Trump was not the first man who thought that separating desperate families applying for asylum provided an additional deterrent – that distinction belonged to the workhouse system in which men, women and children were kept apart once admitted.
Two distinct artistic projects centre on the remains of local workhouses in West Cork in the coming week. Both are associated with the highly anticipated Coming Home: Art and the Great Hunger Exhibition at Uillinn.
Robert contemplates the memorial plaque at the famine graveyard in the grounds of the Skibbereen Community Hospital – the former site of the Workhouse. The towering wall remains from that time
How do we address the ghastly system that was The Workhouse? How can we look back on the barbarity of the political and economic philosophies that dreamed up such an institution and perpetrated such depths of misery on starving people? How do we remember without stirring up old hatreds and move instead to a place of compassion and healing, a place of determination not to repeat such atrocities in this country? Perhaps one way is though art. Two distinct artistic approaches have been underway in West Cork for some time and each will culminate this week.
What’s left of the Schull Workhouse. It was destroyed by the IRA during the War of Independence. The dreaded reception area is on the right, and in the initial photograph
Before I talk about the two projects, take a moment here to revisit my 2014 post on the Workhouse. It explains the Workhouse system and has links to more information. You might also, if you haven’t already done so, read what Asenath Nicholson had to say about dire poverty and the Bantry Workhouse.
Jean Leary was one of the 110 Skibbereeen girls – here she is celebrating her 50th wedding anniversay in Australia. Thank you to her great, great……granddaughter Judith Constable for sharing this photograph. Judith will be travelling from Australia to attend the unveiling of the memorial on Friday
Artist Toma McCullim’s project centres on the Skibbereen Workhouse and is called 110 Skibbereen Girls. The Earl Grey Famine Orphan Scheme provided passage to Australia for young women. The young women from Skibbereen left a difficult present for an unknown future, and it is estimated that perhaps 10,000 Australians trace their descent to them. There is an excellent account of the project in the Irish Times and another in the Examiner.
Photograph courtesy of Aoise Tutty
I participated in a Walk and Talk with Toma in the grounds of the former Skibbereen Workhouse, now the Community Hospital. It was a deeply moving experience, as Toma asked us to imagine ourselves in the position of one of the girls, and talked us through the events of their lives. We started at what was once the Women’s Entrance and walked up to the graveyard.
We chose an apple and mine represented Alice Fitzgerald. It was all too easy to slip into the past with Toma, and a very emotional experience. Photograph courtesy of Aoise Tutty
Toma is a gifted educator: her tour immersed us in the lives of the young women in an imaginative and emotive way. The pièce de résistance, however, was when her phone rang, and on the line from Australia was a descendent of one of ‘our’ girls. It was a telling moment, somehow underscoring the resilience and heroism of the girls who had made such a difference in the land of their adoption.
The phone call from Australia
It is at the Women’s Entrance that the commemorative sculpture will be unveiled next Friday (July 20th, 2018) by the Australian Ambassador. All are welcome.
The following day (Saturday, July 21, 2018) we have another workhouse-based art project. It’s called Anáil na Beatha (Breath of Life) and it’s a multi-media performance by Alanna O’Kelly. Here’s the description:
The audience will proceed into the ruins of Schull Workhouse, where they will be immersed by fragmented sounds, layered imagery and light, surrounded by the silence and vastness of the countryside, and the stories of the thousands who were silenced by the Great Hunger. The performance will run as a series of vignettes that will reference some of the stories of the Great Hunger in West Cork, both historic and contemporary.
The only current inhabitants of the Schull Workhouse
Some friends are participating in the performance and, based on their experience in rehearsal, are urging everyone to go to what promises to be a deeply moving and artistically striking event. Robert and I have our tickets (they are available on Eventbrite).
Schull Workhouse ‘Mortuary Hospital’
I never thought I would get to attend something like this at the Schull Workhouse. In my Workhouse post I described the ‘aura of decay and sadness’ that resonates there, an echo of the misery that was visited upon the inmates. I am looking forward very much to seeing how Alanna uses the site in her performance piece, as expressed here:
She has a deep interest in place, people, community, our past and its effect on our present, the shaping of our culture, our identity and relationship to the world community and she is drawn to the particularities of place and context.
Workhouses stand out in Irish history as the most hated, feared and despised buildings in the land. The gaunt remnants that dot the countryside act as a constant reminder of a dark time in our collective memory. Perhaps through art we can begin to focus on a more hopeful and healing integration of that period: both a rejection of those values and compassion for those who suffered. We need, in Ireland, that kind of negotiation with our past.
I think you’re right… art is a very effective way of achieving healing, and moving on through and beyond. At the same time, it commemorates what happened, and the people it happened to. We should never forget, but we shouldn’t waste the lives we have in bitterness, which achieves only negativity. A lovely thought provoking piece, Finola. 💕
I keep striving for a truly philosophical approach, Ali, but it isn’t always easy.
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No, I’m sure it’s not. Descended from mostly English and some Irish stock, I hate what the English have done through the centuries, and what they are doing right now, actually. All that is hard for me to live with and accept. But we can’t change the past, only the future. Long slow process though.
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Tickets booked. Such an incredible programme surrounding the Coming Home exhibition. I’m especially fascinated to see how the old workhouse is brought to life, such a grim and melancholy place.
See you there!