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.
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.
Years ago we did not have the USA import of ‘trick or treat’ – but we did have Halloween. In fact, the UStaters got their Halloween originally from – us. Yes, us.
And it was based on the ancient Gaelic feast of Samhain (which is also the name of the month in Irish).
“Happy Halloween” as a wish would seem an oxymoron since it is a feast of the dead or at least for the dead and to propitiate pagan gods. It is recorded in Ireland as far back as the 9th Century, one of the four great feast days of the Gaelic year.
While the festival is often described as Celtic, a number of neolithic passage graves in Ireland and in Britain, predating the arrival of the Celts, are aligned to face sunrise at the time of Samhain.
In the Celtic world it seems to have been a particularly Gaelic festival, being also our name for November, with strong survivals in Ireland, parts of Scotland and Manx, though there are also some echoes of customs in Wales and Brittany.
However, some researchers believe that the word Samhain is related to the month of Samon, in an ancient calendar of the Gauls, the main body of Continental Celts.
No ancient feast of Samhain could have involved pumpkins, unless it was something thought up by a deviant among St. Brendan’s followers when they got to America in the mid-6th Century. Of which there are a number of sound reasons for believing they did.
But no plant we know of came back from that voyage.
Some varieties of pumpkin squash (Photo cred: The Garden Museum)
Pumpkins of course and many other squashes come from Turtle Island/ America, where they were cultivated by the indigenous people as an important source of food or dried to make containers, utensils and even musical instruments — and they taught the settlers how to cultivate them.
Pumpkin pie is a traditional USA settler culture dish, particularly in the annual Thanksgiving feast, where the arrival of the original English settlers is celebrated along with their survival (thanks to help from the Indigenous, against whom they later committed genocide in gratitude).
Although most people in the US will not be conscious of this aspect of the Thanksgiving celebration there is a pushback against it gathering in the US of late, as there is also in many parts of the world against the celebration of the ‘discovery’ of America for European colonisation by Columbus.
IN DUBLIN, IRELAND
The traditional Irish Halloween cake is the báirín (boyreen) breac, the báirín being Irish for a cake, according to Dineen’s Dictionary and breac meaning piebald or speckled (i.e. from the dried fruit), becoming mispronounced as ‘barmbrack’.
Quite when it became traditional Halloween fare I’m not sure but the basic ingredients would have been available centuries ago – except for the tea, which came from China originally and only became widespread in Ireland through our colonisers in the early 1800s.
Now of course, we’re marbh le tae agus marbh gan é (‘killed by tea but dead without it’) and still pronounce our name for the beverage in Irish as apparently they did in English in Shakespeare’s time. Many cultures call it ‘chai’ from which the English soldiers in India brought back ‘char’.
This one was apparently made with whiskey which is not the original. The one produced by a number of baker companies was round and more yellow inside.
Anyway, to get back to the báirín breac, it was soaking the dried fruits in tea that gave a yellow tint to the dough when it was baked. We children all looked forward to eating the báirín when we got back home after going from door to door collecting donations of apples or nuts or sweets.
Taste apart, it had a ring hidden in it and, though we had no interest in the prospect of marriage symbolism, we each wanted to be the lucky one to get the slice with the ring. Our Da cut up the slices carefully so we couldn’t tell which had the ring and we had to eat them in sequence.
Earlier on the Halloween evening we had been out in costumes knocking from door to door and of course, other children had knocked on our door too. Many of those would have been known to us but it was surprisingly difficult to identify them, even if only face-painted and without a mask.
It was for us a kind of thrill to knock at a neighbour’s door in costume and be unrecognised. All the houses except a very few welcomed callers at Halloween and kept a supply of fresh fruit, nuts and sweets on hand for the callers.
“Any apples or nuts?” we called as they opened the door or, later “Help the Halloween party?” None of that imported “trick or treat” nonsense!
Three types of nuts that were available and traditionally eaten in Ireland on Halloween at least from the 1950s: hazel nuts, walnuts and Brazil nuts (this one not so commonly seen more recently, apparently due to bad harvests attributed to El Nino). Also available would have been almonds, peanuts, and pieces of broken coconut.
In an amusing piece about that contrast between earlier days and now, a social mores commentator in song at the monthly 1916 Performing Arts Club commented on how pleased he was to see children at his door in costumes made from ‘traditional’ black bin-liners.
Until they spoiled it all by chanting “trick or treat”. “Get outa the garden!” was his response.
Kids still go out (usually escorted by adults now) from door to door at Halloween in Ireland, often with elaborate costumes and chanting the UStater-borrowed “trick or treat”.
A gaggle of kids in what was for many in areas of Dublin a ‘traditional’ Halloween costume but some of course were more elaborate. (Photo sourced: Hill Sixteen FB page)
In clubs or pubs the festival seems to have been taken over by late teens and young (and not-so-young) adults in costumes depicting horror and death and, for mostly women it must be said, also sexual allure.
And strange though it might seem, the festival was originally primarily for adults and was an occasion of blessing of kine, divination and at least in recorded history, of “mummers” and “guising” going door to door, performing and begging for donations.
‘BARMBRACK’ IN LONDON
In SE London, I was for some years involved in organising an annual Irish Children’s Halloween Party as part of the annual activities of the Lewisham branch of the Irish in Britain Representation Group.
The event was primarily for the benefit of children of the Irish diaspora but children of any other background were welcome to attend.
A local shop selling fresh fruit and vegetables was approached for a donation of fruit and nuts to which they agreed and of course were thanked publicly by word and in print. The local print media were invited to take photos.
The program for the day included street games (but indoors), Halloween activities including apple-bobbing, face-painting and food that would have been traditional for Irish Halloween parties.
Funds raised by the branch through the year bought Irish brand biscuits, Cidona and red lemonade from a shop supplying Irish food items in South London and of course included the ‘barmbrack’.
The children on the day were largely from Irish, Caribbean or mixed background.
As I doled out slices of ‘barmbrack’ to children sitting at the long table, recommending it as traditionally Irish, one Caribbean-seeming child turned to the other and began: “It’s like …” “bun-and-cheese!” finished the other.
This turned out to be a traditional Jamaican food at the other end of the year, at Easter, two slices of a spiced moist ‘brack’ (the “bun”) with a slice of cheese between. They are not as fond of butter in the Caribbean as are the Irish (not many people are) and so that is absent.
One day I decided to try a slice of buttered (of course) ‘barmbrack’ with a slice of cheese on top. The sweetness and slightly spicy taste of the ‘brack’ contrasted with the tart taste of the cheese. And do you know? It’s not at all bad.
Diarmuid Breatnach – Talk given at 1916 Performing Arts Club, May 2024.
(Reading time: 6 mins.)
There was a time when from Dublin to Galway, from Kerry to Donegal, the dominant language was Irish. There was a time too when it was widespread in Scotland, in parts of Wales and the main language on the Isle of Man.
Now however one can travel through all of those places and not hear it.
Irish was the first vernacular language to be written down in Europe and though island people, its speakers were not “insular”. The educated spoke Greek and Latin too and when the Dark Ages fell upon Europe it was the Irish intellectuals, the monks who revived and spread literacy there.
But here we are, you and I, speaking English – which did not even exist until at least the 12th Century.
She (I say ‘she’ because language in Irish is a feminine noun and in many other languages too) – she is all around us in place names, though we may know them only through their corrupted forms into English.
Árd/ Ard, a height; Baile/ Bally, a town or village; Béal/ Bel, the mouth of; Bun, the bottom of; Carraig/ Carrig, a rock; Cnoc/ Knock, a hill; Cluain/ Clon, a meadow; Dún/ Dun, a fort or castle; Inis/ Inis or Ennis, an island or a raised mound surrounded by flat land; Loch/ a lake …
The English-language names of twenty-nine of our counties are corruptions of words in Irish: from Ciarraí to Dún na nGall, from Átha Cliath Duibhlinne to Gaillimh. This includes all six counties in the colony: Aontroim, Árd Mhacha, Doire Cholmcille, An Dún, Tír Eoghain, Fear Manach.
Just over half the States of Stáit Aontaithe Meiriceá on Turtle Island have names in the indigenous native languages, so we’re doing well with placenames and also of course have survived the colonial genocidal campaigns and wars much better.
By the way we also have Irish names for some places in Britain: Glaschú, Dún Éidin, Manchuin, Leabharpholl, Brom agus Lúndain. In fact probably none of the names of those cities are originally English anyway.
Irish has left only a small imprint on the general English language for example with “a pair of brogues, whiskey and slogan” (from slua-ghairm, a call to or by a multitude), banshee, carn and smithereeens. And shebeen, in parts of the USA, the Caribbean and in South Africa.
But its influence on the way we speak English in Ireland is clear.
We might say, instead of complaining that we are thirsty, that we have a thirst on us – a direct translation from Tá tart orainn. Or that the humour is on us – Tá fonn orainn. We might “have a head on us”, as in a headache. “The day that’s in it” – an lá atá ann.
We pronounce “film” with a vowel between the L and the M, as it would be in Irish – take the name for a dove and also a personal male name, Colm. We get that with R and M and R and N too, in some areas “a carun of stones” or “down at the farrum”.
We often indicate the absence of ‘Yes’ or ‘No’ in Irish by replying in English to the verb in the question: ‘Will you be there?’ ‘I will surely’ (Beidh, cinnte). ‘Will you do it?’ ‘I will not’ (Ní dhéanfad).
We have an extra tense in Irish, the very recent past tense, which we translate into English as spoken in Ireland: ‘I’m just after cleaning that floor!’ Táim díreach thréis an urlár sin a ghlanadh!
Renaissance of language and culture has often preceded periods of heightened national struggle: the Harp Festival of 1792 was followed soon by the uprising of the United Irish; the cultural work of The Nation newspaper was followed by the rising of the Young Irelanders.
The Nation newspaper of the Young Irelanders sought to create and encourage a nationalist republican culture and was followed by an unsuccessful rising in 1848, during the Great Hunger. (Source image: Internet)
LANGUAGE AND NATIONAL STRUGGLE
The Fenians too had their cultural precursors and the great revivals of the Irish language, Irish sport, speaking and writing in Irish and Irish theatre were not long in finding expression of another kind in the 1916 Rising and the War of Independence.
And campaigns of civil disobedience in the 1960s secured for us Irish-language broadcasting in Radió na Gaeltachta and TG4. Not to mention motor insurance documentation in Irish which Deasún Breatnach won only after going to jail for refusing to display the documentation in English.
Though we can hear the influence of the indigenous language upon our speaking Sacs-Bhéarla, or English, the Irish language itself at this point is in retreat. In fact some might say that it’s in a rout.
Yes, the Gaelscoil movement is broader and deeper than ever before but outside the schools? The Gaeltacht areas are receding, receding … and where can the language be heard outside of those?
Though the Great Hunger caused the most impressive loss of Irish-speaking modern Ireland on the map, the percentage lost during the period of the Irish State is greater. (Image source: Internet)
I had an experience recently that illustrates the problem. In a pub with some friends, I observed a man wearing a silver fáinne, the ring that many people wore to show a proficiency in Irish. It identified the wearer to other Irish-language speakers (my father wore a gold one).
The man had overheard me bidding farewell to friends in Irish and asked me: “Are you an Irishman?” I thought the question strange and said so. Then he asked me was I an Irish speaker, to which I replied in Irish language.
Eventually he came over and said that he didn’t speak Irish himself.
The fáinne was a family heirloom and he had been wearing it, he said, for six months in Dublin, wanting to come across an Irish speaker to whom he would give the ring. Since I had been somewhat abrupt with him, he gave the ring to one in the company who can speak Irish.
Badge inviting people to speak Irish to the wearer (Image sourced: Internet)
LABHAIR Í
Six months in Dublin without hearing Irish spoken or recognition of the fáinne! That illustrates one aspect of the linguistic problem in Ireland. But it is one that we can resolve, fairly easily too. And that brings me to the kernel, the poinnte or point of this talk here today.
I am asking you to speak a cúpla focal, regularly, go rialta, so that she may be heard. Labhair í ionnas go gcloisfear í. Imagine if everywhere in Dublin, on every side, one heard just a few words in Irish – imagine the social and psychological effect over time!
Those who know some Irish would speak her more often. Many who don’t, would feel it worthwhile to learn at least some phrases and some responses. Some might take it further and learn Irish well. Public services might regularly facilitate services through Irish.
Dia dhuit. Dia’s Muire dhuit. Or the non-religious form: Sé do bheatha. Go mba hé duit.
Má sé do thoill é or le do thoill.
Go raibh maith agat in many situations, including to the driver of the bus.
Tá fáilte romhat.
Gabh mo leithscéil.
Would you like a bag? Ní bheidh, go raibh maith agat.
Cash or card? Íoch le cárta, le do thoill as you wave your bank card. Or Airgead thirm, as you take out your wallet or purse.
Go léir, as you indicate that you wish to pay the full amount.
Isteach, le do thoill, when returning a book to the library. Amach, le do thoill, when borrowing one.
Slán, as you leave.
Easy enough, yes? Yes? But though a part of the mind is willing, another part is afraid.
“What if I get a big load of Irish in response and not even understand it? Won’t I look like a right eejit!” Well, there are risks in anything worth doing as was demonstrated in a short play here some time back when two fellas were debating whether and when to chat up a certain woman.
She was not uninterested but they took so long about it she walked out and left them, like fish brought up by fishing line, gasping on the dry quay.
So you could prepare a small survival kit: “Gabh mo leithscéil. I only have a few words/ níl agam ach cúpla focal.”
“Níl agam ach beagán ach tá mé ag iarraidh í a úsáid/ I only have a little but I want to use it. Is foghlaimeor mé/ I am a learner.”
I am not asking for any of us to campaign, to agitate for services to be provided through Irish though that is certainly a linguistic civil right and, as far as state or semi-state services go, a constitutional one.
I am only asking that you contribute to the audibility of the language, to use a few standard greetings and responses and to use them not only to people you know to be Irish speakers, not only to friends and relations … but everywhere in public.
Everywhere
in public.
Go ye out among the people and spread the word – or rather the few words. Scapaigí an cúpla focal.
Beyoncé, Cowboy Carter (2024) (Image sourced: Internet)
Beyoncé was back in the news once again for a spot of cultural appropriation. It was not her first brush with cultural Neanderthals, she has been here before for apparently “stealing” Egyptian culture by dressing as Nefertiti.
Added into the mix was a lesser-known black artist, Kaitlyn Sardin, who excels at Irish dancing and dared produce some fusion dance routines.
I have dealt with Beyoncé and Rihanna wading into the murky cesspit of the cultural appropriation debate in the past when they were accused of appropriating Egyptian culture(1) and won’t deal with it here.
This time though, the debate is clearly about music, produced by people who are still around and not the attire of long dead Egyptians with little connection to the modern country.
The fact that white country music fans are still around to complain, doesn’t make the debate any less sterile or ridiculous.
Beyoncé’s faux pas was apparently to record a country & western album titled Cowboy Carter. Apparently, some were of the view that a black artist shouldn’t record a “white” song or perform in a “white” musical genre.
Her first release from the album was a song she composed, Texas Hold ‘Em.(2) And the hounds of hell were let loose to howl and drown out the music.
Some radio stations refused to play the song, though that didn’t stop it going to No.1 in the country music charts and the debate, though debate might be too fine a word to put on it, erupted.
She is not white, she is not part of the country music scene and she should stay in her lane, is a crude but accurate summary of most of those criticising her. She is actually from Houston, Texas, not that it matters.
One person interviewed by The Guardian responded that “It doesn’t matter that you came from Texas. It matters if you’re actually living a country lifestyle. It bothers me that her song is being called country.”(3) These words might be familiar to some.
They are normally advanced by identitarians when talking about whites playing genres considered “black” and in some cases other non-whites have levelled this accusation against a whole array of non-white artists including Beyoncé.
It is reactionary rubbish with the racism, in this case, hiding just under the surface, behind a veil of cultural purity. One even went as far as to say that he would bet that Beyoncé had never been in the country saloon he was being interviewed in.
Well, many black women would steer clear of such venues, for more than obvious reasons.
Cultures are not pure, ever. None. Not now, not ever, not even going back to the stone age.
I am very sure, no stone age hunter armed with a flintstone hatchet ever shouted “You’re appropriating my culture” when he realised some other village had come up with the same invention, or even just “stole” the idea.
Country music is not pure either and to the shock and horror of many a man yearning for the days he ran around in his white bedsheets, it isn’t even that white. Blacks have made significant contributions to country music, not least the musical instrument known as the Banjo.
What would country be without the banjo? Rhiannon Giddens, the black musician has dedicated her time to reviving the banjo as a black instrument and recording some excellent music, though unsurprisingly she doesn’t quite stick to genres either.(4)
Her site describes her thus: Singer, multi-instrumentalist, composer, and impresario, Rhiannon draws from many musical traditions including blues, jazz, folk, hiphop, African, Celtic, classical, and jug band. She bridges contemporary and traditional forms, and few musicians have done more to revitalize old-time influences in current music.(5)
Rhiannon Giddens with banjo (Image sourced: Extra.ie)
She composes her own songs, covers others, even ones such as Wayfaring Stranger, recorded by many white country artists, though actually written and composed by two Germans in the 1660s.
As far removed from her as from the whites who might like to claim the song as their own (Links below to Gidden’s version,(6) Johnny Cash’s(7) the Mormon Tabernacle Choir(8) and even Ed Sheeran’s(9) very uncountry version.
I have included links to all songs and routines mentioned in this article). The song belongs to whoever wants to sing it, however they wish to, though I personally think Sheeran murders the song with a flintstone hatchet, but each to their own.
So, Beyoncé is quite entitled to record in whatever style she wants. Part of what rankles some is that she went straight to No.1 and will make a fortune from the album and this is part of the ‘stay in your lane’ slogan applied to blacks and whites.
Elvis made a fortune singing what was essentially considered, at least initially, to be a black musical form and other white artists who have done this have been criticised by a black bourgeoisie who want that slice of the cake for themselves.
Some of the whites criticising Beyoncé are undoubtedly racist, some might just be musical purists, though music is one art form that just doesn’t lend itself to purity. Others, like identitarians everywhere, think that the money is theirs. Flip sides of the same coin.
Beyoncé is not the only black artist to venture into the world of country,(10) Charley Pride and Ray Charles did so back in the 1960s at times of heightened tensions in the midst of the racial violence meted out against those demanding civil rights for blacks.
When Charley Pride released his first country album, his image was not put on the record sleeve and they initially hid the fact he was black as part of their marketing strategy. He would eventually make it to the Grand Ole Opry in 1967.
He had a total of 52 top ten hits on the Billboard Hot Country Songs chart.(11) No mean feat and not a once-off foray into country music either, he was a country artist.
Linda Martell fared worse as she never hid that she was black and though she would also perform at the Grand Ole Opry in 1970, her album Color Me Country(12) never had the same success.
Ray Charles also dipped his fingers into the pond producing Modern Sounds in Country and Western Music(13) in 1962. It was a best seller, topping the charts. So, Beyoncé is by no means the only or even the first black artist to find success in the genre.
Black artists have always ventured into genres that were not considered to be black.
Others have gone the other way and identitarians tend to criticise white artists doing “black” music, though when Gene Autry, the white country and western singer, nicknamed The Singing Cowboy recorded a blues album, nobody accused him of cultural appropriation.
Though even non-whites get accused by the black bourgeoisie closely aligned to the US Democratic Party of cultural appropriation, Jews, Asians, even Africans get in the neck.
Samuel Jackson infamously accused black British actors of stealing their jobs because they were cheaper and questioned the cultural bonafides of British-Nigerian actor David Oyelowo when he was cast as Martin Luther King in the film Selma.(14)
He never criticised the decision to cast the black Yank, Morgan Freeman as Nelson Mandela in the film Invictus or Matt Damon as the white South African rugby captain in the same film.
Given the backlash against his comments he decided to keep his mouth shut when the British-Ugandan actor Daniel Kaluuya was chosen to play the black revolutionary leader of the Black Panther Party, Fred Hampton. No one is safe from the accusation.
It is a bit like the MacCarthy trials. “Are you now or have you ever been a homosexual? No, but I slept with a man who was. Have you ever appropriated a culture? No, but I hummed a tune by a man who had.”
Which brings us now to Kaitlyn Sardin, the US black Irish dancer. She has recently gone viral, though not for the first time, with her dance routines and not being as powerful as Beyoncé has come in for some vile racist abuse.(15)
She produced a new video which is what is now termed fusion i.e. Irish dance with some developments.
This is now quite common and there is a host of Irish groups producing fusion. My favourite is a routine called Freedom with the voice of Charles Chaplin and images from Belfast in the early seventies.(16)
Though the first person to do this was Michael Flatley with River Dance which not only broke many of the “rules” of Irish dancing, it even went as far as to incorporate the Lambeg War Drums in a much more positive sense than the annual announcement of Protestant supremacy for which they are used every July 12th.
Of course, Flatley, unlike Sardin is white and of Irish descent.
Kaitlyn Sardin (Image sourced: Internet)
As I said there are many fusion groups in Ireland, the one I previously mentioned and even one which is danced to classical music titled Fusion Fighters Perform Fusion Orchestra.(17) Again, all as white as the driven snow in Siberia.
There is even an all-female Fusion Fighters group from the USA that does a tap dance routine to William Tell.(18)
The particular group started off with Irish dance and moved into other styles over time, so much so that even their website acknowledges it has less to do with Irish dance than they used to.(19) It is what happens with culture. It evolves, all the time.
Again, they are white and no one said fusion is not Irish dancing and no one said anything about not being Irish, even though their Irish connections may be as tenuous as Darby O’Gill.
The term fusion is one of those designed to assuage musical purists more than racists. In reality there is no such thing as fusion music. ALL music and dance are fusion till it becomes accepted as the standard, when new deviations or fusions arrive.
Though dancing has existed in Ireland for centuries it has not been immune to outside influences such as French Quadrilles in the 1800s or other forms.
The clues are in the names, hornpipes and polkas for example are two types of music that you will find in other parts of Europe and indeed in the case of polkas they clearly originated in Eastern Europe, though most forms including reels and jigs are not exclusively Irish either.
All cultures borrow.
Most instruments used in Irish music are not Irish in origin. Some, like the flute have arisen in most cultures around the world and archaeological remains have thrown up examples everywhere of flutes and whistles made from everything, including animal bones.
Fiddles arose over a long process around the world and it is a bit difficult to pinpoint them to one country. Uillean pipes are Irish, though they too were part of a wider process in Europe with different types of pipes arising.
Though Scottish bag pipes are perhaps the most famous type of pipe, there are in fact lots of pipes throughout Europe and parts of Africa, Iran, Azerbaijan and even India.
Other instruments such as the banjo are African in origin, though the modern banjo has developed over time since it was first brought to the western world by slaves.
The piano accordion is a relatively recent European invention from the mid 1800s, a further development of the accordion, which was also a European instrument.
If we rejected all outside influences and demanded purity, we would have little in the way of Irish music or dance, were we to have any at all.
So, Kaitlyn Sardin should be celebrated. She is from the US, is black and more importantly is very good at what she does: dancing. The fact that she is not Irish or she recently produced a fusion routine is neither here nor there.
Any liberal who got lost on the internet and accidentally read this article will probably have nodded most of the way down: until now. The ridiculous statements made about Beyoncé and Sardin are generally rejected by liberals.
But when the cultural capitalists hiding behind identity politics make similar claims against white artists or indeed between other non-white artists this rubbish is taken seriously.
Culture does not belong to anyone, you don’t have to be white, black, Asian or Latin to perform in a particular style. Culture is a gently flowing river you bathe in, swimming ashore where you please along its route or letting it sweep you out into the sea.
It has always been thus and always will be, despite the attempts of cultural capitalists to appropriate culture for their own grubby money-making ends, or racists imagining some non-existent purity. It doesn’t mean that some of the commercial outings by Beyoncé and other artists do it well.
They don’t.
Beyoncé was criticised for her depiction of India as a white paradise and other artists such as Gwen Stefani, Nicki Minaj and Iggy Azalea have been accused of engaging in crass portrayals of the cultures they seek to borrow from(20) and in Ireland we know a thing or two about how crass Hollywood can be when it comes to depicting Irish music.
But that is another matter, many artists in particular genres have come up with really crass portrayals of their own cultures. The point is whether culture is pure, has lanes and you stick to them due to an accident or birth.
The legendary US folk singer Pete Seeger would joke that plagiarism was the basis of all culture and he was a wonderful plagiarist who introduced musical forms from around the world to a US audience at a time when there was no internet and it was not an easy feat.
He introduced the song Wimoweh to the world, which has gone through multiple adaptations,(21) some of them very good and others absolutely dire, such as that recorded by the English pop group Tight Fit in the 1980s.(22)
The original song however was quite different in style and written and recorded by the South African musician Solomon Linda(23) who was swindled out of the royalties on the song.
Had Seeger stayed in his lane, most of us would never have ever heard of Linda or the story behind his song.
Demands for cultural purity are inherently reactionary, as are demands to ‘stay in your lane’, be they levelled by whites, blacks or Asians. Culture is to be celebrated and expanded.
The accusation of appropriation would only make sense if someone like Seeger had said he wrote Wimoweh, that would be straightforward dishonesty, something he could never be accused of in his multiple adaptations of songs from Ireland, Japan, China, Indonesia, Scotland, Chile, Nicaragua amongst other places.
Beyoncé’s foray into country is perfectly fine, though personally, I don’t like her music, including her country. But that is my personal taste and has nothing to do with appropriation or other rubbish from cultural capitalists.
The Irish radio on Saturdays used to broadcast an Irish music show from the musical company Walton’s. It always finished off saying “If you do feel like singing a song, do sing an Irish one.” The exhortation was for all, not some; the point was to celebrate and enjoy music.
Let’s leave the cultural capitalists, purists, identitarians and racists to the handful of songs they mistakenly believe to be pure.
We now approach the festival called Christmas. A Christian festival, apparently, celebrating the birth of Christ, the baby Jesus. But are there darker aspects in its references?
Away in a manger No crib for His bed The little Lord Jesus Lay down His sweet head
The stars in the sky Look down where He lay The little Lord Jesus Asleep on the hay
Such a sweet, holy image.
But actually, when we look around us, it seems more like a festival of the pagan gods: of Bacchus, the god of alcohol and of Mammon, the god of wealth. Bacchus, because in non-Moslem countries, drinking of alcohol will be for most a big component of the festival.
Whiskey, brandy, wine and beer will be bought to stock up the house. Alcohol will be drunk at Christmas parties (including office parties, where for months afterwards some people will regret what they did or said – or even what they didn’t do or say).
Alcohol will be not just drunk but also put into some of the traditional food and even poured over it.
Then Mammon. Well, you can see the retail businesses stocking up for weeks or even months ahead of the festival which, after all, was only supposed to be a one or at most a two-day event.
Giving and receiving gifts has now become part of the festival and in most cases, gifts have to be bought. Which is a really big gift to the retail businesses and thence, really a sacrifice to Mammon.
In the Christian gospels of both Matthew and Luke, it is written that one “cannot serve both Mammon and God” — which goes to show how little they understood capitalism, where Mammon IS God.
A theologian of the Fourth Century saw Mammon as a personification of Beelzebub, which in his time was another name for Satan or the Devil.
Interestingly, Protestant Christianity, which some credit as having invented capitalism, at the same time regarded Mammon, or said they did, as “one of the Seven Princes of Hell”.
Cartoon depiction of Mammon, God of Wealth (Image sourced: Internet)
Sculpture representation of Bacchus, God of Alcohol, in California winery, USA (Image sourced: Internet)
SANTA
Now, Santa Claus is also a big part of the Christmas festival, especially in western countries, a much more acceptable face than that of greedy Mammon and alcoholic Bacchus, right?
But originally, the Christians saw him a representation of St. Nicholas, 4th Century Bishop of the Greek city of Myra, a location now in Turkey. He was he patron saint of archers, repentant thieves, sailors and prostitutes. The prostitutes probably had to be repentant ones too, of course!
The sailors, who probably had at least as much recourse to prostitutes as had any other calling, were apparently not required to be repentant – to be in danger on the sea was deemed enough.
But St. Nicholas was also the patron saint of children, pawnbrokers and brewers, so we can see how close he was getting there to the modern spirit of Christmas.
GERMAN TRAPPINGS
Now, the Christmas Tree, der tannenbaum, so much a part of the symbolism of modern western Christmas, came to us from Germany, as did the sled and the reindeer.
The reindeer are not autochthonous or endemic in historic times to Germany, so they must have been brought in their myths from Scandinavia from where originally, the Germanic tribes came.
In turn, the Christmas Tree, Yule Log, reindeer and sled were exported from Germany to England in the reign of Queen Victoria, by her consort Prince Albert, who was German.
And since the English ruled all of us in Victoria and Albert’s time, the Christmas Tree came to us too, to the cities first and then slowly spreading through the rural areas.
A representation of St. Nicholas (before he got the red suit makeover) looking more like a pagan god of the woods. (Image sourced: Internet)
***
When you think about it, this German-English worship of the tree was a bit ironic, since the English had wiped out most of our forests already and were still cutting down our remaining trees in Queen Victoria’s time.
***
And Victoria, through Albert, gave us the Santa Clause we know and love today. A jolly man, well fed, white beard, twinkly eyes, dressed all in red with white trim ….
IN RED?
Now, wait a minute! It turns out he wasn’t always dressed in red. Originally, he was dressed in a brown, or green cloak. He was, originally among the Germanic people, a god of the forests – hence the evergreen Christmas tree.
And like any sensible woodsman, he dressed in appropriate colours, brown or green. Neither Albert nor Victoria ever represented him as dressed in red. So how did it become so that we are incapable of seeing him today in any other colour than red?
Well, it turns out that Coca Cola is the responsible party.
Yes, although it was the cartoonist Thomas Nast in 1870s United States who first portrayed Santa in a red suit with a belt but it was Coca Cola, in their advertising campaign of 1931 and onwards who made his clothes red world-wide.
Coca Cola is a drink served cold and almost undrinkable when warm but who needs a cold drink in cold weather? I guess Coca Cola needed a warm image to make it still attractive in winter. So therefore the warm, jolly man dressed in red, with a bottle of Coca Cola in his hand.
1931, Santa Clause first appears in red, in Coca Cola advertisement, USA.
(Image source: Internet)
Coca Cola brand is worth about $106.1 billion dollars today,1 far ahead of any other cold drinks product. Which I guess brings us back to …. yes, Mammon.
You can mix the drink with a number of alcoholic beverages too, so tipping a nod – and a glass – to Bacchus.
Now, the German Santa Claus, this originally woodland god, is also thought to have been something like Thor, a god of fire and lightning. So can it be any coincidence that two of his reindeer are called Donner und Blitzen, i.e “Thunder” and “Lightning”? Nein – of course not!
A starry night over desert hills, like the Nativity scene but without the Guiding Star. (Photo source: Internet)
INVISIBLE
Although we see the image of Santa Claus everywhere and even pretend Santa Clauses all over our city streets, everyone knows that nobody sees the real Santa Claus. Children have to be asleep when he arrives to distribute his presents and somehow adults don’t see him either.
Which I suppose is a good thing ….
I mean if you found an adult intruder in your house at night, not to mention near your children, you’d be liable to whack him with a hurley (that’s an Irish cultural reference) …. or a baseball bat (that’s a U S cultural reference) …. or stab him with a sharp kitchen knife (that’s an international cultural reference).
It was bad enough when somehow that portly – not to say fat – man could somehow come down your chimney and go up again, without waking anyone … but now he can get in your house or flat even when you don’t have a chimney.
Which is at least creepy, if not downright scary.
Oh, let’s lighten the mood and sing together:
You better watch out You better not cry You better not pout I’m telling you why
Santa Claus is comin’ to town Santa Claus is comin’ to town
He’s making a list He’s checking it twice He’s gonna find out Who’s naughty or nice
Santa Claus is comin’ to town Santa Claus is comin’ to town
He sees you when you’re sleeping He knows when you’re awake He knows if you’ve been bad or good So be good for goodness sake
Yes, lovely but wait …
“You better watch out, you better not cry …” — Is it just me, or is that not downright threatening? And he knows when we’re sleeping or awake? He has our children under surveillance? In some kind of list?
HO! HO! HO! IN MORALITY PLAYS
Morality Plays were a genre of theatrical performances of the medieval and Tudor eras in which a character was tempted by a personification of Vice.
Now Vice (not unlike a lot of police Vice Squads), was often seen as the epitome of evil, corruption and greed – in other words, the Devil. The playwrights tended to portray the Devil as somewhat of a comical character, perhaps to keep their audiences entertained (or to disarm them).
So the character who played the Devil would announce his arrival with a stage laugh: “Ho, Ho, Ho!”
You can probably see where I’m going with this.
Nowadays, we tend to see the Devil portrayed in black but in earlier times, he was more often seen as coloured in red. The colour in which Coca Cola just happens to have dressed Santa too.
The German or Nordic Santa was originally a god of fire also, while even the modern Santa drives a magical chariot pulled by horned beasts and he is portrayed all in red. Traditionally, the Devil is seen as residing in Hell, a supposed place of eternal flames below ground.
What does Santa Claus give to children who have not been good? A lump of coal! In other words, a mineral from underground that can burn to make fire.
NICHOLAS
Santa Claus is supposed to be modelled on St. Nicholas …. and what is the popular abbreviated version of Nicholas, i.e the nickname? Yes, Nick.
And the common name for the Devil, Mammon, Beelzebub, Satan is ….. Old Nick!
The imagination’s land of the Red Cross, cheese, cuckoo clocks and chocolates plans the massacre of 70% of its wolf packs.1
In reality of course Switzerland is a very regulated country, with a rich financial/ industrial economy and is a major arms producer.
However in 2020 Swiss voters made their desire to protect endangered species clear, when 52% of voters rejected a hunting law that would have made it easier to kill endangered species such as wolves.2
Despite the vote, the Swiss parliament passed a new law in December 2022 that allows the wolf population to be ‘regulated’. Then, just days ago, the government proposed a regulation that will wipe out 19 of the 31 wolf packs remaining in Switzerland!
Eurasian Grey Wolf in snow (Photo sourced: Internet)
WOLF MYTH & REALITY
Childhood and adult fiction is replete with horror stories about wolves (to say nothing of werewolves) attacking humans but, when set against reality, these seem like propaganda. The reality is that it’s not to humans that wolves are generally a danger but to their livestock.
Wolves (Canis lupus) are highly intelligent pack canines and, apart from having donated the dog (Canis lupus famialaris) as a worker and companion for humans, is well aware of its survival boundaries with Earth’s very apex predator – humans (Homo sapiens).
Wolf fondling another; pack members are very affectionate to one another while the alphas maintain boundaries. (Photo source: Internet)
Wolves prey substantially on rodents but must also, for pack survival, prey on larger mammals such as deer, mountain goats and boar. When these are in poor supply or other prey is temptingly easy, such as cattle and sheep, they will take those too.
The traditional human fear of wolves is therefore not one based on self-preservation but on economic priorities. And in the moralistic story of “The Boy Who Cried ‘Wolf’” it is not the human villagers that are attacked by the wolf pack but the community’ssheep.
However, if humans are to continue consuming a diet that will include meat, they will of course need to protect their livestock from wolves and have being doing so even before history was written.
Traditionally the main agent in that protection has been, ironically perhaps, the wolves’ own descendant, the dog – or more specifically, several livestock guardian breeds of dog.
Known livestock guardian dog (LDG) breeds include the Aidi (Atlas Mountain Dog), Carpathian Shepherd, Estrela, Greek Shepherd, Komondor, several breeds of Mastiff and Sardinian Shepherd; a known extinct breed is the Alpine Mastiff (before 5th century BC to 19th century AD).3
Mastín (Mastiff) amidst sheep it guards near Lagunas de Somoza (León, Spain). (Photo sourced: Internet)
Livestock guardian dogs are socialised to the livestock and to their immediate human ‘family’ and will not tolerate the close approach of any potential predator (which often includes even other humans). The primary role is to protect the herd, warn of danger and if necessary, attack.
Where employed in the past, LGDs have been highly effective in protecting their charges, in most cases not even having to fight predators but rather intimidating them. If they have to fight, they are bred for fearlessness and tenacity and their throats also protected by a “wolf-collar”.
Anatolian or Kangol Livestock Guard Dog, with sheep herd it is protecting, Eastern Turkey. (Photo sourced: Internet)
Predators, however courageous, also have strong survival instincts which warn against danger to life or limb (the latter, for a predator in the wild, often in time equalling the first). Unless absolutely desperate they will move on to safer although more difficult-to-catch prey.
For a good LGD however, there is no backing down possible, it is in defence of its own (as a wolf pack might defend its pups). The herder, when present with a firearm, is mainly an additional protection, as well as an alpha member of the dog’s ‘pack’ to obey and protect.
In contemporary times, LGDs have proved effective throughout the world, even in the experimental reintroduction of wolves to the USA.4 So why are they not being more widely employed and, instead, the remaining large predators being exterminated?
Central Asian breed of Livestock Guardian Dog beside its owner (Photo sourced: Internet)
It is no doubt more profitable for big livestock famers to have huge herds roaming freely and when they run out of edible pasture, to move the herd by herding dogs, mechanised herding vehicles or even helicopters. But is it all-around better? And are huge herds environmentally viable?
Apart from other considerations, wolves have been shown to have an environmentally positive effect in a balance between predator, prey and the environment, including vegetation and even water courses, for example in the famous case of the reintroduction of wolves to Yellowstone.5
Deer are pretty to look at but eat young trees and cause damage to reachable branches, while wild goats will eat almost anything, right down to the roots. Wild boar can also be very destructive and, being omnivorous like humans, even prey on ground-nesting birds.
Eurasian Grey Wolf in woodland (Photo sourced: Internet)
All of those invade agricultural crop lands to eat, in the course of which they also trample other crops; wild boar6 are now invading villages and suburbs in a number of towns and cities, overturning large refuse containers for their edible contents.
Female wild boar with litter of piglets in German urban area (Photo cred: Florian Mollers)
Wolves and other predators keep those species down to numbers in better balance with the environment but also of less bother to human settlements. Wolf packs on the other hand do not grow in size beyond the food supply that is fairly safely available.
The human race has made a huge impact on the environment which is sustainable up to a point beyond which, however, we are rapidly passing. We live in a sustainable balance with the environment — or we perish. Perhaps “let the wolf live” can be part of the lesson we need.
4“After the reintroduction of wolves, that were eliminated in the United States in the 1930s, American farmers were losing about a million sheep annually to wolf attacks. 76 farmers took part in the Coppingers program, which introduced European livestock guardian dogs into the US sheep breeding (in their project they used Anatolian Shepherd Dogs). In all farms, where, in the absence of dogs, up to two hundred attacks of wolves per year happened, not a single sheep was lost under the protection of LGDs. At the same time, none of the predators protected by law got killed: the dogs simply did not allow them to approach the herd.” – https://en.wikipedia.org/wiki/Livestock_guardian_dog
6A wild boar is much more likely to attack a human than is a wolf in Ireland, where the Wolfehound breed was famous, it was a boar that mortally gored Diarmuid of the legendary Fianna after his return from exile. Wild boar also carry diseases that can infect domestic pigs and humans.
A broad group of socialist Republicans gathered at the grave of Theobald Wolfe Tone on Sunday 2nd July to honour his memory and to reiterate their commitment to an independent and socialist Ireland outside of imperialist military alliances.
Wolfe Tone’s grave in the Bodenstown Church graveyard has been a place of pilgrimage for Irish Republicans at least since the days of Thomas Davis1 of the Young Irelanders of the 1840s, who wrote of his own visit to the grave and composed the song “In Bodenstown’s Churchyard”.
The late 1960s saw huge numbers of people in attendance at annual commemorations there near the village of Sallins, Co. Kildare, including not only Sinn Féin2, who led them, but many political and social organisations, GAA clubs, along with many non-aligned people.
Over the years, the voluntary and unfunded National Graves Association has improved the site comprehensively and sensitively, leaving the ruins of the Protestant church as they are but building a stage attached to one side, fronted with plaques and commemorative flag stones.
Commemorations currently are usually organised around a Sunday near the date of the patriot leader’s birthday on 20th June but have to be managed between different groups wishing to hold their own commemorations.
Speeches, songs and Garda harassment
The Annual Wolfe Tone commemoration organised by the Wolfe Tone Commemoration Committee took place over the weekend with members of a number of groups and Independent Republicans in attendance.
A Socialist Republican Colour party led the march up from the bottom of the road, turning in to the graveyard through a side gate and taking up positions in front and to one side of the monument, at ordú scíthe (parade rest) position but with flags held high.
Colour party in front of Wolfe Tone monument, Bodenstown Churchyard (Photo: Rebel Breeze)
Behind the colour party followed a crowd carrying banners bearing the legends “Irish Republicans against NATO”, “We serve Neither King nor Kaiser but Ireland” and an assortment of flags including green-and-gold Starry Ploughs, Irish Tricolour, Palestinian and Basque national flags.
The event was chaired by a young Socialist Republican who spoke about the importance of the event before introducing a representative of a midland Republican commemoration group who read a short message of solidarity.
This was followed by a socialist republican accompanying himself on guitar singing The Three Flowers.3
The main oration was delivered by veteran Independent East Tyrone Republican Margaret McKearney who linked the past with the present, including the current housing crisis, the British occupation and the Irish State’s push to join PESCO and NATO military alliances.
Musician performing The Three Flowersat the Wolfe Tone monument (Photo: Rebel Breeze)Veteran Republican from Tyrone delivering the oration at the commemoration event (Photo: Rebel Breeze)
There was a clear message at the event that the push towards NATO will be energetically resisted at every turn by the people of Ireland.
Wreaths were laid and a minute’s silence was observed, while the colour party lowered the flags in memory of all those who paid the ultimate sacrifice in the ongoing struggle for Irish Freedom. The event was brought to a close with the musician playing and singing Amhrán na bhFiann.
A handful of Gardaí4 in uniform and in plainclothes (Special Branch, the political police) were parked outside the graveyard watching people arriving and leaving but at that point having no direct interaction with those attending the event.
Part of long tail-back cause by Garda checkpoint very near to Bodenstown Churchyard after the commemoration event (Photo: Rebel Breeze)Gardaí in uniform and Special Branch in plain clothes harassing and attempting to intimidate people who had attended the commemoration event (Photo: Rebel Breeze)
However, once the event concluded, the Gardaí set up a checkpoint at the bottom of the road and began to harass and attempt to intimidate drivers of vehicles, stopping them, asking for identification, where they were from etc, causing a long tailback.
This is part of the regular harassment of Irish Republicans by police on both sides of the British Border.
“The Father of Irish Republicanism”
Theobald Wolfe Tone (1763-1798) was formally a member of the Church of Ireland5 congregation (Anglican), in his time the dominant religious group in England-occupied Ireland but also one of the smallest.
No-one could be elected to the Irish Parliament unless of that congregation.
In the early 19th Century a section of the Irish bourgeoisie, nearly all Anglican or of the other Protestant churches, “dissenters”, wished to develop the Irish economy free of interference, control, patronage and bribery associated with being an English colony.
Many of them understood the need for a strong base in the population, for which they recognised the need to include representation for the majority population in the country, the Catholics, along with the most populous of the Protestants, the Presbyterians.6
When the liberal but pro-English Crown Henry Grattan brought the issue to a vote in the Westminster Parliament, his motion failed due to many MPs’ sectarianism or vested interests, a situation which continued for decades afterwards.7
That seemed to point to revolution as the only logical way forward.
Theobald Wolfe Tone was one of the founders of the Society of United Irishmen in October 1971, the first broad Republican organisation in Ireland, which soon developed a comprehensive revolutionary agenda, for Irish independence and a Republic based on universal male suffrage.8
In order to accomplish a successful uprising, they invited assistance from Republican France and planned a simultaneous uprising across Ireland, with particular concentration on Antrim (largely Presbyterian and Anglican), Wexford and Wicklow, Midlands and Mayo (largely Catholic).
Colour party leading a march towards the Wolfe Tone monument (Photo: Rebel Breeze)
Spies and informers working for the English occupation betrayed some of their plans and most of the Leinster Directorate of the United Irishmen, including Wolfe Tone, were arrested, a disaster for uprising plans in Dublin but also for overall leadership in Leinster.
The 1798 Rising had initial great success in the south-east, particularly in Wexford but was quickly and bloodily suppressed in the Midlands and in Antrim. Mayo rose when a too-small detachment of French soldiers arrived under Humbert in Kilalla but they were outnumbered and beaten.
Tone was was unapologetic at his trial, was sentenced to death by hanging but appears to have attempted to take his own life while awaiting execution, surviving for a few days in great pain before dying on 19th November 1798 as British and Orange loyalist repression swept the country9.
Wolfe Tone Monument by Edward Delaney (d.2009) at S.E entrance to Stephen’s Green, Dublin city centre (image sourced: Internet)
Many leaders of the United Irishmen are honoured in song, writing and in commemorative events to this day but Theobald Wolfe Tone is still the most widely remembered of them all.
End.
The Colour Party and some of the participants line up for a group photo by the monument (Photo: AIA)
FOOTNOTES
1Thomas Davis (1814-1845), journalist, author of the song A Nation Once Again and other works, also co-founder of The Nation newspaper.
2Prior to its split resulting in Provisional Sinn Féin and the later split resulting in the Irish Republican Socialist Party.
3Composed by Norman G. Reddin, a Republican ballad honouring the memory of three United Irish leaders, Robert Emmet, Michael Dwyer and Wolfe Tone. Both Tone and Emmet were sentenced to execution, the latter carried out in 1803 on Thomas Street in Dublin. Dwyer was transported to exile in Australia where he was later accused of planning an uprising in New South Wales for which he was twice imprisoned and tried but exonerated, became Police Chief in Liverpool, Sydney in 1813 but was imprisoned again in 1825 for alleged non-payment of a £100 debt, contracted dysentery, was released again and died very soon afterwards.
5A branch of the Church of England, the state religion of the UK of which their Monarch is the titular head (in addition to being the commander-in-chief of the Armed Forces).
6“Catholic, Protestant and Dissenter”, as Wolfe Tone famously called the alliance.
7In May 1808 Grattan proposed emancipation in the House of Commons, with certain qualifications, but his motion was defeated by 281 votes to 128. In June 1812 the Commons accepted, by 225 votes to 106, a motion in favour of considering Catholic claims. An emancipation Bill, introduced in February 1813, received a second reading but was lost in committee by a narrow margin. Frustration at this lack of progress led to the formation of the Catholic Association in 1823 (of which Wolfe Tone was an active member). Parliament passed an Act to restrict the Association’s activities two years later.
8Very few radical or revolutionary individuals, not to mention movements of the 18th (or even much of the 19th or early 20th) Centuries proposed universal female suffrage, one reason why the 1916 Proclamation of Irish Independence is such a remarkable document, beginning its address with the words “Irishmen and Irish women”.
9Which many, in particular Protestants, fled the country to escape, some settling in the United States and in Canada. The great Catholic emigration from Ireland did not occur until the Great Hunger of the mid-19th Century and later.
Many people know that March 17th is St. Patrick’s Day, a national holiday in Ireland and a public holiday in some other places in the world where the Irish diaspora has had an impact1. But why? And why the shamrock and the colour green?
The Christian Saint Patrick, an escaped Welsh slave of the Irish returned as Christian missionary to Ireland is credited with the main role in the conversion of the Irish from their pagan religions to Christianity. As such, he is revered by the Catholic and many Protestant churches.
Unlike many places in Europe, the conversion seems to have been largely peaceful with no evidence of the fire and sword by which it was imposed on many other lands. Perhaps because of this, Irish monks recorded much of the rich mythology and legends of pagan Ireland.
But there is absolutely no historical reason to associate Patrick with the shamrock. The claim that he used it to demonstrate the three-in-one of the Christian Trinity is a fable and copies of his Confessio, widely accepted as Patrick’s authentic autobiography, do not mention it.
Reference to this fable is not recorded until centuries later but a much more convincing argument against its veracity is that pagans had many deistic trinities and the Irish were no exception, among which the Mór-Righean goddess2 in the Táin saga3 is the best remembered.
In fact, there seems little reason to believe that the druids favoured the shamrock either and searching the internet years ago threw up no references at all until more recently one reference only surfaced that gave no source for its claim.
So, no authentic reason for the shamrock – but what about the colour green? It turns out that the association of the Irish with the colour green is historically recent also, with blue having an earlier association. Even today only one of the four provinces, Leinster, has green on its flag.
A similar flag to the Leinster one, a golden harp on a green background was first flown and introduced by Eoghan Rua Ó Néill to the Catholic Confederacy, the Irish and Norman settler alliance against Cromwell and the English Parliament in 1642.
A number of versions of Harp and Crown on flags followed but the first mass Irish Republican organisation, the United Irishmen brought the Harp without the Crown back on to a green background for their flag, with the motto “it is newly strung and shall be heard” next to the harp.
The United Irish emblem; the harp was reproduced in gold on a green background for the flag. (Image sourced: Internet)
John Sheils, a Drogheda Presbyterian and United Irishman, in his aisling-style song The Rights of Man composed sometime before the 1798 Rising, brought the icons of a female Ireland, the Harp, colour Green, St. Patrick and the shamrock together in his call for unity against England.
Alluding to “the three-leaved plant” Sheils has St.Patrick declaim that “it is three in one, to prove its unity in that community that holds with impunity to the Rights of Man.”
The “three in one” is an obvious reference to the unity of “Catholic, Protestant and Dissenter4” sought by the United Irishmen and vocalised by Wolfe Tone among other leaders. However, there is no evidence of wide-scale use by the Unitedmen of the shamrock to signify that unity.
And the green may have been inspired by the colour which Camille Desmoulins called on Parisians to wear in their hats as a sign of revolution two days before the storming of the Bastille in 17895, though they soon chose blue in emulation of the American Revolution.
The failure of the United Irish risings in 1798 and 1803 was followed by severe repression, reflecting the fear of the Crown and its loyal settlers of losing its Irish colony. The weak Irish Parliament was abolished by bribery and Ireland became a formal part of the United Kingdom.
The Wearing of the Green
As a Christian festival, St. Patrick’s Day might have seemed an innocuous feast day, acceptable to ruler and ruled, therefore safe to celebrate and wearing the shamrock as something innocuous.
It seems likely to me that in an atmosphere of wide-scale repression, people of Irish Republican sympathies might well choose to wear green in public at least one day a year, that being in the form of the shamrock on “St. Patrick’s Day.”
The song The Wearing of the Green references the repression following the United Irish uprising of 1798 with the lyrics “they’re hanging men and women for the wearing of the green” and “the shamrock is by law forbade to grow on Irish ground.”6
The Irish Republican Brotherhood, formed on St. Patrick’s Day 1856 simultaneously in New York, USA and in Dublin, Ireland, adopted the golden Harp on a Green background for their flag, though they also used the Sunburst, believed symbol of the legendary Fianna warriors.
(Image sourced: History Ireland)
The formation of the IRB, or “the Fenians” as they became known by both friend and foe, occurred in a time of huge Irish emigration, then overwhelmingly Catholic in religion and surpassing by far that of the mostly Protestant and Dissenters of the late 18th Century to the USA and Canada.
Waves of Irish emigrants followed those who managed to leave Ireland during the Great Hunger of 1845-1848. Whenever they went to an English-speaking country or colony, the Catholic Irish suffered discrimination from the White Anglo-Saxon Protestants settled there before them.
The Irish who formed a battalion to fight the USA’s second expansionist war against Mexico (1846-48) may have flown the green flag and harp; certainly they named their unit the St. Patrick’s Battalion and were known by Latin Americans as “Los San Patricios“.
St. Patrick’s Day in Exile
St. Patrick’s Day became one of celebrating Irish identity, more ethnic than religious, a way even of flaunting that identity in the face of their detractors and persecutors. The Irish fighting in huge numbers in the Union Army celebrated it during the actual American Civil War (1861-65).
In their first invasion of Canada in 1866, American Civil War veterans organised by a branch of the Fenians flew a green flag with a harp and, it is said, with the letters “IRA” on it, the first such use of the acronym in history.
Painting depicting the Battle of Ridgeway, Fenian invasion of Canada, 1866 – note the Irish flag (Image sourced: Internet).
After the War, the Irish in the US celebrated St. Patrick’s Day in mass parades with their Union Army veterans in their regimental uniforms, flinging their identity and their contribution to the USA in the face of their persecutors, not only the highbrow WASPs but the nativist “Know Nothings”.7
Irish convicts in Australia celebrated the feast day in 17958 and, since sentenced 1798 and 1803 United Irish were sent there in chains, likely celebrated often afterwards by them, as well as by subsequent political prisoners, Young Irelanders in 1848 and Fenians in 1867.
The Irish diaspora in Australia, who were maligned due to the opposition of many to fighting for the British Empire in WW19, marched in parade on St. Patrick’s Day in 1921 with WW1 veterans in uniform at the front,10 calling for self-determination for Ireland.
As an Irish community activist in Britain, there was never any question as to where I would be on March 17th – I’d be celebrating the feast day with the community in the event we’d organised, whether a parade or a reception.
During a time of IRA bombings and widespread repression of the Irish community11 in Britain there were some calls to abandon St. Patrick’s parades but I and others felt it more important than ever to hold them in public at a time when the community was under attack and we did so.
James Connolly must have experienced celebrating St. Patrick’s Day in his Irish diaspora community in Edinburgh, later as an immigrant to Ireland, again as an immigrant to New York and back again as an immigrant once more to Ireland.
James Connolly Monument, Beresford Place, Dublin. (Photo sourced: Internet)
In March 1916, a month before his joint leadership of the Rising for which he would be shot by British firing squad, Connolly wrote supporting the celebration by the Irish of St. Patrick’s Day.
“ … the Irish mind, unable because of the serfdom or bondage of the Irish race to give body and material existence to its noblest thoughts, creates an emblem to typify that spiritual conception for which the Irish race laboured in vain.
“If that spiritual conception of religion, of freedom, of nationality exists or existed nowhere save in the Irish mind, it is nevertheless as much a great historical reality as if it were embodied in a statute book, or had a material existence vouched for by all the pages of history.”
“Therefore we honour St. Patrick’s Day (and its allied legend of the shamrock) because in it we see the spiritual conception of the separate identity of the Irish race – an ideal of unity in diversity, of diversity not conflicting with unity.12”
He did not call for – and would have certainly repudiated — the celebrating of the feast day by a British Army unit wearing sprigs of shamrock or by Irish Gombeen politicians celebrating it with leaders of US imperialism.
Commenting on the reverse journey of that kind when President Reagan came to Ireland (amidst widescale Irish State repression of opposition) in 1984, Irish bard of folksong Christy Moore sang in Hey Ronnie Regan:
You’ll be wearing the greeen Down in Ballyporeen The ‘town of the little potato’; Put your arms around Garrett And dangle your carrot But you’ll never get me to join NATO.
The Anglo-Irish poet and Nobel Literature Laureate WB Yeats wrote about the colour green in reflection on the 1916 Rising: Now and in time to be, Wherever green is worn, Are changed, changed utterly: A terrible beauty is born.
It should be “terrible” only to the enemies of Irish freedom and self-determination, to imperialists, colonisers and their fascist and racist supporters but truly beautiful to all others.
In parting, let us come again to John Sheils’ 1790s words which he put in Ireland’s, Gráinne’s mouth:
Let each community detest disunity; in love and unity walk hand in hand; And believe old Gráinne That proud Britannia No more shall rob ye of the Rights of Man.
End.
Trifolium dubium, the Lesser or Yellow Clover, an Seamair Bhuí, top of the candidate list for the “shamrock” title. (Photo sourced: Internet)
Footnotes:
1Newfoundland in Canada and the Caribbean island of Monserrat. It is also the most widely-celebrated of all national feast days across the world.
2Usually rendered in English as “the Morrigan”, a trinity composed of three sisters, sometimes Badb, Macha (number of places named after her, including Ard Mhacha [Armagh]) and Nemain, at other times as Badb, Macha and Anand. They were sometimes represented as sisters of another triad, Banba, Éiriu (from which the name of the country Éire is derived) and Fódla. The triads may be three aspects of the one Goddess in each case.
3Táin Bó Cuailgne/ The Cattle Raid of Cooley, a part of the Ulster Cycle of stories, featuring the legendary warrior Sétanta or Cú Chulainn.
4Catholic (the vast majority of the Irish), Anglican (the tiny minority but reigning religious group) and the other protestant sects, in particular the Presbyterians, which had a much larger following than the Anglicans.
5The Unitedmen were greatly influenced by the French Revolution, of course.
6 The best-known version is by dramatist Dion Boucicault, adapted for his 1864 play Arragh na Pogue, or the Wicklow Wedding, set in Co. Wicklow during the 1798 rebellion (Wikipedia)
7‘Nativist’ gangs of earlier USA settlers that mobilised violently against the Irish and African Americans; when tried in court they claimed to ‘know nothing’.
9Such was the popular opposition that the British feared to impose conscription and instead held a referendum which voted not to have conscription. A second referendum failed again though by a smaller majority. Nevertheless many Australian volunteers were killed fighting for the British Empire.
10Of course such identification with the ‘new country’ of settlement may in itself be problematic, particularly should that country be or become imperialist, as has indeed been the case with the USA and with Australia (in subservient partnership with the UK and with the USA).
11Particularly from 1974 onwards until the community’s resurgence in support of the Hunger Strikers in 1981.
12Underlining mine, surely an appropriate message for these times.
This year’s celebration of the Patum 2022 festival in Berga has sung and chanted for independence. With the square full of about 6,000 people on Thursday, the massive Catalan independence flag, the Estelada (with the white star in a blue triangle)1 was launched across the crowd as they sang the Catalan national anthem, Els Segadors2 (the Reapers).
With the song finished, some began to shout “independencia” (independence) and this was quickly taken up by the mass, revisiting the tradition of protest that existed before the pandemic. The Catalan independence movement has been somewhat becalmed of late, with serious divisions between the two main nationalist political parties and a lack of grass-roots activity.
Scene with traditional giant figures from the festival (Photo sourced: Internet)
The Patum festival is a traditional Catalan festival of great importance and is recognised by UNESCO as a Masterpiece of the Oral and Intangible Heritage of Humanity. “The fiesta coincides with Corpus Christi and includes a whole series of theatrical representations, characters and figures that fill the town of Berga every spring. It is a religious commemoration that dates back to the Middle Ages, which has managed to preserve both its religious and profane roots.
“La Patum de Berga has been held annually for centuries during Corpus Christi, and includes street entertainment and shows with different figures typical of these fiestas (giants, “big-heads”, eagles, guitas (dragons), plens (devils)). Fire and dance play a central role. The fiesta really gets underway on the Thursday of Corpus Christi, with the Ceremonial Patum. The salto de plens is the apotheosis of the fiesta. It represents an infernal orgy where fire devils jump to the rhythm of music. The following day is the Children’s Patum.”3
Scene with the giant Catalan independence flag during the singing and chanting at the festival on Thursday (Photo sourced: Internet)
Berga is in the Barcelona region but over 107km from the city (and about half-way to Andorra). The Patum Festival of this year 2022, which began Wednesday, June 15 and will last until Sunday, June 19, was expected to be even more crowded than usual after two years in a row without being able to celebrate it due to the pandemic.
1The other Catalan nationalist flag commonly seen is the Vermelha, with a red star and no blue. The white X on a black background is also flown but more rarely, it draws on history also and signifies ‘death before surrender’.
2An anarchist, Emili Guanyavents won the competition to compose the national anthem lyrics in 1899 and based it upon a traditional historical cultural expression arising out of an uprising of Catalan rural workers in 1640 against the chief minister of Philip IV of Spain. The lyrics are, as might be expected, very militant and, since even the Catalan lanugage was banned, the song was of course banned during the four decades of the Spanish Franco dictatorship
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