WHAT ARE WORDS? “MILITANT” AND “DISSIDENT”

Diarmuid Breatnach

Recently someone objected to my use of the word “militant” to describe a movement with which I am in solidarity, saying that the word implied “violent”. My initial reaction was that I disagreed.

          I understand “militant” to mean “determined, assertive, courageous, not awed by confrontation” and that one could even be a “militant pacifist”.

But I decided to look up some dictionary definitions online. The first two or three did indeed include violence as a possibility but not necessarily integral. Another two came closer to my way of thinking:
“aggressively active (as in a cause) : COMBATIVE “(Miriam-Webster).

You use militant to describe people who believe in something very strongly and are active in trying to bring about political or social change, often in extreme ways that other people find unacceptable.
Militant mineworkers in the Ukraine have voted for a one-day stoppage next month.
…one of the most active militant groups.
Collins Dictionary.

The meaning of words shifts from language to language, culture to culture and across time. One of the most obvious and startling examples of this is the word “gay”, up to the 1970s probably understood in English by most people as meaning “happy, light-hearted” etc but now, the first interpretation in the English-speaking world would be “homosexual” (in a non-pejorative way).

Tramp” was a verb in the 19th Century to the extent that a famous marching song of the Union Army in the American Civil War was known as “Tramp, tramp, tramp”1. By the 20th Century its use as a verb was in decline but it was becoming better known as a noun, the meaning of which was understood variously as “vagrant” or even “beggar”.

And one could fill volumes with similar examples, I am sure.

“MILITANT”

          But returning to “militant”, was I the only one who understood its meaning in the way that I had? Well, apparently not, as Wikipedia showed, for example in descriptions of “militant trade unionists” and even a political organisation within the British Labour Party before its expulsion, calling its group “Militant Labour” and its newspaper “Militant”, probably drawing a parallel with those very same trade unionists2.

It would not take much pondering to guess that “militant” had some relation to “military” and apparently the word does indeed have such an origin, from Latin “miles”, ‘a soldier.3 But over the years, as with many other words, its meaning has changed.

But apparently, violence is again becoming associated with the word, more so than in the second half of the 20th Century. How did this happen? I am not sure but it appears to have been a spin-off from the more recent imperialist wars of, in particular, the United States. It seems that organisations resisting USA control or dominance in the Middle East, most of which were Muslim in religion, began to be termed “militant” in US and western reporting. Why this became so seems hard to fathom – it was not a word that these organisations applied to themselves — but it has had that spinoff effect on the word “militant”, so that “militant trade unionists” and “militant feminists”, for example, are now likely to be associated with violence, i.e the use of physical force.

How loaded and partisan usage of the word can become is well illustrated in the definition supplied by the Oxford living Dictionary: Favouring confrontational or violent methods in support of a political or social cause.
the army are in conflict with militant groups’.

The example given is very interesting. Conflict requires, one supposes, at least two parties and both sides are listed in that quoted phrase. But the impression given is one where “the army” is an authoritative, legitimate force which is being opposed by groups that are none of those things. One almost feels that the source of “the conflict” is the “militant groups” (especially with the current loading of ‘violence’ into definition of the word “militant”).

The ‘army’ is an armed organisation at the very least latently violent (training with deadly weapons) and in this context, almost certainly practicing violence by invasion. Yet it is portrayed as somehow neutral and the opposition as violent. This is further accentuated when the army and armed police are termed “security forces”. How could one be against security? Don’t we all want to be secure? Obviously quite a lot of people don’t want whatever security is being offered by these military and militarised forces and the question of “security for whom?” is hardly ever explored in such discourse, leaving us with the impression that the good guys are the army and police, deserving of our support, while whoever opposes them must be bad and we should line up against them.

As the meaning of words shifts, we have to decide whether to stick with the meaning we had and insist on its primacy, or to adapt and move with it. Up until the 1960s it was generally considered ill-mannered among white and black people to refer to people of noticeable African descent as “black” or as “negro” and Martin Luther King’s campaigning organisation was called the National Association for the Advancement of Coloured People. Back earlier, in the 18th and early 20th centuries, “negro” would have been acceptable to most. Nowadays, “coloured” or “negro” would generally be considered either offensive or ignorant and “black” is the word, unless one is to use the Africa-derived word, e.g Afro-American, Afro-Caribbean, etc.

And in a strange reversal, whether in self-mockery or appropriation, many Afro-Americans began in the 1970s and 80s describing themselves with the word “nigger”, a word long associated with racism4.

DISSIDENTS”

          Leaving those examples and dealing with Ireland, a number of organisations advocating Irish independence and unity and denying the legitimacy of the administrations of either side of the partition Border, would happily term themselves and one another “Irish Republicans”. That term came first to exclude the supporters of the Irish Free State, who waged a Civil War against those who would not accept the British terms, including Partition, of the 1921 Treaty. Not much over a decade later, it excluded also the Fianna Fáil party, which had split from Sinn Féin, got elected into government and at different times interned Republicans without trial, executed some and passed emergency-type legislation against them.

Subsequent splits in later years were still all described, along with various versions of the Sinn Féin party, as “Irish Republicans”. After the Good Friday Agreement was endorsed by what had been Provisional Sinn Féin and they subsequently became part of the administration of the British colony of the Six Counties, all those Irish Republicans who did not agree with them on that came to be called “dissidents” in the media and in much political discourse.

Those who are called “dissidents” however did not, for the most part, agree with the term. As far as they are concerned, they are sticking to the “official line” or at least the original one and it is the Provisional Sinn Féin (which now terms itself just Sinn Féin) which has diverged from the line and furthermore, departed from the ranks of Irish Republicans.

Let’s do a trawl for definitions similar to what I did with “militant” but this time for “dissident”.

Wiktionary:A person who formally opposes the current political structure, the political group in power, the policies of the political group in power, or current laws.

(Christianity) One who disagrees or dissents; one who separates from the established religion.”

Mirriam-Webster:disagreeing especially with an established religious or political system, organization, or belief

dissident elements in the armed forces”.

Collins:people who disagree with and criticize their government, especially because it is undemocratic.

Dissident people disagree with or criticize their government or a powerful organization they belong to”

Oxford:A person who opposes official policy, especially that of an authoritarian state.

a dissident who had been jailed by a military regime’”.

And one I hadn’t used before, but which caught my eye, Vocabulary.com: If you are a dissident, you are a person who is rebelling against a government. Dissidents can do their work peacefully or with violence.

Dissident is closely related to the word, dissent, which means objecting. People who are dissidents show their dissent5. Catholic priests who advocate allowing women into the priesthood could be called dissidents, as could the Puritans who left England to live in colonial America. As an adjective, a dissident member of a group is one who disagrees with the majority of members.”

Since it is not a religious movement, one who separates from the established religion” would seem non-applicable (though when one sees how many Republicans cling to certain practices like non-recognition of the court trying them, or refusal to stand in elections, it is tempting to think of those prohibitions as religious dogma rather than tactics for particular times and place).

Most Irish Republicans would consider themselves as in opposition to the “established (political) order” of the country, i.e Ireland partitioned, with one part run by an anti-Republican Irish ruling class and the other by a colonial ruling class. They would consider the relevant governments as “authoritarian” and “undemocratic”, certainly in their treatment of Irish Republicans by harassment, intimidation, detention, subjecting them to special emergency-type legislation, non-jury courts and prison.

In that sense of “dissident”6, the Sinn Party in its various encarnations has until recently always been a party of dissidents, first against a foreign monarchy subjecting Ireland without an Irish king (the party founded by Arthur Griffiths), then to a Republican party campaigning against British rule (the coalition that was the reformed post-Rising party 1918-1921), after that a party against the Irish Free State Government and the colonial administration of the Six Counties, subsequently a Republican socialist party opposing the same forces, then after a split, a Republican party with similar objectives but supporting an armed resistance to the the British occupation. To that can be added the existence of the Republican Sinn Féin party from a split and at least one other group of similar construction for a time but with more socialist emphasis.

Clearly (formerly Provisional) Sinn Féin can no longer legitimately describe itself as dissident, should it want to, as it is now party to that repressive colonial government to which it was previously vehemently opposed and also now straining to become part of a coalition in government of the Irish state.

Many people who left the SF party did so precisely because they opposed those policies and actions7 and on most terms could legitimately claim to be “dissidents” – if they wished to. Not just dissidents recently within the party but dissidents against the State and British colonialism.

Clearly then descriptions such as rebelling against a government” and disagree with and criticize their government, especially because it is undemocratic” are not going to be the problem and formally opposes the current political structure, the political group in power, the policies of the political group in power, or current laws” seems just tailor-made for Irish Republicans.

The objection to the appellation of “dissident” then must surely be based on either a misunderstanding of the meaning of the word or a concept of some kind of historical Irish Republican authority. If the latter, then the SF party can been seen as having gone against that authority and those Irish Republicans not following the SF path as being the true and loyal followers, faithful to that historical authority. This would be an entirely understandable attitude – but is it helpful? Aren’t the most important things the aims that Irish Republicans have and how they conduct themselves in working towards them, rather than whether they are called “dissidents” or not? After all, there is nothing fundamentally pejorative in the term.

There is no doubt that “dissidents” is a handy catch-all term to describe Republicans who belong to a number of political groups or who are independent activists (the latter of which Ireland and especially Dublin has a great many) but is it conferring some kind of implicit legitimacy on the collaborationist and now constitutionalist Sinn Féin party? And if so, legitimacy in the eyes of whom? Remember how one time there was an “Official Sinn Féin” (and IRA) and the “Provisional Sinn Féin (and IRA) who split from them? It was the latter that went on to gain dominance in the Republican movement while the “Official” organisation split again and shrank to a tiny remnant.

If I were to count myself among the ranks of Irish Republicans8, would I object to the term of “dissident”? I don’t think so.

End.

SOURCES AND REFERENCES

Meaning of “militant”:

https://en.oxforddictionaries.com/definition/militant

https://www.merriam-webster.com/dictionary/militant

https://www.collinsdictionary.com/dictionary/english/militant

https://en.wikipedia.org/wiki/Militant

https://en.wiktionary.org/wiki/militant

Tramp! Tramp! Tramp!: https://en.wikipedia.org/wiki/Tramp!_Tramp!_Tramp!

Meaning of “dissident”:

https://www.merriam-webster.com/dictionary/dissident

https://en.oxforddictionaries.com/definition/dissident

https://www.collinsdictionary.com/dictionary/english/dissident

https://en.wiktionary.org/wiki/dissident

https://www.vocabulary.com/dictionary/dissident

FOOTNOTES

1Coincidentally, the word “gay” is employed in its older sense in the lyrics of the song. A lot of interesting information is contained in the Wikipedia page on this song (see link in Sources and References).

2This was an organisation run by the entryist British Trotskyist organisation which later became the Socialist Party (like its great rival, the Socialist Workers Party, it too has an offshoot in Ireland).

3Through Latin into French and from there into English. However, the word may have been of an older root, possibly Celtic: “ ‘Míle’, word in Irish, meaning ‘a warrior, a champion, a hero’” given p.23 in How the Irish Invented Slang, Daniel Cassidy (2007).

4The term is not accepted equally among black people: I recall a black workmate of mine telling me that he had punched another black man who had referred to him as “nigger”.

5Actually, as Wiktionary tells us, it means more correctly “not in agreement” and comes from the Latin word for “to sit apart”

6Lest it be thought that I dissent from this opinion, let me put on record that this is one of the things about which I entirely agree with Irish Republicans. I suspect however that this definition is generally only used by media and mainstream commentators to describe regimes other than the ‘western democracies’.

7Some people had left that party already by that time, some because they perceived its direction and some because they objected to procedures within the party, especially those they considered undemocratic. Others left over time due to decisions to contest elections in the Irish state or to take their seats in the parliaments if elected, or because of rapprochement with the colonial police, over alleged harassment, party promotions or personal reasons.

8“Irish Republican” is a specific political designation and does not describe me, although I am Irish and I do aspire to a Republic of social equality. I am a revolutionary and a socialist as well as being anti-imperialism; I am many other things as well but that will do as a basic platform on which to seek others of like mind. In the course of struggles I do of course join in a front of one or the other of those tendencies but always with an eye to the full objective. Or so I try, at least.

THE 43 DISAPPEARED MEXICAN YOUTH REMEMBERED OUTSIDE DUBLIN MEXICAN EMBASSY

Diarmuid Breatnach

People outside the Mexican Embassy in Dublin on Wednesday evening remember the 43 students and call for justice.

(Photo: D.Breatnach)
Names of the Disappeared being laid outside the Mexican Embassy
(Photo: D.Breatnach)

A short but moving event was held in Dublin yesterday evening (Thursday 26th September) to remember the 43 Mexican students made to “disappear” in Mexico by the authorities or in collusion with them on 26th September 2014. The students from the Ayotzinapa Rural Teachers’ College were kidnapped while they were taking part in an annual commemoration of the Tlatelolco Massacre (of 300-400 students and other civilians by police and military on 2nd October 1968, less than a fortnight before the opening of the Olympics in the city that year). They are widely believed to have been murdered and a supposed investigation by Mexican State authorities petered out without a result.

Names of the Disappeared being laid outside the Mexican Embassy
(Photo: D.Breatnach)
Some staff leaving the Mexican Embassy in Dublin
(Photo: D.Breatnach)
Names of the Disappeared being laid outside the Mexican Embassy
(Photo: D.Breatnach)
(Photo: D.Breatnach)

The event last night was organised by the Mexico Ireland Solidarity Collective (MISC) and Latin America Solidarity Centre (LASC). Sunflowers as a symbol of hope were placed in the railing of the Mexican Embassy in Raglan Road, Dublin and ribbons in the Mexican colours of green, white and red were also tied there. The names of the 43 “disappeared” students were laid on the pavement in front of the Embassy which, like the embassies of a number of other states, is located in a quiet upper-middle class area south of the Grand Canal. Few people passed the remembrance event and staff leaving the Embassy did not stop to talk to the gathering except for the last two who greeted them politely and took a photo of the display.

A spokesperson for MISC said that the event is organised every year so that the people are not forgotten.

People took turns to read the name of each of the 43 from their cards and the traditional “Presente!” was called out after each one, signifying that alive or dead, they are present with us, remembered.

A statement was read and some verses from Woody Guthries’s Plane Crash at Los Gatos were sung and then a long silence was observed, which ended with a call for “Justicia!”

end.

Placing the sunflowers for hope outside the Mexican Embassy
(Photo: D.Breatnach)

(Photo: D.Breatnach)
Reading a statement on the Disappeared outside the Mexican Embassy
(Photo: D.Breatnach)

Placing the sunflowers of hope
(Photo: D.Breatnach)
Protesters in Mexico demanding the authorities reveal what happened to the 43 students.
(Photo source: Internet)

 

LINKS FOR FURTHER INFORMATION

MISC (Mexico Ireland Solidarity Collective): https://www.facebook.com/mexicoirelandsolidaritygroup/

LASC (Latin American Solidarity Centre): https://lasc.ie/

https://www.facebook.com/latinamericasolidaritycentre/

Wikipedia page about the 43 disappeared: https://en.wikipedia.org/wiki/2014_Iguala_mass_kidnapping

Jacobin on line article about the 43 disappeared: https://jacobinmag.com/2018/09/ayotzinapa-massacre-missing-students-pena-nieto

Should you wish to contact the Mexican Embassy to register a protest, request the investigation to be pursued etc:
info@embamex.ie

Tel: (+353) 1 667 3105

FAX: (+353) 1 664 1013


Mr Miguel Malfavón, Ambassador

19 Raglan Road
Ballsbridge
Dublin 4
Ireland

DUBLIN PROTESTS JAILING OF ALTSASU EIGHT

People gathered early evening Thurday (21st) on O’Connell Street, Dublin city’s main street, to protest the convictions and sentencing of the Altsasu Eight. They held Basque and Catalan flags and displayed placards demanding “Free the Altsasu Eight!” and another pointing out the severity of the sentences for what was a bar brawl with Spanish police.

Section of protest and conversation with passers-by
(Photo: D.Breatnach)

From the leaflet distributed: “In November 2016, during a festival in Altsasu, Nafarroa (Navarra) Province of the southern Basque Country, a lieutenant and sergeant in the Spanish Guardia Civil police force, both off-duty with their girlfriends, entered a late-night bar well-known as a place for pro-independence Basques to socialise. An altercation occurred in which the police said they were attacked by the Basque youth and claimed a fractured ankle suffered by one; others say it was just some shoving and pushing.

(Photo: D.Breatnach)

The Navarran regional police force, the Policía Foral, first on the scene, treated it as an alleged assault case which is how the local court wished to deal with the issue. However the Spanish state Prosecutor intervened and, transferring the case to Madrid, accused eight youth of “terrorism” for which they could face a total of 375 years in prison. He failed to prove that but on charges of public disturbance, assault and threats alone, on 1st this June the eight youth were variously sentenced to between 2.5 and 13 years in jail as well as fined thousands of euro.”

Leaflets were distributed to raise awareness of this injustice and many passers-by stopped to talk and ask questions. One group of interested youth was from Zaragoza, which is in Aragon province and not far from the Basque Country.

Protesters including musicians
(Photo: D.Breatnach)

Live music was provided for the participants and passers-by: two women sang Txoria Txori in harmonies and a Basque sang a new song that has been composed about the Altasasu 8, while another accompanied him on guitar (hope to post the lyrics and translation). Txoria Txori is a short simple allegorical song about a man who loves a bird and says that if he cuts its wings it would stay with him but he can’t do that because then no longer would it be a bird – and he loves the bird. This song is well-known and loved in the Basque Country.

The picket was an event of internationalist solidarity, not only because it was carried out in Ireland in support of victimised youth in the Basque Country, but also because the picket line included Irish, Basque, Catalan and Italian people.

(Photo: D.Breatnach)

Further information in the English language on this case (and other events in the Basque Country) will be posted from time to time on https://www.facebook.com/dublinbasque/

BLOOD ON THE STREETS OF GIBRALTAR

Diarmuid Breatnach

On the 6th of March 1988, an undercover unit of the IRA in the Spanish State was being tracked by Spanish police.  As the unit headed in to Gibraltar, their surveillance was taken over by a British Army unit of the Special Air Service.  Very soon afterwards, the SAS attacked the IRA unit and shot them down, shooting them again with execution shots on the street.  The IRA unit were unarmed and there was no attempt made to arrest them.  The SAS claimed that they had a bomb ready to detonate but no such bomb was ever found.  The three Volunteers were Mairéad Farrell, Seán Savage and Daniel McCann.

Above: Gibraltar 3 murder scene. Below: Daniel McCann, Mairéad Farrell, Sean Savage. (Source: Stair na hÉireann)

A Gibraltar woman, Carmen Proetta, who witnessed the murders from her flat and testified to what she had seen was villified and libelled in the British media (she successfully sued a number of them later).  A Gibraltar inquest judged the killings to have been unlawful.  Amnesty International in Britain denounced the killings — one of the few occasions in which Amnesty criticised the British Government with regard to its conduct in relation to the 30 Years’ War in Ireland.

Almost two months after the shootings Margaret Thatcher and her Foreign Secretary Geoffrey Howe tried to prevent an independent British TV company’s documentary on the killings, Death On the Rock and the career of the lead Editor, Roger Bolton,  suffered severely, although an independent investigation of the program vindicated the program.

Coffins of the Gibraltar Three being carried through West Belfast (Source image: The Irish News)

Streets of Gibraltar song

By The Irish Brigade (long version) + verse by DB*

Chorus

Oh, sad are three homes in Belfast Town,

all Ireland shares their sorrow;

as they walked in the sun, the Brits drew their guns

and they died on the streets of Gibraltar.

1

They flew out of Belfast with an ambitious plan

to carry the struggle to free Ireland –

Mairéad Farrell, Seán Savage and Daniel McCann –

and they died on the streets of Gibraltar.

Chorus

2

Hidden eyes had been watching, they followed each one
They knew they weren’t armed, that none had a gun
They
gave them no warning and no chance to run
For the three must die on Gibraltar.

3

Each of them unarmed, without mercy gunned down, *

shot again in the head as they lay on the ground

by the Special Air Service, assassins of the Crown –

they were murdered on the streets of Gibraltar.

(Chorus)

4

The SAS stood there, so proud of their deed –

three more freedom fighters shot down in the street:

Mairéad Farrell, Seán Savage and Daniel McCann –

they died on the streets of Gibraltar.

5

Mairéad, while in prison we watched you with pride;
True to all you believed in and for this you’ve died
With two fine volunteers Dan and Sean by your side —
A part of us died in Gibraltar.

(Chorus)

6

It happens each time that a Volunteer dies —
They screen out the truth with a cover of lies;
But we know what happened on that warm peaceful night
The Brits planned their deaths on Gibraltar.

(Chorus)

And their blood stained the streets of Gibraltar.

End.

GEORGE GALLOWAY ADDRESSES ANTI-IMPERIALIST MARCH IN DUBLIN

Clive Sulish

A crowd gathered at the Dublin and Monaghan Bombing Monument in Talbot Street this evening for a short ceremony and the start of a march to rally at the General Post Office building in Dublin city’s main street. The event was organised by Anti-Imperialist Action Ireland “to highlight imperialist war-crimes around the world, from Ireland to Yemen and Syria.”

View of section of crowd before start of event with the Memorial in the background (Photo: D.Breatnach)

View of section of crowd near the Memorial before start of event
(Photo: D.Breatnach)
View of section of crowd near the Memorial before start of event
(Photo: D.Breatnach)
View of section of crowd near the Memorial before start of event
(Photo: D.Breatnach)

As people assembled, a crowd of European youngsters was noted passing by, no doubt part of some scheme to learn English and something of the culture outside their own country. Sadly their teacher passed by the Monument without calling their attention to it.

The bombings on 17 May 1974, killing 33 civilians and a full-term unborn child and injuring almost 300, claimed the highest toll of any event during the 30 Years War and was the deadliest attack in the history of the Irish State. The bombings were organised by British Intelligence agents with Loyalist participation and not one person was ever charged.

It was not a good day for the march and participants came prepared for the worst but the rain stopped just before the event and held off, apart from an occasional drizzle, until after the event, when it fairly lashed down.

George Galloway approaching the Monument to lay a floral (Photo: D.Breatnach)
George Galloway after laying wreath, hat removed for a moment in respect. (Photo: D.Breatnach)

Pádraig Ó Fearghaill spoke first in Irish welcoming all who had attended, outlined the order of events and then called on George Galloway, famous British anti-imperialist politician, writer and broadcaster, to lay a floral wreath at the monument, which he did. Ó Fearghaill then called on Diarmuid Breatnach to sing the Woody Guthrie song about the massacre of mineworkers in Colorado, USA, by capitalists including the imperialist John D.Rockefeller. Breatnach sang “The Ludlow Massacre”.

The march then formed up and, led by a floral wreath-holder and black flags, proceeded up Talbot Street, into North Earl Street and up to the GPO. Along the way they chanted “From Ireland to Palestine- Occupation is a Crime” and “Donald Trump/Theresa May- How many kids did you kill today?” The demonstration received a lot of support from passers by along the way and drivers of cars and buses who beeped to show support. The marchers, some of who were carrying candles or light up boards made there way to the GPO where a further crowd had already gathered.

Section of crowd at GPO (Photo: D.Breatnach)

From well-known activists participating and banners carried it was clear that the march had attracted wide support across sections of the Republican movement in parties and campaigns, with participation of independent activists of republican, anarchist and socialist background.

Section of crowd at GPO (Photo: D.Breatnach)

Outside the GPO building, Ó Fearghaill called on Máire Uí Mhaoileoin to lay a wreath in memory of those who have lost their lives as a result of imperialist war-crimes and then introduced George Galloway, who remarked that he was proud to speak outside the building that had played such a part in the first blow against the British Empire of the last century. Galloway went on to refer to continuing British occupation of the Six Counties of Ireland and imperialist interference in the Middle East and the occupation of some countries. In the latter category he praised the Palestinian Ehed Tamimi, whose 17th birthday was just that day and called her “a leader of the resistance for the whole Middle East”.

Section of crowd at GPO (Photo: D.Breatnach)

Reminding the attendance of the ongoing crime of internment, Ó Fearghaill announced a representative of a campaign around Tony Taylor, who announced he was reading a statement from Lorraine Taylor, Tony’s wife. Taylor, a Derry Republican, was detained in March 2016 and has been in jail since, without trial or even charge.

Section of crowd at GPO (Photo: D.Breatnach)

Presenting Diarmuid Breatnach again to sing the famous Eric Bogle anti-war song “The Band Played Waltzing Matilda” referencing the bush-ballad of “Waltzing Matilda”, the Australian unofficial national anthem. However, following

Section of crowd at GPO (Photo: D.Breatnach)

a suggestion from a participant, Breatnach led the crowd in singing “Happy Birthday” in English and in Irish to Palestinian child-prisoner Ehed Tamimi. After Breatnach’s rendition of Bogle’s song, Ó Fearghaill thanked all the the participants and promised that Anti-Imperialist Ireland would continue to build up resistance against imperialism in Ireland and in the world beyond.

End

Section of crowd at GPO (Photo: D.Breatnach)
Section of crowd at GPO (Photo: D.Breatnach)

“Back Home in Derry” with new air

Bobby Sands, who was the first of the ten hunger strikers to die in 1981, had written a number of articles, songs and poems.  One of the latter was arranged for song by Christy Moore, calling it “Back Home In Derry” to the air of “The Wreck of the Edmund Fitzgerald” (by Canadian singer Gordon Lightfoot).

The rendition here by Diarmuid Breatnach is to a new air composed also by Breatnach.  Although he has been singing it for some years in song sessions, this is the first time it has been posted as a video.

“I thought that the lyrics and the original author deserved a new air”, said Breatnach, a Dublin singer.  “Christy Moore did a great job arranging the lyrics for song.  I hope the new air becomes at least as popular as Gordon Lightfoot’s.”

https://www.dropbox.com/s/dosrz71cmcw1s3p/Song%20Video%20edit%20%202%20made%20jan%202018.mp4?dl=0

 

 

 

 

 

 

PUBLIC DISORDER AND ASSAULTS AS PEOPLE PROTEST ROYAL VISIT AND COMMEMORATE PATRIOT DEAD

 

Clive Sulish

 

Scuffles broke out and people were pushed to the ground by Gardaí as an unidentified man, later assumed to be an undercover Special Branch officer, grabbed a megaphone from the hands of a person chairing the protest.  Yes, the public disorder and assaults were all the work of the Gardaí.

Garda blockade on Glasnevin Road, Dublin

An ad-hoc group called Socialist Republicans Against Royal Visits had organised the protest, also with the intention of marking 12th May, anniversary of the execution in 1916 by British firing squad of James Connolly, revolutionary socialist, as well as the death after 59 days on hunger strike of Francis Hughes in 1981.

Today Prince Charles of the British Royal Family, also Admiral of the Fleet, Field Marshal, Marshal of the Royal Air Force, Colonel-in-Chief of the Parachute Regiment (perpetrators of the Ballymurphy and Derry massacres), was due to visit Glasnevin Cemetery.

Participants in the event met this morning at Phibsboro Shopping Centre and marched along Phibsborough Road towards Glasnevin cemetery, carrying banners, flags and two floral sprays. Led by a banner carrying the legend which Connolly had erected over Liberty Hall during WW1, “We Serve Neither King nor Kaiser”, they passed over Cross Guns Bridge on the Royal Canal and on towards Glasnevin Cemetery, heading for the Hunger Strike Memorial there. However they found their way barred by a metal screen and blackout material, fronted by Riot police and other Gardaí with mounted police also being brought up.

Some participants and Police at Garda barrier

The marchers were not allowed to proceed and uninvolved members of the public were also prevented by police from proceeding along the pavement. After awhile, Dáithí Ó Riain, chairing the proceedings began to hand a megaphone to Diarmuid Breatnach who was about to speak when a man in plainclothes rushed forward and grabbed the megaphone. At no point did he identify himself nor give a reason for wishing to take the appliance except to say “Because I say so.”

Mounted Police visible at edge of barricade

Participants came forward to defend the speaker being assaulted and the police charged in, knocking people to the ground and twisting people’s hands and bending fingers back until they succeeded in forcibly removing the megaphone.

As participants demanded to have the megaphone returned and the police continued to refuse, Breatnach addressed onlookers to explain what had just happened and to say that “this is the kind of democracy that exists in this country …… when people want to peacefully protest and it doesn’t suit the State that they do so. When you hear of disturbances at a demonstration this is most likely how they started, with a police attack on people.”

Overhead, a helicopter kept circling the area for a period of hours.

Section of participants showing the man in plainclothes who later grabbed the megaphone (dark clothes 3pm position on right of photo)

A number of speakers addressed the participants and bystanders and congratulated them on not allowing themselves to be provoked by the police assault and a chant of “Shame!” was taken up against the police, in addition to the crowd singing two verses of “Take It Down From the Mast Irish Traitors” directed at the Gardaí.

Dáithí Ó Riain, chairperson of the event speaking after the police attack.

The floral sprays were laid at the corner of the wall of the cemetery since further progress was prevented by the Gardaí.

After some time, the protesters marched back to Phibsboro Shopping Centre where they held a short street meeting, to be addressed briefly by a number of speakers and to hear a reading of James Connolly’s last statement before his execution, after which they dispersed.

During the event, Sean Doyle and Ger Devereaux engaged with a radio program explaining the reasons for the protest and the commemoration, in addition to dealing with the statements of callers denouncing the participants.  The police attack occurred during the radio interview so listeners got to hear more of what went on than was expected.

 

A speaker on behalf of the organisers
Another view of the police and their barrier
Breatnach, who had the megaphone wrenched from his hand at Glasnevin after a struggle, addressing a short meeting afterwards in Phipsborough

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

LINKS:

Sean Doyle and Ger Devereaux interviewed live on radio from demonstration:

 

WHEN DUBLIN WANTED MAYO TO WIN — MEN OF THE WEST AND THE MAN FROM DUBLIN

Diarmuid Breatnach

As Mayo began to prepare for a replay of the 2016 championship Gaelic Football final against Dublin, I stood with others on a very wet day in Dublin’s Croppies’ Acre to commemorate and honour Robert Emmet and the United Irishmen – an event replete with Mayo connections.

line-enniscorthy-group-at-monument
Eniscorthy Historical Reenactment Society inside the monument during the ceremony. (Photo: Paddy Reilly)

The event, organised by the Asgard Howth 1916 Society, was graced by the presence of the Enniscorthy Historical Reenactment Society, men and women in 1798 costume bearing pikes, including officer uniforms – they had travelled up from Wexford that morning to attend the event. Donal Fallon, historian, blogger, tour guide and broadcaster was to give the oration. Padraig Drummond, the organising persona, had asked me to sing two songs at the event, one near the start and the other near the end.

For the first song, I had chosen the Bold Robert Emmet ballad1 (originally known as The Last Moments of Robert Emmet2), a song that commonly sung more often a few decades ago but still reasonably well remembered. For the second, I was spoiled for choice of relevant songs: Anne Devlin, Boolavogue, The Croppy Boy, Henry Joy, The Irish Soldier Laddie. Kelly the Boy from Killane, The Rising of the Moon, Rodaí Mac Corlaí, Sliabh na mBan, the Three Flowers, The West’s Awake, The Wind That Shakes the Barley …… or I could finish learning some of which I knew bits, like the Sean Bhean Bhocht, General Munroe, Memory of the Dead (Who Fears to Speak of ’98?) or the Mayo version of An Spailpín Fánach.

Drawing depicting the trial of Robert Emmet in Green Street Courthouse, Dublin
Drawing depicting the trial of Robert Emmet in Green Street Courthouse, Dublin. (Photo source: Internet)

Though a beautiful song in lyrics and air, I felt Sliabh na mBan was too long for the event and cutting it would also feel wrong. Anne Devlin remembers an extremely brave comrade of the United Irishmen and gives rare acknowledgement to the role of women in the struggle for Irish freedom, which had me veering towards that choice. However, I eventually settled on Men of the West, celebrating the 1798 uprising in Mayo when a small French force under General Humbert landed to support them.

Diarmuid Breatnach singing "Men of the West/ Fir an Iarthair". (Photo: Paddy Reilly)
Diarmuid Breatnach singing “Men of the West/ Fir an Iarthair”.
(Photo: Paddy Reilly)

MEN OF THE WEST

The Mayo connection in the forthcoming GAA final was one reason for the choice, another was that this time of year is that which witnessed the repression in Mayo after the defeat of the last rising of that year (and the last forever, the British and their Orange supporters may have thought, until Emmet came out five years later). And other reasons were that I could sing it as a macaronic song (with some of the verses in Irish and some in English), the song was not too long and it has a chorus in which participants could join.

Bartholomew Teeling, with the French who landed at Mayo, captured when they surrendered at Baile na Muc. Hung in Dublin and his body thrown into the "Croppy Hole".
Bartholomew Teeling, with the French who landed at Mayo, captured when they surrendered at Baile na Muc. Hung in Dublin and his body thrown into the “Croppy Hole”. (Photo source: Internet)

There were yet other reasons for the choice too – not in our culture of song and game, nor in the calendar, but in the ground under our feet, for somewhere under there in what was first called “The Croppies’ Hole” and later “Croppies’ Acre”, the mass grave of many United Irish, lie the bodies of the executed Matthew Tone — younger brother of Theobald Wolfe Tone (who was soon after to give his own life to the Rising) – and Bartholomew Teeling. The younger Tone and Teeling had landed with the French in Mayo, been taken prisoner after the surrender of the French at Baile na Muc, in Co.Longford, brought to Dublin and, despite their French Republican Army officer rank, tried as rebels and hung there.

And in researching background for this article, I came across even further Mayo connections.

The lyrics of Men of the West were written by William Rooney and put to the air of an Irish song called Eoghan Chóir written in turn — and also air apparently composed — by a Mayo United Irishman and songwriter, Riocard Bairéad (Richard Barrett3), who composed the even better-known Preab San Ól4.

The lyrics of Men of the West were later translated into Irish by Conchúr Mag Uidhir, who won a prize for that work at a Feis Ceoil in 1903 – again in Mayo. It was the lyrics of both these versions that I combined to make the macaronic version I chose to sing at the commemoration at Croppies’ Acre5.

THE DUBLIN SONGWRITER — BACKGROUND

While I need to do some research to find out more about this Mag Uidhir, quite a lot is known about William Rooney (Liam Ó Maolruanaigh). Born in the Dublin former red-light district known as “The Monto”6 in 1873, Rooney grew up in a what had been considered the second city of the British Empire but had declined in status with the abolition of the Irish (colonial) Parliament in 1800. The city contained the residence of the Crown’s representative in Ireland, a number of British army barracks and the administration apparatus of the colony, the latter in Dublin Castle. Dublin also contained a substantial loyalist population of the Ascendancy, in addition to “Castle Catholics”7. However, Dublin was also a focal point in Irish nationalist and separatist politics. Relatives and descendants of members and sympathisers of the United Irishmen of 1798 and 1803 lived in the city and the events were in the living memories of some.

William Rooney, journalist, organiser, Irish language revivalist and author of songs.
William Rooney, journalist, organiser, Irish language revivalist and author of songs. (Photo source: Internet)

Irish Republicanism had seen a resurgence with the Young Irelanders of 1848 and some of their supporters were easily alive when William Rooney was born in 1873 and during his childhood. The founding of the Irish Republican Brotherhood in 1858 preceded Rooney’s birth by only 15 years and although the raid on the The Irish People newspaper took place in 1865, followed by the trial and conviction to penal servitude of Ó Donnobháin Rosa, Thomas Clarke Luby and John O’Leary, they would have been still talked about during Rooney’s childhood.

The following year, 1866 saw the failed rising of the Fenians in Ireland and also their shock invasion of Canada and, in 1867, the stirring freeing of the American Fenian prisoners in Manchester and the subsequent hanging of the three martyrs, Allen, Larkin and O’Brien. The spectacular rescue of escaping Fenian prisoners from Australia by the Catalpa and their celebrated delivery to the freedom in the United States took place in 1876.

Although these events were all over (or just occurring, in the case of the Catalpa) by the date of Rooney’s birth, their echoes remained – in living memory, in the cause of prisoners serving sentences in English jails or penal colonies and in agitation for a political prisoners’ amnesty. And God Save Ireland8, written to commemorate the Manchester Martyrs in 1866 by Timothy Daniel Sullivan would have been an extremely popular song among a wide section of the Dublin population during Rooney’s childhood, along with patriotic verses and songs by Thomas Moore (1779-1852), Thomas Davis (1814-1845) and James Clarence Mangan (1803-1849). Verse and songs by these poets were learned by ear and recited or sung but were also available in printed form, in songbooks, song sheets and nationalist publications.

Sullivan was a journalist, owning and editing the publications The Nation, Dublin Weekly News and Young Ireland. As a journalist, Sullivan published reports of meetings of the banned National League in December 1887, for which he was convicted and imprisoned for two months by the British administration. William Rooney was in his late teens at that time and Sullivan lived until 1914.

At the age of around thirteen William Rooney became acquainted with a leading Irish nationalist of his times, Arthur Griffith, through Rooney’s membership of The Irish Fireside Club, a literary discussion group. Both of them joined the Leinster Debating Society (which later became the Leinster Literary Society) which they soon led, Griffith as presidents and Rooney as Secretary. The early 1890s controversy surrounding Parnell’s relationship with Catherine O’Shea caused a serious disruption in the nationalist movement of the time and caused a serious split in the Irish Parliamentary Party of which the Leinster Literary Society became a casualty.

Rooney then formed the Celtic Literary Society in 1893, of which he became president; he also edited An Seanachuidhe (old spelling of “Seanchaí”, a story-teller, a relater of things past), the Society’s journal. The Society’s aims were the study of the Irish language, history, literature and music; it had branches in different parts of the country and its members included John O’Leary, Frank Hugh O’Donnell and Arthur Griffith.

AN GHAEILGE

William Rooney was fluent enough in the Irish language to write and to give orations in it and journalists of his times, after summarising a speech in English from the same platform, generally wrote only that he had spoken in Irish9. When he learned his Irish is not clear but he was teaching it in the offices of the Celtic Society. Then Eoin MacNeill got him to join the Gaelic League/ Connradh na Gaeilge after it was formed in 1893.

The Connradh was mainly concerned with promoting the Irish language and literature but also became a social focus in later years, hosting céilidhe (dances and occasion for songs, recitations). Patrick Pearse advocated a more political approach to promoting Irish culture and this accorded with Rooney’s opinion. On the other hand Rooney regarded Irish independence without the revival of the language and culture as meaningless and he castigated the Irish Parliamentary Party for its inaction on the Irish language.

Rooney gave an alternative example, traveling the country speaking publicly in Irish and in English on the need for Irish independence and for the revival of the Irish language.

JOURNALISM AND POLITICAL ORGANISATION

Building on his earlier writing in An Seanachuidhe, Rooney founded with Griffith The United Irishman newspaper in 1899 and his articles and other writings were published in a number of publications of his times:United Ireland, The Shamrock, Weekly Freeman, The Evening Herald, Shan Van Vocht and Northern Patriot (the latter two in Belfast).

Near the end of 1900, again in conjunction with Griffith, William Rooney helped found Cumann na nGaedheal.  The former Fenian John O’Leary was president and the Cumann was intended as an umbrella organisation to co-ordinate the activities of a number of nationalist groups (it was merged with others in 1907 to form the original Sinn Féin).

As the centenary of the 1798 Uprising approached, there was something of a fever of preparation with many indicating an interest in participation. Rooney would see his 25th birthday during centenary year and became of the most prominent organisers for the National Commemoration committee, if not, indeed, the main one.

The year 1898, somewhat similarly to the current centenary of the the 1916 Rising, saw commemorative plaques and monuments being erected, along with talks, meetings, lectures, articles and songs being written. According to historian Ruan O’Donnell, a feeling that the 1889 events had not reached an appropriate level led in 1903 to substantial commemorative events of Emmet’s rising in 1803. Many political working relationships were made during those years which were to survive into much more active days less than two decades since. Many of the songs we have today about the 1798 Rising were written during this period too and Rooney’s Men of the West was presumably also.

In the year of the 1798 centenary commemoration, one of the main centenary commemorations was held in Croppies’ Acre, attended by a reported 100,00010. Rooney was one of the main organisers and a stone was laid on the site which is there to this day.

Stone laid (or unveilled) during commemoration event in Croppies' Acre in 1898, the first centenary of the Rising. (Photo: Paddy Reilly)
Stone laid (or unveilled) during commemoration event in Croppies’ Acre in 1898, the first centenary of the Rising. The stone is on the ground near the north-west gate and corner of the park. (Photo: Paddy Reilly)

WILLIAM ROONEY IN MAYO

(The following text is taken from an article by Brian Hoban in the on-line edition of the Castlebar News for 22, Apr 2011)

William Rooney had visited Castlebar with Maud Gonne in 1898 for the centenary celebrations of ‘The Year of the French’. He gave a passionate speech in Irish in which he exhorted people to think for themselves, to educate themselves, and not to take their teachings from others.

He founded Castlebar’s first Public Library at the Town Hall, to which he dedicated his books. Three years later, at the early age of twenty-eight, William Rooney was dead, but the esteem in which he was held in Castlebar continued to grow. In 1911, a new Hurling Club in the town was named the ‘William Rooney’ in his honour. The following year “The Rooney Hall” was opened in Tucker Street. It became a local landmark for several generations, much used by various civic and voluntary organisations, including the PTAA.

The one surviving connection is in ‘Poems and Ballads’, a collection of Rooney’s poetry edited by Arthur Griffith and published in 1902, a year after his death. An original of this title is held by Mayo County Library where it can be consulted.

1798 Centennial Celebrations

William Rooney was one of the main protagonists in establishing the National Commemoration to celebrate the centennial of the 1798 rebellion. Only one month after its inception nationalists in Mayo formed the “Castlebar Central and Barony of Carra ’98 Centenary Association with James Daly appointed as president of the Connaught ’98 Centenary Council. On the 9th January 1898 a commemoration, which was presided over by James Daly, was held at Frenchill, near Castlebar. This was attended by Maud Gonne Mac Bride and addressed by James Rooney. ……………….

James Daly pointed out that the event was both about remembering dead patriots and undertaking “to abide by the principles of the men of ’98 until their country was free again and took its place among the nations of the earth.”

EARLY DEATH AND MEMORY

William Rooney died of TB in 1901 at the age of 27, shortly before he was due to marry. He is buried in Glasnevin Cemetery.

In 1902 the United Irishman published a collection of his writings and in 1908 a collection of his work edited by Griffith, Poems and Ballads of William Rooney, was published. The publication was reviewed disparagingly in the Daily Express that year by James Joyce but Yeats dedicated the 1908 edition of Cathleen Ni Houlihan “To the Memory of William Rooney”. A collection of his lectures and articles, from the United Irishman was published by M.H. Gill the following year.

Griffith described William Rooney as “the Thomas Davis of the new movement”. Brian Ó hUigín (“Brian na Banban1882–1963), editor for many years of The Wolfe Tonne Annual and himself no slouch as a writer of songs and verse, said of Rooney that “he blazed the trail to 1916 and gave his life for Ireland”.

And many of William Rooney’s songs are still being sung.

End.

Wreath being laid by Pól Ó Scannaill inside the monument on behalf of a number of groups. (Photo: Paddy Reilly)
Wreath being laid by Pól Ó Scannaill inside the monument on behalf of a number of groups.  Padraig Drummond of Asgard 1916 Society MC of event.
(Photo: Paddy Reilly)

 

APPENDIX

THE MACARONIC VERSION OF MEN OF THE WEST/ FIR AN IARTHAIR

(Arranged by D.Breatnach)

1.

Má mholtar le dán is le h-amhrán,

Na fir a bhi tréan agus fíor,

Donal Fallon, historian, blogger, tour guide and broadcaster who gave the main oration
Donal Fallon, historian, blogger, tour guide and broadcaster who gave the main oration

Chuir clú agus cáil lena ndánacht

Ar shruthán ‘s gleann agus sliabh:

1798-panel-monument-wall
One of the panels inside the circular monument. (Photo: Paddy Reilly)

Ná fágaidh ar deire na tréan-fhir

Do chruinnigh ar phlánai Mhuigheo –

Nuair a ghnóthaí na Gail I Loch gCarman,

Said muinntir an Iarthair ‘bhí beo.

Chorus

I give you the gallant old West, boys,

Where rallied our bravest and best;

When Ireland lay broken and bleeding:

Hurrah boys, hurrah for the West!

enniscorthy-marching-to-gat
(Photo: Paddy Reilly)

2.

The hilltops with glory were glowing

‘twas the eve of a bright harvest day,

And the ships we’d been wearily awaiting

Sailed into Killalla’s broad bay.

And over the hills went the slogan

To awaken in everyone’s breast

That spirit that’s never been broke’ boys

Among the true hearts of the West.

Curfá

Seo sláinte muinntir an Iarthair daoibh,

Section of Croppies Acre showing circular 1798 monument in middle distance and Collins Barracks Museum in the far background. View is from NE gate on Wolfe Tone Quay. (Photo: D.Breatnach)
Section of Croppies Acre on a drier day, showing open circular 1798 monument in middle distance and Collins Barracks Museum in the far background. View is from SE gate on Wolfe Tone Quay. (Photo: D.Breatnach)

Do chruinnigh le cunamh san áir,

Mar sheas siad in aimsir an ghéar-chaill:

Seo sláinte fear Chonnacht go brách!

3.

Níor bhuail sé an dó dhéag san oíche

Gur ghlan’mar Cill Ala go breá:

‘S ní dheachaidh an ghrian síos ‘na dhiadh sin

Go raibh brat glas ar chúirt Bhéal an Átha.

Chruinnigh na céadta le cúnamh,

Agus mairfidh an scéal sin go buan;

An chaoi inar ruaigeadh na redcoats

As Caisleán an Bharraigh go Tuaim!

Chorus

I give you the gallant old West, boys,

Where rallied our bravest and best;

When Ireland lay broken and bleeding:

Hurrah boys, hurrah for the West!

4.

Agus gairim na Franncaigh breá láidre

Do tháining le Humbert anall,

Mar thug siad dúinn croí agus misneach

Nuair a bhíomar go brónach sa ngabháil.

Agus trócaire Dé ar na céadta

Do thuit is do leagadh san áir;

Tá a gcnámha faoi fhód ghlas na hÉireann

‘s cuimhneoidh muid orthu go brách.

Curfá

Seo sláinte muinntir an Iarthair daoibh,

Do chruinnigh le cúnamh san áir,

Mar sheas siad in aimsir an ghéar-chaill:

Seo sláinte fear Chonnacht go brách!

5.

Though all the bright dreamings we cherished

Went down in disaster and woe,

That spirit of old is still with us

That never will yield to the foe;

And Connacht is ready and awaiting

When the loud rolling tuck of the drum

Rings out to awaken the echoes

to tell us the morning has come.

Chorus.

I give you the gallant old West, boys,

Where rallied our bravest and best;

When Ireland lay broken and bleeding:

And looked for revenge to the West!

THE VERSES OMITTED IN THE MACARONIC VERSION

IN THE TRANSLATION INTO IRISH

2.

Tháinig na longa lá Fómhair,

Go cuan Chill Ala ag snámh,

‘S bhíomar chomh fada ag súil leo

Gur shíleamar nach dtiocfadh go brách.

Agus thosaigh na hadharca ag séideadh,

Ag fógairt go raibh siad ar fáil,

Agus corraíodh spreagadh in Éirinn

Nach múchfar i gConnacht go brách!

5,

Má caitheadh le fána ár smaointe,

S ár ndóchas faoi scrios agus léan,

Tá an fíor-spiorad beo inár gcroíthe

Nach ngéillfidh don námhaid go héag!

Agus féach: Táimid réidh ar an nóiméad

A chluinfimid torann an áir

Ag fógairt ar chlanna na hÉireann

Go bhfuail saoirse ár n-oileáin ar fáil!

Also, the final chorus in the Irish version:

Seo sláinte na gConnachtach fíora

Do chruinnigh le cúnamh san ár!

Siad togha agus rogha na tíre:

Seo sláinte sean-Chonnacht go bráth!

IN THE ENGLISH ORIGINAL

1.

While you honour in song and in story

the names of the patriot men,

Whose valour has covered with glory

full many a mountain and glen,

Forget not the boys of the heather,

who marshalled their bravest and best,

When Éire was broken in Wexford,

and looked for revenge to the West.

4.

And pledge we “The stout sons of France”, boys,

bold Humbert and all his brave men,

Whose tramp, like the trumpet of battle,

brought hope to the drooping again.

Since Éire has caught to her bosom

on many a mountain and hill

The gallants who fell so they’re here, boys,

to cheer us to victory still.

MODERN LAST VERSE ADDITION TO “BOLD ROBERT EMMET”

11Erin, mo mhuirnín, my love and my country!

Ireland, my Ireland, though dead I shall be,

Hear now the words of my final oration:

Write me no epitaph ‘til my country is free!

FOOTNOTES

1

Unknown author but sometimes credited to Tom Maguire (1892– 1993, famed leader of the Mayo Flying Column [yet another Mayo connection!] in the War of Independence, who later took the Republican side in the Civil War). On the other hand Zimmermann (1967) gives the song its earliest appearance as c.1900, when Maguire would have been around only eight years of age. For Tom Maguire credit see http://thewildgeese.irish/profiles/blogs/robert-emmet and a number of other references, some of which state inaccurately that Emmet was “hung, drawn and quartered”; that was indeed his sentence but the British practice of cutting the body of “traitors and rebels”open while still alive to access the entrails had been discontinued for decades although the decapitation part was still practiced and was carried out on Emmet.

2Bottom p.159, Remember Emmet, Ruan O’Donnell

3In the very brief research I carried out on the Mayo songwriter, I came across another songwriter by the name of Richard “Richie” Barrett (1933– 2006), an Afro-American who was also a singer, musician and band promoter, involved with such famous rythm ‘n blues groups as the Chantels and Three Degrees. One might hope for a family connection ….

4Translated later into English, recorded by the Dubliners folk and ballad group under the title Another Round.

5For lyrics, see the Appendix after article body and Sources.

6No.39 Mabbot Street, D1

7A pejorative term to describe Catholics who cooperated with the colonial Ascedancy regime in Ireland and sought admission to their social circles (for example, to balls and receptions held at the Castle in the 19th Century). An even more contemptuous description for the behaviour of this stratum was the Irish “ag sodar i ndiaidh na h-uaisle” (‘trotting after the nobles’, i.e. like dogs or perhaps servants)

8He also wrote the All for Ireland! anthem, Song from the Backwoods and the Michael Dwyer ballad.

11This last verse was written in 2014 by Alan P. Barrett

INFORMATION SOURCES:

http://www.castlebar.ie/Nostalgia/HISTORIC-PAINTING-RETRIEVED.shtml

http://www.anphoblacht.com/contents/4034

http://www.ricorso.net/rx/az-data/authors/r/Rooney_W/life.htm

http://www.iol.com/~fagann/1798/songs.htm

http://www.ainm.ie/Bio.aspx?ID=1038 (NB: I am not the Diarmuid Breathnach, joint author of this piece — please note the slightly different spelling of his family name)

http://www.historyireland.com/20th-century-contemporary-history/and-william-rooney-spoke-in-irish/

https://rebelbreeze.wordpress.com/2016/08/01/mass-croppies-burial-ground-open-to-the-public-once-again/

https://rebelbreeze.wordpress.com/2014/03/23/captain-bartholomew-teeling-united-irishmen-hero-believed-to-be-buried-in-croppies-acre/

O’Donnell, Ruan: Remember Emmet: Images of the Life and Legacy of the Irish Revolutionary Robert Emmet, National Library of Ireland (2003)

Zimmermann, Georges-Denis, Songs of Irish Rebellion: Political Street Ballads and Rebel Songs 1780-1900 (1967), Allen Figgis, Dublin; reprinted (2012) by Four Courts Press.

THREE EVENTS IN ONE ON HOWTH PIER

Clive Sulish

Foreign tourists and Irish-based visitors looked on with curious interest at a gathering at the foot of the East Pier, Howth on Sunday 24th – the group contained a number in military-type uniform, some were carrying flags, each one of a different design and a number of people in ordinary civilian clothes were carrying floral wreaths.

The Asgard, Molly Childers and Mary Spring-Rice on board at Howth
The Asgard, Molly Childers and Mary Spring-Rice on board at Howth (photos from Internet)

Participants, Tourists and Visitors
Participants, Tourists and Visitors (photo D.Breatnach)

Most onlookers at that point would not have known that those gathered there had a threefold purpose:

  • to commemorate the landing of Mauser rifles for the Irish Volunteers

  • to commemorate the massacre of civilians by enraged soldiers later that same day on Bachelors Walk and to

  • launch the Asgard 1916 Society.

 

The men and women in uniform formed up with the flags as a colour party and led the procession the full length of the pier to its end. There the procession came to a halt in front of a plaque on the wall commemorating the landing of 900 Mauser M1871 single-shot rifles and 29,000 rounds of ammunition in 1914 by a crew skippered by Erskine Childers with his wife Molly and friend Mary Spring Rice. The arms were taken ashore and whisked away in an operation planned by Bulmer Hobson of the IRB and carried out by the Irish Volunteers and Na Fianna Éireann.

Colour Party Marching
Colour Party marching along the pier towards the ceremony (photo D.Breatnach)

The Dublin Metropolitan Police and British Army were mobilised by Dublin Castle authorities to seize the guns (unlike at the previous much larger operation by the Loyalist UVF at Larne) but only managed to get a few. As the disgruntled Scottish Borderers marched back into town, they were jeered by Dublin crowds and some cabbage stalks were thrown at them. On Bachelors Walk, very near the Ha’penny Bridge, an officer brought them to a halt and they faced the crowd with guns pointed, then opened fire. Three men and a woman were killed and 38 wounded, including the father of singer Luke Kelly of the Dubliners ballad group (also called Luke). One of the victims died of bayonet wounds.

Margaret McKearney speaking and chairing the occasion on the pier
Margaret McKearney speaking and chairing the occasion on the pier (photo D.Breatnach)

Margaret McKearney, who has had three brothers killed in the Six Counties during the 30-years war, stepped forward to address the crowd as tourists and visitors took photos or watched and listened. After giving a brief account of the Howth landing and of the massacre on the Dublin quays, also of the smaller landing at Kilcoole, McKearney called forward Pól Ó Scanaill of the 1916 Societies to read the 1916 Proclamation of Independence. After he had finished, McKearney called for the young bearers of two floral wreaths to make their presentations:
Ellen O’Neill, with a wreath in memory of those killed and injured by the British soldiers at Bachelors’ Walk;

Roibeard Drummond, whose uncle Michael Moore was a crew member of the Nugget, landing rifles at Kilcoole, laying a wreath for the Asgard 1916 Society to commemorate the landing of the rifles and those who carried them in battle in 1916.

Last of the wreath-layers was Denise Ní Chanain on behalf of the Anti-Internment Group of Ireland.

Ellie after laying wreath in memory of the dead and injured in the Bachelors' Walk massacre
Ellie O’Neill after laying wreath in memory of the dead and injured in the Bachelors’ Walk massacre (photo D.Breatnach)

 

 

 

 

 

 

 

 

 

 

 

 

 

MOORE STREET SPEECH

Roibeard Drummond, after laying wreath on behalf of the Asgard 1916 Society
Roibeard Drummond, after laying wreath on behalf of the Asgard 1916 Society (photo D.Breatnach)

Niamh McDonald gave a short speech on the current situation in the struggle to save the revolutionary quarter of Moore Street. She informed her audience that NAMA had sold the debt of the Irish speculator company Chartered Land (Joe O’Reilly) to Hammerson, a British-based vulture capitalist company, who are continuing with the plan to build a huge shopping centre over the whole historic quarter. Meanwhile, the Minister for Heritage, Heather Humphreys, is appealing the High Court judgement that the whole quarter is a national monument. McDonald asked people to keep an eye on the campaign’s

Denise Ní Chatháin bringing forth the wreath from the Anti-Internment Group of Ireland
Denise Ní Chanain bringing forth the wreath from the Anti-Internment Group of Ireland (photo D.Breatnach)

Facebook page for updates and for calls to support actions.

McKearney then called on Diarmuid Breatnach to sing Me Old Howth Gun, pointing out that guns landed at Howth had been the first to fire on the Lancers in O’Connell Street on Easter Monday 1916. Breatnach introduced the song as having been written apparently in 1921, that is a year before the outbreak of the Civil War, by James Doherty, who also used the pseudonym Seamas Mac Gallogly.

Niamh McDonald speaking on behalf of the Moore Street 2016 campaign
Niamh McDonald speaking on behalf of the Moore Street 2016 campaign (photo D.Breatnach)

MAIN SPEAKER — JOHN CRAWLEY FROM THE MARITA ANN
The next speaker to be introduced by McKearney was John Crawley who was arrested on board the Marita Ann trawler, intercepted off the Kerry coast by the Irish Naval Service on September 29, 1984, when seven tonnes of arms were seized. The US heavy machine guns recovered on the Marita Ann had special mountings allowing them to be used as anti-aircraft weapons. Another of those detained on board – and later jailed for 10 years – was Martin Ferris who went on to become a Kerry TD for Sinn Fein, while John Crawley has taken a line of opposition to the Good Friday Agreement.

John Crawley giving his oration with the plaque commemorating the landing of the Howth guns behind him
John Crawley giving his oration with the plaque commemorating the landing of the Howth guns behind him (photo D.Breatnach)

John Crawley gave the main speech at Howth, in which he traced the history of the struggle for the Irish Republic from the Volunteers onwards, pointing out that many who fought the British in 1916 had different aspirations for the country, which explained why they parted ways in 1921. Crawley stated that the British have always been able to pick out those whose primary intention was to survive the struggle from those whose intention was if necessary to give their lives for the objective of the Irish Republic.

Pól Ó Scanaill reading the 1916 Proclamation
Pól Ó Scanaill reading the 1916 Proclamation at the head of the East Pier, Howth (photo D.Breatnach)

Crawley pointed out that some people had led a section of the Republican movement in accepting the right of a foreign country to decide the future of a part of our country; they had joined in the colonial administration and had accepted the colonial police force.

After the applause for the speech died down, McKearney thanked those who had participated and asked Diarmuid Breatnach again to step forward to sing the national anthem. Breatnach sang it in Irish, first verse and chorus (and noticeably sang “Sinne Laochra Fáil” instead of “Sinne Fianna Fáil”). Participants joined in with the chorus and then all made their way along the pier towards a local pub where refreshments had been made available by the new 1916 Society.

Diarmuid Breatnach singing Amhrán na bhFiann at end of the ceremony. Earlier he had sung "Me Old Howth Gun".
Diarmuid Breatnach singing Amhrán na bhFiann at end of the ceremony. Earlier he had sung “Me Old Howth Gun”. (Photo: Des Keane from Sean Heuston 1916 Society page)

end

Video of the event by John Rooney and put on Youtube by him, posted on FB by Mick O’Riordan (see below)
https://www.youtube.com/watch?v=RrG_7VLytfw

COMMEMORATING THE RISING AND WWl

Diarmuid Breatnach

I WAS INVITED TO SING A COUPLE OF SONGS AT THE LAUNCH OF “OUR RISING – CABRA AND PHIBSBOROUGH IN 1916″. Of course I was honoured to accept; the songs I chose to sing were “Sergeant William Bailey” and “Where Is Our James Connolly?” I chose them as important to the events around the Irish Volunteers and hoped they would be considered appropriate to the book launch event also.

 

These years are the centenaries of many things in our history and it is right that we should remember them. Among those things we are told that we should remember the First World War. I think the people who say that are right – we should, but not in the way most of those people mean. We should remember that in a dispute about what markets of the world should be dominated by which World powers and which resources they should have a monopoly on stealing, they sent millions to their deaths and millions more to injury and tragedy. And of course, the capitalists, the class that controlled those Powers were not among those dead and injured millions.

When those people tell us that we should commemorate the First World War and collect songs and memorabilia they don’t mean that we should sing songs against the War, collect anti-War leaflets and honour those brave few who dared speak out publicly against the war stampede of their countries. And who paid the price for doing so. And yet those things too are the history of the War and to my mind the parts of that history that, among all the wars of the past and the present, hold out a hope for the future.

Peadar Kearney, author of "The Soldiers' Song", "Sgt. William Bailey" and many other songs
Peadar Kearney, author of “The Soldiers’ Song”, “Sgt. William Bailey” and many other songs

Peadar Kearney was an Irish Republican of a Dublin skilled working class background born not far from Phibsborough – in Dorset Street, around the corner from Inisfallen Parade, where Sean O’Casey was reared. When Kearney taught night classes in Irish, O’Casey would be one of his pupils.

Kearney wrote many songs that are still sung today, the most famous of which is the Soldiers’ Song, on which he cooperated with Patrick Heeney, from Railway Street, off Gardiner Street. When the Irish Volunteers was formed in 1913, Kearney was a co-founder and his song was one of a number sung by other Volunteers during the 1916 Rising, in which Kearney also fought.

Peadar Kearney also wrote a three-verse song mocking a recruiting sergeant for the British Army, who apparently had a pitch at Dunphy’s Corner. According to a local historian, that was outside what is now Doyle’s pub, at the Phibsboro crossroads. I added two verses to that song, in order to give Sergeant William Bailey a bit of a background story.

Of course, the 1916 Rising is a part of the history of the First World War too – and not only because it took place during that War. For some, undoubtedly, it was a case of “England’s difficulty is Ireland’s opportunity”. But for some others, including Connolly, as he made clear a number of times in writing, the Rising was necessary to interrupt the War, to stop the bloodshed of class brother killing class brother across Europe.

James Connolly, a revolutionary socialist, wanted revolution against world war
James Connolly, a revolutionary socialist, wanted revolution against world war

Connolly was a revolutionary socialist. At the end of the 19th and very early 20th Centuries, the standard position of the international socialist movement had been against imperialist or colonialist war. In 1912, on November 24–25, the congress of world socialist parties at Basel in Switzerland, including revolutionaries and reformists, had come out clearly against imperialist war. Their manifesto was unanimously adopted at the congress. In the context of the situation created by the war in the Balkans that had begun in October 1912 and the increasing threat of world war, the Basel Manifesto called called for an unrelenting struggle against war and those responsible for it, the ruling classes of the capitalist countries. It stated that that war, if it began, “would create an economic and political crisis,” which should be utilized to “hasten the downfall of the rule of capital.”

British Army recruitment poster aimed at Irish men
British Army recruitment poster aimed at Irish men

As we know, the leadership of those parties that we now call the social democrats abandoned this position completely and championed their own ruling classes two years later as WWI broke out, cheering the workers of their countries on into uniform, to kill and be killed. There were some uprisings against the capitalists and against war but the first of any significance — and indeed of great significance — was the 1916 Rising in Ireland. The next revolutionary blow to war would not be until be a year later, with revolution in the Russian Empire.

Of the two better-knowns songs about James Connolly, the song “Where Is Our James Connolly?” is I think the best and truer to Connolly’s ideology. It was written by Patrick Galvin who was, among other things a writer, playwright, screen writer and singer. Galvin died only four years ago. Christy Moore remembers learning the song around 1970 which is probably not long after it was written – or at least published.

Patrick Galvin, author of "Where Is Our James Connolly?"
Patrick Galvin, author of “Where Is Our James Connolly?”