Dublin Political History Tours Facebook page reminds us of the 20th September anniversary of the public execution on of “Bold Robert Emmet, the darling of Erin”, leader of the unsuccessful Republican insurrection in Dublin on 23rd July 1803.
Coloured drawing: The executioner holds up Robert Emmet’s head to the crowd, sections of which demonstrate their repugnance of the act and are repressed English soldiers on horseback. (Sourced: Internet)
I reproduce the Dublin Political History Tours text (reformatted for R. Breeze):
On Saturday we passed by the anniversary of the execution by the English occupation forces of Robert Emmet, United Irishman. Emmet had been condemned to death for planning an insurrection for Irish self-determination which the English Occupation called ‘treason’.
Leaving behind in Kilmainham Gaol his comrade Anne Devlin, who had endured torture and death of family members without giving the authorities any information, Emmet was taken to the front of St. Catherine’s Church.2
(This building is) on Thomas Street in Dublin’s Liberties area on the west side of the city centre. The site chosen was sending a message to the populace of the area that had nationalist and republican sympathies.
There, in front of a huge crowd and many soldiers, Emmet was hanged and then beheaded, the executioner holding up the dripping head to the crowd. His body was later returned to the Gaol before being later buried in Bully’s Acres in the grounds of the Royal Hospital Kilmainham.
Emmet’s corpse was later disinterred in secret and reburied elsewhere by friends or family and, despite a number of sites being speculated, its current location is unknown.
There is a monument to the execution inside the grounds of the St. Catherine’s building and a stone plaque on the wall outside it.
The monument inside the ground at the front of St. Catherine’s Church, Thomas Street, Dublin. (Source: Kilmainham Tales)
Robert Emmet was very popular in Ireland at the time and his memory is still. A statue in his honour stands in Dublin’s Stephens Green, a replica of another two at locations in the United States.
Anne Devlin endured three years in Kilmainham Gaol and according to Richard Madden (1798 – 5 February 1886), chronicler of the United Irishmen who sought her out, was followed everywhere in public by police.
(who were) observing anyone who she spoke to, as a result of which many were afraid to speak to her. Her body lies in Glasnevin Cemetery.
“Bold Robert Emmet” is a traditional ballad in the martyr’s honour and “Anne Devlin” also has a much more recent song in hers by Pete St.John.
(quoted passages end)
In the 1916 Proclamation of Independence, “the right of the people of Ireland to the ownership of Ireland” is proclaimed and that “six times in the past 300 years they have asserted it in arms”, probably referring to insurrections of 1641, 1689, 1798, 1803, 1848 and 1867.3
Historians have mostly dismissed the 1803 uprising as never likely to succeed but a minority have rated the preparations highly, including the innovations of signal rockets and folding pike handle for concealed personal carrying.
RH Madden, the first historian of the United Irishmen was of the opinion that the insurrection attempt was engineered by the English Occupation’s administration in Dublin Castle in order to justify continued repression of Irish republicanism and to eliminate some leaders.
Generally historians have tended not to give much credence to Madden on that issue but it is certain that the Occupation had a network of spies in operation in Ireland and that some had penetrated Emmet’s conspiracy.
Emmet on the scaffold with St. Catherine’s Church behind, the executioner beside him, the crowd in the street and many English soldiers, on foot and on horseback. The illustration was employed by Dublin Political History Tours but easily sourced on the Internet.
However it is not for the manner of the 1803 insurrection that Emmett has been fondly remembered in Ireland to this day 123 years later – and abroad for decades after his death4 – but for the calm manner in which he faced his enemies, including his executioner and for his eloquence at his trial.
Past insurrections contain lessons for us today and a serious evaluation should be attempted, perhaps with a number of submissions from historians of different opinions on the matter, to deal with questions around Emmet’s return from France and the planning of the insurrection in Ireland,.
For us today however, whether Republicans or more generally anti-colonialists and anti-imperialists, it is also necessary to revere the memory of revolutionary action for a democratic Irish Republican and to uphold his and Anne Devlin’s spirit of defiance in resistance.
End.
Note: If you found this article of interest, why not register with Rebel Breeze for free, so that you will be notified by email of subsequent articles. You can de-register any time you wish.
Statue monument of Robert Emmet in Washington DC, a copy of which stands in St. Stephens Green, looking across the road to his erstwhile homeand other copies stand in Emmetsburg, Iowa and Golden Gate Park, San Francisco, California.Those in the USA were all cast by the artist Jerome Connor between 1916 and 1919. (Photo sourced: Internet)Statue monument in Rathfarnham dedicated to Anne Devlin from Wicklow, a member of the United Irishmen conspiracy, tortured and jailed but never gave her captors any information. Sculptor: Clodagh Emoe(Gracies, Maria, for bringing this to my attention).
FOOTNOTES
1From Emmet’s famous speech from the dock of the courthouse in Green Street that not until then should his epitaph be written. I have no doubt that Emmet meant “nation-states of the world” because Ireland was in his time more than what we would understand today from the vague term of “country” – it was clearly, though under foreign occupation, already a nation with its own unique culture and a long history. She has yet to take that place to which Emmet referred and aspired for her.
2Note that was the Anglican St. Catherine’s Church, as a Catholic St. Catherine’s is also located not far away on Meath St. The Anglican church was closed in the 1960s but later reopened and reconsecrated as an Anglican Church. The interior seems very untypical of Anglican churches. Emmet was raised in the Anglican faith.
3Believed to refer to, in sequence: the Irish and Norman Irish clans in the Confederation’s uprising, the Williamite War’s, United Irishmen’s, Robert Emmets’, Young Irelanders’, the Fenians’. Coincidentally, the large monument to uprisings in Ireland erected by the National Graves Association in the St. Paul’s section of Glasnevin Cemetery also includes only six dates but they are of Republican risings only, beginning with 1798 and ending with 1916.
4I read somewhere that even in England Radicals would read Emmet’s speech as a high point of their events including formal dinners.
An Irish punk rock band, Mongolian throat-singers, a poet and Irish folk singers all performed at Solidarity Sessions No.2 to a good crowd in the International Bar, in in Dublin City centre Wicklow Street on Wednesday 17th..
An Irish and international resistance theme in decor was presented by flags of the Starry Plough and Palestine with Saoirse don Phalaistín as stage backdrop, while flags respectively of Cumann na mBan and Basque Antifa concealed the original decor’s ubiquitous photos of Michael Collins.
Flesh B. Bugged performing (Photo: Dermo Photography)
A PFLP1 flag was also taped to a wall. Hand-written signs on the stairs leading to the basement venue, alternatively in Irish and in English, asked for quiet/ ciúnas for the performance/ racaireacht. The Irish language was present too in some of the performances to follow.
MC for the night, Jimi Cullen, himself a singer-songwriter activist told the crowd the purpose of the organising collective was “to build a community of resistance and solidarity with our struggles and with struggles around the world” through culture in a social atmosphere.
Before the crowd — a flag temporarily changing the decor. (Photo: R. Breeze)
Themes of love, nature and emigration were covered in song; however the dominant theme was resistance – to prison regimes, foreign occupation, fascism, class oppression, racial discrimination – and solidarity with the struggles of others, near and far.
Diarmuid Breatnach, singing acapella kicked off the night with a selection of songs from the Irish resistance tradition and a couple of short ones from the USA civil rights movement. Some of the melodies however, of particular interest perhaps to Back Home in Derry2, were his own originals.
Eoghan Ó Loingsigh, accompanying himself on guitar followed with more material from the same tradition, dedicating one to his late IRA father. A folk song Ó Loingsigh announced as ‘non-political’ performed acapella turned out to be very much political but on the issue of social class.
Áine Hayden followed with poems on a range of topics, from swimming in the Royal Canal during the Covid shut-down, deleting a personal relationship to a dedication to comedian and activist Mahmoud Sharab murdered with family in a “safe zone” tent by the Israeli Occupation Force.
Eoghan Ó Loingsigh performing (Photo: Dermo Photography)
The three performers were all introduced as activists as well as artists and the mostly-young crowd, apparently containing a strong representation of political and social activists, responded well to the performers with applause, yells of encouragement and often joining in on choruses.
More people arrived before, during and even after the break – including an elderly couple who had just arrived from the USA and could only pay in dollars but were admitted for free. Leaving later with thanks they promised a contribution to Palestine solidarity when they got home.
Before the crowd — a Cumann na mBan flag temporarily changing the decor. (Photo: Dermo Photography)
Also an activist, Ru O’Shea sang an Irish, Scottish, French and Italian selection, accompanied by bouzouki and guitar and performed a spoken word piece with a refrain of ‘Éire under attack’ before schooling the audience to sing the chorus of Robbie Burns’ Green Grow the Rushes Oh!
Áine Hayden performing (Photo: Dermo Photography)
Nomads were the next act. Composed of two Mongolian musicians playing violins in the style of the viola and a Dubliner modulating on a sound deck they were unusual enough but it was the amazing throat-singing of one of the Mongolians that had the audience enthralled.
It was amazing to learn that there are three different kinds of Mongolian throat-singing and then to hear them performed, one of which was a kind of whistling with a vibrating bass undertone wavering through it. The applause, particularly when they concluded, was rapturous and sustained.
Before the crowd — flags temporarily changing the decor. (Photo: R. Breeze)Ru O’Shea performing (Photo: Dermo Photography)
The evening’s entertainment concluded with Flesh B. Bugged, a punk rock Irish duo of bass guitar and drums with spoken voice pieces in Irish from the bass guitar player. Their volume and beat got some of the crowd up and dancing and the wider crowd responded well to them too.
MC Jimi Cullen went up on stage for the last time to thank venue, performers, audience, doorkeepers, poster designers Ríona and Azzy O’Connor, also Diarmuid for original artwork. At a prompt from the crowd Cullen also got a round of applause from the audience for his MCing.
The Mongolian musicians of Nomads performing (Photo: D.Breatnach)
Remarking they’d “had a great night” and encouraging his listeners to follow the organising collective on its Instagram page, Cullen told them that details of Solidarity Sessions No.3 and the collective’s decisions on recipients of donations from money raised would be posted on there.
Diarmuid Breatnach told the audience that each individual could help build a community of resistance through attending the Solidarity Sessions and encouraging others to attend. He welcomed any ‘competion’ from solidarity sessions around the country.
Bass guitarist of Flesh B. Bugged (Photo: Dermo Photography)
The downstairs area of the International Bar is not perhaps the best layout for this kind of event but it worked out well enough for the collective, audience and performers on the night. Their next event will be back at their launch venue,The Cobblestone, Smithfield on Thursday 30th October.
End.
Note: If you found this article of interest, why not register with Rebel Breeze for free, so that you will be notified by email of subsequent articles. You can de-register any time you wish.
The Mongolian throat-singer in Nomads (Photo: Dermo Photography)
FOOTNOTES
1People’s Front for the Liberation of Palestine, one of two specifically secular armed resistance organisations in Palestine.
2Irish mega folk singer Christy Moore had organised Bobby Sands’ poem into song to the melody of The Wreck of the Edmund Fitzgerald by Gordon Lightfoot.
Your Breaking News edition of 4 September 2025 featured a news item about a freak snail, with a left-spiralling shell, for which a freak mate was being sought.
This was disgusting use of public media light-heartedly flaunting disregard for Christian morality.
Ireland is a Christian country and public reference to the sexual act in general is bad enough but writing about snails and their sexual acts is much, much worse.
Quite apart from left-spiralling shells, snails are already freaks. It is well known that snails are hermaphrodite, that is they carry both male and female sexual organs and when one wishes to mate with another, apparently one decides whether to act the male while the other decides to act the female.
This is clearly unnatural and against God’s Plan, who created every animal as functioning male or female and the same with human beings. Snails in fact, apart from being a pest in the garden are clearly one part of Satan’s spawn. They are an abomination.
That any snail, whether with a right or a left-spiralling shell should fail to find a mate is a good thing and your publication should not be encouraging people to find it a partner. Your newspaper could be considered to be in effect pimping for it.
Publications of stories about snails and their sexual habits can only encourage the latest trend in human deviation known as ‘trans’ where some people choose to consider themselves and to be considered as a gender other than that with which they were born. This too is an abomination.
Please return to God’s plan and cease printing such dangerous and disgusting reports.
Sincerely,
A Sinestra variant (left-spiralling) snail, Cepaea Nemoralis photographed in Galicia, Spanish state. (Photo cred: Raymond JC Cannon)
The Oasis rock band are performing on 16 and 17 August in Croke Park, the Gaelic sports stadium in Dublin, to a sold out capacity of 82,300. Brothers Liam and Noel Gallagher are the two leading members of the band.
Oasis-marked t-shirts and caps are being sold from stalls in the city and posters announcing the forthcoming concerts adorned shop windows and lampposts but how many fans know the Gallaghers’ background?
Liam and Noel Gallagher of Oasis (Source imag: Internet)
Liam and Noel were born in Manchester to Irish migrant parents but their mother Peggy split from her abusive husband and moved elsewhere in Manchester, taking the kids with her. Liam dedicated Stand by Me to her on Saturday night and gave a shout-out to her her birthplace in Co. Mayo.1
Ireland fed the British ‘industrial revolution’ and the Irish have a long association with Manchester. In 1845 the city’s factories were already attracting Irish workers and its farms probably also agricultural workers to replace English labourers deserting the farms for the factories.
Friedrich Engels wrote The Condition of the Working Class in England,2 published in 1845 (the first year of the Great Hunger) and mentioned the Irish migrants not too favourably. He was writing mostly about Salford, the subject of Ewan McColl’s Dirty Old Town,3 just outside the city then.
By the time Engels’ book was published, the Great Starvation was gearing up. Uncomplimentary references to the Jews can also be found in that work but whatever about that ethnic minority,4 Engels changed his mind radically about the Irish in Britain and came to admire them greatly.
Instrumental in learning about the Irish for Engels were two Irish sisters living in Manchester, Lizzie and Mary Burns, illiterate but intelligent and militant mill workers. Mary and Friedrich became life partners and, after her death, Friedrich became Lizzie’s partner thereafter.
The Irish, as the natives and diaspora of what is often referred to as “England’s first colony” were of considerable interest to the revolutionary partnership of Engels and Karl Marx and more so still as the Fenian movement, the Irish Republican Brotherhood, spread throughout Britain.5
Karl Marx and Frederick Engels, leading theoreticians and activists of the revolutionary socialist movement. (Source: Workers Liberty)
A largely proletarian movement, the Fenians were admitted to the First International Workingmen’s Association6; no doubt the Irish struggle against British domination greatly influenced the political opinions of Marx and Engels in relation to nations under colonialist rule by capitalist states.
The struggle spilled over from Ireland into the Irish diaspora, particularly that in North America, Australia and Britain. In Australia the Fenians’ role seems to have been mostly in facilitating and escaping British jails there7 while in America, they invaded the British colony of Canada.8
The charge of the Fenians (wearing green uniforms) under Colonel John O’Neill at the Battle of Ridgeway, near Niagara, Canada West, on June 2, 1866. In reality, the Fenians had their own green flags but wore a very mixed bag of Union and Confederate uniforms (if they still had them, or parts of them left over from the Civil War), or civilian garb, with strips of green as arm or hat bands to distinguish themselves. (library and archives canada, c-18737)
In Britain itself, the Fenians went to war against the ruling class with dynamite. To spy on them, Scotland Yard created the Irish Special Branch which evolved into the Special Branch, the political police in Britain and in any colony the British had since then.9
The activities of the US Fenians intersected with those of Britain-based Fenians when two of the former, Thomas J. Kelly and Timothy Deasy, American Civil War veterans, were arrested in England. On their prison van’s journey to jail it was ambushed10 and both officers spirited away.
Artists’ impression of the rescue of the Fenian prisoners. (Image source: Internet)
Unfortunately and entirely unintentionally, Constable Brett was killed during the breakout. Refusing to hand over the keys from inside the wagon, he was bending to look through the keyhole when in order to release the prisoners one of the Fenians fired at the lock, the bullet entering Brett’s brain.11
The British police swept vengefully through the Irish quarters of Manchester and Salford arresting at least 28 people but eventually sending five for trial on ‘murder’ charges. Three were hanged, all innocent of intentional killing and at least two probably not even present at the scene.
As sentence of death was passed upon them, all five cried “God save Ireland!” Although the sentences on two were commuted, Timothy Sullivan used those words for his ballad about The Manchester Martyrs, as the executed three became known among the Irish at home and abroad.
The song travelled quickly and became an unofficial national anthem of Ireland and the Irish until it was decisively supplantedafter the 1916 Rising by Peadar Kearney’s The Soldiers Song (latertranslated: Amhrán na bhFiann).12 A memorial to the three was erected in Mostyn Cemetery.
Artist’s impression of the trial of the five convicted including the three Manchester Martyrs. (Image source: Internet)
Manchester continued to be a destination for Irish migrants, for factories still, including motor car production but also post-WW2 reconstruction and motorway building.
Manchester United FC, along with a number of other British soccer teams, recruited Irish players and Irishman Liam Whelan was one of the eight players killed in the Munich air crash of 1958. Another 30 Irish have played for the club at one time or another, some quite famous.13
The city is one of a number of British cities that has a name in the Irish language; Mancunians would probably be delighted to know that their city’s name in Irish is Manchuin.
From the late 1960s to late 1990s the city was host to an active branch of the Troops Out Movement in solidarity with Ireland, also from 1980s to an active branch of the Irish in Britain Representation Group; the Special Branch was active in monitoring and, from time to time, harassing their activists.
The Provisional IRA bombed the city in 1996 as part of its campaign against the British State and — despite a 90-minute warning — 212 were injured.
Today Manchester, alongside South Asian ethnic influences, continues its Irish ethnic presence with Irish traditional cultural activities14 and no doubt the sons and daughters of Manchester’s Irish diaspora will continue to contribute to other sport and artistic culture in Britain and in the world.
8https://www.irishcentral.com/roots/history/irish-fenian-invasion-canada Unlike many other accounts easily available this one gives a reasonable assessment of the rationale for the invasion, including its potential and the reasons of its ultimate failure, the interests of the ruling class of the USA, which the Irish Republican movement should have learned from forever afterwards – but failed to do.
9Often referred to simply as ‘the Branch’ or ‘Branchmen’ (though the organisation of course also recruits women).
10The location, by an arch under a railway bridge, is still unofficially known as “Fenian Arch.”
14Manchester has a Comhaltas Ceoltóirí Éireann club (for Irish traditional music) and informal music sessions, also an Irish dancing school https://www.facebook.com/profile.php; Gaelic Athletic Association clubs including St Brendan’s, St Peter’s, Oisín, and St. Lawrence’s.
On August 1st singer Mary Black released A Mother’s Heart for Palestine, a soundtrack and video.1 The title and music built on the 1992 track by Mary Black and Eleanor McEvoy, A Woman’s Heart (title of album also).2
The voices are beautiful and the adaptations of the Arab women particularly so. Or at least, they affected me even more deeply.
Like actions by Mothers Against Genocide,3 the recording seeks to transverse borders in the mind, to represent Palestinians as humans, as human as ourselves, through the image of the mother, which almost all of us have had and which many women are or have been.
It is worth thinking about this a bit further. The image of the mother is a powerful one in all cultures for at least biological evolutionary reasons. The future of the human species depends on productive motherhood and in all cultures, in that capacity at least, pregnant women are protected.
The image is also overlain by personal affect, of ourselves nurtured (in most cases) by a mother or ourselves as a mother, nurturing in turn.
The image of the mother is also manipulated by all degrees of the Right, whether to uphold clerical control, to counter assertion of reproductive rights, or to deny the right of lesbian (and gay) sexuality. And ‘to protect ‘our women’’ from imagined migrant assault (or indeed intermarriage).
In Christian religious iconography, the Mother as Madonna is particularly prevalent and she is always passive, whether depicted serene or suffering.
A detail from the Madonna and child painting by Duccio, late 13th Century (Image sourced: on line)
The mother image is also employed by imperialists to send us to war and was crudely used for example in the UK (of which Ireland was then a part) in a WWI poster depicting a mother and child telling the man to go and fight (for them, of course – not for the imperialists, mar dhea!).
WW1 recruitment poster for Britain (Image sourced: on line)A particularly offensive recruitment poster for the British Army in WW1 given that Ireland was under British occupation and only six decades after a British genocide of Irish people through starvation. (Image sourced: on line)
But in nearly all cases it is a passive representation of womanhood and is combined in the Mothers Heart video with images of sorrow – naturally, about all the children killed or starving, soon to die — which is also a passive emotion.
Many of the visual representations of Palestinian women are in domestic roles assigned to women around the world: food preparation, washing and drying clothes and of course child care.
Mothers are uniquely women but women are also more than mothers. Slightly more than one-half the human race, they are also workers,4 cultural producers, thinkers, leaders — and fighters. Even in revolutionary iconography we rarely see the woman, never mind mother, represented armed.
This is despite the 1970s images of a Mozambican or Vietnamese woman carrying a gun and a child. Or the famous staged INLA photo of a skirted woman in the Six Counties aiming an automatic rifle. Such images are very much exceptions to the rule.5
Poster promoting the Mozambique People’s Liberation Army. (Image sourced: on line)Poster from the Vietnam War. (Image sourced: on line)
The music video shows Palestinian women, among their domestic roles, lamenting, speaking on mobile phones, presumably worried about relatives, carrying belongings, on the move, displaced. The lyrics also are of lament.
As complete counterpoint in the Arab world we have only one image that I know of, which is Leila Khaled with an automatic rifle, because her society too insists on a largely passive role for women, even though their position in that society otherwise seems very influential.
The women shown in the video accompanying the music and lyrics are apparently Arab, Arab-Irish and mostly Irish. On the Palestine solidarity marches here my impression is that born women are the majority over born males and many have taken militant action, for which some are facing prosecution.
Women, in particular Arab women, often lead these marches, calling out the chants for others to respond.
Newsreels show Palestinian and other Arab women abroad marching, shouting slogans, clenched fists in the air. I have seen them denouncing ‘Israeli’ soldiers for invasion and occupation, for mistreatment of children, for demolition of houses, one slapping an armed Israeli soldier in the face.
In our own history (as distinct from mythology and legend) we had few female figures of armed action and Pearse mythologised Gráinne Ní Mháille6 in song to epitomise resistance when he had her represent the nation. But compare that to his poem The Mother!
In recent years Markievicz, Skinnider7 and to a degree Farrell8 have part-emerged from history’s shadows bearing weapons but there is still a long way to go in changing the image of women (through all their biological phases) in the struggle.
This song for all that it affects me emotionally does not do that nor is it expected to and, more to the point, I fear will be used to reinforce passivity in the assigned role of women in struggles — fortitude and solidarity in suffering no doubt, but passivity none the less.
It seems to me that social democrats and liberals perpetuate the mother aspect of the woman manipulatively in order to promote pacifism and much as I appreciate this cultural production, it will be used in that way.
While enjoying cultural productions visually, in sound or in print, we need also to be aware of the social packages they carry and their effects upon us, intended or otherwise.
4Industrial, agricultural, municipal, health services, technical and scientific services.
5There was some coverage of armed Kurdish women in Syria fighting ISIS (I wrote about some myself) but it is now clear that was in the context of NATO coordination in the war to overthrow the non-western aligned regime.
6A 17th Century female chief of the Uí Máille clan in Mayo who led attacks on her enemies by land and sea. Pearse adapted the ancient bride-welcoming song to bid her welcome with armed warriors to reclaim her land and disperse the English occupiers.
7Both Markievicz (nee Gore-Booth) and Skinnider were members of the Irish Citizen Army and both carried and fired weapons in the 1916 Rising.
8Though unarmed, she was part of an Active Service Unit of the IRA when she and her two comrades were gunned down in the British colony of Gibraltar on 6th March 1988.
4Industrial, agricultural, municipal, health services, technical and scientific services.
5There was some coverage of armed Kurdish women in Syria fighting ISIS (I wrote about some myself) but it is now clear that was in the context of NATO coordination in the war to overthrow the non-western aligned regime.
6A 17th Century female chief of the Uí Máille clan in Mayo who led attacks on her enemies by land and sea. Pearse adapted the ancient bride-welcoming song to bid her welcome with armed warriors to reclaim her land and disperse the English occupiers.
7Both Markievicz (nee Gore-Booth) and Skinnider were members of the Irish Citizen Army and both carried and fired weapons in the 1916 Rising.
8Though unarmed, she was part of an Active Service Unit of the IRA when she and her two comrades were gunned down in the British colony of Gibraltar on 6th March 1988.
Around 80 people attended a concert in the back room of Dublin’s Cobblestone pub launching an initiative to “build a community of solidarity and resistance through culture”. Flags of Irish and other struggles around the world decorated the venue.
The evening’s entertainment consisted of five musical acts and one of poetry. The MC for the evening, Diarmuid Breatnach, told the audience that Irish struggles had always found an expression in culture and that culture itself encouraged further resistance.
He gave the example of Thomas Davis who founded with others the patriotic newspaper The Nation in the mid-1800s, publishing contributed songs and poems and his own, including The West’s Awake and A Nation Once Again, songs still sung in Ireland nearly two centuries later.
The first act of the evening was the folk duo The Yearners, specialising in harmonies around renditions of song covers and their own song about the Mary of the New Testament, as a woman pressured to bear a child because “How can you say no to God?
The audience joining in on Pearse’s Gráinne Mhaol was followed by some songs with hard satirical edges like the Kinky Boots song from the Irish Republican repertoire and their own Save A Landlord.
The Yearners during their performance. (Photo credit with thanks: Dermo Photography)Dúlamban during their performance. (Photo credit with thanks: Dermo Photography)
The MC introduced another all-female duo, Dúlamban, recently formed from two individual singer-musicians. Among their material, Sinéad on violin played two compositions of her own while Aisling sang her adaptation and translation of the Rising of the Moon: Ar Éirí na Geallaigh.
The one poet of the evening, Barry Currivan, performed a number of shorter and longer pieces of his repertoire. He was particularly applauded for his “anti-othering” piece Those People and his humorous concluding piece comparing himself to a good cup of tea or coffee.
After the break, the MC spent a few minutes outlining the Solidarity Sessions collective’s project and encouraging the audience to take part in it by spreading word of its events and supporting them in person, in addition to stepping forward to assist in organisation and in poster design.
Barry Currivan during his poetry performance at the Solidarity Sessions launch. (Photo credit with thanks: Dermo Photography)Section of the audience presumably during Currivan’s performance. (Photo credit with thanks: Dermo Photography)
Another female duo took the stage, Sage Against the Machine on guitar accompanied by Ríona on violin, performing a number of love pop covers and SAM’s own song against patriarchy.
Some remarks about Bob Dylan’s Zionism followed in Sage’s introduction of the former’s Masters of War which she performed with great feeling and followed with El Gallo Rojo, an anti-fascist song from the Spanish ‘Civil War’.
Sage Against the Marchine (right) and Ríona during their performance. (Photo credit with thanks: Dermo Photography)Jimi Cullen during his performance at the Solidarity Sessions launch. (Photo credit with thanks: Dermo Photography)
Breatnach then introduced Jimi Cullen who he said has been hosting a weekly musical protest picket for an hour on Wednesdays (2-3 pm) outside the US Embassy for a great many weeks, in which the MC had sometimes accompanied him amidst the solidarity beeping of passing traffic.
Jimi accompanied himself singing his Housing for All and Guthrie’s You Fascists Bound to Lose, then commenting on Bob Marley’s Zionism while introducing the latter’s One Love song, saying that love above all is what binds humanity together, a theme also of his We Are All Palestinians.
His monologue The Genocide Will Be Televised was much sharper and renewed an earlier Death, death to the IDF!1 chant from the audience.
Trad Sabbath during their performance. (Photo credit with thanks: Dermo Photography)
There was much irreverent comment about the name of the band to conclude the evening, Trad Sabbath, a four-piece band of guitars, banjo, bodhrán and fiddle, apparently in the context of the very recent death of the Black Sabbath band’s lead vocalist, Ozzie Osbourne.
Sardonic cries about “his poor widow”, Sharon Osbourne2 were also heard, a Zionist personality star in a ‘reality’ TV show about the late Ozzie’s family. To fill in the delay in their setting up with the sound engineer, Breatnach sang Kearney’s Down by the Glenside ballad.
The band concluded the evening with traditional melodies and some songs from Eoghan and Hat with others backing on choruses.
Poster advertising the event (Design: Ríona and D.Breatnach)
The MC thanked all for their attendance, performances and technical support before reiterating the Solidarity Sessions’ objective and encouraging participation. His comment that “Repression is here and more is coming down the road” was underlined by the presence there of a prominent victim.
In the audience was Richard Medhurst, the Britain-based journalist specialising in Middle Eastern coverage who was recently detained under anti-terror (sic) legislation and charged by British police as he returned from abroad and again later detained though not actually charged by Austrian police.
Richard Medhurst’s tweet during the evening at the event.
End.
FOOTNOTES
1Made famous by the Bob Vylan duo at Glastonbuy getting the audience chanting the slogan. The IDF is what the Israeli Occupation Forces call themselves.
2Who had called for the banning of the the Irish rap group Kneecap.
(Reformatted entire for publishing in Rebel Breeze from article of same title in his Substack)
(Reading time: 8 mins.)
Kneecap’s music is not really my thing. I am perhaps too old, or maybe my musical tastes are more conservative. But I do love their politics and their stance on Palestine.
I don’t think much of Hezbollah, but I do think waving their flag is not a criminal offence.
The BBC think otherwise as evidenced by their decision to not broadcast Kneecaps’s performance at the Glastonbury festival. The only reason for this was their support for Palestine. There was no other reason.
Though, it didn’t work out well for the BBC as Bob Vylan who was broadcast live got the crowd to chant Death to the IDF!, one of the noblest of chants ever to be heard at Glastonbury.
But there is a long history to the BBC and other British media censoring musicians. The BBC in its statement said:
Whilst the BBC doesn’t ban artists, our plans ensure that our programming meets our editorial guidelines.
We don’t always livestream every act from the main stages and look to make an on-demand version of Kneecap’s performance available on our digital platforms, alongside more than 90 other sets.[1]
In other words, the BBC does ban artists.
The rapper trio under the band name of Kneecap (Image sourced: on line)
It is not like this is the first time they have banned some of them. Following the Bloody Sunday massacre by the British Army in Derry in 1972, Paul McCartney, penned a song titled Give Ireland Back to the Irish.[2] It was the debut single of Wings.
It was instantly banned in Britain by the BBC but managed to get to No. 16 in the British charts nonetheless and got to No. 1 in Ireland.
They banned songs that mentioned sex, even Shirley Bassie’s Burn My Candle[3] and they banned songs that were considered more political such as The Sex Pistols’ Anarchy in the UK,[4] a song that wasn’t really political at all.
Not surprisingly they banned the then relatively unknown Heaven 17’s debut (We Don’t Need This) Fascist Groove Thang,[5] over concerns it might upset the then recently-elected US president Ronald Reagan.
This was a man whose government through the CIA went on to support deaths squads in Latin America and set up cocaine smuggling networks to finance them through his loyal servant Oliver North.[6] Reagan of course is referred to in the song.
Democrats are out of power Across that great wide ocean Reagan’s president elect Fascist god in motion
That wasn’t the last of it either. The BBC went on to ban a song by The Police, Invisible Sun[7] because of a possible slight on the British Army contained in the lyrics and of course the official video to the song.
I don’t want to spend the rest of my life Looking at the barrel of an Armalite I don’t want to spend the rest of my days Keeping out of trouble like the soldiers say
I don’t want to spend my time in hell Looking at the walls of a prison cell I don’t ever want to play the part Of a statistic on a government chart
The BBC would, during the 1st Gulf War ban a total of 67 songs for the duration of the war, amongst them songs by such establishment figures as Elton John whose song Act of War[8] recorded in 1985 with Millie Jackson was put on the list.
As was Pat Benatar’s Love is a Battlefield,[9] recorded even earlier in 1983. It takes little to upset the BBC it would seem.
The former Irish Taoiseach (Prime Minister) Leo Varadkar criticised Keir Starmer’s call for Kneecap to be not allowed play at Glastonbury stating that
It’s not great for politicians to get into deciding which artists should be allowed to perform where or not.
To me, that’s illiberalism. Part of the whole point of art and music and literature is to be inappropriate, is to be challenging, is often to be anti-establishment,” he said.
We’ve had a situation now for quite some time in Ireland and in Europe and Britain, where politicians didn’t get into the space of saying who should be allowed to perform, who shouldn’t, what books you should be allowed to read, and I hope we don’t slip back into doing that under the guise of national security and anti-terrorism when it isn’t really about that.[10]
Varadkar tut tuts the BBC and Starmer. Sounds great, except his party and the Irish state in general does not have a great record in the matter.
The state broadcaster took an insidious approach to censorship with songs rarely being banned outright. Rather they were just not simply played on the radio station. Hint hint, nudge nudge. A very Irish way of doing things.
The Irish group The Wolfe Tones released many songs over the years about the conflict in the north of Ireland and got little to no airtime. Such was the situation that they even recorded a song about it, called Radio Toor I Li Ay (sometimes called They Don’t Play Our Songs on the Radio) [11].
The lyrics are pertinent to Kneecap and Starmer and sum up exactly what the Establishment are about.
You don’t play our songs on radio You say they’re too political! Who controls the mind, where’s the mind’s control? For the music on the airwaves Follows empty minds, those empty heads Play songs of sex and drugs instead Don’t tell them how it really is
Won’t MI5 look after you, control your thoughts Feed information to your hearts and minds To save you all from thinkin’, thinkin’, thinkin’, thinkin’
It is a fact that RTE didn’t give them much airtime and still don’t. So much so that in 2024, Derek Warfield the lead singer with the group said it was time to end the ban on them.[12] It still hasn’t happened, nor will it.
In fact, the Irish women’s football team got into trouble for singing one of their songs, Celtic Melody,[13] and were excoriated by British sports journalists, who are not renowned for their knowledge of music, politics, history or much else aside from who ran how fast and where.
Not exactly intellectual heavyweights. Nonetheless these idiots led to the Irish women’s team being eventually fined €20,000 for singing the song.[14]
The Irish singer Christy Moore found himself on the wrong end of state repression in Ireland on many occasions and his songs, like those of The Wolfe Tones were not banned per se, but they never received much airplay.
Except those that were considered to be humorous and non-political, such as Don’t Forget Your Shovel.[15]
But other songs of his were censored on the radio without the need for an official ban, such as Ninety Miles From Dublin,[16] which was about the IRA and INLA prisoners on the Blanket and Dirty Protests in the H-Blocks of Long Kesh.
Likewise, other songs he recorded about the prisoners and later on about the Hunger Strikers equally received no airplay. There was one brief exception to this.
Patsy O’ Hara (INLA) died on hunger strike on May 21st 1981 after 61 days. His mother Peggy O’Hara was initially adamant that she would not let her son die and that when he lapsed into a coma she would intervene and give the doctors the order to break his strike with an intravenous drip.
However, in her last conversation with her son, he said to her that he was sorry they had not won and asked her to let the fight go on, before lapsing back into unconsciousness. Christy Moore wrote a song about that exchange called The Time Has Come.[17]
It was well received and got airplay and praise. Then someone informed the ignorant and arrogant mandarins at RTE what the song was about and suddenly it got no more airplay. Listening to the song, it is obvious what it is about.
The gentle clasp that holds my hand Must loosen and let go Please help me through the door Though instinct tells you no
Our vow it is eternal And will bring you dreadful pain But if our demands aren’t recognized Don’t call me back again
Ironically Christy Moore would record another song that got no airplay. It was called Section 31,[18] a reference to the article of the Broadcasting Authority Act (1960) that gave the minister power to ban interviews with members of Sinn Féin and proscribed organisations such as the IRA.
But in effect it led to RTE’s scant reporting of or carrying out of few interviews that were critical of state policy on the conflict. The song explained exactly why some issues are censored.
Who are they to decide what we should hear? Who are they to decide what we should see? What do they think we can’t comprehend here? What do they fear that our reaction might be, might be?
The Kneecap trio with friends at the Sundance Festival in January. (Photo sourced: RTÉ)
It is always about silencing the opposition and preventing a reaction to their repression and in this case genocide.
So back to Kneecap. They stand in a long line of artists who have put their money where their mouths are. They stand side by side with giants from other musical genres such as Woody Guthrie and Pete Seeger who were repressed by the McCarthyite wave in the US in the 1950s.
The BBC for its part continues to be the propaganda arm of the British Empire, or what is left of it, covering up, lying about or justifying murder, massacre, torture and plunder from India to Kenya, Ireland and now Palestine.
Woody Guthrie had the words This Machine Kills Fascists carved into his guitar, a slogan that might earn him a jail sentence nowadays.
It was meant more in the sense that his music was part of the struggle against fascism, carrying political messages to workers, Dustbowl refugees and migrants.
It didn’t literally kill anyone, though in his song Ludlow Massacre,[19] Guthrie celebrated the workers taking up arms to kill the scab thugs that came to shoot them.
Scabs at the behest of the Colorado Fuel and Iron Company, owned by the infamous Rockefeller family murdered 26 people, mainly the wives and children of the striking miners.
However, the massacre was just one large incident, the Baldwin-Felts Detective Agency had harried and harassed the striking miners, murdering them in ones and twos.
The detective agencies celebrated in comics and films were what would later become known in Latin America and elsewhere as death squads. The miners fought back and Guthrie celebrated this in his song. Resistance, including armed resistance was legitimate.
The state soldiers jumped us in a wire fence corners, They did not know we had these guns, And the Red-neck Miners mowed down these troopers, You should have seen those poor boys run.
The press, at the time, described the striking miners as savages.
Any similarity to the current media onslaught on Palestine is not a coincidence, it shows the class interests of the media moguls and the western states. Working class people, foreign resistance movements will always be savages to the media.
And the use of armed masked thugs by the state is not new either. Before ICE, there were the detective agencies. Most of the dead at Ludlow were migrant workers. The final death toll according to Howard Zinn’s People’s History of the US was sixty six men women and children.
Kneecap have contributed to the fight against fascism and Bob Vylan’s chant Death to the IDF! should be on everyone’s lips. There is no reforming the IDF, just like there was no reforming Hitler’s SS. Only the complete destruction of the IDF will bring any change.
Can their music, like Guthrie’s be said to kill fascists? I don’t know, time will tell, but from the reception they got at Glastonbury it is looking good.[20] What I do know is Keir Starmer and Trump finance fascists.
Starmer like a fascist wants to ban Palestine Action. The BBC covers up for fascists, praises them and censors those who stand up to fascists. I know who is on the right side of history.
The media and some British politicians have been in a furore about what a performer of one of the acts at the Glastonbury Festival1 called from the stage and got most of the audience to chant with him: Death, death to the IDF!2
The performer was not, for change, one of the Kneecap trio (who also performed at Glastonbury) despite British politician complaints after another anti-Zionist “controversy” (i.e. unlike daily Zionist genocide of Palestinians, supplied by UK weapons, which is not at all controversial).
The latest performer to raise the genocide-proof ire of British politicians and mass media commentators was a member of the Bob Vylan group and the call which caused such anger in pro-Zionist circles was uttered from the West Holts stage during the Festival on Saturday.
Bob Vylan lead singer performing on the West Holts stage during the Glastonbury Festival at Worthy Farm in Somerset. (Photo cred: Yui Mok/AP)
This call was not only denounced by right wing conservative and social-democratic figures such as the UK’s Prime Minister, Keith Starmer, who dubbed it ‘hate speech’ but also went too far for the liberal Glastonbury Festival management who issued a statement declaring it “appalling”.3
To call for the ‘death’ of an organisation or a power is to call for it to cease to exist, to end. So what is the IDF? Well, the acronym stands for Israeli Defence Force, often and more realistically referred to as the IOF, i.e. the Israeli Occupation Force.
Now this organisation is the military wing of the Zionist European settler colony which is ‘Israel’, and with a history of attacks on the indigenous Palestinians, in addition to the people of Egypt, Jordan, Lebanon, Syria and, the week before last, Iran.4
APPALLING OR MODERATE AND REASONABLE?
On that basis alone, surely it would be moderate and reasonable to call for such a military organisation to cease to exist, i.e. to call for its death?
But there’s more – a lot more! The IOF has since 9th October 2023 been enforcing a water and starvation blockade on Gaza, also depriving it of importation of medicines.5 The IOF ground and air forces have destroyed at least in part but mostly completely every hospital and medical facility in Gaza.6
Cartoon regarding the Israeli water blockade on Gaza (D.Breatnach)
In addition to starving the population of Gaza by military blockade, the IOF has, with the direct assistance of the USA, set up the “killing fields” in which hungry Palestinian people are sniped, machine-gunned and shelled as they queue for meagre GHF food parcels.7
The IOF has assassinated or caused the death of at least 54,607 Palestinians and wounded 125,341 between 7 October 2023 and 4 June this year,8 including hundreds of first responders and civil defence workers,9 over 230 journalists10 and many police and security workers.11
This same organisation is the one primarily responsible for the mass demolition in Gaza of Palestinian residential buildings and the displacement of 1.9 million people,12 along with destruction of water and sewage infrastructure, desalination plants, water tanks and agriculture.
Many massacres by the IOF have been carried out in areas they had declared safe whendisplacing Palestinians from another area. (D.Breatnach)
The evidence of daily genocide by the IOF is incontrovertible and even the weak and hesitant International Court of Justice in the Hague stated that there was a plausible case to answer.13 The court also ordered the arrest of some leading government ministers who control the IOF.14
UNCONTROVERSIAL, A DUTY
To call for the death of an army of genocide is surely not only not controversial but is instead correct, a duty, one which all reasonable institutions and individuals should emulate.
According to the Genocide Convention of 1948, all signatory states have a dutyto act to prevent genocide,15 not only not to collude with it. Bob Vylan is to be commended for their call and those who condemn them should, at the very least, face widespread opprobrium.
Bob Vylan’s call is absolutely correct and humanity awaits its implementation, not only death to the IOF but also to the regime and colonial state that gave rise to and which program it follows. Let us join our voices to the humanitarian call and expand upon it.16
Death to the IOF — and to the Zionist settler colony that spawned it!
End.
Sources:
1The Glastonbury music festival is an annual event of a liberal alternative ambience.
8Gaza health Ministry figures, quoted in https://www.bbc.com/news/articles/c0r1xl5wgnko (which incorrectly quotes the Israeli figures on Israelis killed by Hamas on October 7th despite a number of Israeli sources indicating that an unknown number of those were killed by the IOF in implementation of the “Hannibal Doctrine”.
NB: Edited by Rebel Breeze for formatting purposes
(Reading time: 6 mins.)
Kneecap, the Belfast Irish language rap group, have found themselves at the centre of what is an artificially contrived furore dreamt up by people with little sense of real moral outrage.
The basics of the story are well known. They finished off their act at the Coachella event projecting pro-Palestinian statements. Given the band’s history and well-known politics, it could hardly have come as a surprise. Perhaps it was more that the fans welcomed it that upset some.
They were denounced by the non-entity known as Sharon Osbourne, a reality star famous for being the wife of Black Sabbath lead singer Ozzy Osbourne and also the mother of another reality star, her daughter Kelly Osbourne.
Kelly to her credit did carve out a brief musical career on the back of her reality tv exposure.
Sharon as part of the wider Zionist attempt to silence all those who criticise the genocide called for their visas to be cancelled, which in effect happened following the decision by their promoter and sponsor to drop them.
She also called for them to be more like Bono. Kneecap responded with a humorously devastating comeback that they would rather be Rangers fans than emulate Bono.
Bono still has some credibility in certain parts, mainly where they haven’t a clue about the man’s actual politics and obviously amongst the clueless, witless, gutless glitterati like Sharon Osbourne. But what would it mean to be like Bono?
Is he actually some sort of reasonable counterweight to Kneecap?
Well, first of all, in relation to Palestine, Bono is a Zionist, so even before the genocide began, he, unlike them, was already on the wrong side of history. Not for the first time, mind you. Bono has a habit of cropping up where he is not wanted like an ugly cold sore (my apologies to the virus).
He has, as Harry Browne, the author of The Frontman: Bono in the name of power, pointed out dedicated a lifetime to the service of imperialism and was rewarded with a Presidential Medal of Freedom from Genocide Joe.[1]
I am sure it will go well on his mantle piece alongside his KBE (Knight Commander of the Most Excellent Order of the British Empire), for which he was fulsome in his praise of Her Majesty’s Ambassador, as he put it, and grinned like a cheshire cat during the ceremony.[2]
The claims made by Blair and others about Bono’s achievements were exaggerated, of course. But he is, if nothing, an equal opportunities imperialist and will get around to doing his bit for the others.
The idea that Kneecap would prostrate themselves before the British king is laughable and they wouldn’t be the first artists to reject one, were the Brits ever to mistakenly consider them for it.
The late black poet Benjamin Zephaniah was offered the lesser award of OBE (Order of the British Empire) by the same Tony Blair. He turned it down stating:
I get angry when I hear that word “empire”; it reminds me of slavery, it reminds of thousands of years of brutality, it reminds me of how my foremothers were raped and my forefathers brutalised…
Benjamin Zephaniah OBE – no way Mr Blair, no way Mrs Queen. I am profoundly anti-empire…
If they want to give me one of these empire things, why can’t they give me one for my work in animal rights? Why can’t they give me one for my struggle against racism? What about giving me one for all the letters I write to innocent people in prisons who have been framed? I may just consider accepting some kind of award for my services on behalf of the millions of people who have stood up against the war in Iraq. It’s such hard work – much harder than writing poems.[3]
He also referred to his brother’s death in police custody and to Lizzie II as Mrs Queen, not Her Majesty. A display of dignity.
He pointed out that those who accept such awards, the Queen’s Shilling, though he didn’t use that archaic military expression for those who enlist in the British armed forces to put down uppity types in the colonies, always sell out.
However, calling Bono a sell-out, presumes he was ever anything other than a fan of empire. He tied his mast to the pro-British politics of the Irish chattering classes in the 1980s.
His song Sunday Bloody Sunday was always introduced with the line This is not a rebel song, lest someone think Bono actually had something interesting to say.
The song is quite vacuous though clear in saying he “won’t join the battle cry,” i.e. denounce those who had massacred 14 people on the streets of Derry. The British army is not mentioned once in the song.
You wouldn’t know who had done what, but you know not to point the finger “Cause tonight we can be as one”. John Lennon on the other hand, shortly after the massacre did not hold back.
Is there any one among you Dare to blame it on the kids? Not a soldier boy was bleeding When they nailed the coffin lids![4]
Bono couldn’t bring himself to condemn the British army for a televised massacre, so it comes as no surprise that he has little to say about a live-streamed genocide.
He hobknobbed with neoliberals such as Jeffrey Sachs, various presidents of the World Bank, promoted pharmaceutical companies in Africa and of course was on the side of Bush in the Iraq War, at least in practice and helped whitewash the reputations of many of those involved.
He hedged his bets a bit on Iraq, not wanting to seem too hawkish, saying the war was justified but the US should get UN backing for it. He then went on to endorse Clinton and Blair time and again. Jim Kerr from the Scottish band Simple Minds put it succinctly at the time.
How can Bono, having graced concert stages for over two decades, draped in the white flag of peace and screaming ‘No More War’ [sic] at the top of his lungs contemplate praising and back slapping Tony Blair? … I can’t believe that anyone could fail to identify that no matter what gesture Blair may make towards African debt relief, his slippery hands are currently dripping in the fresh warm blood of Iraqi men, women and children.[5]
Bono of course, could and did, and wined and dined with such hawks as Senator McCain. There were no depths to which he would not plummet, which brings us to Palestine.
Shortly after October 7th he endorsed the Zionist genocide by changing the lyrics of his song about Martin Luther King, Pride (In the name of love)[6]to “Early morning, Oct 7, the sun is rising in the desert sky… Stars of David, they took your life but they could not take your pride.”[7]
As part of the introduction to the reworked song he state “our prayers have always been for peace and for non-violence… But our hearts and our anger, you know where that’s pointed.” Not at the Zionist occupiers was the answer. Roger Waters lambasted him for it.[8]
Not only that, he was criticised by Irish singer Mary Coughlan for his links to Israeli companies.[9] He did not fly out to Gaza as he had done in Ukraine, nor did he have much to say.
When he eventually did mention Gaza, he was always careful to lay the blame on Hamas for starting it all, ignoring history since the Nakba in 1948.
A good example of that is his piece in The Atlantic after receiving his Medal of Freedom from Genocide Joe.[10] An exercise in saying nothing, whilst attempting to sound profound, something Ireland’s most famous poisonous dwarf never pulls off.
Kneecap on the other hand have been clear from the word go about their support for the Palestinian cause. It didn’t take a genocide for them to take note. They have consistently been on the side of the oppressed, in this case the Palestinians, against the oppressor the Zionists.
So, Sharon Osbourne should probably stick to what she knows best, which is precious little.
As for Bono, as Harry Browne points out, perhaps nothing sums him up quite so succinctly as a piece of graffiti in Dublin that appeared following the scandal when they moved one of their companies to the Netherlands for tax purposes, “Bono is a poxbottle”.
We need more like Kneecap who stand with the oppressed, and a lot less of Bono and the likes who can’t condemn the powerful ever.
At best you can expect some “We are all guilty type” of fudge, which was the preferred slogan of the Irish trade union bureaucracy when the British or their proxies in the UVF or UDA ever did anything, coming as no surprise that they have also done next to nothing on Palestine other than issue the occasional banal statements.
I fully expect them to turn up with Bono somewhere to chastise Kneecap.
A night of resistance and other songs on Friday night in Peadar Browne’s Dublin pub raised funds to assist in fighting state repression of Palestine solidarity activists in Ireland, as Palestine solidarity activists face persecution across the Western world.
The evening’s performance consisted of a mix of political and other songs, a number of which were original material. However it was the political material that most drew interest, ranging from international struggles to the rich Irish Republican tradition.
Olive and Fynn in performance at the fund-raising event (Photo: R.Breeze)
To begin the event Diarmuid Breatnach explained the need to support Palestine solidarity activists against the repression of the Irish authorities, hence the fundraising event and announced that in addition to performing he would be standing in for the event’s MC who had been unable to attend.
Breatnach began his set combining two songs from the German antifascist tradition, three verses of Peat Bog Soldiers and three from the Hans Beimler ballad.1 Then from the Spanish Anti-Fascist War he sang Ay Carmela!, the air of which he said was from an anti-French occupation folk song.
Next the MC announced a performance by two performers, half of the four-strong Croí Óg ballad band. During their performance with voice, guitar and banjo there was an incident from a couple of unruly elements nearby who had substantial drink taken and had been very loud throughout.
Two members of the Croí Óg band performing at the fundraising event (Photo: R.Breeze)
A man who had been refused permission to sing solo began shouting that the songs were not Republican, ironically interrupting Grand Old Country, a song about the Fenian tradition. It became clear that what he wished was to perform the Grace ballad, which he began to sing loudly.
A male confronted the interrupter; the latter’s friend, a big elderly Glaswegian protested; others took to the floor … but the incident wound down, the interrupters and audience resuming their seats. However, the putative Grace singer threw threats at his earlier confronter across the room.
The big Glaswegian then crossed the room to confront the audience member, a female audience member intervened, he brushed her aside and the audience section erupted, only the quick arrival of the pub’s landlady preventing a fight … And the musicians resumed their performance.
Among the songs performed by Croí Óg were Crossmaglen and British Soldier Go on Home. The MC called for appreciation applause for them, made some barbed comments about the recent anti-social behaviour and welcomed the song-and-guitar duo Olive and Fyn to the stage.
Sage Against the Machine performing at the fundraiser event (Photo: R.Breeze)
The duo performed their own material in lovely harmonies, mostly non-political, also including their ironically titled Save the Landlord! After they had left the stage to applause Breatnach got up on stage again to announce a short break and to remind the audience to contribute to the funds.
His additional comment: “Remember when someone sang in a Dublin pub and everyone went quiet? Remember those days? Remember?” was followed by loud applause throughout the pub.
Breatnach restarted the second half, singing a capella again two songs celebrating Irish women’s resistance,2 ending with songs in Irish including the ballad of Rodaí Mac Corlaí. After concluding he introduced Sage Against the Machine to take to the stage, singing solo with guitar.
Sage’s material was mostly original, sung in English but went on to Masters of War in a spirited concluding verse, followed by Gallo Rojo, Gallo Negro3 in Spanish from the anti-fascist tradition in Spain. The MC then presented Eoin Ó Loingsigh, also with voice and guitar.
Eoghan Ó Loingsigh performing at the event (Photo: R.Breeze)
Although no further incidents occurred, the volume of ‘conversation’ between a number of people not far from the stage was high. Loingsigh’s material included Only Our Rivers Run Free, Viva La Quince Brigada4and a satirical song contrasting the fates of the rich and the poor after death.
The evening’s scheduled performances concluded with Seán Óg, also solo with voice and guitar, his selection including Ho Chi Minh, republican ballads Boys of the Old Brigade, The Patriot Game, Boolavogue and his own composition Boys of Gaza to air and structure of The Boys of Kilmichael.5
Breatnach thanked the attendance for their support, restating the context of the event and asked for another round of applause for all the performers, who gave their time and creativity for free, then called for people to stand for the Irish national anthem6 which he led with the first verse in Irish.
Diarmuid Breatnach in performance at the fundraiser event (Photo: R.Breeze)
At the concluding line of “seo libh, canaig …” the audience exploded to complete the words “Amhrán na bhFiann!” followed by launching into the chorus, also in Irish.
The event had been organised by two broad Palestine solidarity organisations, Saoirse Don Phalaistín and Palestine Action Ireland and among the attendance were a number of their activists, including some victims of state repression.
Most of the charges to date have been under the Public Order Act but also some around ‘criminal damage’ and the potential is there for more serious charges and possible jail sentences, as have been the case in some other European administrations.
In addition to actions of their own, including occupying and picketing the Israeli Embassy, Axa Insurance and picketing the Palestine Authority, Saoirse don Phalaistín and Palestine Solidarity Action organised Resistance Blocs to participate in mass demonstrations organised by the IPSC.
Seán Óg performing at the fundraiser event (Photo: R.Breeze)
Peadar Browns pub has become increasingly known as an Irish Republican tavern on the south side of Dublin city. Its small stage area is decorated with Republican artwork on the walls and on many of the bodhráns7 hanging there, along with some Glasgow Celtic celebratory material.
The side of the pub, on a minor street, carries a large mural representation of the Palestinian national flag, along with the slogan SAOIRSE DON PHALAISTÍN. However Dublin City Council have directed that it must be removed, to the anger of a great many people.
Mural on the side of the Peadar Brown pub (Photo sourced: Internet)
Historically cultural events of this type have a function other than to raise defence funds and to promote the cause: they are also occasions for replication of the cultural face of resistance and for expression of new cultural compositions but additionally for the creation of a community of resistance.
4About the Irish who went to fight against fascism in 1930s Spain.
5Also known as The Kilmichael Ambush, celebrating a famous event in West Cork during the War of Independence (1919-1921). However, the air of both songs is that of an older ballad about the 1798 Rising called Men of the West.
6The lyrics were originally written in English and later translated to Irish in which language it most usually sung today.
7A shallow one-sided Irish drum, same shape as a tambourine but much larger, played with a wooden striker on the outside with variation in tension achieved by hand pressure on the inside.
rebelbreeze 