DOCSLIB.ORG

I Am Ireland at Book-It Repertory Theatre

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
I Am Ireland at Book-It Repertory Theatre SEPTEMBER 2014 I AM OF IRELAND | PRIDE AND PREJUDICE | THE DOG OF THE SOUTH | LITTLE BEE | SLAUGHTERHOUSE-FIVE ES014 covers.indd 4 8/20/14 12:30 PM September 2014 Volume 11, No. 1 Paul Heppner Publisher Susan Peterson Design & Production Director Ana Alvira, Deb Choat, Robin Kessler, Kim Love Design and Production Artists Mike Hathaway Advertising Sales Director Marty Griswold, Seattle Sales Director Joey Chapman, Gwendolyn Fairbanks, Ann Manning, Lenore Waldron Seattle Area Account Executives Staci Hyatt, Marilyn Kallins, Tia Mignonne, Terri Reed San Francisco/Bay Area Account Executives Denise Wong Executive Sales Coordinator Jonathan Shipley Ad Services Coordinator www.encoreartsseattle.com seattlerep.org Paul Heppner 206-443-2222 Publisher Season The Great Society was developed, in part, with assistance Jack Willis in All the Way. Marty Griswold Sponsor from The Orchard Project, a program of The Exchange Photo by Jenny Graham. Associate Publisher Leah Baltus Editor-in-Chief SRT 080414 society 1_3s.pdf Dan Paulus Art Director CONCERT MONDAY, Jonathan Zwickel SELLS OUT Senior Editor QUICKLY, SO GET DECEMBER 1, Gemma Wilson YOUR TICKETS Associate Editor EARLY! 7:30 P.M., Amanda Manitach Visual Arts Editor MCCAW HALL, Amanda Townsend SEATTLE CENTER Events Coordinator www.cityartsonline.com Seattle Pacific University’s 15th annual Sacred Sounds of Christmas concert Paul Heppner features the acclaimed President SPU Concert Choir, Mike Hathaway Symphonic Wind Vice President Ensemble, Symphony Erin Johnston Orchestra, and other Communications Manager performing groups. Genay Genereux Accounting Tickets start at $16.50. Use “SPU” promo code. Corporate Office Group rates available. 425 North 85th Street Seattle, WA 98103 p 206.443.0445 f 206.443.1246 [email protected] For more information, 800.308.2898 x105 visit Ticketmaster or www.encoremediagroup.com spu.edu/sacredsounds. Encore Arts Programs is published monthly by Encore Media Group to serve musical and theatrical events in Western Washington and the San Francisco Bay Area. All rights reserved. ©2014 Encore Media Group. Reproduction without written permission is prohibited. 2 ENCORE STAGES ENCORE ARTS NEWS FROM CITY ARTS MAGAZINE Splendor in the Grass “Blood Ensemble’s process is really organic. The land is really what drove this produc- tion—someone would bring in an image or a scene and go to a part of the property and show the rest of the ensemble. This tree in particular was very inspiring. It reaches into the sky, protective but silent. The ability to walk toward a lit barn at sunset is an amazing asset. Why should theatre stay in theatres? As long as you have artists and an audience, you have a show.” —Emily Harvey, co-director of Blood Ensemble’s Barn Show, a site- specific theatre piece built around a 100-year-old barn in Marysville, Wash., and the (fictional) family that built it (seen here). The show spans a hundred years and several generations, from first loves to last breaths. SEE MORE PHOTOS AT cityartsonline.com/barnshow MIGUEL EDWARDS MIGUEL encoreartsseattle.com 3 CONTENTS SEPTEMBER 2014 I Am of Ireland: A Collection of Stories, Song, and Dance A1 Adapted and Directed by Stephanie Shine A-1 Welcome A-3 I Am of Ireland Credits A-8 Meet the Cast and Crew A-13 Thank You to Our Contributors A-16 Company Information I AM OF IRELAND | PRIDE AND PREJUDICE | THE DOG OF THE SOUTH | LITTLE BEE | SLAUGHTERHOUSE-FIVE ES014 covers.indd 4 8/20/14 12:30 PM ENCORE ARTS NEWS FROM CITY ARTS MAGAZINE THREE YEARS AGO, Phoenix native and Whitman College grad Ben Hunter, now 29, started Community Arts Create, a nonprofit that offers folk-music classes and a mural program and runs the Columbia City Art Walk, among other things. For years CAC operated without a home base, until seven months ago when Hunter and his volunteer cohort opened the Hillman City Collaboratory, a multi-purpose arts and co-working space on the corner of Rainier Ave. S and S Orcas St. Now a new arts hub is taking root there. LEAH BALTUS How did CAC start? It started with the Columbia City Art Walk, which provided this really good foundation for meeting people, for having the conversations that eventually led to where we are now. For example, Taste International, our culinary arts program, was a vendor for the Art Walk at first. How did you find your way to community work? I stumbled upon a job at the [arts education] nonprofit Arts in Motion about six years ago as a violin teacher. But not everybody wants to be a musician. For me, the idea isn’t to create an army of performing artists, but Keeping an army of artists generally. People who are imaginative and want to use their creativity for whatever they want to get into. How did you identify Columbia City as the place where you wanted to Tradition Alive work? When I first came to Columbia City for Arts in Motion, I remember walking around and everything was so different. I see black people—regularly. People of Fiddler, violinist and teacher color. And people say hi on the streets. The rest of Seattle is so different. Not just culturally—economically, development-wise. People in South Ben Hunter forges an arts hub Seattle need to own South Seattle. We need to build up this community the way this community wants to build it up and not at the hands of in South Seattle’s Hillman City. developers who have no intention to keep the cultural traditions alive in this neighborhood. PERRY SHANNON 4 ENCORE STAGES ENCORE ARTS NEWS What’s it’s like now that you have the 8000 25th Avenue NE • Seattle Collaboratory? www.universityprep.org This space has been a big step for us. In the Have you discovered your potential? seven months we’ve been open, I’ve developed University Prep is an independent school relationships with people on a whole new level serving grades six through twelve. because people can come in and just talk. It’s Our program takes students on a collaborative journey of learning in a diverse and inclusive been really enlightening. I can ask questions community. Our alumni span the globe, and listen to what people from all backgrounds fulfilling their dreams in professions that range have to say, what they see, what they’re hoping from chef, to professor, engineer, to see. A lot of people have ideas about what physicist, and musician... they want this place to become and a lot of Come visit University Prep and people want to talk about what once was. Discover the Puma in You! One of the first guys I met in this For information, call 206.523.6407 neighborhood, Joe, sweeps the sidewalk pretty much every day. He works at the mortuary down the street. He’s got an interesting perspective because he sees the kids that get shot and killed; he works on them. He’s lived here for a really long time and he’ll come in to get coffee. He’s a beautiful piano player. Northwest Art Alliance presents Fall 2014 Art and Fine Craft Show “A lot of people have ideas about what they want this place to become and a lot of people want to talk about what once was.” Back Street Bazaar just got started and it kicked ass. We had a 10-piece brass band, we had three chefs here cooking and giving out food. There was a guy who came who a lot of art by Dennis Brady people would probably consider a thug. He just saw this place, walked in and was like, this is A Two Act Show: cool. No one needs to know who I am or what I do. I can just come in here and be. On a Thursday or Friday night, I usually cook October 24 - 26 & November 14 - 16 some food and suggest a donation. It’s bring- your-own-beer, like a living room concert, which goes back to the whole idea of folk in the first place. We’ve done three months of installations Hangar 30 • Magnuson Park • nwartalliance.com in our art gallery. And there’s a community garden out back, too. How does your love of folk music connect to the Collaboratory? Benaroya Hall, the S. Mark Taper Folk music is a tradition. It’s this idea that you Foundation Auditorium pass down something from one generation to Benefiting Ballard NW the next or one family to the next. From some person to some other person, you’re telling a Senior Center & story. Maybe retelling exactly how it was told Senior Center of West Seattle to you, maybe reinterpreting that story and tickets: changing some of the storylines. America’s music and arts scenes lost that connection online at BenaroyaHall.org, by phone with the people before us and we’ve lost our 206.215.4747 or 1.866.833.4747 (toll free) responsibility to pass that down to the next in person at The Benaroya Hall Ticket Office at generation. There’re a lot of musicians and the corner of Third Avenue & Union Street, open there’s a lot of artists in our culture. Who are Mon-Fri, 10 a.m.-6 p.m.; Sat, 1 p.m.-6 p.m. they learning from and who are they teaching? Back Street Bazaar takes place the first Sunday of every month at the Collaboratory. encoreartsseattle.com 5 EAP 1_6 H template.indd 1 8/18/14 11:10 AM ad proofs.indd 1 8/15/14 1:35 PM ENCORE ARTS NEWS FROM CITY ARTS MAGAZINE WHO Eric Howk, the 32-year-old guitarist, music producer and partner at iconic Seattle businesses Never like the Crocodile, the Forge and Ghost Gallery.
Load more

Recommended publications
  • Challenging the People, the State and the Patriarchy in 1980S Irish Theatre
    Provided by the author(s) and NUI Galway in accordance with publisher policies. Please cite the published version when available. Title Provoking performance: challenging the people, the state and the patriarchy in 1980s Irish Theatre Author(s) O'Beirne, Patricia Publication Date 2018-08-28 Publisher NUI Galway Item record http://hdl.handle.net/10379/14942 Downloaded 2021-09-27T14:54:59Z Some rights reserved. For more information, please see the item record link above. Provoking Performance: Challenging the People, the State and the Patriarchy in 1980s Irish Theatre Candidate: Patricia O’Beirne Supervisor: Dr. Ian Walsh School: School of Humanities Discipline: Drama and Theatre Studies Institution: National University of Ireland, Galway Submission Date: August 2018 Summary of Contents: Provoking Performance: Challenging the People, the State and the Patriarchy in 1980s Irish Theatre This thesis offers new perspectives and knowledge to the discipline of Irish theatre studies and historiography and addresses an overlooked period of Irish theatre. It aims to investigate playwriting and theatre-making in the Republic of Ireland during the 1980s. Theatre’s response to failures of the Irish state, to the civil war in Northern Ireland, and to feminist and working-class concerns are explored in this thesis; it is as much an exploration of the 1980s as it is of plays and playwrights during the decade. As identified by a literature review, scholarly and critical attention during the 1980s was drawn towards Northern Ireland where playwrights were engaging directly with the conflict in Northern Ireland. This means that proportionally the work of many playwrights in the Republic remains unexamined and unpublished.
    [Show full text]
  • Goldie, Paul (2019) 'Finding' the Female Irish
    Goldie, Paul (2019) ‘Finding’ the Female Irish Catholic Diaspora: a qualitative investigation of the experiences of women in Glasgow. PhD thesis. http://theses.gla.ac.uk/81505/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten: Theses https://theses.gla.ac.uk/ [email protected] ‘Finding’ the Female Irish Catholic Diaspora: a qualitative investigation of the experiences of women in Glasgow Paul Goldie MSc Equality and Human Rights Masters in Social Research with Sociology Submitted in fulfilment of the requirements of the Degree of Doctor of Philosophy in Sociology School of Social and Political Sciences College of Social Sciences University of Glasgow February 2020 2 Abstract There has been much scholarly interest in the Irish Catholic Question in Scotland in recent years. The research which has been conducted has been undertaken largely by quantitative sociologists who seek to ascertain whether structural disadvantages still impact on the life-chances of Catholics in Scotland, with the category Catholic being deployed as a synonym for the Irish in Scotland. However, to date there has been little in the way of qualitative studies examining the actual experiences of people from an Irish Catholic heritage.
    [Show full text]
  • John Bull's Other Ireland
    John Bull’s Other Ireland: Manchester-Irish Identities and a Generation of Performance Item Type Thesis or dissertation Authors O'Sullivan, Brendan M. Citation O'Sullivan, B. M. (2017). John Bull’s Other Ireland: Manchester- Irish identities and a generation of performance (Doctoral dissertation). University of Chester, United Kingdom. Publisher University of Chester Download date 28/09/2021 05:41:52 Link to Item http://hdl.handle.net/10034/620650 John Bull’s Other Ireland Manchester-Irish Identities and a Generation of Performance Thesis submitted in accordance with the requirements of the University of Chester for the degree of Doctor of Philosophy by Brendan Michael O’Sullivan May 2017 Declaration The material being presented for examination is my own work and has not been submitted for an award of this, or any other HEI except in minor particulars which are explicitly noted in the body of the thesis. Where research pertaining to the thesis has been undertaken collaboratively, the nature of my individual contribution has been made explicit. ii Table of Contents Preface .......................................................................................................... 2 Locating Theory and Method in Performance Studies and Ethnography. .. 2 Chapter 1 ..................................................................................................... 12 Forgotten but not Gone ............................................................................ 12 Chapter 2 ....................................................................................................
    [Show full text]
  • Print This Article
    The Power of Song as the Voice of the People Margaret Bennett The Royal Conservatoire of Scotland, Scotland There are few political speeches that effectively match the power of a song in keeping alive issues of social justice or freedom. In the seventeenth century, Scottish politician Andrew Fletcher of Saltoun proclaimed: ‘If a man were permitted to make all the ballads, he need not care who should make the laws of a nation.’i As in Fletcher’s day, there is no telling if a song of protest will bring about change – nevertheless, it is still the most powerful tool to give voice to those with enough conviction to take a stand. Of equal importance, songs are our most harmonious and peaceful ‘weapons’, effective outside the context of conflict as well as on the picket line or demonstration. It was in the spirit of taking a stand that Festival 500 was ‘purposely conceived and initiated in response to the threat to Newfoundland’s culture by the enforced closure of the cod fishery in 1992.’ As every Newfoundlander knows, ‘[the cod] fishery was not only a mainstay of the province's economy, but the raison d'être for European settlement. In fact, it was the social and economic engine of our society. Its closure was a devastation to our society…’ And in ‘Newfoundland and Labrador, [singing] has historically been an integral part of community life – a way of celebrating, mourning, documenting events, telling the stories.’ In 1968, when I first arrived in Newfoundland as a student, I felt instantly at home to find that singing had a part in every occasion, be it in kitchen, the student common room, or anywhere else.
    [Show full text]
  • Irish Symbols – Transcription Lisa – Paddy
    Langues en pratiquess DocsDo authentiques ANGLAIS Irish symbols – Transcription Lisa – Paddy Lisa: Hey Paddy, you’ve got some Irish blood in you, right? Paddy: Yeah! Lisa: Maybe you can help me! I’m gonna have a Saint Patrick’s Day party at my apartment and I wanted to partie decorate it in an Irish theme. Do you have any ideas? re 1 Paddy: That sounds cool! You could use the traditional symbols of Ireland, that would be good! Lisa: What are the symbols of Ireland? Paddy: There’s quite a few! The harp is the official symbol of Ireland, which shows how important music is in its culture and traditions. It’s actually the only country in the world which has a musical instrument as its symbol. And legend has it it represents the harp of the old kings of Ireland. I’ve actually got a euro coin here. You can see it, it’s on there, it’s on the coins. Lisa: Oh yeah, that’s right! I hadn’t noticed! Paddy: So you could use that! Another symbol you could use is the shamrock, the three-leaf clover. Legend has it that Saint Patrick used that to explain the Holy Trinity, so the Father, the Son and the Holy Spirit. Lisa: Ok, why do I always hear people talking about four-leaf clovers? Paddy: Well, there’s the phrase ‘the luck of the Irish’ because four-leaf clovers are very rare and hard to find so if you find one it’s supposed to be good luck! Lisa: Oh, I get it, ok! I also wanted to hang up an Irish flag and decorate my apartment in like the colours of the flag but what does it look like? Paddy: It’s a vertical tricolor, green, white and orange.
    [Show full text]
  • TUNE BOOK Kingston Irish Slow Session
    Kingston Irish Slow Session TUNE BOOK Sponsored by The Harp of Tara Branch of the Association of Irish Musicians, Comhaltas Ceoltóirí Éireann (CCE) 2 CCE Harp of Tara Kingston Irish Slow Session Tunebook CCE KINGSTON, HARP OF TARA KINGSTON IRISH SLOW SESSION TUNE BOOK Permissions Permission was sought for the use of all tunes from Tune books. Special thanks for kind support and permission to use their tunes, to: Andre Kuntz (Fiddler’s Companion), Anthony (Sully) Sullivan, Bonnie Dawson, Brendan Taaffe. Brid Cranitch, Comhaltas Ceoltóirí Éireann, Dave Mallinson (Mally’s Traditional Music), Fiddler Magazine, Geraldine Cotter, L. E. McCullough, Lesl Harker, Matt Cranitch, Randy Miller and Jack Perron, Patrick Ourceau, Peter Cooper, Marcel Picard and Aralt Mac Giolla Chainnigh, Ramblinghouse.org, Walton’s Music. Credits: Robert MacDiarmid (tunes & typing; responsible for mistakes) David Vrooman (layout & design, tune proofing; PDF expert and all-around trouble-shooter and fixer) This tune book has been a collaborative effort, with many contributors: Brent Schneider, Brian Flynn, Karen Kimmet (Harp Circle), Judi Longstreet, Mary Kennedy, and Paul McAllister (proofing tunes, modes and chords) Eithne Dunbar (Brockville Irish Society), Michael Murphy, proofing Irish Language names) Denise Bowes (cover artwork), Alan MacDiarmid (Cover Design) Chris Matheson, Danny Doyle, Meghan Balow, Paul Gillespie, Sheila Menard, Ted Chew, and all of the past and present musicians of the Kingston Irish Slow Session. Publishing History Tunebook Revision 1.0, October 2013. Despite much proofing, possible typos and errors in melody lines, modes etc. Chords are suggested only, and cannot be taken as good until tried and tested. Revision 0.1 Proofing Rough Draft, June, 2010 / Revision 0.2, February 2012 / Revision 0.3 Final Draft, December 2012 Please report errors of any type to [email protected].
    [Show full text]
  • Code-Switching and Empowerment in the Macaronic Irish Lyric
    Code-switching and Empowerment in the Macaronic Irish Lyric Gerald Porter Department of English University of Vaasa Commençant avec la trouvaille de Jonsson (2005) que l’aiguillage d’une langue à l’autre (code- switching) ne nécessairement favorise pas la langue la plus forte socialemente, cette étude examine des chansons poly-macaroniques, ou aiguillantes entre plusieurs langues. Dans telles chansons l’une des langues est habituellement dominante, l’autre socialement subordonnée, et la troisième en quelque cas formalisée ou fixée, associée avec des codes rituels, politiques ou sacrés que surpassent les bords sociales et etniques. Cette espèce de chanson est très favorisée parmi les chansons nationalistes irlandaises, et cette étude suggère que leur fréquence est dialectique, sautante plus de la politique culturelle que d’un besoin à être compris. Keywords: macaronic, Irish rebel song, code-switching, empowerment 1 Code-switching and the macaronic song Macaronic songs, a term used to designate lyrics performed in two or more languages, are a well-established feature of the oral literature of Ireland. In this paper I consider a special development of the macaronic song in Ireland, what I have called the poly- macaronic lyric, where more languages than two are featured. Each of these additional languages, in this case Latin and French, has a specific cultural function in an Irish context, and I suggest that they act interrogatively, further undermining the aspiration of the occupying power to establish English as Ireland’s sole voice. As Brian Friel’s play Translations, first staged in 1980, shows, the history of the Irish language itself has been one of silenced voices, and the struggle for nationhood always linked closely with language, summed up in the Irish saying gan teanga gan tír “no language, no land” (Coughlan 2001: 216).
    [Show full text]
  • Irish Rebel Songs, Sectarianism, and Scotland's Offensive Behaviour Act Millar, Stephen R
    CORE Metadata, citation and similar papers at core.ac.uk Provided by ResearchOnline@GCU Let the people sing? Irish rebel songs, sectarianism, and Scotland's Offensive Behaviour Act Millar, Stephen R. Published in: Popular Music DOI: 10.1017/S0261143016000519 Publication date: 2016 Document Version Peer reviewed version Link to publication in ResearchOnline Citation for published version (Harvard): Millar, SR 2016, 'Let the people sing? Irish rebel songs, sectarianism, and Scotland's Offensive Behaviour Act', Popular Music, vol. 35, no. 3, pp. 297-319 . https://doi.org/10.1017/S0261143016000519 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. Take down policy If you believe that this document breaches copyright please view our takedown policy at https://edshare.gcu.ac.uk/id/eprint/5179 for details of how to contact us. Download date: 29. Apr. 2020 Let the people sing? Irish rebel songs, sectarianism, and Scotland’s Offensive Behaviour Act1 STEPHEN R. MILLAR School of History, Anthropology, Politics, and Philosophy, Queen’s University Belfast, Northern Ireland BT7 1NN, UK Email: [email protected] Abstract Irish rebel songs afford Scotland’s Irish diaspora a means to assert, experience, and perform their alterity free from the complexities of the Irish language. Yet this benign intent can be offset by how the music is perceived by elements of Scotland’s majority Protestant population. The Scottish Government’s Offensive Behaviour Act (2012) has been used to prosecute those singing Irish rebel songs and there is continuing debate as to how this alleged offence should be dealt with.
    [Show full text]
  • Efacis 2007 (18/10/07) 1
    EFACIS 2007 (18/10/07) 1 e-mail Afiliation Name Title of paper [email protected] Derry, Northern Ireland Aliaga Rodrigo, Esther Revisiting Northern Ireland's Recent Past: Shaping Identity in Glenn Patterson's Burning Your Own [email protected] U. of A Coruña Alonso Giraldez, José Miguel Women and Nation in Medbh McGuckian’s ‘The Currah Requires no Harbours’ [email protected] U. of Deusto-Eusko Altuna García de Salazar, New Multicultural Narratives in Ireland Jaurlaritza Asier [email protected] UNED Álvarez, María Antonia Meditación lírica de Seamus Heaney sobre las raíces históricas de Irlanda en su "Personal Helicon" [email protected] U. of Extremadura Amador Moreno, Carolina P. ‘Ye’re Irish, too, for I ken by yer talk’: The Irish English Speaker in New and Old Contexts [email protected] Turín U. Armellino, Elisa The Language of Time in Autobiographies: From the Past to the Future [email protected] Adam Mickiewicz U., Bartnik, Ryszard (Im)possibility of Escape – Dilemmas of Recent Poland Northern Irish Fiction [email protected] U. of Rennes 2 Bevant, Yann Gaeilge go bra? The Situation of the Irish Language Today in the Light of the 2002 and 2006 censuses [email protected] U. of Aarhus, Denmark Böss, Michael Neutrality as a Core Value of Post-nationalist Irish Identity [email protected] Goldsmiths, U. of Boyce, Brynhildur Vital Endurance in Samuel Beckett's All That Fall London scott.brewster1@btopenworl U. of Salford, UK Brewster, Scott Clio Unsettlement: Politics, Poetics and the Peace d.com Process [email protected] U.
    [Show full text]
  • 69632195.Pdf (899.8Kb)
    Sashes and Rosaries Scottish Sectarianism and the Old Firm Jon Magnus Løfgren Skeide Department of Archaeology, History, Cultural Studies and Religion (AHKR) University of Bergen Spring 2010 1 The picture on the frontpage shows the flags of Scotland and Great Britain, represented as the Union flag, the Red Hand of Ulster, representing Northern Ireland and the flag of the Republic of Ireland, the Irish tricolour 2 Preface First of all, I would like to thank all the informants who were willing to share their experiences, opinions and views on the subject of sectarianism in Scotland and Glasgow. I would also like to thank my sister and brother in-law who brought me into their home and provided valuable advice throughout my stay in Glasgow. Similarly, I would like to extend my gratitude to Professor Gerry Finn at the University of Strathclyde, who provided help and advice on how to navigate the vast amount of work that has been done in relation to the subject of Scottish sectarianism, anti- Catholicism and anti-Irishness. I would like to thank my parents, who has put up with me throughout my Masters degree. Also I would like to thank fellow student, Michael Hertzberg, who has not only provided stimulating conversation on the subject of religious conflict and advice on how to shape the thesis, but who has also helped me navigate some of the theoretical framework used in this thesis. Lastly, I would like to thank my supervisor Professor Lisbeth Mikaelsson who has provided invaluable advice and guidance throughout, and without whom this thesis would not have been possible.
    [Show full text]
  • The Irish War of Independence, 1919-21 Part 2 Senior Cycle Worksheets Contents
    Unit 7: The Irish War of Independence, 1919-21 Part 2 Senior Cycle Worksheets Contents Lesson 6 Women of the Irish Revolution 3 Documents S-U: The Role of Women 1919-21 4 Questions and Task 5 Docs S-U 7 Lessons 7-8 Reprisals and Republican Propaganda 9 Documents V-Y: Attacks on property by Crown Forces 10 Questions Docs U,V, W, X and Y 15 Documents Z-A3: Barry, MacSwiney and the Irish Bulletin 17 Questions and Task 6 Docs Z-A3 23 Resources for Secondary Schools republican women advertising and collecting for the Dáil Loan and participating in the Dáil’s boycott of the RIC. When Cumann na mBan played an important role as an republican funerals, executions, and hunger strikes auxiliary to the Irish Volunteers during the War of became more common in the second stage of the Independence. Less likely to be searched by po- War of Independence, Cumann na mBan frequently lice, female dispatch carriers transported messag- organised prayer vigils as a form of public protest. es from General Headquarters (GHQ) to regional At a time when the Crown forces aggressively dis- brigades and between Volunteer units. Postmis- persed civilian demonstrations, these vigils creat- tresses who were in Cumann na mBan played an ed a safe space to express messages of solidarity especially important role in interrupting com- and defiance. munications intended for the police and military, and by warning the local IRA of the Crown-forces’ As the conflict progressed, the authorities became plans. more aware of the extent of women’s involvement and they were more likely to be searched, arrested Cumann na mBan also assisted in the acquisition, and imprisoned.
    [Show full text]
  • Copyright by Kathryn Rebecca Van Winkle 2019
    Copyright by Kathryn Rebecca Van Winkle 2019 The Dissertation Committee for Kathryn Rebecca Van Winkle Certifies that this is the approved version of the following dissertation: “They shall be speaking forever”: Performing Revolution, Riot, and the Nation in the Centenary Commemorations of Ireland’s 1916 Rising Committee: Charlotte Canning, Supervisor Paul Bonin-Rodriguez Elizabeth Cullingford Rebecca Rossen “They shall be speaking forever”: Performing Revolution, Riot, and the Nation in the Centenary Commemorations of Ireland’s 1916 Rising by Kathryn Rebecca Van Winkle Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2019 Dedication In memory of Mark Hunter. And of Lyra McKee. Acknowledgements Making theatre is usually a collaborative act. To a collaborative artist, writing a dissertation about theatre can feel lonely, unmoored, adrift. But I have had incredible good fortune in researching and writing this work buoyed by my teachers, friends, and family. I am deeply grateful for their support, curiosity, and love. All the scholars who form my committee have provided crucial guidance throughout my coursework and my research. My advisor Charlotte Canning has met my assumptions with challenges, my failings with patience and compassion, and my writing with the insight and rigor of a magnificent scholar, and with the great good humor of a magnificent person. The rest of my committee helped round out the methodological concerns I brought to this project. Paul Bonin-Rodriguez’s perspective on performance practice and the relationships artists have with their governments and communities has been indispensible in my research.
    [Show full text]