Transforming research into art: the making and staging of My English Tongue,My Irish Heart,a research-based drama about the Irish in Britain

This article explores the use of research-based theatre as an alternative mode of research representation and audience engagement in the field of Irish migration studies. Although theatre-based methods of research inquiry and presentation have attracted growing academic interest in recent decades, there are few examples of research-based projects that originate in literary or historical research, and fewer still that have resulted in full-scale theatrical productions. My English Tongue, My Irish Heart is one such work, a play that purposefully seeks to expand the public reach of research outward from universities into the communities that were originally studied. The first part of the article outlines the play’s origins and development; the second explores the chief conceptual and artistic challenges that arose during its creation; and the third presents a critical evaluation of the play’s reception, drawing on audience feedback data collected during its month-long tour of Ireland and the UK in May 2015.     

The Darkest Corner: documenting institutional abuse and its consequences at the Abbey Theatre

Documentary theatre, as a theatrical genre, has not maintained a continuous presence in Irish theatre. The Darkest Corner series, produced in 2010 by the Abbey Theatre, Dublin, Ireland's National Theatre is, therefore, one of the first examples of Irish theatre using the genre to address political and social issues. Presenting three plays, Gerard Mannix Flynn's James X, Richard Johnson's The Evidence I Shall Give and Mary Raftery's No Escape, the series examines the widespread abuse of children in state institutions. Before analysing the documentary play commissioned by the Abbey, Raftery's No Escape, this article will begin with an exploration of documentary theatre in Ireland. It will then examine the material used for the play, the Ryan Report, published following the Commission to Inquire into Child Abuse, something of great political and social interest to contemporary Ireland and, finally, the play itself.     

Asylum seekers,Ireland, and the return of the repressed

Abstract

In 2014 residents in Direct Provision Centres for asylum seekers staged a series of protests. The protests, which coincided with the appointment of a new Minister for Justice who announced the Irish government’s plans to reform the asylum system, voiced three clear demands. Firstly, the protestors demanded that all asylum centres be closed; secondly, they demanded that all residents be given the right to remain and work in Ireland; and thirdly, they demanded an end to all deportations. The government’s response to these protests was to appoint a working group in October 2014, made up of representatives of migrant-support NGOs (but without any significant representation of asylum seekers themselves) while also announcing that it intends to reform rather than abolish the system.

Against this background, this paper makes three interlinked theoretical propositions. Firstly, I propose that just as the Irish state and society managed to ignore workhouses, mental health asylums, “mother and baby homes”, Magdalene laundries and industrial schools, they also “manage not to know” of the plight of asylum seekers, precisely because the Direct Provision system isolates asylum applicants, makes them dependent on bed and board and a small “residual income maintenance payment to cover personal requisites”, and makes it difficult for them to organise on a national level. “Managing not to know”, or disavowing, entails the erasure of the Direct Provision system from Ireland’s collective consciousness at a time when increasing emigration is returning to haunt Irish society after years of refusing to confront the pain of emigration. I argue that asylum seekers represent the return of Ireland’s repressed that confronts Irish people, themselves e/migrants par excellence. Secondly, I propose that by taking action and representing themselves, the residents of Direct Provision Centres can no longer be theorised as Agamben’s “bare life”, at the mercy of sovereign power, to whom everything is done and who are therefore not considered active agents in their own right. The third proposition responds to the theme of this special issue, that multiculturalism is “in crisis”, arguing in the conclusion that this “crisis” hardly applies to Ireland, where the brief flirtations with “interculturalism” by state, society but also Irish studies disavow race and racism in favour of a returning obsession with emigration, which enables the continued disavowal of the experiences of asylum seekers in Direct Provision.     

Historical duty,palimpsestic time and migration in the Decade of Centenaries

Abstract

This article analyses Sonya Kelly’s How to Keep an Alien (Dublin Tiger Fringe, 2014) and ANU Production’s Vardo (Dublin Theatre Festival, 2014) in relationship to the performative backdrop of the Irish Decade of Centenaries (2012–22) and a series of key extra-theatrical political events have that featured asylum seekers and migrants prominently in Ireland and to a limited extent in Europe at large from 2012 to 2015. Both theatrical productions centrally engage tropes of Irish national memory vis-à-vis engagement with migration through a primary focus on women’s stories and premiered against the backdrop of the Decade of Centenaries. How to Keep an Alien and Vardo’s embrace of what M. Jacqui Alexander terms “palimpsestic time” and their critical focus on gender during this moment of the Decade of Centenaries models a theatrical dramaturgy that aids in reading key theatrical and extra-theatrical events featuring asylum seekers and migrants against one another. These works reveal the relationship between these events and the ongoing redefinition of Irish national memory and political community, a process thrown into sharp relief by the present commemorative mode. They insist that a turn to the past is inseparable from querying the lived political structures of the present, structures that have repeatedly displaced as well as instrumentalised the bodies of migrant women from the post-inward migration of the mid-1990s onwards.     

When Druid went to jail: returned migrants,Irish prisoners,and Tom Murphy's Conversations on a Homecoming

Irish playwright Tom Murphy became Writer-in-Association with Druid Theatre of Galway, Ireland, in September 1983. The partnership began with Druid's production of Murphy's Famine (1968) in February 1984, and was followed by a lunchtime production of On the Outside (written in 1959 with Murphy's friend Noel O'Donoghue). Druid premiered Murphy's Bailegangaire (1985) in December 1985 and Conversations on a Homecoming in April 1985. Druid toured Conversations locally, nationally, and internationally for two and a half years. In February 1987, Druid presented the play at three Irish prisons. This article attempts to reveal how the prison audiences related to a play about a returned migrant; and to discover what prompted the professional company to perform in Irish prisons.     

‘Dark cognition’: W.B. Yeats,J.G. Herder and the imperfection of tradition

In this article I connect Revivalist politics in nineteenth-century Ireland to Enlightenment epistemology by exploring how the ideal of the Irish – or Celtic – folk tradition is embroiled in the problematic of theoretical modernity. I dispute Seamus Deane's ideological characterisation of the Irish tradition, emerging from his encounters with the work of Edmund Burke and Matthew Arnold, and propose an alternative characterisation using Johann Gottfried Herder's theories of the Volk and the origin of language. I show how, at a crucial point in European history, the folk tradition modelled a view of cognition and modernity, which stood apart from analytic rationalism and based itself upon a positive evaluation of the obscurity of sensation. Finally, I read this literary-aesthetic model of what Herder called ‘dark’ cognition into Yeats's early folkloric works of the 1890s, especially The Celtic Twilight; and I make the argument that this often-neglected text does not represent a degeneration of folkloric integrity into Celtic mysticism but a comedic trait of folk modernity.     

Austerity and consociational government in Northern Ireland

Abstract

This article examines the institutional crisis of the Northern Ireland Assembly in 2015 as a case study on the impact of austerity on multiculturalism in Ireland. I make a case for viewing the Assembly as a multicultural institution through pointing to the historical role of community relations policy, which was directed at reconciling “sectarian” Irish nationalists and Ulster unionists. It did so through shifting from an understanding of the conflict as one based on the struggle for Irish national self-determination to one based on conflicting identities. I argue that Sinn Féin’s embracing of multiculturalism is a product of its accommodation to British rule in Ireland. Sinn Féin has made a virtue out of its political volte-face by becoming the strongest advocate of ethnic Irish nationalism in Northern Ireland. The ethnic power politics of Sinn Féin has found its unionist equivalent in the political manoeuvrings of the Democratic Unionist Party. Austerity measures imposed by the Westminster government have created problems for the parties in the power-sharing Assembly, problems that threaten the collapse of the Assembly. It is because of, rather than in spite of, the multicultural mechanisms embedded in the Assembly that the institution has got to crisis point. This is an institutional crisis, not a crisis of multiculturalism.     

Identity predicaments and the music metaphor in contemporary Irish fiction

Abstract

Ever since Jimmy Rabbitte proffered his oft-quoted “niggers of Europe” line in Roddy Doyle’s The Commitments (1987), contemporary Irish culture, especially during the boom years, was characterised by an insistent revisiting of popular music as a metaphor for interracial and/or intercultural connection or understanding. Cross-cultural identification through music may be seen, in Werner Sollors’s memorable terms, as an eschewing of “descent” relations in favour of “consensual” relations. This essay revisits the music metaphor as it has manifested itself in Irish fiction since it was announced officially that Ireland had entered recession in 2008. Specifically, it explores Kevin Curran’s Beatsploitation (2012) and Joseph O’Connor’s The Thrill of It All (2014) arguing that, through their deployment of the music metaphor, the novels stage the murky politics of contemporary Irish iterations of consent and descent. By exposing the extent to which the rhetoric of Irish economic recovery is yoked to paradoxical invocations of volitional and ancestral Irishness, the novels urge their readers to consider the ways in which discourses of economic recovery work to reinforce and perpetuate patterns of exclusion and marginalisation established during the Celtic Tiger years.     

Patrick O’Farrell and the Irish History Wars, 1971–1993

While Patrick O’Farrell's achievements as an historian of the Irish and of Catholicism in Australia are well recognised, little attention has been paid to his significance as an historian of Ireland. This article takes his two major Irish monographs, published in 1971 and 1975, and considers how they influenced leading Irish political historians of the 1970s and 1980s. In doing so, the article examines the crisis created for historians by the Northern Ireland Troubles. It demonstrates that the work of O’Farrell, which called into question the primacy of politics and of the nation state, helped open up new avenues for the analysis of Irish culture and identity. Yet, at the same time, such an approach challenged the republican reading of Irish history as a struggle against colonialism, and thus O’Farrell's work attracted severe criticism.     

Territory,geoeconomics and power politics: The Irish government's framing of Brexit

The decision of the UK to withdraw from the EU's political and legal structures can be understood as a form of regional dis-integration. This had the potential to revive territorial power politics and geo-economic rivalry within Europe. In particular, it implied a major change to the status quo on the island of Ireland, where the existing border had been rendered invisible, partly due to European integration.This paper analyses how the Irish government framed this as a threat and how it was able to set the agenda in the crucial phase 1 of the negotiations. It applies a content analysis and a qualitative framing analysis to study how the government framed issues of territory and power in its language on Brexit . It considers in particular how it enacts different discourses of liberal internationalism, nationalism and Europeanism with reference to the multi-scalar power dynamics of Brexit.The Irish reaction was not to echo the nationalism and populism reverberating throughout Europe. Rather it asserted its place as an EU member and aligned itself with EU discourse and interests to protect the all-Island socio-economic space. Its eventual proposal to keep Northern Ireland aligned with the EU customs union and single market was politically controversial. It stressed that this was not a national territorial claim but if anything a transnational territorial claim (‘claiming’ Northern Ireland as a part of the integrated pan-European space). However as the negotiations developed the dispute took on some of the forms of a classic territorial dispute. Within a year Irish-UK relations had been transformed.     

Immigration,the Celtic Tiger and the economic crisis

Abstract

This article addresses the puzzle of why Ireland has proved so open to immigration. It compares responses to immigrants in the Republic of Ireland during the Celtic Tiger era and during the post-2008 economic crisis and finds no evidence of a political backlash during the latter period even though opinion polls suggest that opposition to immigration had increased and other evidence suggested that there had been an increase in racist incidents within Irish society. Nor did the resumption of large-scale emigration trigger political hostility to immigrants. The outcome of the 2004 Referendum on Citizenship, which removed a constitutional right to Irish citizenship to the Irish-born children of immigrants, suggested that that nationalism still matters hugely and a latent tendency towards ethnic chauvinism amongst the host population. Yet, a decade after the 2004 Referendum it looked as if the old mono-ethnic sense conception of the Irish nation had been disrupted, at least a little bit.     

The Last September: Irish modernism,narrative deferral,historicist determinism

This article questions the idea that Irish literary modernism is defined by Irish postcoloniality. The continued influence of historicist approaches in literary studies have inspired an understanding of Irish modernism as determined by material base. An oversight of such approaches, however, is that much of the respective fiction which constitutes Irish modernism resists representing the cultural circumstances from which it emerges. Particular to this predicament is Elizabeth Bowen’s The Last September given that it is the novel which is often read as representing Ireland’s transition from colonial to postcolonial status. Through an analysis of its fractured, and thus typically modernist, narrative strategy, this article argues that colonial history is an absent presence which lacks constitutive meaning in this fiction, and thus suggests that Irish literary modernism does not neatly correspond to or reflect the story of Irish monumental history.     

“Celticism,ballad transmission,and the schizoid voice: Ossianic fragments in Owenson,Yeats, Joyce,and Beckett”

ABSTRACT

This essay surveys responses to Macpherson’s Ossian in Irish literature, alongside analysis of the development of literary Celticism. Despite being a key text behind the development of Celticism in Irish writing, Ossian is consciously rejected in Irish Romanticism and in the Celtic Revival. However, Ossian becomes a symbol of literary recycling and mental fragmentation in Irish Modernism. Texts studied in this essay include Owenson’s The Wild Irish Girl, Joyce’s Finnegans Wake, and Beckett’s Murphy.     

Republican Political Theory and Irish Nationalism

Republicanism has enjoyed something of a revival in recent times among political theorists. This article examines the way in which republican strains of democratic political philosophy impacted political thinkers and leaders in the case of modern Ireland. Although the Republic of Ireland was officially established in 1949, the question of its origins was a source of contention throughout the first part of the twentieth century. I argue that the intellectual origins of Irish republicanism lay in the impact of French revolutionary thought on Irish nationalist leaders in the 1790s, and then trace these republican ideas through the public debates and tracts that marked the major stages in the development of the Irish Republic. In particular, I focus on the principles informing the 1916 Declaration of the Provisional Government of the Irish Republic, as well as the central arguments employed in the debates surrounding the Anglo-Irish Treaty of 1921 and the Republic of Ireland Act of 1948. My aim is to demonstrate that republican ideas affected nationalism to such an extent that in Ireland republicanism and nationalism became, and in some respects still are, practically synonymous.     

“Boys indifferent to the manly sports of their race”: nationalism and children’s sport in Ireland, 1880–1920

ABSTRACT

The late nineteenth century saw Irish children being exposed to formal sport in an unprecedented fashion. This era coincided with Ireland’s so-called Gaelic Revival and the emergence of a virulent nationalism that helped fuel the Irish Revolutionary period which followed. Yet little research has been conducted on how nationalists used sport in their efforts to entice children into their campaigns for Ireland’s cultural and political independence. This study examines the part which sport, particularly Gaelic games, played in attempts to inspire devotion to the ideal of an Irish-Ireland among the nation’s children. It explores the efforts to promote native sports as the games of choice for children across the school grounds and playing fields of Ireland and the influence of nationalist media propaganda in this endeavour. Finally, it considers the role of sport in the training and physical culture of an array of Irish youth movements which arose at this time.     

Stand(ing) up for the immigrants: the work of comedian Des Bishop

This article examines the work of white Irish American stand-up comedian Des Bishop in the context of Ireland's changing demographics. In particular, it situates Bishop within current and controversial debates on ‘undocumented Irish’ in the USA versus ‘illegal immigrants’ to Ireland, debates in which Bishop himself has explicitly intervened. A New York native who has been living in Ireland since the age of fourteen, Bishop's comedy draws upon the convention of the US stand-up as ‘ethnic’ outsider who exposes the foibles of the dominant mainstream, while he also self-consciously asserts his comic persona within the ‘returned Yank’ tradition in Irish American culture. In an increasingly multicultural Ireland, I contend that Bishop has established himself as a mediating figure between white (read: desirable) and non-white (read: undesirable) immigrants to Ireland, a strategy which, I argue, must be approached with caution.     

Writing from the margins: Marina Carr's early theatre

This article analyses Marina Carr's first four plays: Low in the Dark (1989), The Deer's Surrender (1990), This Love Thing (1991) and Ullaloo (1991). It aims to show how Carr seeks to eschew the mimetic conventions of what can be seen as a dominant, patriarchal theatre establishment, marking (and possibly maintaining) her marginal position as a theatre-maker at the time. I argue that Carr, at this point in her career, was engaged in distinctly feminist theatre practices. Materialist feminist discourse provides a useful framework for understanding what the emergent dramatist was trying to achieve and the meaningful possibilities of her work. A study of this phase of Carr's career, encompassing all four works preceding The Mai, has not been offered in research on the dramatist to date. In addition to expanding the history of feminist theatre practice in Ireland, it promotes an enriched understanding of Carr's theatre as a whole.     

The religious geography of Marvell’s “An Horatian Ode”: popery,presbytery, and parti-coloured picts

ABSTRACT

Marvell’s “Ode” (1650) is an English poem about a British problem – a problem further problematized by religion. The “Ode” lauds Cromwell’s Irish and Scottish campaigns, but English responses to these “colonial” wars were in reality complicated by protestant infighting among presbyterians, independents, and sectarians. Writers like Milton and Nedham rallied English support for Cromwell’s Irish campaign by recycling Spenserian stereotypes of Irish catholic barbarity. But Milton and Nedham also undercut English protestant unity by flinging these same anti-catholic stereotypes at Scottish presbyterians in Belfast and Edinburgh. Departing from previous studies, this article argues that Marvell’s “Ode” eschews Milton and Nedham’s anti-Presbyterianism in ways calculated to elide, rather than divide, protestant communities. The article explores how the “Ode” presents Cromwell’s Irish and Scottish campaigns as exclusively anti-catholic (rather than anti-presbyterian) crusades, comparing Marvell’s presentation of Cromwell in the “Ode” with his identification of Cromwell as an anti-catholic crusader in “First Anniversary” (1655). Both poems anticipate in this respect Marvell’s later anti-catholic, but pro-nonconformist, approach to Ireland in Rehearsal transpros’d (1672–1673). The article is therefore concerned to root Marvell’s post-Restoration commitment to protestant tolerationism within the anti-catholic language of the “Ode”.     

Translocational Irish identities in Edna O’Brien’s memoir Country Girl (2012)

A rural-urban exodus subsequently followed by overseas migration has characterised geographical movement in Ireland. While Irish women have outnumbered men in their diaspora, physical and symbolic identification with Ireland has been decisive to the polemic of Irish female migration. This article explores how real and symbolic contradictions in Irish women experiencing displacement are reflected in Edna O’Brien’s memoir Country Girl (2012). Using translocational positionality as an intersectional research framework, the article reveals the importance of spatiality in the ‘life writings’ of a particular situational subject and its major role in identity construction processes. Furthermore, this article relates the individual biography to the collective and complex construction of identity of Irish women abroad in the second half of the twentieth century. The analysis sheds light on many unvoiced experiences shared by female migrants and discloses key aspects of Irish migration that result in a problematic gendered relation with the land still unresolved.