Clive Sulish

(Reading time: 4 mins.)

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.

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.

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.

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.

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 Brigada⁴ and 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.

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.

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.

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.

End.

Footnotes

1Both translated to English from German.

2White, Orange and Green (War of Independence) and Anne Devlin (United Irishmen, Emmet’s insurrection).

3Red Cockerel, Black Cockerel.

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.

Useful Links

Saoirse don Phalaistín: isrmedia@protonmail.com

Action for Palestine Ireland:
actionforpalireland@gmail.com