U.S. VETERANS STILL FIGHTING – BUT NOW AGAINST THE MACHINE

On July 23, 2019July 25, 2019 By rebelbreezeIn Anti-War, Current Affairs Comment, Current Event Report, Environmental, Human Rights, Imperialism, Internationalist Solidarity, Ireland, Middle East, Political Prisoners, Song, Song in Struggle, US Imperialism, USALeave a comment

Clive Sulish

DUBLIN AUDIENCE AT AFRI PUBLIC MEETING CHARMED AND INSPIRED BY FORMER MEMBERS OF USA ARMED FORCES WHO ARE ON TRIAL FOR BREACH OF SHANNON AIRPORT SECURITY ZONE.

Veterans for Peace Members Ken Mayers and Tarak Kauff, US-based anti-war campaigners, last Wednesday evening clearly impressed members of a Dublin audience by their dedication. Both men are awaiting trial in Ireland for exposing U.S. war crimes and the violation of Irish neutrality at Shannon Airport and are at liberty only within the jurisdiction of the Irish State on a combined bail of €5,000.

The bail was paid by anti-war campaigner Ed Horgan, a former army commandant and UN peace keeper and the sum is twice the amount of criminal damage they are accused of having caused to the airport’s perimeter fence, as well as unlawfully trespassing into a taxiway. They did so in order to inspect a US plane to ensure it was not carrying war material or personnel, in violation of Ireland’s Constitutional neutrality. Campaigners have long demanded that the Irish State itself carry out these inspections but despite evidence that the State’s neutrality is indeed being violated by US Planes landing at Shannon, successive Irish governments have insisted in taking USA Government denials on trust.

oznor — Tarak Kauff addressing the audience at the public meeting organised by Afri.

The public meeting was opened by Joe Murray, Coordinator of Afri and Emer Lynam, newly-elected Vice-Chairperson of Afri Ireland, introduced the speakers.

The elderly campaigners, in their “Veterans for Peace” sweatshirts, addressed the audience about the reasons for their actions and their commitment to opposing US militarism which they stated was a major cause of misery around the world, including to serving members of the military themselves (quoting a figure of 22 suicides per day), along with being a major cause of world pollution. Ken Mayers explained that the USA has 800 military bases around the world in addition to its 400 on its own territory, the infrastructure, fuel expenditure and waste of the total which he stated is a major cause of pollution. (This is presumably without even taking into account the use of nuclear-generated power and disposal of radioactive material, or depleted uranium projectiles, such as used in Iraq or the Agent Orange defoliant used in the Vietnam War.)

Both men belong to an organisation called Veterans for Peace which campaigns against the US militarisation of the economy, war, interference in the affairs of other states and for better treatment of veterans. Recently they also supported a campaign against concentration camps for migrants along the US-Mexico border.

13 DAYS IN JAIL THEN BAIL ON CONDITION THEY DON’T APPROACH ANY AIRPORTS

Ken Mayers, 82 years of age and Tarak Kauff 77, spent 13 days on remand in Limerick jail, where their toilet did not flush unless they poured buckets of water into it. Other than that, they said they were treated well and the other prisoners treated them “like celebrities”.

The reason for their bail being refused during that period was Garda objections that they would flee the jurisdiction. Tarak Kauff exposed the illogicality of this ‘fear‘ to the Dublin audience, explaining that they had taken their action at Shannon knowing that they would be arrested and wanting to use the trial to expose what was going on at Shannon airport: “For us not to attend that trial, they would have to physically drag us away from there!”

Ken Mayer of US Veterans for Peace, addressing the public meeting

They were eventually granted bail on condition they remain within the Irish state and having to surrender their passports, due to Garda objections again that they might flee, also not to approach any airports. On July 10th the High Court turned down their appeal against these conditions, though the judge said that he might review that decision if the case were to be moved to the Dublin District Court, where the waiting list was much longer. The defendants and their solicitor, Michael Finucane, will be seeking to have the case heard outside Clare, where it is believed a fair trial relating to a Shannon protest is unlikely. A trial date is expected in September or October.

“THEY POSTPONED MY HONEYMOON”

Ed Horgan took the floor after Mayers and Kauff to speak about the one million total of children killed in the Middle East as a result of war and sanctions and urged action to prevent further loss of children’s lives.

Then Emer Lynam opened the meeting to questions.

In reply to questions from the audience about the cost to themselves, Ken Mayers revealed he was due to be on his honeymoon by now with his bride.

Ken Mayers was born in New York City and grew up on Long Island. From Princeton University he entered the US military as a Second Lieutenant in the US Marine Corps, rising to Major until he left the organisation in 1966 in disgust with US foreign policy. In Berkeley University, California he gained a PhD in political science where, according to the AFRI event page, he became a peace and justice activist, which he has been ever since and six years on the Veterans For Peace (USA) Board of Directors, five of them as national treasurer.

Tarak Kauff, ex-military too and also from New York, said that he missed his wife and daughter but both were supportive of what he was doing, being activists also (see short letter from his wife in Links and References). According to Afri’s FB page, he’s a former U.S. Army paratrooper (1959 – 1962), a member of Veterans For Peace, the managing editor of VFP’s quarterly newspaper Peace in Our Times and was a member of the VFP National Board of Directors for six years. He has organized and led delegations of veterans to Okinawa; Jeju Island, South Korea; Palestine; Ferguson, Missouri; Standing Rock …. and Ireland.

Asked what kept them going, they stated the importance to act against injustice. Kauff in particular declared that “to resist is human” and that he wished to be fully human. He said that no-one could tell another what he or she could do but one only had have the courage to ask oneself that question …. and then the courage to act upon the answer.

sdr — Section of audience at the public meeting

“IRISH PEOPLE JUST COME UP AND SHAKE OUR HANDS, THANK US FOR WHAT WE ARE DOING”

Both expressed gratitude and a degree of amazement at the warmth of their welcome and appreciation by members of the Irish public. Kauff gave an instance of the Lisdoonvarna pub where the management would not accept payment for their food and drinks. “People just come up to us and shake our hands and thank us for what we’re doing,” the veteran said, “and we don’t get that in the USA.”

Donations from the public fund them and, at the moment, they live in student accommodation at Limerick University, rent free – though they will need to find alternative accommodation in September.

Asked about popular feeling in the USA, Ken Mayer explained that the US public are exposed to a systematic system of propaganda and misinformation. However their anti-war organisation is very wide with many members and that there were optimistic signs with popular protest about the treatment of migrants along the US-Mexican border and fuel pipeline resistance in New York State and in Standing Rock. However, a little later, Tarak Kauff said that the outlook was not promising but that not resisting was no choice — even if he knew the world was going to end next week, he would feel he had to resist in order to fulfill his human potential.

Earlier in their presentations, Kauff alluded to Ireland’s historic struggle to overthrow its powerful oppressor and called people to oppose the most powerful enemy in the world today – the US State. He said that a stance taken by the Irish Government today would have a strong progressive ripple-effect around the world.

RESISTANCE IN MUSIC AND SONG

Music for the evening was provided by veteran campaigner John Maguire who sang a song he had composed back at the first demonstration at Shannon airport, with a chorus that the audience soon got the hang of and joined in.

RoJ performed a song also of his own composition, accompanied by Paul O’Toole on guitar and Nimal Blake on cajón. Later, O’Toole also sang a song of his own, about the child who lost both his arms to US imperialist ‘smart-targeted’ bombing, then going on to sing one of Dylan’s numbers. Both RoJ and O’Toole are long-time professional performers and have produced CDs of their material.

All performers were warmly applauded.

The evening was a fund-raiser and it could be seen that the collection bucket, although covered, was stuffed with notes. Ken and Tarak also have a Fund Me appeal and Afri is also receiving some donations for them through the Internet.

End.

mde — A line up of activists, military veterans and musicians

LINKS AND REFERENCES:

Event notification by Afri: https://www.facebook.com/events/344492786248155/

https://www.irishtimes.com/news/crime-and-law/surprisingly-humane-elderly-us-veterans-arrested-at-shannon-describe-their-prison-stay-1.3843401

http://www.stopthesewars.org/kenandtarak/

Letter to the Broadsheet by Ellen Davidson, wife of Tarak Kauff: https://www.broadsheet.ie/2019/04/03/story-of-why/

Summary of events and explanation by Ken Mayers: http://claredaly.ie/us-veterans-for-peace-forced-to-remain-in-ireland-pending-trial/

US Veterans for Peace: https://www.veteransforpeace.org/

Suicides in US Military: https://en.wikipedia.org/wiki/United_States_military_veteran_suicide

mde — The huge banner “US War Machine Out of Shannon” (sadly, out of focus)

DRUMMING UP THE PAST

On September 20, 2017September 27, 2017 By rebelbreezeIn Cultural Comment, Folk Custom, Ireland, Personal Blog, Traditions & Folk CustomLeave a comment

Diarmuid Breatnach

I got a phone call today – my drum has been found. I was astonished.

Three or four years ago, my drum went into hiding. No, I don’t mean “I went into hiding in my drum” – I’m not talking Cockney rhyming slang or Romany. I mean a real drum, a music-rhythm drum. It’s a dholak — looks like a smallish bongo in shape but both ends are played and it is South Asian in origin. It was bought for me many years ago from a London charity shop.

Why did my dholak go into hiding? I am not sure. Drums are sensitive; sensitive to vibrations. Yes of course, they are about vibration, that’s how they are made to produce sound. But more than that – they also pick up vibration. The skin or membrane, stretched tight, can pick up vibrations of machines, wind or even speech, which resonate inside the hollow instrument. Perhaps I was giving off bad vibrations. Or more likely not supplying enough vibrations at all.

It is true that I had stopped playing her and taking her to music session. I knew I wasn’t a great player but I thought I was OK – most of the time. Percussion gave me something to do at a session, to be part of it when I wasn’t singing. Then something happened that shattered the veneer of confidence. And there was a session I used to go to where I played it but I stopped going there; I can’t even remember why now.

The percussion illness began years ago in London. It was an infection that spread from my tapping feet to my tapping fingers and to rapping on wooden tables; there were nights I got carried away and came home with sore and skinned knuckles.

The infection spread and I took to playing the violin cases of tolerant musicians at London sessions. Or occasionally an accordion case. And then the dholak arrived. I played her indoors for months before I dared bring her to a session.

Musicians’ eyes widened when they saw me bring out a drum more than two feet high from a sports bag. They were apprehensive, for sure. Musicians playing Irish music (not all of them are Irish) have learned – or been taught – to be wary of percussionists. Percussion usually descends on an Irish session in the shape of a bodhrán (from the Irish, literally “a deafener”) and though the instrument can be played very well and sensitively, too often it is not. When played badly it is out of time with the music or a monotonous boom-boom-boom trying to kill the music … and nearly always too loudly.

There is a joke about the banjo which can be even more easily applied to the bodhrán: “You can tell from a fair distance when a man with banjo is approaching – but there is f.a. you can do about it.”

Even the bodhrán has a dubious history in traditional Irish music and it was really a classically-trained Irish musician, the great Seán Ó Riada, who gained the instrument popularity by working it into his suites — his compositions and arrangements. Norman observers in the 12^th Century, describing Irish music, mentioned only a kind of drum, some kind of whistle (flute) and the harp (of which there were two, the small and the large). Not even the uileann pipes were mentioned! Over the years, the wooden whistle came in or was developed domestically (replaced for a while by the metal one, mass-produced in Manchester!), also the concert flute from Europe, the violin from Austria-Hungary perhaps, the accordion from Germany and Italy, the banjo from African slaves and their descendants in the USA, the mandolin from Italy, the bouzouki introduced from Greece in the 1960s, the guitar originally from Iberia but probably through English and US folk music, also in the 1960s.

The uileann pipes, despite the Norman observers, have been around for a while too but difficult to say when exactly it came in, some sources say not till the 1700s – certainly later than the marching war pipe depicted in Elizabethan-period drawings and woodcuts.

St Michans Irish Music Instruments carving — Instruments in Irish traditional music — a panel carving in St. Michan’s Church, Dublin. (Photo source: Internet)

In Irish music, it is normally the guitarist who plays rhythm and many musicians think that with a guitarist, you don’t need a percussionist. If indeed you ever do – Séamus Ennis, once asked what was the best way to play the bodhrán, famously (or infamously) replied: “With a penknife”.

Whatever else could be said about my playing of the dholak, good or bad, at least I never played it too loudly.

Traditional Irish music sessions in London, at least in those years, tended to be more tolerant and inclusive than I experienced in Ireland on visits home or since. So they let me get on with it and we got on ok – me, the dholak and the musicians. And the ‘audience’ seemed ok with us all too.

When I came home to Dublin, to work and to live, after decades in London, she came with me. There was a session in Rathmines I attended regularly and I took the drum there, played it some to accompany the trad music instruments and sang a few songs. At that particular session one heard a variety of types of song and could sometimes see dancing: set-dancing, freestyle sean-nós and there was an elderly couple who did what I took to be a schottische. There was a bodhrán player or two there most times and when they were, I mostly laid off the dholak until they took a break, went to the toilet or out for a smoke.

Usually, the session would start around 9.30pm and go on till 1.00am or even later. Many a time on my way home from that session, a song or a tune would be running through my head, non-stop. Sometimes I even composed a tune, or thought I did — but had forgotten it by next day.

Walking the 4.5 km.s after a session to catch the night bus from D’Olier Street (and a half-hour wait if I missed one) grew tiresome, which might have been the reason I stopped going. Maybe my bike wasn’t working at that time. The truth is, I don’t know why but I did stop going. There was a Sunday session I was going to for a while but I dropped out of that too, for other reasons. The result was that I stopped playing the dholak, even at home.

Maybe she missed the tapping of my fingers on her skin. Perhaps she missed the vibrations of Irish traditional music. And grew to resent the silence. Maybe she planned to leave me.

If so, the occasion came when a large group of Basque musicians were visiting Dublin and I had organised a musical pub-crawl for them (kantu-poteo), as well as a concert for them to perform. I brought the dholak in case there should be an informal session at the end of the evening but there wasn’t and, in amongst all the leave-taking and so on, I forgot about her.

A few days later I looked for the dholak at home and realised I must have left it behind. To the management of the hall I went rushing — but it could not be found. So, someone had stolen her. Or she had gone off with someone she thought would appreciate her more than I had.

I was upset – of course I was – but there was nothing to be done about it. Of course, if I ever should see someone with her, while on my travels ….!

The years went by and I reconciled myself to my loss. I had already mostly stopped going to traditional sessions and was concentrating on singing. For a while I was singing at a different gathering as often as twice a week. Then that too tailed off. Some sessions were a distance away around Dublin bay and finished after public transport did. One was on a Sunday and I was often tired. But the truth is, although I always enjoyed a singing session, I was losing some of the drive, the urge that had me attending regularly.

And then, this morning, from the manager of the hall where I had lost the dholak about four years ago, I got a phone call. She had been found!

Overjoyed as I am, I can’t help wondering what it means, that she turns up now. Of course, it could mean nothing. Just a lucky happenstance that it turned up, was found among stuff stored away, probably by someone searching for something else or having a clear-out.

The cops and private detectives with starring roles in the novels I sometimes read don’t believe in coincidence and happenstance. Much as I hate to take part of my world view from cops, nor do I.

It means something. But what?

end

Information on Irish musical instruments:

https://www.musicalpubcrawl.com/instruments/

LÁ FHÉILE STIOFÁIN/ ST. STEPHENS’ DAY

On December 26, 2014December 25, 2020 By rebelbreezeIn Cultural Comment, Folk Custom, History, Ireland, Irish Diaspora, Irish Republicanism, Irlanda, La Diáspora Irlandesa, National Liberation, social commentary, Song, Tradición, Traditions & Folk CustomLeave a comment

Diarmuid Breatnach
(Traducido al castellano al fondo)

(Reading time: 5 minutes)

” We made it! We made it! Safe for another year!”

“Shut up, you idiot! The day’s not over yet!”

Meanwhile, not far away ….

THE WREN-BOY TRADITION IN IRELAND

In England it is called “Boxing Day” but in Ireland the 26th of December is “St. Stephen’s Day”. Despite the Christian designation it has long been the occasion in Ireland for customs much closer to paganism.

It was common for a group of boys (usually) to gather and hunt down a wren. The wren can fly but tends to do so in short bursts from bush to bush and so can be hunted down by determined boys. The bird might be killed or kept alive, tied to a staff or in a miniature bower constructed for the occasion.

The Wren Boys would then parade it from house to house while they themselves appeared dressed in costume and/or with painted faces. In some areas they might only carry staff or wands decorated with colourful ribbons and metallic paper while they might in other areas dress in elaborate costumes, some of them made of straw (Straw Boys) and these were sometimes also known as Mummers although a distinction should be drawn between these two groups. The Mummers in particular would have involved acting repertoires with traditional character roles and costumes, music and dance routines while the simpler Wren Boys might each just contribute a short dance, piece of music or song. In all cases traditional phrases were used upon arrival, the Mummers having the largest repertoire for in fact they were producing a kind of mini-play.

The origins of the customs are the subject of debate but a number of Irish folk tales surround the wren. The bird is said in one story to have betrayed the Gaels to the Vikings, leading to the defeat of the former. There is a Traveller tradition that accuses the wren of betraying Jesus Christ to soldiers while another tradition has the bird supplying the nails (its claws) for the crucifixion of Jesus Christ. Yet another tradition has the wren as King of the Birds, having used its cunning in a competition to determine who would be the avian King, hiding itself under the Eagle’s wind and flying out above the exhausted bird when it seemed to have won, having left all others behind and could fly no higher.

By the 1960s the Wren Boy custom was beginning to die out even in areas where it had held fast but it slowly began to be revived by some enthusiasts. Nowadays fake wrens are used. Christmas Day in Ireland was traditionally a day to go to religious service and to spend at home with family or to go visiting neighbours. It was not a day of presents or of lights or Christmas Trees, customs brought in by the English colonizers in particular from Prince Albert, the British Queen Victoria’s royal consort, who was German. St. Stephen’s Day may have celebrated the Winter Solstice (the wren being a bird that on occasion sings even in winter) but moved to a Christian feast day; in any case it produced colour and excitement at a time which did not have the religious and commercial Christmas season to which, in decades, we have become accustomed.

The lovely song The Boys of Barr na Sráide from a poem by Sigerson Clifford takes as its binding thread the boys in his childhood with whom Sigurson went “hunting the wren”. It is sung here by Muhammed Al-Hussaini (currently resident in London and part of the singing circle of Comhaltas Ceoltóirí na hÉireann, meeting in the Camden Irish Centre). There are recordings of others performing this song well but the unusual origin of this one as well as its quality persuaded me to choose this one. In addition, I had the pleasure of participating in a singing circle with this lovely and modest singer in London in October this year (see The London Visit on the blog), who greeted me in Irish. Muhammed also plays the violin on this, accompanied by Mark Patterson on mandolin and Paul Sims on guitar.

ends.

LA TRADICIÓN DE “CHICOS DEL REYEZUELO” EN IRLANDA

Diarmuid Breatnach

En Inglaterra se llama “Boxing Day”, pero en Irlanda el 26 de diciembre es “la fiesta de San Esteban“. A pesar de la designación cristiana, ha sido durante mucho tiempo la ocasión en Irlanda de costumbres mucho más cercanas al paganismo.

Para eso era común que un grupo de niños (generalmente) o chavales se reuniera y cazara a un reyezuelo. Ese pájaro es capaz de volar pero tiende a hacerlo en ráfagas cortas de arbusto a arbusto y, por lo tanto, puede ser cazado por niños determinados. El pájaro podía ser asesinado o mantenido vivo, atado a un bastón o en una glorieta en miniatura construida para la ocasión.

Los “Wren Boys” (Chicos del Reyezuelo) lo desfilarían de casa en casa mientras ellos mismos aparecían vestidos con disfraces y / o con caras pintadas. En algunas áreas, solo pueden llevar bastos o varitas decoradas con cintas de colores y papel metálico, mientras que en otras áreas pueden vestirse con trajes elaborados, algunos de ellos hechos de paja (Straw Boys/ Buachaillí TuI = Chicos de la Paja) y a veces también se los conoce como Mummers, aunque se debe hacer una distinción entre estos dos grupos. Los Mummers en particular tenían repertorios involucrados de actuación con roles y disfraces de personajes tradicionales, música y rutinas de baile, mientras que los Wren Boys más simples podrían contribuir con un baile corto, una pieza musical o una canción. En todos los casos se usaron frases tradicionales a la llegada, los Mummers tenían el mayor repertorio porque de hecho estaban produciendo una especie de pequeño teatro. Se les daba dinero , pastel o caramelos.

Los orígenes de las costumbres son objeto de debate, pero una serie de cuentos populares irlandeses rodean al reyezuelo. En una historia se dice que el pájaro traicionó a los Gaels a los Vikingos, lo que llevó a la derrota de los primeros. Hay una tradición de los Travellers (gente étnica nómada de Irlanda) que acusa al reyezuelo de traicionar a Jesucristo a los soldados, mientras que otra tradición dice que el pájaro suministra los tornillos (sus garras) para la crucifixión de Jesucristo. Sin embargo, otra tradición le tiene al reyezuelo como el Rey de los Pájaros, después de haber usado su astucia en una competencia para determinar quién sería el Rey de las aves, escondiéndose bajo el viento del Águila y volando por encima del pájaro agotado cuando parecía haber ganado, todos los demás detrás y no poder volar más alto.

En la década de 1960, la costumbre de Wren Boy comenzaba a desaparecer incluso en áreas donde se había mantenido firme, pero algunos entusiastas comenzaron a revivirla lentamente. Hoy en día se usan reyezuelos falsos. El día de Navidad en Irlanda era tradicionalmente un día para ir al servicio religioso y para pasarlo en casa con la familia o para visitar a los vecinos. No fue un día de regalos ni de luces ni de árboles de Navidad, costumbres traídas por los colonizadores ingleses en particular del alemán Príncipe Alberto, el consorte real de la Reina Victoria británica. El día de San Esteban puede haber celebrado el solsticio de invierno (el reyezuelo es un pájaro que en ocasiones canta incluso en invierno) pero se mudó a una fiesta cristiana; en cualquier caso, produjo color y emoción en un momento que no tenía la temporada de Navidad religiosa ni entonces la comercial a la que, en décadas, nos hemos acostumbrado.

La encantadora canción The Boys of Barr na Sráide (mezcla del inglés con el gaélico: “Los Chicos de la Altura de la Calle” [toponómico de puebo en el Condado de Kerry]) de un poema por Sigerson Clifford toma como hilo conductor a los chicos de su infancia con quienes Sigurson fue “cazando al reyezuelo”. Aquí lo canta Muhammed Al-Hussaini (actualmente residente en Londres y parte del círculo de canto de Comhaltas Ceoltóirí na hÉireann, reunido en el Centro Irlandés de Camden). Hay grabaciones de otros interpretando bien esta canción, pero el origen inusual de esta, así como su calidad, me convenció para elegir esta. Además, tuve el placer de participar en un círculo de canto con este encantador y modesto cantante en Londres en octubre de este año (ver The London Visit en el blog), que me recibió en irlandés. Muhammed también toca el violín en esto, acompañado por Mark Patterson con mandolina y Paul Sims con guitarra.

Fin.