weather forecasting.


<<<During lockdown, Derry-based Hong Konger, artist Edy Fung has used weather to help motivate her working cycles.

In doing so, she has studied meteorological history, finding links between Derry and Liverpool. Edy’s generated an essay on this, complete with archive images. This sustains a digital relationship with the Festival that began for #LIF2020, advancing our work with Art Arcadia, where Edy is a resident artist.

The connectedness of internationalism, nature and platforming female voices sits within the St Brigid’s Day ethos of progressive acts and equality. We thank Edy for her work and ability to express her layered thinking to bring us something thought-provoking, fascinating and unexpected. You can learn more about Edy at the end of this article.>>>


2020 has overwhelmed the world with how fast every aspect of our daily lives can change for a new normal.

After the pandemic, we have all learned to be humbled by external impacts and environments. Most of us in different parts of the world meandered our way through lockdowns; rethinking our new normal. We have had to learn to adapt to uncertainties, getting used to making our plans with spontaneity, but ready to have them canceled or postponed. It is difficult. We always want an answer for the future; while we look for ways to predict it -analytics, predictions, prophecies- these very methods demonstrate that the need for human beings to ‘imagine’ is inevitable.

My name is Edy; I am an artist who lives and works in Derry, Northern Ireland. I have begun research on exploring atmospheric patterns and their implication on societal and political shifts in macroscale*, bringing these discoveries into a personal, bodily and relatable scale. My artistic practice currently aims to connect human sentiments, affect, weather, politics, science, and technology after the Anthropocene^. This piece of writing, commissioned by the Liverpool Irish Festival, will form the foundation of another online collaborative project: The Meteorological Cartomancer that looks at the beauty of chance and collective feelings. Perhaps, borrowing from the temperament of the Greek Tragedy aesthetic form, I am making some reflections for this day and age; arising from the story of the storm that hit the Liverpool-bound Royal Charter (ship) in 1859 on its journey through the Irish Sea, to incidents concerning geographies of both sides of the water.

* involving general or overall structures/processes, rather than details.
^ the geological time during which human life has impacted the earth.

Image: The Liverpool and Australian Navigation Company’s Steam Clipper, The Royal Charter; 2719 Tons. Registered 200 horse power. By Francis Boyce Commander, (CC BY-NC-SA) National Maritime Museum, Greenwich, London (https://collections.rmg.co.uk/collections/objects/110902.html)

This is an attempt to trace our desire to foresee the future during uncertain times. It documents the first time in history that humanity came close to future ‘prediction’ with a scientific foundation. I am drawn to look into the 1859 storm that shipwrecked Royal Charter in the Irish Sea. Prior to this, the weather was believed to be an act of God and if a storm came, so be it. This storm -and the resulting shipwreck- holds a vital place in pushing advancement for what is known today as ‘weather forecasting’.

The Royal Charter was a steamship built in Sandycroft Ironworks, on the River Dee, as one of the fastest ships at the time. On the evening of 25th October 1859, the steamship was bound to make the last leg of its 60-day cross-continental journey from Australia. When it left Queenstown -in the south of Ireland- to return home to Liverpool, it encountered a gale so fierce that it rose to a hurricane force 12 on the Beaufort Scale (devised by Irish hydrographer Francis Beaufort in 1805), pushing the ship towards Anglesey (Wales), causing it to sink.

Here, I am excavating materials from the MET archive, starting with one of several (consistent) testimonies documented from people from Wales and Ireland, who recalled the weather and witnessed something more unusual before the storm:

On Tuesday, 25th, I could perceive nothing at all unusual in the appearance of the weather, till, at half-past seven, when in the neighbourhood of Ballinamar and Ballyporeen, about, I should say, 12 or 14 English miles west of Athlone, the sky being free from clouds, I saw, in the direction of the Pleiades, a meteor. At first, when I saw it, it was about the size of a star of the first magni­tude; it advanced swiftly towards me for about four or five seconds, rapidly increasing in size, and appeared to be coming so straight towards where I was that it created alarm; the colour was an intense white light, similar to the electric spark. At the end of the first four or five seconds it changed colour to a bright ruby red, and it seemed (but of this I could not speak positively) then both to change its course and to lose its velocity; while the red colour remained was not more than one-and-a-half to two seconds. It then burst into about, I should suppose, 15 or 16 bright emerald green particles, which, after remaining visible for about two more seconds, disappeared altogether. I saw nothing  more that night. I arrived at Athlone about 12 o’clock, and up to that period the sky was quite clear and calm, and there was not the slightest appearance of storm. I was much astonished to hear, on my arrival in Dublin, on the night of Wednesday, 26th, of the violent storm that had taken place on the coast of Wales. […] I could not but think that the fall of the meteor had some connexion with the storm”. 

— Thomas. T. Carter (Annual Report 1862, page xl).

This Royal Charter shipwreck, which occurred in the Irish Sea during the closing leg of an incredible adventure back to Liverpool, is linked to the emergence of weather forecasting. The MET Office was not established properly at the time, in the way we understand its function today; it was a position that Robert Fitzroy was taking as the ‘Meteorological Statist’ (Fitzroy’s term), advisor to the Board of Trade for the marine industry and the military. Responding to the Royal Charters demise, Fitzroy worked intensively to understand how how the shipwreck could have been prevented. He wanted to avoid further tragedies in the future. Next, we will see in more detail his research on new methods of using barometers, and his invention of meteorological telegraphy and weather map that led to the existence of the weather forecasting system.

Under pressure: Barometers

In the 19th century, barometers were used inside boats and ships to detect the change of the atmospheric state, mostly for localised usage. These were the instruments most closely associated with a scientific method, reliable enough to provide “some definite idea of the amount of change which indicates unusually violent wind”. Such barometers could react and fall at the rate of nearly a tenth of an inch an hour before the shift of wind occurred. Fishermen and sailors would take this drop of pressure as an indicator of a storm, so they could decide whether to proceed the voyage or to find shelter.

Advertisement for Barometers by John Patrick, c.1705-1715. British Museum, The Ilbert Collection. Accession number 1958,1006.3050. © The Trustees of the British Museum.
Admiral Fitzroy’s storm barometer. Face-on detail of top half; grey background. Science Museum Group Collection © The Board of Trustees of the Science Museum.
Fitzroy’s illustration of ‘Cautionary Signals’, from Report of The Meteorologic Office of The Board of Trade, 1863 © The MET Office archive.

Cautionary Signals, Storm Telegraphy, Lighthouses  

In February 1861, Cautionary Signals were initiated.

According to the report of Meteorological Department of the Board of Trade, Fitzroy tried to argue his case about the idea of giving storm warnings using telegraphy before 1836, in American and Europe, “Yet the subject attracted too little popular interest to be taken up by any influential body until September 1859.” (Annual Report 1862, page xi). We do not know the reason why these telegraphic storm warnings were not adopted earlier. The system of measuring wind conditions was already created by Francis Beaufort (an admiral from County Meath, Ireland), but only appeared in his diary in 1806, kept private in navy logs instead of broader application. He created the ‘Beaufort Scale’ to estimate the force of the wind, in a range from 0 to 13. The Royal Charter Storm was classified -under Beaufort Scale- at number 12. In 1859, the same year as the shipwreck, the British Association for the Advance­ment of Science finally proposed to the government a trial plan by which the approach of storms might be telegraphed to distant localities. By 1862 20 stations were built to establish the telegraphic communication of meteorological facts.

By 1863, more barometers and stations were dispersed on the coasts of Great Britain and Ireland. Locations sending cautionary storm signals -through both electric and magnetic telegraphs- reached 97, including 24 in Ireland (some of which today remain as lighthouses). Blacksod Lighthouse (County Mayo) was constructed in 1864, becoming the first land-based observation station in Europe, where weather readings could be professionally taken on the prevailing European Atlantic westerly weather systems. It became famous for reporting the fierce weather that delayed the Normandy Landings and saved D-Day. What would Fitzroy say about his legacy if he could see that his application of storm telegraphy had affected the ability of trained personnel to change the course of a world war? It was more than merely saving us from a natural disaster, but also humanitarian and political catastrophe when these telegraphic signals came to function.

Blacksod Lighthouse, County Mayo, Ireland. Photography © Bryan Hanna.

As good as the technological advancement was, a data cloud did not exist at the time. However, their name today suggests a historic connection to these meteorological transfers and the early days of communications, continuing to demonstrate the importance of the Royal Charter’s legacy.

The first network of meteorological communications has laid the foundation for development towards the concept of a global system of interconnected computer networks; the internet and global information storage. The archive revealed Fitzroy’s continuous contact with observatories including Paris, Berlin, Rostock, Hanover, Turin, Copenhagen, and Gothenburg. Some of his correspondence with Urbain Le Verrier can be read in the 1864 report. Le Verrier is recognised as the pioneer who proposed the concept of a chronological map for storms and weather changes. These are some of the first data visualisations and analytics, now traceable in our data clouds (I am doing this exercise).

Weather Maps

The following are some maps that Fitzroy made to analyse -retrospectively- the Royal Charter’s devastating storm, looking at changes between 25th and 26th October 1859. The arrows were drawn to indicate the wind direction as well as the strength of the wind (in proportion to the length of the line).

Synoptic Chart of the storm that shipwrecked the Royal Charter, showing the British Isles in the wider context of the Atlantic Ocean. The Meteorologic Office of The Board of Trade 1864 © The MET Office archive.

 

Synoptic Chart of the storm that shipwrecked the Royal Charter, showing (in a closer scale) the British Isles. The Meteorologic Office of The Board of Trade, 1864. © The MET Office archive.

These maps were called ‘synoptic charts’, according to Fitzroy, providing a visual synopsis of the weather observations at a or any given time. The below chart by Fitzroy is claimed to be the oldest in the MET collection, suggesting that he could be the first inventor, after Urbain Le Verrier’s vision, of what we understand today as the weather maps. However, it is Francis Galton who is recognised as the first devisor of the weather maps instead (in the method same as today), and he wrote the 1863 book Meteorographica, or Methods of Mapping The Weather in the similar times as Fitzroy’s research. Galton was appointed to substitute Fitzroy’s position and the pivotal figure in the development of weather forecasting in the later years by focusing on remedying the speed and capacity of data collection.

To see these charts as gifs, showing the air movement, click here.

Royal Charter gale, synoptic chart; 26 October 1859. © The MET Office archive.

 

 

 

 

 

 

 

Weather Forecasting

“In August 1861 the first published “forecasts” of weather were tried; and after another half year had elapsed for gaining experience by varied tentative arrangements, the present system was established. Twenty reports are now received each morning (except Sundays), and ten each afternoon, besides five from the Continent. Double forecasts (two days in advance) are published, with the full tables (on which they chiefly depend), and are sent to six daily papers, to one weekly,—to Lloyds,—to the Admiralty, —and to the Horse Guards, besides the Board of Trade“ (Annual Report 1862, page v).

The term “weather forecast” was coined by Fitzroy. Taken for granted today, few of us can imagine that weather forecasting was an impossible concept and so ahead-of-its-time that it encountered plenty of skepticism and restraint. When the first public weather forecast was published in August 1861; its reception was not smooth and was been challenged for a period. Fitzroy had to state, repetitively, that the ‘weather forecast’ differed from general scientific methodology and should be considered as precautionary advisement – “prophecies or predictions they are not:—the term forecast is strictly applicable to such an opinion as is the result of a scientific combination and calculation”.  To quote Fitzroy’s own words from 1863:

Many may ask—” Is this system of weather telegraphy sound and advantageous ” ?—If so, why is it opposed? There are no less than four distinct classes of interested opponents, and they should be known. First:—Certain persons who were opposed to the system theoretically at its origin, and having openly expressed, if not published, their objections, are naturally reluctant to adopt other ideas until converted. Secondly.—A numerous body who cannot have had time and opportunity to look tally into the rationale, but do not realise any want of special information, undervalue the subject, assert it to be a “burlesque,” and misquote really great authorities. Thirdly.—A small but active party which failed in establishing a daily weather newspaper indirectly opposed to the Board of Trade reports, and have since endeavoured, by conversation, by letters, and by elaborate criticisms in newspapers or periodicals, to exaggerate deficiencies, while ignoring merit in the works of this office, however beneficial their intended objects. And fourthly, those pecuniarily interested individuals or bodies, who would leave the Coasters and the fishermen to pursue their precarious occupation heedlessly—without regard to risk—lest occasionally a day’s demurrage should be caused unnecessarily, or a catch of fish missed for the London market. 14. Especially referring now to persons who would have the warning signals, but not the ” forecasts” (results of considera­tions on which the signals depend), may I quote from my “Weather Book” the following words?—”Frequently, remarks in favour of the cautionary signals, but in depreciation of the forecasts, have been made. Their author now begs to say that it is only by closely forecasting the coming weather, and by keeping atmospheric condition continuously present to mind, that judicious storm warnings can be given. Forecasts grow out of statical facts, and signals are their fruitWeather Book, p. 193. Second edition. (1863 page v)

Less than a year after publishing The Weather Book: a manual of practical meteorology, Fitzroy died by suicide. Despite having proposed the idea of having the central office, to gather weather information (the MET office’s function today), he did not live long enough to see it. The literature he left us reveals his frustration and the great deal of difficulty he faced, while painstakingly realising an accurate weather forecasting system. Similar to the rise of today’s ‘cancel culture’ many rejected its merits, missing the goodwill and opportunities weather forecasting provided to change things for the better. It took a long time to gain traction, until public forecasts were produced in 1879, and became reliable in the 20th century after 30 more years of data accumulation.

Weather forecasting in today’s definition is “the application of current technology and science to predict the state of the atmosphere for a future time and a given location” (Science Daily). The use of both deterministic and probabilistic models is, nowadays, common and continually improved in applications beyond the weather, such as population, economy, energy forecasting and even in the betting industry. Provided the accuracy and the period (normally up to 14 days) that contemporary weather forecast can achieve, we are accustomed to treating the weather reports as valid predictions and make our plans around them. Perhaps this has also fueled our beliefs in the capacity of knowing the future in advance, as long as we have enough scientific tools. Then -logically speaking- one has to believe that the future is fixed and unchangeable, all to be determined by whatever data we have today, if we carry on with our obsession to predict something.

While it might be useful to know the future, we should imagine possibilities -and take positive actions- regardless of whether the future is predicted or not. Like the weather, a lot of things -viruses, traffic, public opinions- operate in a chaotic system; a butterfly flapping its wings can cause a hurricane on the other side of the world. History tells us that working with others, through long-term back-and-forth dialogues (sometimes cross-nationally towards a common goal), was crucial to confront macroscale events and reach solutions together for the betterment of society.

In this difficult time of the Coronavirus pandemic, would it not be more effective if we work together globally, using the best of our technologies, to find future-proofing solutions despite the naysayers, detractors, and decriers? Let us not stop listening to each other, no matter how far we are apart as we are all interconnected, prone to the same danger(s) on this planet.

Fitzroy’s illustration of air currents over the British Isles. From Robert Fitzroy, The Weather Book: A Manual of Practical Meteorology, 1863.

 

Fitzroy’s illustration of the Air Currents over the British Isles. From Robert Fitzroy, The Weather Book: a manual of practical meteorology, 1863.


Edy Fung

Edy Fung is a multi-disciplinary artist, musician and curator currently based between Derry and Stockholm. She has worked in the conservation of historical buildings and heritage mainly in County Donegal for three years, after graduating from an MA in Architecture at the Royal College of Art. Working at the interface between the physical and the digital, her practice seeks to understand how our material world is conditioned. These include exploring underlying systems, ecologies, ideologies and technological shifts that are dominating our everyday values. She works with images, videos, sound, text, installation and exhibition-making, treating them as ingredients and tools to test her inquiries and speculations about the present world phenomena.

edyfung.com


This work was funded by the Irish Government‘s Emigrant Support Programme‘s creative community fund.
#CreativeCommunitySince the onset of Covid-19, cultural organisations and artists have suffered a lack of creative opportunities because of restrictions on arts venues and engagements. #CreativeCommunity is a once-off initiative by the Embassy of Ireland to Great Britain, the Consulate General of Ireland (Cardiff), and the Consulate General of Ireland (Edinburgh) that provided creative opportunities for Irish artists living in Britain to produce cultural content, shared online. Through Creative Community, the Embassy of Ireland in London and the Consulates General in Edinburgh and Cardiff have supported arts and culture-focused projects with eight organisations, directly engaging with at least 40 Irish creatives across Britain to produce and show their work.
The artists Liverpool Irish Festival has commissioned using this programme, include: Cathy Carter / Andrew ConnallyEdy Fung (via Art Arcadia)Alison Little / Maz O’ConnorCiara Ní ÉThe Sound Agents. The links will take you to the individual commissions.

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: We Must Create

As part of our Lockdown Lights project, we selected two poems and invited people to record themselves reading them, so we could geneate a film, to share as part of this year’s digtal launch.

Active, positive and full of creative hope, Stephen James Smith’s poem We Must Create was selected in counterpoint to Eavann Bolanf’s Quarantine. We thank Stephen for allowing us to use the poem and share his version below. Loo jout for our film from 15 Oct 2020.


We must create to know who we can be
I say this for you, I say this for me
We must create to know who we can be

Early beginnings, heart beat warmth and you
First breath, eyes open a new point of view
Hands touch, ears hear, clocks ticking I am who?
We must create to know who we can be

Screaming out from within with a voice here
Notes flowing on air lulling the fear
Melody all around this atmosphere
We must create to know who we can be

Hearing truth in onomatopoeia
Boom, boom, belch, zoom, zap, playing with grandpa
While cookie cutting, baking for grandma
We must create to know who we can be

From scrawling with crayons to Lego bricks
From knitting needles, soft textile fabrics
To air-guitaring auld Jimi Hendrix
We must create to know who we can be

There are creative accountants, CVs
Tinder profiles where you look the bees knees
But best not to force it, it comes with ease
We must create to know who we can be

We heard a song sung, it helped ease the pain
We didn’t feel so lonesome as we sang the refrain
We forgot that feeling until we heard it again
We must create to know who we can be

From nursery rhymes to white collar crimes
What have you to say in uncertain times?
Have you a chance to change the paradigms?
We must create to know who we can be

Do you remember the time you heard an opening allegro
Or when that beat dropped and how it made your head go?
Some things make no sense unless you’re in flow
We must create to know who we can be

You may rise then fall, or fall then rise
An arc of a story contains no surprise
But how you tell it, therein the art lies
We must create to know who we can be

Artistry gives rise to community
We’re all part of a changing tapestry
There’s art history in identity
We must create to know who we can be

If you do it for the money you’ll be called a fraud
If you think you’re great company and you might be God
Delusions of grandeur aren’t that odd
We must create to know who we can be

There’s all sorts of forms, disciplines, levels
To challenge yourself in the intervals
Where you’ll find rivals and reasons for approvals
We must create to know who we can be

If it’s saved you from yourself
And now there’s no other way
It doesn’t matter how it moved you, welcome to the ballet
You’ve just found the peak of Parnassus, fair play!

We must create to know who we can be
I say this for you, I say this for me
We must create to know who we can be
We must create to know who we can be.

From Here Now by Stephen James Smith.
Copyright © 2019 by Stephen James Smith.
Reprinted by permission of Pace Print and the poet.
All rights reserved.


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.