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Athenry, Galway Galway County Council Public Art Programme Marilyn Gauhgan About the Project

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Athenry, Galway Galway County Council Public Art Programme Marilyn Gauhgan About the Project The Myler Fields A Public Art Commission by James L Hayes & The Residents of Gort Mhaoilir, Athenry, Galway Galway County Council Public Art Programme Marilyn Gauhgan About the Project Galway County Council Arts Officer The main focus of this project was to make an artwork work that centred on the residents, or the community in Gort Mhaoilir housing estate in Athenry. The central body of the work has taken the form of a performative and inclusive community ‘choir’ made up of a diverse range The Galway County Council Public Art Programme offers opportunities for artists to engage of participants from all age groups. After numerous weeks of rehearsals the Gort Mhaoilr with the County, making new work that responds to the context of the diverse and creative Residents choir performed on the central estate, in the green area, and this performance cultural landscape of the County. The Programme intends to create connections and was recorded, this recording forms the central piece/body of this public art project. collaboration between different areas of the council’s work and interconnection between art, artist, county and the public. The choir performs the song most associated or synonymous with their home and town land, The Fields of Athenry. The emphasis of the performance aims to investigate ideas related We were very fortunate to have James L Hayes work on this project, it was imaginative, fun to the misconception of this song and the strange and anachronistic time period it inhabits; and vibrant and it responded to it’s environment in a creative and meaningful way while it is a recently composed ballad that pertains, or is often assumed to be, from the mid maintaining a strong social engagement aspect. 19th century. As well as having an ambiguous temporality the song has also transcended its I hope that all who took part are proud of their achievements, a talented choir, a beautiful spatial references becoming an anthem of the sports terraces in Ireland and further afield. film, intricate sculptures and a fabulous publication. The community in Gort Mhaoilir should Furthermore, across the globe it has become a symbol of Irish identity. be extremely proud of what they have achieved in this project both socially and artistically. The Gort Mhaoilir Estate was recently built on the fields that occupy the periphery of the I think this project provided a sense of pride in the community and through the creative historic and medieval town of Athenry. This site seemed the ideal point at which to probe process the project became a focus for community to develop further and I would like to the ambiguities of this song, which is so layered in its resonances, its sense of place and think that lasting friendships have been forged through the process. I think that new skills, ideas about a unique Irish identity. I also wanted to situate this sense of ‘Irishness’ within new friends, new experiences will enrich life in the community for years to come, while the the context of multi-culturalism by engaging residents from diverse backgrounds who are project will have concluded, every family will receive a copy of this beautiful publication as intrinsically connected to the ‘fictional’ site of the song. It was hoped that the sense of part of the legacy of the project. place so strongly evoked by the song could be replicated by the residents in their coming I would like to express my thanks and gratitude to the Artist James L Hayes, whose vision, together to perform as a choir thus generating a sense of community within their new estate. expertise, artistic ability has made this project what it is. It was a truly remarkable project, An additional part of the project was to work with the younger members of the GME and delivered by a truly remarkable artist. It was a great pleasure to know him and to work with to install a small permanent sculpture trail that is composed of bronze casts/works made him. and manipulated by the younger members of the Gort Mhaoilr Community. These works are composed of casts of children hands, indexical drawings inscribed onto wax plates, and multiple casts of objects which the children donated and which act as tokens or traces of Marilyn Gaughan Reddan. their time spent in the community of Gort Mhaoilir. Finally just to add my sincerest thanks and kindest appreciation to all the great people of the GME and it goes without saying that this project would not have been a reality without their wonderful hard work, commitment and trust. I want to thank them all again for this great leap of faith with me and for always welcoming me so warmly and openly into their unique community. James L Hayes September 2014 1 2 Sarah Kelleher Independent art critic & curator responds to automatically guarantee a sense of community however; community ties and bonds are Gort Mhaoilir Public Art Project & The Myler Fields film work. built over time, from shared histories. How can an artist help to generate or jumpstart a sense of community among a disparate group of individuals who may have little link to the area in which they find themselves? As the public art commissioning group Situations put it, ‘community is rarely built out of geography, but rather out of common purpose.’ Gort Mhaoilir is a small, relatively new estate on the outskirts of Athenry. It consists of fifty For this commission, James L Hayes, primarily a sculptor and filmmaker, settled on the or so crisply modern houses, set around a well-kept green. We see it on a breezy day in idea of a choir, a powerful signifier for group effort and for community, and the song high summer, the bright sunlight translating into black and white film as strong contrast, Fields of Athenry would not be denied. Of course that’s what they should sing. They live deep shadow and blazing highlights. We see a high metal fence, one of those industrial in Athenry. ones that end in spear-like points bent back at an angle. Behind that is an un-mown ‘field’, more honestly a patch of waste ground, albeit blooming with some kind of spiky flowering Gorgeously shot, the film has the glamorous sheen of a top shelf perfume ad, and this grass. The camera dwells on the wind moving through this abundant, vigorous growth. high gloss production jars in a curious but satisfying way with the quotidian incidental On the neat green area, surrounded by houses, a small crowd is arranged in two arcing details that populate it – children on bikes, a dog ambling along behind the action, a kid lines, one positioned slightly behind the other. There are men and women, teenagers and on a scooter rubbernecking the goings-on. This ‘jarring’ quality is perhaps what is most tiny children, they are as mixed in ethnicity as they are in age. As one they break in to compelling about Hayes’ film. The Fields of Athenry is of course, intimately identified with song. They sing ‘The Fields of Athenry’. the town, although it was written by Pete St. John, a Dubliner. It is based on a fictional story, constructed of various mawkish clichés. There is no real connection between the Although lyrically, it’s a desperately maudlin song, it has been adopted by various sports song and Athenry, other than that it uses the town’s name. It’s a muddle of misconception clubs as a rousing terrace anthem, and has become something of shorthand for Irish-ness. and mis-information, and the ultimate cliché of kitschy cod-Irishness. The ambiguity of It can be heard around the world, in sports grounds or late at night, after a few pints. The the song becomes compelling when taken up by this newly formed choir, in this newly melody is undeniably anthemic – full of long sustained notes, as if composed specifically built estate, populated by what some commentators call the ‘new’ Irish. to be sung at volume, in a crowd. Its misconstrued as an old song, a traditional lament, marking the hardships of Irish peasant life during the Great Famine. But it was only written Community, identity and sense of place are nuanced, multi-layered, complex concepts. in the 1970’s. What on the surface might seem like a simple idea – an amateur choir singing a familiar song set in their home town, is actually a more loaded and, ultimately perhaps, more Back to the crowd on the green. Men and women, young and old, black and white, profound proposition. What does being Irish look like or mean now? What, if anything, all smiling in the sunshine, although some uncertainly. They are a choir, although not a can familiar tropes of identity and place offer new communities? Can an artwork really professional one. A certain restiveness is evident, particularly among the smaller children, aspire to engendering a sense of community? As an addition to the project, Hayes also who are visibly distracted by their companions, or by action going on off screen. The involved the younger residents of Gort Mhaoilir to help him design a sculpture trail of singing is characterized by its rawness – we can make out individual voices, some strong, small bronze plaques that will be installed around the estate. This more conventional some wavering, some hovering closer to the tune than others. A choir is a form of element throws into relief the potential for inclusive, participatory gestures such as the community in microcosm; a group of individuals coming together for a common purpose, Gort Mhaoilir Residents Choir. It is not a given that the choir will continue once this project and like this choir, the community of Gort Mhaoilir is relatively new.
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