Rambling in the Field of Modern Identity: Some Speculations on Irish Traditional Music

This article argues that Irish “traditional” music is modern in its form and history, and explores the ramifications of this thesis for understanding of the peculiarities of Irish modernity and identity. The article exhaustively surveys the historiography of Irish traditional music and uniquely interprets this literature in relation to competing conceptions of identity and modernity articulated by Taylor, Appiah and Žižek. It also interprets Irish traditional music in relation to conceptions of Irish modernity articulated in a wide range of disciplines within Irish studies. Reflecting on the author’s lifelong engagement with traditional music performance, the article argues that the resilience of traditional music within the broader culture is connected to the peculiar character of Irish modernity, and that it suffers from problems of aesthetic exhaustion shared by much modern art in the contemporary conjuncture.

When Shiels met Liberace: a skirmish with the canon of Irish theatre

Just Shiels, the product of one of the first practice as research programmes undertaken by a theatre professional within the environment of an Irish university, ‘activates’ in performance the archives of the Northern Irish dramatist George Shiels (1881–1949). The play explores Shiels's marginalization from the canon of Irish theatre on grounds of his embodied position as a disabled person, his status as a Northerner writing plays to be performed across the border in the new free Irish state, his geographical peripherality to the centre of theatrical activity in Dublin and his choice of popular forms in his dramaturgy. Just Shiels was first performed in May 2008 at Queen's University Drama Centre, Belfast. This article seeks to explore to what degree Shiels's choice of popular forms and his serious physical impairment might be implicated in his marginalization. It was first delivered as a plenary session to the American Conference for Irish Studies in New York, in October 2008.

‘My city’s million voices chiding me’::‘Answerability’ and Modern Irish Working-Class Writers

Published as part of a special edition on working-class writers, this article explores the work of Paula Meehan, Martin Lynch and Dermot Bolger.

New Irish speakers and the ‘gaelicisation’ of Belfast

New Irish speakers in Belfast play a crucial, complex part in the revitalization and change of both the city and Irish within Northern Ireland. This paper examines the role of new Irish speakers in transforming Belfast, whose emergence from a post-conflict period involves a reassessment of communal cultural expressions. Markers of ethno-national identity are bitterly contentious locally, and yet increasingly celebrated, in line with international trends, as high status cultural forms and potentially profitable tourist attractions. Irish in Belfast currently occupies an ambiguous position: divisive enough for a sign reading ‘Happy Christmas’ in Irish to be experienced as an insult by some city councillors, yet a secure enough part of the establishment for a neighbourhood to be officially rebranded as the Gaeltacht Quarter.
When, how and where new Irish speakers use the language in Belfast has implications for the relationship of Irishness to the Northern Irish state and for the place of Belfast within regional frameworks across the UK, Ireland and Europe. Adult learners and young people exiting Irish medium education have an impact on life in Belfast beyond its small population of Irish speakers. Urbanisation fuelled by new speakers, which shifts the balance of Irish language resources and speakers away from traditional rural Gaeltacht areas and towards cities, also has implications for the language itself. Recent increase in new Irish speakers in Belfast is due to expansion in the Irish-medium sector as well as to adult learners, whose decisions contribute to the school expansion.
Urbanisation, multilingualism and intergenerational shift combine in Belfast to produce new linguistic norms. Moreover, in a minority language community where hierarchies of ‘authenticity’ are weighted towards the rural and the native speaker, where the rural and the native have traditionally been conflated, and where indigeneity is a central concept to contested nationalisms, the emergence of a self-confident, youthful Irish speaking community in Northern Ireland’s biggest city involves a recalibration of the qualities signifying ‘gaelicness’. As students, professionals, hobbyists and activists, new Irish speakers in Belfast occupy a vital position at the crux of changing ideas about place, language and identity.