Republishing this now as we approach again 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 as a representation of St. Nicholas, 4th Century Bishop of the Greek city of Myra, a location now in Turkey. He was the 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)
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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.
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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 horned and 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.
A Victorian England representation of St. Nicholas (Image sourced: Internet)
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!
Large numbers attending a rally Sunday afternoon were addressed by a number of speakers from a platform in the centre of the 1916 Terrace organised by the Moore Street Preservation Trust on part of the very site they wished to preserve.
Fintan Warfield, a Sinn Féin Senator (and cousin of Derek and Brian Warfield of the Wolfe Tones) came on stage to perform Come Out Yez Black ‘n Tans followed by Grace, about Grace Gifford’s wedding to Vol. Joseph Plunkett hours before his execution by British firing squad.
Fintan Warfield performing at the event, behind him the portraits of two of the Moore Street Garrison in 1916 may be seen. (Photo: R. Breeze)
Warfield performed in front of a number of large board posters bearing the images of a number of leaders of the 1916 Rising who had occupied Moore Street in 1916 and Vols. Elizabeth O’Farrell and Winifred Carney, two of the three women Volunteers who had been part of the garrison.
The start of the rally however was delayed, apparently awaiting the arrival of Mary Lou Mac Donald, billed as the principal speaker on the Moore Street Preservation Trust’s pre-rally publicity.
Eventually Mícheál Mac Donncha, Secretary of the Trust and a Sinn Féin Dublin City councillor came on the stage to promote some MSPT merchandise (some of it for free) and to introduce the MC for the event, Christina McLoughlin, a relative of Comdt. Seán McLoughlin.
Christina McLoughline, MC of the event. (Photo: R. Breeze)
Vol. Seán McLoughlin had been appointed Dublin Commandant General by James Connolly during the GPO evacuation and was about to lead a charge on the British Army barricade in Parnell Street when the decision was taken to cancel after which he organised the surrender.
He later became a communist and was never acknowledged at Commandant level by the War Pensions Dept. of the State under De Valera, despite his rank in Moore Street and later also in the Civil War in Cork.
Sean’s relative Christina McLoughlin welcomed Mary Lou Mac Donald on to the stage.
Mac Donald’s appearance on the stage received strong applause. In fairness, many present, if not most, were of the party faithful. Despite the presence of some younger people, the general age profile was decidedly from the 40s upwards, indeed many being clearly in the later third.
Mary Lou Mac Donald, President of the Sinn Fein party, speaking at the event. (Photo: R. Breeze)
Mac Donald, who is not an Irish speaker, read the beginning of the address well in Irish before going on to talk in English about the importance of Moore Street site in the history of the 1916 Rising and in Irish history generally and how her party in government would save it.
After the applause for Mac Donald, the MC called Proinnsias Ó Rathaille, a relative of Vol. Michael The O’Rahilly, who was mortally wounded leading a charge up Moore Street against a British Army barricade in Parnell Street and who died in the nearby lane that now bears his name.
Ó Rathaille’s address was heavy in the promotion of the Sinn Féin party and, in truth rather wandering so that he had to return to the microphone after he’d concluded, to announce Evelyn Campell to perform a song she had composed: The O’Rahilly Parade (the lane where he died).
Evelyn Campbell performing her composition O’Rahilly’s Parade at the event. (Photo: R. Breeze)
Campell is a singer-songwriter and has performed in Moore Street on previous occasions, the first being at the invitation of the Save Moore Street From Demolition group who were the only group to campaign to have the O’Rahilly monument finally signposted by Dublin City Council.
McLoughlin announced Deputy Mayor Donna Cooney to speak, a relative of Vol. Elizabeth O’Farrell, one of the three women who were part of the insurrectionary forces occupying Moore Street. Cooney is a Green Party Councillor and a long-standing campaigner for the conservation of Moore Street.
Deputy Dublin Lord Mayor and Green Party councillor Donna Cooney speaking at the event. (Photo: R. Breeze)
While speaking about the importance of Moore Street conservation for its history and street market, Cooney also alluded to its deserving UNESCO World Heritage status, adding that the approval of the Hammerson plan for the street was in violation of actual planning regulations.
Next to speak was Diarmuid Breatnach, also a long-time campaigner, representing the Save Moore Street From Demolition campaign group which, as he pointed out has been on the street every Saturday for over a ten years and is independent of any political party or organisation.
Diarmuid Breatnach speaking at event on behalf of the independent Save Moore Street From Demolition campaign group. (Photo: R. Breeze)
Breatnach also raised the UNESCO world heritage importance, as the SMSFD group were first to point out and have been doing for some years, based on a number of historical “firsts” in world history, including the 1916 Rising having been the first anti-colonial uprising of that century.
The Rising was also the first ever against world war, Breatnach said. He told his audience that the Irish State has applied for UNESCO heritage status for Dublin City, but only because of its Victorian architecture and that it had once been considered “the second city of the British Empire”.
Stephen Troy, a traditional family butcher on the street, was next to speak. He described the no-notice-for-termination arrangements which many phone shops in the street had from their landlord and how Dublin City Planning Department had ignored the many sub-divisions of those shops.
Stephen Troy, owner of family butcher shop on the street and campaigner, speaking at the rally. (Photo: R. Breeze)
Troy’s speech was probably the longest of all as he covered official attempts to bribe the street traders to vote in favour of the Hammerson plan and what he alleged was the subversion of the Moore Street Advisory Group which had been set up by the Minister for Heritage.
It began to rain as Troy was drawing to a close but fortunately did not last long.
Jim Connolly Heron, a descendant of James Connolly and also a long-time campaigner for Moore Street preservation was then called. Speaking on behalf of the Trust, Connolly began by reading out a list of people who had supported the conservation but had died along the way.
Connolly Heron went on to promote the Trust’s Plan for the street which had been promoted by a number of speakers and to announce the intention of the Trust to take a case to the High Court for a review of the process of An Bord Pleanála’s rejection of appeals against planning permission.
Jim Connolly Heron, great-grandson of James Connolly and prominent member of the Moore Street Preservation Trust, speaking at the event. (Photo: R. Breeze)
The MC acknowledged the presence in the crowd of SF Councillor Janice Boylan, with relatives among the street traders and standing for election as TD and Clare Daly, also standing for election but as an Independent TD in the Dublin Central electoral area.
MOORE STREET, PAST AND PRESENT
Moore Street is older than O’Connell Street and the market is the oldest open-air street market in Ireland (perhaps in Europe). It became a battleground in 1916 as the GPO Garrison occupied a 16-house terrace in the street after evacuating the burning General Post Office.
At one time there were around 70 street stalls in the Moore Street area selling fresh fruit, vegetables and fish and there were always butchers’ shops there too. But clothes, shoes, furniture, crockery and vinyl discs were sold there too, among pubs, bakeries and cafés.
Dublin City Planning Department permitted the development of the ILAC shopping centre on the western side of the street centre and the Lidl supermarket at the north-east end of the street, along with a Dealz as the ILAC extended to take over the space on its eastern side.
While many Irish families turned to supermarkets, people with backgrounds in other countries kept the remaining street traders in business; but the property speculators ran down the street in terms of closing down restaurants and neglecting the upkeep of buildings.
The authorities seem to have colluded in this as antisocial behaviour that would not be tolerated for a minute in nearby Henry Street is frequently seen in Moore Street.
The new craft and hot food stalls Monday-Saturday run counter to this but are managed by the private Temple Bar company which can pull out in a minute. On Sunday, the street is empty of stalls and hot food or drinks are only available in places that are part of the ILAC shopping centre.
The O’Reilly plan was for a giant ‘shopping mall’ extending to O’Connell Street and was paralysed by an objectors’ occupation of a week followed by a six-week blockade of the site, after which a High Court judgment in 2016 declared the whole area to be a National Historical Monument.
A judge’s power to make such a determination was successfully challenged by then-Minister of Heritage Heather Humphries in February of 2017. NAMA permitted O’Reilly to transfer his assets to Hammerson who abandoned the ‘shopping mall’ plan as not profitable enough.
The Hammerson plan, approved by DCC and by ABP is for a shopping district no doubt of chain stores like Henry Street or Grafton Street, also an hotel and a number of new streets, including one cutting through the 1916 central terrace out to O’Connell Street from the ILAC.
In the past dramatist Frank Allen organised human chains in at least three ‘Arms Around Moore Street’ events and the Save Moore Street 2016 coalition organised demonstrations, re-enactments, pickets and mock funerals of Irish history (i.e under Minister Humphries).
The preservation campaigning bodies still remaining in the field are the SF-backed Moore St. Preservation Trust and the independent Save Moore St. From Demolition group. The former is only a couple of years in existence and the latter longer than ten years.
However, both groups contain individuals who have been campaigning for years before that. The MSPT tends to hold large events sporadically; the SMSFD group has a campaign stall on the street every Saturday from 11.30am-1.30pm. Both have social media pages.
Fully in view, four prominent members of the Moore Street Garrison (L-R): Patrick Pearse, Commander-in-Chief; Vol. Elizabth O’Farrell, of Cumann na mBan; Vol. Joseph Plunkett, one of the planners of the insurrection; Vol. Willie Pearse, Adjutant to his brother Patrick. All but O’Farrell were tried by British court martial, sentenced to death and shot by British firing squad in Kilmainham Jail. (Photo: R. Breeze)
LEGISLATION & COURT CASES
2007 Nos. 14-17 Moore Street declared a National Historical Monument (but still owned by property developer Joe O’Reilly of Chartered Land)
2015 Darragh O’Brian TD (FF) – Bill Moore Street Area Development and Renewal Bill – Passed First Reading but failed Second in Seanad on 10th June 2015 by 22 votes against 16.
2015 – Colm Moore application — 18th March 2016: High Court judgement that the whole of the Moore Street area is a national historical monument.
2017 – February – Minister of Heritage application to Court of Appeal – judgement that High Court Judge cannot decide what is a national monument.
2021 — Aengus Ó Snodaigh TD (SF) – 1916 Cultural Quarter Bill – reached 3rd Stage of process; Government did not timetable its progress to Committee Stage and therefore no progress.
2024 – Property Developer Hammerson application to High Court Vs. Dublin City Council in objection to decision of elected Councillors that five buildings in the Moore Street area should receive Protected Structure status as of National Historical Heritage. Hammerson states that the decision is interfering with their Planning Permission. Case awaits hearing.
Five prominent members of the Moore Street Garrison (L-R): Vol. Winifred Carney of Irish Citizen Army and Cumann na mBan; Vol. Sean Mac Diarmada, one of the planners of the insurrection; Vol. Tom Clarke, one of the insurrection’s planners; revolutionary socialist James Connolly, Irish Citzen Army and Commandant General of the Rising (especially of Dublin); Patrick Pearse, Commander-in-Chie. All but Carney were tried by British court martial, sentenced to death and shot by British firing squad in Kilmainham Jail. (Photo: R. Breeze)
POSTSCRIPT
Someone commented later that in general the rally, from the content of most of the speeches, had been at least as much (if not more) of a Sinn Féin election rally as one for the conservation of Moore Street.
That should have been no surprise to anyone who knows that any position taken by Sinn Féin activists tends to be for the party first, second and third. And with the Irish general elections only weeks away, well …
And while Mac Donald spoke in Dublin of the importance of Ireland’s insurrectionary history and the need to conserve such sites, her second-in-command Michelle O’Neil was laying a wreath in Belfast in commemoration of the British who were killed in the First imperialist World War.
In the Basque Country the Day of the Patriot Soldier is commemorated on two different dates: by the Basque Nationalist Party on October 28th and by the Patriotic Left on September 27th. Each date marks different events but each is anti-fascist in character.
On October 28th one of the many atrocities of the Spanish Civil War/ Anti-Fascist War was enacted by the Spanish fascist military when they executed 42 captured Basque soldiers of the Eusko Gudarastea, a Basque antifascist militia opposing the military-fascist coup of Franco and another three generals.
Section of the crowd at the Gudari Eguna commemoration in Arrigorriaga, Bizkaia province, southern Basque Country. (Photo: D.Breatnach)
This atrocity occurred in 1937, when that war had another two years to run. The Basque Nationalist Party (PNV) was then the main political party in that part of the Basque Country1 and many of its politicians and administrative officials were executed by the Franco regime too.
Commemoration of the PNV´s Day of the Patriotic Soldier (Gudari Eguna) was carried out clandestinely during the four decades of the fascist Franco regime but was permitted in the post-Franco arrangement in the Spanish State, when the PNV were legalised.
The PNV became the dominant force politically in the two provinces that had declared for the Spanish Republic, which was the largest part of the Basque Autonomous Region. Nafarroa however was given a separate autonomous government which split the nation administratively in at least four.2
A DIFFERENT DATE TO COMMEMORATE
However in the 1960s a large part of the PNV´s youth wing had become disenchanted with the party and, entering into alliance with a Basque socialist movement, formed ETA, a mainly political organisation but, existing under a fascist-military regime, inclined also towards armed resistance.
The platform at the Gudari Eguna commemoration organised by Jarki with the event’s speaker/ chairperson addressing the participants. (Photo: D.Breatnach)
ETA grew in support and in actions, military but not only, the Left Patriotic movement (Izquierda Abertzale) widening to fight on a number of fronts, linguistic, social, trade unionist and political with the armed section carrying out many actions.
The last political executions of the Franco regime were in 1975 of two members of ETA and three of FRAP3; the two Basques were Juan “Txiki” Paredes4 and Angel Otaegui. All five, despite huge international solidarity mobilisations and appeals for clemency, were shot by firing squads.
Today, the Patriotic Left´s Gudari Eguna is commemorated by different groups and not all together. As has occurred in Ireland, the accommodation of the leadership of the Basque Patriotic Left to the Spanish electoral system and abandonment of armed struggle has resulted in fragmentation.
A protest in Arrigorriaga I passed by on my way to the Gudari Eguna commemoration. I did not stop to enquire as to the purpose; I had made an error on the journey, was late and in a hurry. From the arrows design I understand these to be the Sare group doing their last Friday of the month picket in solidarity with the prisoners. ‘Giltzak’ means ‘keys’ as the graphic banner design shows and so the aim is probably to have them all leave jail. That is also the aim of the ‘dissident’ group Amnestia but they seek complete amnesty for the political prisoners whereas Etxerat, Sare and EH Bildu normally refrain from even calling them ‘political prisoners’since, according to the Spanish State, that amounts to ‘supporting terrorism.’ (Photo: D.Breatnach)
The political party EH Bildu commemorated the executions but so did the dissenting Jarki and Tinko/Amnistia and the historical memory organisation, Ahaztuak. They did not do so together nor, naturally with the PNV on the different date.
In Arrigorriaga Jarki organised their event in the birthplace and home of Argala, nom-de-guerre of José Miguel Beñaran Ordeñana, a theoretician and activist of great importance in the development of ETA and assassinated by the state-sponsored GAL terrorists.
The attendance at the event listened to the event’s MC addressing them, after which a group of youth carrying flaming torches came on stage. The MC ended her talk with calls for a free and socialist Basque Country, after each which the audience chanted “Gora!” (‘Up!’).
She then led them in singing the Eusko Gudariak with clenched fist in the air, followed by introducing the Internationale in Basque, the revolutionary socialist song that emerged from the Paris Commune of 1871, the audience joining in (though not everyone as well-versed as with the previous song).
I sang the chorus in French, the only language other than English in which I know the chorus, sadly.
HISTORICAL MEMORY & THE MARTYRS
The martyrs of the people´s struggles around the world are remembered organically and kept close to their hearts by the people from which they came, at least for a few generations. Initiatives of conserving and transmitting historical memory keep those commemorations going further.
Section of the crowd at the commemoration of Gudari Eguna, organised by the Jarki organisation. (Photo: D.Breatnach)
In Ireland we know that commemorating the risings of the United Irishmen (1798 and 1803) fed into the struggles of the Young Irelanders a half-century later, their memory in turn contributing to the Fenians which again became part of the history of future generations and of several armed struggles.
Counter-movements, recognising the potency of historical memory, try to appropriate it and adapt it to their political program or to diminish its importance and even deny it. Both those counter-currents can be seen in many parts of the world, including in Ireland and in the Basque Country
However, the ongoing revolutionary streams and their commemorations will always be closest to the real meaning of those events in the historical memory of the people, in the real social and political meaning of martyrdom.
Patrick Pearse remarked on this process in his famous oration over the grave of O´Donovan Rosa: Life springs from death and from the graves of patriot men and women spring living nations.
Footnotes:
1The Basque Country is composed of seven provinces, four on the Spanish state´s side of its northern border and three on the French state´s side. The Anti-Fascist War split the southern Basque Country with principally two provinces, Gipuzkoa and Bizkaia, taking the side of the Spanish Republic, which at the last minute granted them national autonomy. Nafarroa (Navarre) mostly took the fascist-military side and murdered around 3,000 antifascists and Alava province took that side too.
2Two separate autonomous regions in the Spanish state and the provinces on the French side in different French regional administrative areas.
3Frente Revolucionario Antifascista y Patriota (Revolutionary Anti-Fascist & Patriotic Front); the three were: José Luis Sánchez-Bravo Sollas, José Humberto Baena Alonso and Ramón García Sanz.
4According to his brother who, despite being misdirected arrived as Paredes was being shot by the Guardia Civil, who were shooting at different parts of his body, Txiki Paredes continued to sing Eusko Gudariak (‘Soldiers of the Basque Country’) until he finally died.
Scores of people participated in a symbolic ‘funeral of Zionism’ on Monday evening (7th October) in Dublin’s city centre. In front of the James Connolly monument1 and near a mock coffin of ‘Zionism’, they listened to a song and short speeches.
This was followed by a march carrying the ‘coffin’ through city centre streets to O’Connell Bridge, where it was dumped in the Liffey river.
The ethnic composition of the mostly young mixed-gender crowd, by appearance and accent, seemed to be a mixture of Irish and Middle Eastern origin.
The chairperson of the event recalled that a year had passed since the heroic action from Gaza of October 7th and the events that followed, all being gathered there at the James Connolly memorial to hold a funeral for Zionism, the ideology of settler colonialism and genocide.
The first contribution was from a man introduced as Seán Óg with a song of his own composition, three verses rendered acapella in fine voice to the air of two well-known Irish patriotic ballads, Men of the West/ Fir an Iarthair and The Boys of Killmichael.2
The audience began to pick up and join in the chorus lines:
So here’s to the boys of Gaza, Jenin, Nablus and Hebron, Who fought ‘neath the brave flag of Palestine and sent the Settlers on.
Section of crowd at event listening to speeches, viewed facing north-eastwards. (Photo: R. Breeze)
Two speakers followed, pointing out the unanimity of imperialism nowadays in supporting Zionism as distinct from the 1950s and the importance of struggles such as that in Palestine to our own in Ireland, of internationalist solidarity and the need for that solidarity to be for the Resistance.
One speaker interspersed his words in English with some phrases in Irish and recalled the protest against the 1897 visit of the British Queen Victoria which saw James Connolly and Constance Markievicz leading a funeral cortège through the streets bearing a coffin for British Imperialism.
Though a ‘funeral’ for British Imperialism might’ve seemed only aspirational in 1897, the speaker said, signs of its decline were there to be seen for the educated, the intelligent and those who wished to see them — and before two decades elapsed it had received a major challenge.
(Photo: R. Breeze)
It survived that challenge of the First World War victorious but weakened and the embers of revolt were burning around its Empire. Before two decades after that funeral march, the torch of freedom had been lit in Dublin,3 the first uprising against world war of that century anywhere in the world.
The speaker went on to recall the subsequent War of Independence in Ireland three years later and remarked that had it not been for some Irish failures in unity and resolution that British Imperialism might have been given its mortal blow then in Ireland.
Subsequently British Imperialism survived by serving as a subject ally to US Imperialism. “Zionism is a rotten tree”, he said, “planted in Palestine by British Imperialism and nurtured by US Imperialism. Even so, Zionism is damaging its very fosterers and we welcome that.”
“Rotten trees don’t fall on their own,” the speaker continued. Trees that are rotten inside may seem healthy on the outside but when a strong storm comes along, they are knocked down. It is then we can easily see the rot inside them that we may not have noticed before.
Storms are now breaking out around the world, he said. We can and need to play our own part in those storms, “to knock down the rotten tree of Zionism and go on to demolish the whole rotten evil forest of imperialism.”
Section of crowd listening to speeches at the event, photo taken facing south-eastwards. (Photo: R. Breeze)
After applause some chants were led, among them: From Ireland to Palestine – Occupation is a crime! Saoirse don-Phalaistín! There is only one solution – Intifada revolution! From the river to the sea – Palestine will be free! Resistance is an obligation – in the face of Occupation!
The attendance then took to the street, carrying the coffin and flying Irish and national flags of Palestine along with those of factions of the Resistance, also Hezbollah’s and Lebanon’s, continuing the chants as they marched up lower Abbey Street,4 then turning left along O’Connell Street.
Along the way, some bystanders cheered and a man leaned out of a delivery van to shout encouragement with clenched fist in the air.
On O’Connell Bridge, after a few words, the ‘coffin’ containing ‘Zionism’ was pushed over the parapet into the river Liffey, to cheers, which then changed to cycling through the accustomed solidarity chants.
The ‘coffin’ is on the Bridge parapet (left of photo) and about to be dumped into the river Liffey. (Photo: R. Breeze)
There were three external interventions.
A known Irish Zionist who regularly tries to harass Palestinian solidarity participants appeared at the outset in attempted intimidation of an activist but was quickly discouraged from doing so. At the Bridge, a person under the influence of alcohol and shouting confusedly was calmed by activists.
Break the Chains of Zionism banner next to James Connolly Monument (Photo: R. Breeze)
A Garda patrol car crew whose political undercover colleagues had clearly overlooked keeping informed drew up at the Bridge bemusedly during the chanting and, after attempting to gain some information as to events, left again – as did the participants soon afterwards.
The event was organised by Anti-Imperialist Action Ireland and Saoirse Don Phalaistín, the former’s Facebook page having been taken down by Meta while the event was being organised but the groups may be followed on Instagram and Twitter.
End.
Footnotes
1The location of this fine monument is in Beresford Place, across from the site of the original Liberty Hall, home of the Irish Transport and General Workers Union which Connolly led after Jim Larkin departed for the USA at the end of the 1913 Dublin Lockout. The site is now occupied a multi-storey building of SIPTU.
2The first is about the last major engagements of the 1798 Republican uprising, when a relatively small French force landed in Co. Mayo and was joined by Irish Republican insurgents; the second celebrates the IRA ambush of a column of the Auxiliary Regiment in West Cork, wiping it out almost to the last British terrorist.
4Until they reached O’Connell Street they were following in the footsteps of the GPO Garrison on Easter Monday, 1916 and passed by a number of historical political and artistic locations of 1848 and of the early 20th Century.
On Friday September 20, Anti-Imperialist Action Ireland and Saoirse Don Phalaistín held an emergency solidarity demonstration with Hezbollah and the Lebanese people on O’Connell Bridge in Dublin.
(Photo sourced: AIA social media page)
Although called at short notice, there was a great turn out, demonstrating the support of Irish Revolutionaries for the Anti Zionist Resistance.
A large Hezbollah flag was the centrepiece of the demonstration and flew proudly beside Irish Republican flags including the Tricolour and Green Starry Plough of the Irish Citizen Army, Palestine, Lebanese, Iraqi and Basque national flags and the flags of the Popular Front for the Liberation of Palestine.
Chants at the demonstration included From Ireland to Palestine – Occupation is a crime! and Hands off Lebanon!. As it was culture night, two singers gave renditions of ‘We only want the earth’ by James Connolly and ‘Go on Home British and Zionist Soldiers’, a twist on the Republican classic linking the fights for Freedom in Ireland and Palestine.
(Photo sourced: AIA social media page)
The demonstration was monitored by the special branch who took photos of the participants but their presence could not stop the solidarity action with Hezbollah and the Lebanese People.
Irish Republicans will always stand with our international anti imperialist comrades in the fight against Imperialism and Zionism. AIA and SDP will continue to organise events and actions to increase our solidarity with the Anti Zionist Resistance.
(Photo sourced: AIA social media page)
Additional comment – Clive Sulish: The event was also filmed by a well-known Irish Zionist who regularly tries to intimidate Palestine solidarity activists and also tries to get the Gardaí to arrest those carrying flags of Palestinian resistance organisations.
O’Connell Bridge crosses the Liffey river dividing the north from the south Dublin city centres and is directly passed by north and southbound traffic but also closely by west and eastbound traffic along the quays.
There were many expressions of appreciation from passersby on foot, in vehicles or on bicycle. End.
(Photo sourced: AIA social media page)(Photo sourced: AIA social media page)
On July Tuesday evening, a number of uniformed police officers watch the people in the road outside their police station on Via Laietana in Barcelona, the Catalan capital, many in the crowd holding placards protesting torture and impunity and a number carrying a banner.
The MC, a slim elderly woman, approaches the microphone stand, her back to the police station. Speaking in Catalan she reviews the reason for their rally which is to renew the historical memory of the Spanish State’s repression of dissent through torture with impunity.
The MC at the event speaking briefly (Photo cred: D.Breatnach)
A number of torture survivors address the crowd, sometimes experiencing difficulty in reading some passages of their notes. The crowd, mostly middle-aged or elderly, listen in silence. Some of them were victims too, many knew victims personally, many of the latter now dead.
For the past three years, the campaigners have been coming here every two weeks, renewing the historical memory and campaigning for a change of use in this building on one of the main roads of their city.
One of the torture survivors displaying the Vermella, the socialist version of the Catalan independence flag. (Photo cred: Albert Bergadá Corso)Torture survivor speaking (Photo cred: Albert Bergadá Corso)Another torture survivor speaking, Catalan independence flag visible in the crowd. (Photo cred: D.Breatnach)
REPRESSION AND TORTURE HEADQUARTERS
During the Franco fascist Dictatorship (1936-1975), this police station was the Barcelona HQ of repression and torture, its victims ranging from democrats to anarchists, republicans and communists. The Resistance methods were also varied: unarmed, industrial or armed.
The crowd takes to the street in front of the police station
After Franco’s death, repression continued through the period known as the Transition with torture as a standard police practice continuing for decades afterwards. Claims of torture were routinely ignored by judges who sentenced activists on the basis of their retracted admissions.1
On the few occasions when torture claims were investigated, it was done cursorily and on the much rarer occasions of trial and conviction for torture, the perpetrators as a rule saw no jail time.
The police station with a history of torture on Via Laietana, Barcelona, as demonstrators begin to gather in front. (Photo cred: D.Breatnach)Commemorative plaque near the police station, regularly defaced and regularly repaired. (Photo cred: D.Breatnach)
The methods are known by police and military torturers across the world: punches, slaps and baton blows through towels (causing pain but leaving no marks), forced stress positions, electrical shocks of particularly sensitive areas, simulated asphyxiation through plastic bags, simulated drowning …
In the past these included suspending victims upside down by their ankles or upright balanced on toes. Of course all tortures are also accompanied by threats to the victims and their families, humiliation (including nakedness), sometimes sexual threats and even actual penetrations.2
Crowd gathering to begin their event. (Photo cred: D.Breatnach)
IRISH SONG IN THE STREET
The MC returns to the microphone at the conclusion of the witness testimonies and asks the crowd to welcome an activist, writer and singer from Ireland. The Irishman says he is honoured to speak at a location of struggle and even more so to bring solidarity from one nation’s struggle to another.
Though the fact is routinely overlooked or even denied, he says there are political prisoners in Ireland and because of the recent mistreatment of one of those in a prison in the British colony, all his comrades protested and were in turn supported by political prisoners in the Irish state jail.
Wearing a Palestinian scarf, speaking in Spanish, having apologised for his lack of anything but a few words in Catalan, the Irishman highlights the role of police stations as local centres of repression on behalf of the bourgeoisie, the repression all too often including torture.
The Irishman applauds the protesters’ upholding of historical memory and also their campaign to have the building reappointed as a social centre, before continuing to introduce his choice of two short songs of resistance from his homeland, one in English and the other in Irish.
The Irishman singing (Photo cred: Albert Bergadá Corso)
The first song he sings is Four Green Fields,3 which he has explained symbolises the four provinces of Ireland, the nation represented by an elderly woman. This is followed by Gráinne Mhaol,4 the nation again represented by a woman but younger, a warrior and pirate clan chieftain.
Following the applause, the MC returns and begins to read out a long list of known police and military individuals, after each one the crowd roaring “Torturadors!”
Crowd singing L’Estaca (Photo cred: Albert Bergadá Corso)
The event concludes with the singing of L’Estaca (The Stake – a song of resistance composed by Catalan Lluis Llach during the Franco dictatorship), many doing so with clenched fists raised. Soon afterwards, the crowd begins to break up, the road open to traffic once more, shoppers and tourists going by.
Section of the crowd at the anti-police-torture event with the Cathedral of Barcelona, destination of many tourists, visible in the background. (Photo cred: Albert Bergadá Corso)(Photo cred: Albert Bergadá Corso)
End.
FOOTNOTES 1A number of cases alleging torture found their way to the European Court of Human Rights but the Spanish State has never been found guilty of torture there (although in the case of one Basque woman, awarding her damages payment for failure of the State to investigate her allegations, the judges concluded almost in an aside that she had probably been tortured). It seems that the Strasbourg Court required the kind of evidence that could not reasonably be produced by the alleged victims. A number of judgements and payments have been recorded against the Spanish State on failure to investigate allegations of torture against political activists.
2 In the latter category two cases are well known, each suffered by Basques, one a woman and the other a man.
3 Composed by Tommy Makem who regularly performed with the Clancy Brothers folk group.
4 Composed by Pádraig Mac Piarais/ Patrick Pearse but structurally based on a much older Irish traditional song welcoming a bride to her new home. The heroine of his song is Gráinne Ní Mháille, a 17C clan chief in Co. Mayo.
SOURCES AND USEFUL LINKS
The campaigners may be followed on X (Twitter) @comissdignitat @p_represaliades
Thirty-five people were killed by bombings on 17th May 1974, the most in one day during the recent 30 Years War but outside of Ireland and even within it, most people are unaware of that fact. That’s because the perpetrators were not the IRA.
And probably also because the victims were killed not just in Ireland but within the Irish state. Also no doubt because the perpetrators were Loyalists led by British Intelligence.
Section of westward end of attendance at event as President Michael D Higgins approaches (just out of view)(Photo: D.Breatnach)
Three bombs exploded on that day in the middle of a rush hour in Dublin City Centre: Talbot Street, Parnell Street and South Leinster Street. Somewhat later, a bomb exploded also in Monaghan Town. Altogether 35 were killed1 and “about 300”2 injured, some permanently.
The names of some of the victims being displayed at the premiere of the Anatomy of a Massacre documentary. (Photo: D.Breatnach)
Within days and perhaps hours a number of suspects among Loyalist murder gangs had been identified but they were not arrested or even questioned about the atrocity – no-one ever was. Despite that, the Gardaí closed the case investigation seven months afterwards that same year.
A new documentary on the atrocities by Fergus Dowd was premiered in Dublin on Friday to two full screen auditoria in the Lighthouse Cinema, Smithfield, featuring interviews with witnesses, victims and relatives of victims, a former Taoiseach and a former State forensic scientist.
May-17-74 Anatomy of a Massacre is directed by Joe Lee and produced by Fergus Dowd.
The forensic expert had been given very little of the remains of cars containing the bombs since most had been sent to the RUC (colonial police) for their analysis (!) from which nothing useful emerged but he was able to determine that a high amount of amatol had been used.
At that time only the IRA among “paramilitary organisations” had the expertise to develop that explosive material which leads commentators to believe that the Loyalists received the necessary quantities from those seized from the IRA and held by the British armed forces.3
Given that many of the Loyalists involved were members of the Ulster Defence Regiment, a British Army unit, on the face of it the explosives could have been directly supplied by the British Army or indirectly obtained through the UDR as members of the British Army.
Nothing adverse is known about the Garda Commissioner who sent the exploded car remains to the colonial police but his Deputy and successor was Ned Garvey and whistle-blowing British spook Fred Holroyd claimed Garvey was a British Intelligence “asset” and to have met him in Dublin.
Confronted with this exposé years later Garvey admitted having met Holroyd but not to being a British spy – though he had not informed his superiors of his meeting with a foreign secret service agent. 4 Sadly this is not alluded to in the documentary.
As documented in Anatomy there had been a Loyalist bombing campaign of Dublin since 1969,5 with those in 1972 and 1973 killing between them three transport workers and no-one had been arrested by Gardaí or extradition sought in connection with even those fatal explosions.
No documentary about the bombing was made by RTÉ, the Irish broadcaster until 2004, thirty years after the atrocity.
However a much earlier documentary was by British company Yorkshire Television on ITV in 19936. RTÉ had declined the offer of joint screening and many people in Ireland who did not have access to ITV at the time missed it or had to go to a friend or relative to view it.
The British documentary was mentioned only in passing by one of the interviewees in Anatomy but without reference to RTÉ’s declining of the offer of joint screening.
British spook whistleblower Colin Wallace states that he was obliged to report on every meeting he had with Loyalists or others and his erstwhile bosses would have kept those papers, as they would have for the MI5 operatives who steered the bombing gang for Dublin and Monaghan.
The existence of MI5 documents that would throw much light on the bombings was referred to a number of times in Anatomy and the Justice for the Forgotten campaign keeps seeking them. Irish Government ministers regularly state that they have requested them but are always refused.
Missing from the documentary was what is now known of the secret contemporary memos of Arthur Galsworthy, British Ambassador to the Irish state: It is only now that the South has experienced violence that they are reacting in the way that the North has sought for so long …
… I think the Irish have taken the point.
Galsworthy also noted that the Irish Foreign Affairs Minister Garret FitzGerald told him that “the government’s view was that popular hostility appeared to be directed more against the IRA“.
In the immediate aftermath of the bombing, both Liam Cosgrave for the Government and Jack Lynch for the Opposition sought to widen the blame to include Irish Republicans.7
VIEWING THE DOCUMENTARY
Two screens at the Lighthouse cinema were fully booked to view the premiere.
The documentary is fascinating and some of the witnesses and relatives really excellent in their descriptions and commentary. Others interviewed pulled no punches in castigating successive Irish governments for closing the investigation and allowing it to remain closed.
Some, too, alleged a conjunction of interests between the Irish and UK states in ensuring the truth about the perpetrators and the Irish State’s reaction never surfaced.
Many people prominent in Irish political circles at different ends were present to see the premiere and after a few words from Margaret Unwin, Coordinator of the Justice for the Forgotten campaign, along with filmaker Dowd, the Resistance Choir sang their song composed about the bombing.
The Resistance Choir performing their song about the bombing massacre (Photo: D.Breatnach)Section of crowd from the Monument eastward (Photo: D.Breatnach)
Justice for the Forgotten organise a commemoration of the atrocity every year at which some music and poetry is performed, along with speeches by politicians representing the Irish State, and the local authority Councils of Dublin City and Monaghan and another individual or two.
Some of what is said there I have welcomed and some disliked but most of all I detest Ministers in the Irish Government coming there to tell us how they want the British State to release their secret documents regarding the event but never have any action to pressurise its Ministers in mind.
Cormac Breatnach playing low whistle at event (Photo: D.Breatnach)
This year, the 50th anniversary, the event took place after noon on Friday 17th May with a large crowd but only one speaker listed, President of the Irish State Michael D. Higgins, with traditional Irish music from Cormac Breatnach and Eoin Ó Dillon, a duo performing at the event for years.
Eoin Ó Ceannabháin sang The Parting Glass and poet Rachel Hegarty performed her poem about the bombing. But there was a surprise speaker also, an Italian from Breschia who also referred to state collusion in a bombing against an anti-fascist rally in his home town the same year, a few weeks later.
Poet Rachel Hegarty performing her poem about the event (Photo: D.Breatnach)
The MC of the event, Aidan Shields, son of fatal victim Maureen, told the audience to applause that Justice for the Forgotten would be sending a delegation to Breschia for the 50th commemoration of the atrocity in their town.
At left, Aidan Shields, son of fatal victim and MC at event, with Monument to the victims centre (Photo: D.Breatnach)
WHY THE BOMBING?
Trainee journalists are told to answer the ‘Five Ws’ in their reports: who, what, where, when and why.
The answers to four of those questions have been known for decades: Dublin and Monaghan is where; 17 May 1974 was the when; the bombing atrocity was the what. The who were the Loyalists and British Intelligence. But nobody seems to attempt to answer the why – or even to ask that question.
For the earlier 1972 bombing, the “why” is clear: to get the Irish parliament to vote for the Amendment to the Offences Against the State Act.
And they were successful in that since, all logic to the contrary, some of the Opposition decided to believe that the bombing was the work of Irish Republicans. So we now have that no-jury political court and senior Gardaí can give ‘evidence’ unseen by the accused from Garda “secret files”.
Apart from the guidelines of journalism, there are also those with regard to criminal investigations, which outline the importance of motive and opportunity. The British secret service certainly had opportunity – but what was their motive?
A bombing such as that in Dublin on 1974, in the Irish State’s capital city, is a message to the Irish ruling class (though the victims be different) were the. And from the British state through their intelligence service, which would hardly dare to carry out such an attack without at least the endorsement of their masters.
So the message was … what? “We will bomb your capital city if you don’t do what we want or if you do what we don’t want”? But the Irish ruling class was already cooperating about as fully as possible with the occupation in the Six Counties and repressing resistance in the Twenty-Six.
A similar campaign occurred in the 1980s, in the Basque Country within the French state (mostly). The Spanish Government waged a terrorist campaign8 of bombings, kidnappings and assassinations against suspected activists of the armed Basque liberation group ETA.
It seemed that what the Spanish authorities wanted was for the French to turn over Basque activists who were on the “French” side of the Border to the Spanish authorities, something the French had been unhappy to do, the Guardia Civil believed to be torturers even after Franco’s death.
After some of those bombings, the social-democratic French Government led by Mitterand began to hand over Basque activists to the authorities across the border, sometimes without even going through the official extradition procedures.
The Irish State did also permit extradition of Irish Republicans to the Six Counties (and later to Britain too) after the Dublin and Monaghan bombings, but not until ten years later, with Dominic McGlinchy, which hardly looks like the effect following its cause.
The Sunningdale Agreement had been signed in December 1973 which proposed some kind of power-sharing between nationalists and unionists with a role for the Government of the Irish state against which the Loyalists of the Ulster Workers’ Council had organised a general strike.
A British whistleblower, Colin Wallace claims that the bombing was a warning to the Irish ruling class to keep their fingers out of the colony.
VICTIMS AND RULING CLASS
Apart from not answering or even seeking the motivation for MI5 to arrange and oversee the bombing, I have not seen any discussion of the class nature of the locations. The bombings of 1972 and 1973 targeted transport workers.
But the bombings on the north side of the river in areas to the east of O’Connell Street also took place in areas where working and lower middle-class people worked, shopped and got on to the public transport buses. This hardly seems accidental.
Aftermath in Talbot Street facing westward with Connolly Station tower in far background (Photo: PA)
A part of MI5’s message could have been: “This time it was mostly the kind of people nobody (who are in power) cares about, so be thankful. Next time we might hit the north-east centre around Henry Street, or areas around Trinity College, Dame Street and Grafton Street on the south side.”
One other point that is rarely made is that the bombing and the State’s reaction to it showed the totally craven and foreign-dependent nature of the Irish ruling class, to allow their capital city to be bombed by another state without seeking revenge or even restitution.
The French state made a deal with the Spanish after some bombs exploded in territory to which it laid claim but does anyone believe the result would have been the same if the Spanish terrorist groups had bombed Paris?
End.
FOOTNOTES
1 Some accounts give a total of 34 or 35 dead from the four bombings: 34 by including the full-term unborn child of victim Colette Doherty, who was nine months pregnant; and 35 by including the later still-born child of Edward and Martha O’Neill. Edward was killed outright in Parnell Street.
4 When Fianna Fáil came into government, they sacked Garvey but presumably not wanting to expose British Intelligence penetration of the Irish State’s management upper echelons, gave as a reason only that they had no confidence in him. This opened the way for Garvey to claim wrongful dismissal and win, giving him a payout and retaining his pension. Garvey was also important in running the notorious “Heavy Gang” within the Special Branch.
5 The Wolfe Tone Monument in Stephens Green had been blown up and the O’Connell monument, the Glasnevin ‘Round Tower’ had also been bombed.
6 “Yorkshire Television broadcast a documentary entitled ‘Hidden Hand – the Forgotten Massacre‘ made as part of its ‘First Tuesday‘ series. The programme dealt with the Dublin and Monaghan bombings of 17 May 1974. [The programme came to the conclusion that the Ulster Volunteer Force (UVF) would have required assistance to carry out the bomb attacks. There was speculation as to where such assistance might have come from. While no firm conclusions were reached, it was suggested that the security forces in Northern Ireland were the most likely source of help. Allegations concerning the existence of a covert British Army unit based at Castledillon were considered; as well as alleged links between that unit and Loyalist paramilitaries. It was shown that Merlyn Rees, the former Secretary of Sate, had known of the unit’s existence. On 15 July 1993 the UVF issued a statement in which it claimed sole responsibility for the Dublin and Monaghan Bombings.]” https://cain.ulster.ac.uk/events/dublin/chron.htm
Although the 1916 Rising had been planned to take place on Easter Sunday, April 23rd, it was publicly cancelled by the titular head of the Irish Volunteers, Eoin Mac Néill and it went ahead instead on the 24th, the following day.
The 1916 Rising was unsuccessful but is considered the birth event of the Irish Republic and for some therefore Republic Day is on April 24th, the first day of that Rising and when Patrick Pearse, with James Connolly by his side, read out that remarkable Proclamation of Independence.
Banner of the Republic Day event organisers in Arbour Hill (Photo: R.Breeze)
Tom Stokes, an independent Irish Republican campaigned for some years for April 24th to be recognised as Ireland’s national day, replacing St. Patrick’s Day which is religious festival and now an excuse for excessive drinking and pseudo-Irishness.
Replacing too Easter Sunday and Monday, these being religious dates that move around on the calendar, never being on the same dates in any consecutive year.
Tom Stokes died in December 2018 and a small group of disparate independent Republicans have striven to keep his campaign going.
Stokes always held his Republic Day event at noon on the 24th in front of the GPO, the location of the first public reading of the Proclamation (as did also the Save Moore Street From Demolition one year) but this group carrying on his campaign have been holding their event in Arbour Hill.
This is the location of an old British prison containing the location of a mass grave into which had been put the bodies of 14 of those executed by British firing squads after the surrender of the leadership and majority of the fighters, their bodies covered in quicklime and earth.
The mass grave of 14 of the sixteen executed in 1916, with their names in Irish one side and in English on the other. (Photo: R.Breeze)
CEREMONY IN ‘ARBOUR HILL’
The name Arbour Hill is a corruption of the original Irish name for the location which meant something distinct from “arbour”: Cnoc (hill) an (of the) Arbhair (cereal crop). Today it is a quiet spot tastefully laid out, the names of the dead etched around the mass grave-site in both languages.
A little distance away is a tall flagpole bearing the Irish Tricolour in front of a high wall on which are chiselled the words of the Proclamation in their original English and also in Irish translation.
Dramatist Frank Allen welcomed those present, in particular members of Limerick Men’s Shed who had travelled a distance to be present at the event. He also referred to descendants who were present of martyrs of the struggle Cathal Brugha, Thomas McDonagh and Harry Boland.
Frank Allen as MC for the event (Photo: R.Breeze)
Allen also reviewed the history of Tom Stokes’ campaign for the marking of the date as Republic Day and a national holiday, outlining also the man’s background and his family connections to the struggle for Irish independence, along with his support for Palestine..
First to be called to perform was Pat Waters, professional musician and a regular contributor to the 1916 Performing Arts Club who accompanied himself singing his own composition Where Is Our Republic Day? composed at request from Tom Stokes.
Pat Waters performing his composition Where Is Our Republic? (Photo: R.Breeze)
Allen called on Glen Gannon also of the 1916 PAC to read the Proclamation and then on Shane Stokes to read one of his father’s articles which clearly outlined the man’s socialist Republican principles and their distance from the reality of the current national society and polity.
In succession Fergus Russell of the Goleen Singers organising committee was called to sing The Foggy Dew, a song about the 1916 Rising which he performs every year and Shannon Pritzel to read Patrick Pearse’s famous oration on the grave of Ó Donnabháin Rosa.
Aidan recited the eulogy poem to the 1916 fighters composed by an ex-British Army officer living in Ireland. Anne Waters of the 1916 PAC was asked to present red roses to a number of those present to lay on the named dead on the stonework surrounding the mass gravesite.
Larry Yorell (best known as a long-time activist of the National Graves Association)1, made an appeal for support for an initiative to build a monument to Patrick Pearse.
Aidan reciting a eulogy poem for the 1916 Rising fighters (Photo: R.Breeze)
Frank Allen declared total opposition to a trend seeking to eliminate Amhrán na bhFiann as the “National Anthem” for being thought too war-like.
The Anti-Imperialist Action group called a picket against imperialism to take place in the evening of the 24th outside the General Post Office, which had been the HQ of the Rising forces in 1916.
(Photo: R.Breeze)
While a number distributed leaflets, others lined out carrying a number of national flags of Palestine and one of the PFLP, in addition to a large Irish Tricolour, smaller Starry Plough and flags of the New Philippines Army.
Along with some of the standard Palestine solidarity slogans heard everywhere in Ireland on demonstrations, they called out “From Ireland to Palestine – Occupation is a crime!”; “There is only one solution – Intifada revolution!” and “Saoirse – don Phalaistín!”
Flag of the New People’s Army of the Phillippines displayed alongside other flags of anti-imperialist struggle. (Photo: R.Breeze)
A number of passers-by congratulated the picketers while some stopped to discuss. A representative of the organisers gave a short address regarding the background to Republic Day and the current situation in Ireland, commenting also on the zionist genocide in Palestine.
The event concluded with a youth reading the 1916 Proclamation out loud, followed by an acapella singer performing The Larkin Ballad which relates a compressed history of the 1913 Dublin Lockout but concludes with verses about the 1916 Rising.
A youth reads the text of the Proclamation of Independence near where Patrick Pearse read it out on 24th April 1916 (Photo: R.Breeze)
End.
Southward view of part of the group marking Republic Day with a statement against imperialism today. (Photo: R.Breeze)
FOOTNOTES
1The main organisation throughout Ireland maintaining and renovating and erecting monuments, graves, plaques in memory of Irish patriot men and women and battle sites; the NGA remains independent of political parties and declines to be in receipt of funding from government or political party.
2Kearney wrote the lyrics in 1907 in cooperation with musical composer Patrick Heeney. The music for the chorus was adopted by the Irish Free State as its national anthem. The lyrics were translated into Irish in the 1930s and unusually it is the Irish version that one most often hears, first verse and chorus. The opening sentence of the chorus “Sinne fianna fáil” (‘we are soldiers of destiny’) have been changed by some to “Sinne laochra fáil” (‘warriors of destiny) in order to avoid reference to a specific political party that called itself Fianna Fáil.
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.
Easter is the time of year in Ireland for Easter Egg hunts and/or for attendance at religious services but for the Republican movement it is one of commemoration of the Easter Rising and its martyrs, with parades and speeches.
The commemoration parade proceeding along Phibsboro and approaching the Cross Guns canal bridge. (Photo: Rebel Breeze)
Easter Monday in Dublin saw one of those commemorations organised by the Socialist Republican organisation Anti-Imperialist Action at the Citizen Army plot in the St. Paul’s section of the famous Glasnevin Cemetery at the Republican Struggle Monument1.
Participants rallied near the Phibsboro Shopping Centre to march from there to the Cemetery, a distance of around two kilometres, over the “Cross Guns” bridge over the Royal Canal, then passing the main entrance to the Glasnevin Cemetery on the right before turning left for St. Paul’s.
Garda POU van parked extremely dangerously, hiding left turn from view of eastbound traffic, as they chat with other Gardaí and a ‘Branch man.As is said, “one rule for the people …!” In the laneway between houses visible in the background, a cameraman lurked taking photos. (Photo: Rebel Breeze)
In a marked departure from the previous year, the State’s political police, plainclothes Gardaí of the “Special Branch”2 did not approach the participants to attempt to intimidate them and gather intelligence, demanding their names and addresses under the Offences Against the State Act.3
That had been followed up by a raid on the home of one of the leading activists. Sunday’s police behaviour was an even greater difference from Saturday’s, when a different Republican group, Saoradh, had their Easter Rising commemoration in Dublin’s city centre.
Around 300 police, including many in riot cop uniform (Public Order Unit) had harassed the participants demanding names, addresses and other information, attempting to intimidate them. At least seven police vans had been in attendance also to the bemusement of onlookers.4
(Photo: Rebel Breeze)
LOCAL 1916 HISTORY
The Phibsboro/ Glasnevin area also figured in the 1916 Rising, with an insurgent barricade in Phibsboro and a Fianna youth, Sean Healy, mortally wounded at the crossroads by a British artillery shell fragment (a plaque on the ground at the SW corner commemorates his death.
Earlier, Irish Volunteers had guarded the canal bridge briefly; these were seen by the dozen Volunteers that marched along the canal from Maynooth, slept in Glasnevin Cemetery and got into the headquarters garrison at the General Post Office on Tuesday.
Later British soldiers set up a barricade on the Bridge preventing even foot traffic across and shooting dead a deaf and dumb man who could not hear their challenge.
EYE IN THE SKY? (Photo: Rebel Breeze)
PARADE THROUGH STREETS TO CEMETERY
The parade from Phibsboro on Sunday was led by the Glasgow Republican Flute band (formerly the Garngad RFB, which is where most of them are based) playing the airs of known Republican ballads, muted to regular tocks on their drums as they entered the housing estate.
(Photo: Rebel Breeze)
Also leading was the colour party dressed in white shirts, black trousers, jackets, berets and sunglasses, carrying the traditional flags for Republican colour parties: the Tricolour, Starry Plough, Sunburst, followed by the flags of the four provinces of Ireland: Connacht, Leinster, Munster and Ulster.
Over the marchers the flags of the Tricolour and the Starry Plough, flag of the Irish Citizen Army flew in the breeze while those of the Basque nation, Palestine and of the People’s Front for the Liberation of Palestine lent an international flavour to the commemoration of the Irish Rising.
There was some beeping of passing traffic and cheering from bystanders at the entrance to the laneway that leads to the bridge across the railway tracks to the St. Paul’s section of the graveyard. The marchers filed in and proceeded to the monument.
The Chair of the proceedings welcomed the attendance before reading from the 1916 Proclamation of Independence and calling a singer to step forward. Revolutionary activist Diarmuid Breatnach introduced the two songs he was going to sing as emphasising the role of the working class in the Rising.
(Photo: Rebel Breeze)
“The decision to go ahead with the Rising on Easter Monday was taken in Liberty Hall, the headquarters of the working class at the time,” he reminded the gathering, “which is also where the Proclamation of Independence was printed.”
He sang the “JimLarkin Ballad”: In Dublin City in 1913, the boss was rich and the poor were slaves; The women working, the children hungry, till on came Larkin like a might wave …
Diarmuid Breatnach singing(Photo: Donated by participant)
Pausing to focus on a different key, the singer followed the ballad with Patrick Galvin’s Where Is Our James Connolly?
After applause, floral tributes were laid on behalf of Anti-Imperialism Action Ireland and of Dublin Republicans Against Fascism.
(Photo: Rebel Breeze)(Photo: Donated by participant)
The chairperson asked for a minute’s silence in honour of those men and women who had given their lives in the struggle for freedom in Ireland. The colour party lowered their flags slowly in homage to the fallen, raising them again slowly to signify the continuation of the struggle.
(Photo: Rebel Breeze)
John Heaney, Republican ex-prisoner from Armagh was called to give the oration for the event, which he dedicated to all those men and women who had opened their doors and their homes to fighters in the struggle, whether the latter were in hiding or just resting – his audience applauded.
The speaker also congratulated on those who came forward to carry on the struggle, youth, women and stated he was proud to see the traditions of struggle being upheld in the process to achieve the Republic for which so many gave their lives.
The speaker, John Heaney delivering his oration. (Photo: Rebel Breeze)
The marching band then played the air of Amhrán na bhFiann/ The Soldiers’ Song, verse and chorus and the formal part of the event came to an end. Band members lined up in front of the Monument for photos and a little later played the air of “Black Is the Colour” on whistles, to general applause.
SECOND 1916 COMMEMORATION FOR AIA THIS EASTER
This was the second 1916 Rising Commemoration to be attended by Anti-Imperialist Action as they had also participated in another organised by the Seamus Costello Memorial Committee in Bray on the previous day.
AIA is a young organisation, founded by socialist Republicans unhappy with the direction of the Republican organisation of which they had been members but now containing many young people.
AIA gave rise to the Revolutionary Housing League that occupied empty buildings in a campaign against homelessness and called for a general occupation campaign across the state. A number of court cases against them followed but sadly their lead was not followed.
(Photo: Rebel Breeze)
AIA have also been very active against NATO, picketing promotional meetings and a number have been charged following a demonstration against a visiting British Navy ship in Dublin last November.5 They have also been active as part of the Saoirse don Phalaistín activist group.
Following the event in Glasnevin, many of the participants relaxed at a social evening in a different part of the city where many songs of struggle were sung.
(Photo: Rebel Breeze)
OTHER EASTER COMMEMORATIONS
Other Easter Rising commemorations have been held around this time, for example: Lasair Dhearg held one in Belfast on Easter Monday, while Independent Dublin Republicans held theirs in the capital, marching from Liberty Hall to the GPO, then to Moore Street to lay a floral tribute.
On Monday too the Derry 1916 Memorial Committee held an event in its city.6
Former revolutionary Republican party Sinn Féin held theirs in Arbour Hill7 cemetery on Sunday; a large part of their President’s address was devoted to justification of support for the EU and a plea to support the party whenever the state’s general elections are held (this year or next)8.
1My name for the Monument in the St. Paul’s part of Glasnevin Cemetery which stands in recognition of six periods of Irish Republican-led insurrectionary activity in Ireland: 1798-1916.
2Now officially the Special Detective Unit, they were previously known as the “Special Branch”, a name they inherited from the British occupation which had set up a political intelligence unit, the Irish Special Branch, to spy on and disrupt the Fenian movement among the Irish diaspora in British cities. Most political activists in Ireland continue to call them “the Special Branch” or simply “the Branch”. Their equivalent in Britain today and in a number of its colonies and former colonies continues to officially bear the name “Special Branch”.
3As amended in 1972 after a British Intelligence bombing killing two public transport workers in Dublin but blamed on the IRA; the amendment also permitted the setting up of no-jury Special Courts which are in existence to this day.
4In the context of assaults on persons in the city centre there have been regular complaints in the media and in the Parliament about the lack of Gardaí visibly patrolling the area.
7Where the 14 Dublin 1916 executed were buried, now a national monument in a former prison and church graveyard around the back of the former military barracks and now National Museum of Collins Barracks
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