Countdown to West Cork History Festival 2018!

As last year, Roaringwater Journal is very involved in the marvellous upcoming West Cork History Festival. We are both on the organising committee and this year we are leading field trips and chairing sessions, and I am giving a paper (more on that below). The Festival will be held in Skibbereen this week – 16th to 19th of August.

This is St Barrahane from Castletownshend. During the Thursday Field Trip we will be revealing his secret message

We haven’t had a lot to do with the detailed logistics or with the ultimate lineup of speakers – that is the purview of the Founders, Simon and Victoria Kingston. What a force they are! As you can imagine, organising a festival like this is an enormous amount of work and they do it while working full time, with two young children and a life lived between two countries – all while remaining cheerful, focussed, inventive and energetic. Here are Simon and Professor Roy Foster, our keynote speaker, talking last year about the upcoming festival.

Simon and Victoria are next door neighbours to the wonderful Liss Ard Estate. This place is dear to our heart as it’s where we were married, and they have been incredibly supportive of the festival, providing parking and accommodation.

While many of the speakers are academics and writers on the national scene, local historical societies are attending and volunteering and local experts have been persuaded to share their knowledge. The Skibbereen Heritage Centre is a big part of the festival this year, with both Terri Kearney and Philip O’Regan on the program, and William Casey giving a talk and launching a book.

Philip O’Regan of the Skibbereen Heritage Centre leads a walking tour of the historic town. Here he points out the building where O’Donovan Rossa founded his Phoenix Society, forerunner of the Fenians

We are looking forward to the field trips, a new addition this year and a popular one, given how quickly they booked up. Thursday’s focusses on archaeology and history and Friday’s on the Famine and Art.

Coppinger’s Court – these fortified mansions gradually replaced tower houses in the seventeenth century, during of the series of changes from Irish to Planter land ownership

The Festival aims to cover international, national and local themes and this year will, of course, focus partly on the events of 1918, with talks on WWI, Carson and Redmond, Women’s Suffrage and the great Flu epidemic. The Irish Revolutionary Period is the subject of several talks, by both academics and non-professionals, ranging from the hot topic last year, Protestants in West Cork, to the violence suffered by some women during that period.

Inspired by the Coming Home: Art and the Great Hunger exhibition currently running at Uillinn/West Cork Arts Centre, there is also a thread that looks at the intersection of art and history. It will be the main focus of Friday’s field trip, and run through sessions on Margaret Clarke, on Gothic art, on George du Noyer and most pointedly in the talk by Niamh O’Sullivan on the Coming Home Exhibition itself.

Stone Circle by George Victor du Noyer

We’re not forgetting the Medieval and Early Modern periods either. Dr David Edwards from UCC is recognised as an expert on Richard Boyle and on this period and his talk on Gaelic politics in the later Middle Ages should be fascinating. But never mind all that politics – what did people actually do back then, and what did they eat, before the advent of the potato?  Dr Susan Flavin is going to tell us that when she talks about ‘Food, Drink & Society in 16th century Ireland’.

Richard Boyle, Great Earl of Cork

Lots of local history too – on Cillíní (children’s burial grounds), women in the fishing industry, Sam Maguire and his memorial bells in Dunmanway, Pirates and treasure of the Coast of West Cork, and my own talk on Agnes Mary Clerke who grew up in Skibbereen during the famine and went on to become the most successful science-writer of her day, with a moon crater named in her honour.

Agnes Mary Clerke

That’s just a taster of the talks – there are lots more. And if that wasn’t enough, there are also film screenings, a concert by Jessie Kennedy based on the life of Lady Mary Carbery of Castle Freke, and a poetry reading by none other than Jeremy Irons! How can you resist that voice?

So if you don’t have your tickets yet, get them now. Yes, you’ll still be able to get them at the gate, but if you want to secure them now, do it online at this link.

Bohemians in Ballydehob!

My first visit to Ballydehob wasn’t until around 1990. I remember being struck by how busy a place it was then – I only wish my memories from nearly 30 years ago were clearer. I now know, of course, that this vibrant little community has a history of being a cosmopolitan creative hub of the arts going right back to the middle of the last century. It’s a fascinating story, and Ballydehob is celebrating it by establishing an Arts Museum and permanent collection, with the first exhibition opening this week in Bank House: please come!

Above: two batiks by Nora Golden. Left – The Rock of the Rings (rock art at Ballybane West) and right – detail from a work depicting Loughcrew-type passage grave art. Nora and her partner, Christa Reichel were early arrivals on the arts scene in Ballydehob. In the 1960s Christa bought a farmhouse and set up the region’s first studio pottery in Gurteenakilla then, with Nora, opened the ‘Flower House’ in the centre of the town: you can see it illustrated in the exhibition flyer at the bottom of this post. All this is well documented in the excellent book by Alison Ospina (herself a talented furniture maker) ‘West Cork Inspires’ (Stobart Davies, 2011).

These denizens of 1970s Ballydehob are not a Heavy Metal band (to my knowledge) but in fact four important artists who had settled here: John Verling – artist, ceramicist and architect,  Pat Connor – ceramic sculptor, Brian Lalor – artist, writer and printmaker, and David Chechovich – watercolourist. They are wearing the uniform of the time. Here’s Brian Lalor in his studio today (photo by Finola) – you can certainly see the similarity . . .

Brian still lives near Ballydehob, and is the mastermind and Curator of the new collection. And, if you can begin to see it all fitting together, John Verling (on the right of Brian in the exhibition poster above) took over the Gurteenakilla Pottery with his wife Noelle and together produced striking ceramics, examples of which are in the header photograph.

Gurteenakilla is lived in today by Angela Brady, an artist who works with fused glass. She is also an architect. And – she’s performing the most important task of opening the first exhibition in our new Arts Museum on Friday. Finola wrote about Angela and other artists who contributed to the 7 Hands show on the pier in Ballydehob two years ago: have a look at her post and see if you recognise any other names.

Beautiful stoneware goblets by Pat Connor, who is well represented in the collection. His maker’s mark is a memorable graphic. Another well known West Cork ceramicist represented here is Leda May, who with her husband Bob found Ballydehob in the late 1960s when they were invited by Christa Reichel to set up a pottery behind her own shop. Leda is still working in the area today, producing very fine painted porcelain ware (an example of which is shown below).

Above, from the exhibition – two earthenware mugs by Etain Hickey and Jim Turner, Rossmore Pottery 1983 and two Raku lustreware pieces by Jim Turner 1982. There are more stories to be told – to add to Alison’s comprehensive volume: the rise and fall of the Cork Craftsmans Guild, establishing the West Cork Arts Centre, exhibitions in far-flung places including Zurich, enigmatic repousee work – as yet we can’t trace its history . . . But all that is for another day, once the Ballydehob Arts Museum (BAM) is under way.

Below, posters by Brian Lalor and Repousee work by Shirley Day.

So here’s yet another reason to come to West Cork! This ‘taster’ exhibition starts on 10 August and continues through Heritage Week and Ballydehob’s Summer Festival until 26 August. We have to commend our Community Council in Ballydehob who are giving us the space in Bank House – right in the town centre (the former AIB Bank building) which they acquired for the permanent enjoyment of the local community. Also we have benefitted from Cork County Council who have given us a grant under the Creative Ireland Programme to help get the whole project off the ground. And most of all we have to thank local people who have freely donated pieces for the permanent collection – all will be acknowledged when the Museum is up and running.

Bohemians in Ballydehob! opens at 6pm on Friday 10th August at Bank House, Ballydehob

 

The Soul Expands with Beauty

We are so lucky to live in a place where the arts are valued as a necessary part of life and where we can attend art exhibitions, concerts, theatre, readings, film screenings. It all comes together every year at the Skibbereen Arts Festival. It somehow manages to combine fun, entertainment, wonder and beauty (like this West Cork seascape by Harriet Selka, above).

The Irish Memory Orchestra also enthralled us one evening – they play traditional and commissioned pieces entirely by memory.

Last time we wrote about this festival we said it was ‘hitting its stride’. This time the phrase that came to me was ‘it’s going from strength to strength.’ What a marvellous line up it was! You can see the whole program online and look at the sheer variety of experiences that we lucky West Cork folk got to pick from. A standout for us this year was the concert lineup, the art exhibitions and the poetry events.

Roseanne Cash and John Leventhal

It started off with Roseanne Cash, daughter of Johnny. You might think – what? Country Music? I know that’s not everyone’s taste, although I have a soft spot for it myself. But Roseanne sings a wonderful mix of Appalachian Folk, bluesy ballads and her own material along with the classics of country. She has a gorgeous voice and a husband accompanist and they both play a mean guitar. Here she is singing one of her father’s songs along with a touching tribute.

Skibbereeen was only her only other Irish stop besides Dublin and she came because of a line in Johhny’s song Forty Shades of Green (did you know her wrote that? I didn’t) that refers to Skibbereen. Watch him singing it at a concert in Dublin back in the days of Big Hair. It was Roseanne’s closing number, and predictably it brought the house down. She was in tears. We were in tears.

Something completely different a couple of nights later – The Chronicles of the Great Irish Famine is from the formidable talents of singer-songwriter Declan O’Rourke, backed up by an excellent group of musicians that includes John Sheahan of The Dubliners. Declan has been working on this song cycle for years. He describes it “an attempt to bring fresh air to an unhealed wound, and to remind the Irish people of what we have overcome.” There’s a good overview of the project here and you’ll witness Declan’s unique voice and engaging personality. The subject matter was tough – we are in the middle of a major Famine commemoration event here this summer and we are becoming more familiar every day with its horrifying stories. Having written about the Coming Home Exhibition and the 110 Skibbereen Girls Project already, we found this concert to be poignant and powerful.

Lúnasa have long been recognised as one of the best Irish groups performing traditional music today and we’d been looking forward to this one very much. The bonus was the addition of Natalie Merchant as their special guest. I’ve been a fan for a long time and it was a great pleasure to see her in person. That voice! Take a listen.

She sang this one for us and Lúnasa transformed before our eyes into this amazing back up band. Imagine a version where instead of just guitars the harmonies are provided by a flute, an uillinn pipes, a fiddle, a guitar and a double bass. Magic.

Jim Turner’s ceramic pieces catch the eye at Anseo

We took a day to do the Art Trail. There’s a couple of large exhibitions including one curated by Catherine Hammond that Robert wrote about a couple of weeks ago. The other large show was called Anseo (on-shuh meaning ‘here’). Each artist was asked to write a statement addressing how he/she responds to living/being in West Cork and it was revelatory how different each one was – both the statement and the art.

Helen O’Keefe’s Neighbours – Long Island

But there were also hidden gems all over the place – in converted empty stores, in back rooms and unused office space. I enjoyed Sonia Bidwell’s quirky pieces constructed from fabric and found materials, upstairs in Lisheen’s House. Her Veronica is below.

School children had participated in a ‘City’ project where they explored design and architecture and built their own cities. It was fun and relevant and, in fact, mighty impressive what they had accomplished!

A local group of fabric artists, Wild Threads, had taken over a space near the supermarket to mount an exhibition of sea-themed work called ‘Littoral.’ As expressed in the program – ‘For some this means intimate vignettes of everyday views and for others it is the colourful explosions that Mother Nature throws at us.” It had never occurred to me that you can paint with fabric until I encountered the work of this group. It’s both a constraining and liberating medium, and the results were varied, imaginative and beautiful!

Piece by fabric artist Sam Healy

I can’t finish without a word on the poetry. While there were several events, the one that made the most impact on me was the launch of two new books by Pól Ó’Cólmáin and James Harpur. I’ve written about Pól before and used his poem in my post Pagan and Pure. This time it was a book, The Silence Unravelling, of Haiku and Tanka – just a few words to capture a moment, a feeling. I hope to use some of them in a future post – they’re brilliant. 

Pól Ó Colmáin – here not reciting his poetry but performing some of his songs

James Harpur is one of Ireland’s most distinguished poets. He’s a member of the Aosdána, an affiliation of artists whose election is based on a distinguished, creative and considerable body of work. He read from his new book The White Silhouette. Here is an extended quote from his Book Of Kells series of poems, this section dealing with Gerald of Wales, Geraldus Cambrensis, who comes to see the book.

Beauty is not so much a thing

as a moment, unrepeatable,

although the moment needs the thing

as a flame needs a wick

or images a page.

Or it’s a streak of lightning

connecting heaven to earth

whereby in a flash we breathe

the enormity of something Other

beyond our tiny grasping selves

and fill our lungs with it,

before the dark returns again.

The soul expands with beauty –

it cannot help itself; our task in life

is to prevent it shrinking back.

Janet Murren’s Creaky Stairs. I love her multi-layered atmospheric constructions

Coming Home

It may seem strange to commemorate ‘The Great Hunger’ – the Irish famine years of 1845 – 1849 – with an art exhibition. Yet, when we look back on that time, 170 years ago, the only possible reaction to the starvation, mass graves and wholesale emigration which happened within the boundaries of the great British Empire (and not too far from its capital) is raw emotion: it’s a subject that can’t be intellectualised. The 1.4m high work above, by bog oak sculptor Kieran Tuohy from County Galway, is an example of an emotional response: hands hold up a group of anonymous and vulnerable figures.

John Coll’s piece, Famine Funeral (above), is also evocative. The exhibition at Uillinn in Skibbereen opened on Thursday and attracted a large and excited crowd; since then, record numbers of visitors have come daily to the town’s iconic gallery. The work is all from Ireland’s Great Hunger Museum at Quinnipiac University in Connecticut, which has the largest collection of Great Hunger-related art, and will be shown here in West Cork until 13 October.

Skibbereen was one of Ireland’s worst affected towns during the famine years, which makes the visit of this exhibition entirely appropriate. It has shown that our gallery is able to display a collection such as this of the highest calibre, giving the community an asset unique in rural Ireland. All credit must go to the Director, the staff and the Board of the West Cork Arts Centre who have worked hard to raise funds and make all this possible. Also Cork County Council have to be commended for finishing off the flood relief works and the associated landscaping around the gallery in time for the opening: Uillinn now features a significant architectural setting in the town centre. The photographs above were taken outside and inside the building on opening night.

With some exceptions (Glenna Goodacre’s bronze – Famine – is one, above), I am only showing extracts from the works in this review. The whole exhibition is so powerful that it has to be seen in real life, so I’m hoping that these tasters will persuade you to visit.

The artist Micheal Farrell (1940 – 2000) is well represented in the Quinnipiac Museum and some of his works have come to Skibbereen, including the enormous Black ’47 (4.5m wide and 3m high) a detail of which is shown in the upper picture above, with a detail from The Wounded Wonder below it. The Irish Times described Farrell’s largest work:

. . . Farrell’s canvas seems to float on a wall by itself in the museum. It is the trial of Charles Trevelyan, the British official who was in charge of Famine relief. Trevelyan stands in a searchlight shaft, a hand on one hip, embodying the arrogance of empire. The prosecutor gestures towards Irish skeletons rising from an open grave, evidence against the man who called the Famine “the direct stroke of an all-wise Providence” and a “mechanism for reducing surplus population” . . .

Dorothy Cross – Basking Shark Curragh (a comment on the vulnerability of Irish coastal communities in famine times) with Micheal Farrell’s The Wounded Wonder and Kieran Tuohy’s Thank You to the Choctaw beyond.

Also extracts: the upper image is from a powerful bronze work – The Leave-Taking by Margaret Lyster Chamberlain – and the lower image is part of The Last Visit by Pádraic Reaney.

Lilian Lucy Davidson’s Gorta (upper image) and Hughie O’Donoghue’s On Our Knees (lower) are both powerful statements on hunger and our own attitudes to the problems of the contemporary world.

At the opening of Coming Home – Art and The Great Hunger – Cyril Thornton, Chairman of the West Cork Arts Centre made the following observations:

. . . We are formed by our memories, experiences, the voices of our ancestors carried through the ages that carry into the soul of who we are. When we refuse to listen to the voices of the past or learn from our ancestor’s achievements and mistakes we lose a piece of our soul.

In a world that appears to becoming more soulless and intolerant it is now more important than ever to shine a light on our past for another generation, not to blame or recriminate but to help them to shape a world where humanity will never accept that injustice, poverty or hunger can be imposed on those in need of support.

The memory of the death of over 1 million people and the subsequent emigration of another 1.5 million defines us as a nation. The bringing home of this exhibition in many ways is a cultural reconnection. Art in all its form captures emotions and feelings, this exhibition in so many ways captures the tragic emotion of An Gorta Mór – The Great Hunger . . .

Detail from William Oliver Williams The Irish Piper 1874. Although painted after the ravages of The Great Famine this picture is said to imply that, despite hardship, the joyful side of Irish life was always irrepressible . . . whatever the occasion there was music and dancing . . . Below – powerful juxtaposition: a Rowan Gillespie figure seen against West Cork artist William Crozier’s Rainbow’s End.

Seeking Calm Now

What a week it’s been in our part of West Cork! Only the gentlest of images will help to bring me back to earth – hence the somewhat random collection of photographs today, some taken along the Toormore Loop Trail or in my own garden.

Along the Toormore Loop Trail

The highlight of the week was the opening of Coming Home: Art and the Great Hunger – Robert has given you some sneak peaks into this incredible exhibition in his post. If you do nothing else in West Cork this summer, take in this experience.

Eyebright, along the trail

But that’s not all – we also attended the unveiling of the memorial to the 110 Skibbereen Girls, which I wrote about last week. Most movingly, the ceremony was attended by Judith Constable, the Great, Great Granddaughter (and her daughter) of one of those girls. This is a story of hope, of the bravery of those adventurous girls who accepted the passage to Australia and went on to have full lives in their adopted land. It reminds us that it is possible for individuals to transcend the wretchedness of their circumstances.

Above, Judith Constable – her Great Great Grandmother, Jean Leary, was pictured in my previous post on the occasion of her 50th wedding anniversary. Below, the commemmorative spoons, finally installed, and the block of Australian stone.

And on Saturday night there was the long-anticipated performance of Anáil na Beatha (Breath of Life) at the ruins of the Schull Workhouse. We found ourselves seated outside the former hospital on the Workhouse grounds, listening to the unearthly lament of a chorus of voices, chanting the names of places stricken by famine, and then walking silently in a torchlight (well, lightstick) procession through the place where so many had come to die. It felt cathartic, respectful, important.

There was a memorial for Seamus Hogan too this week. He was one of us blow-ins to Ballydehob, a poet and raconteur and he will be much missed. His portrait was one of Shay Hunston’s finest and is reproduced here from Shay’s Wild Atlantic People series. It’s in a shop window in Ballydehob, across from his favourite hangout, Ina Daly’s pub.

Photo courtesy of Shay Hunston

And in between we had the launch of the marvellous Skibbereen Arts Festival, which goes from strength to strength each year and which will keep us busy from July 27th to Aug 5th. The program includes many concerts, the world premier of the Asenath Nicholson play, poetry, art exhibitions, movie screenings, walking tours.

Finally, today, was the opening of the new Toormore Loop walk. I helped out by leading a wildflower walk around the small looped trail with a happy group of a dozen lovely people. The greatest reward – a mother telling me that even the kids enjoyed it!

I’m wiped! All this stimulation is wearing me out. I need to take up meditation so all together now. . . om. . .om. . .

Art and the Workhouse

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.

Installation underway

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.