���5 ways to say your prayers���:The Art and Architecture of Curating People, Place and Creativity in a Post-Conflict Context. The Shed, Galway, Ireland 18th June ��� 23rd July 2013 Includes: 1. Co-Curation of Exhibition with Peter Mutschler, Director of PS�� and 2. Morrow���s individual work as part of the exhibition, entitled ���Departures & Arrivals: Academic Interactions with the Activities, Artists and Archive of PS�������

This exhibition profiles the curatorial approach of PS�� and the work of creative practitioners who have practiced alongside and with the organisation. PS�� is a Belfast-based, voluntary arts organisation that initiates projects inside and outside its project space. It seeks to develop a socio-spatial practice that responds to the post-conflict context of Northern Ireland, with particular focus on active intervention and social interaction between local people, creative practitioners, multidisciplinary groups and theorists.<br/>Morrow has collaborated with PS�� since its inception in 2005, acting as curatorial advisor specifically on the projects that occur outside PS�� . She regards her involvement as a parallel action to her pedagogical explorations within architectural education.<br/><br/>Morrow's personal contribution to the Exhibition aimed to:<br/>-interrogate PS�� spatial projects <br/>-contextualise PS�� curatorial practice <br/>-open up the analytical framework and extend to similar local practices<br/><br/>The Shed, Galway, Ireland is a joint Galway City Arts and Harbour Company venture. The exhibition subsequently travelled to DarcSpace Gallery, Dublin (Sept 2013).

'Dancing at the English Opera':'Marie Salle's letter to the Duchess of Richmond

A letter from dancer Marie Salle to her patroness dated 1731 reveals her ambitions to dance at the English opera.

���Do You Want to See My Hornpipe?���: The Traditional Irish Dancing Body at Play in the Work of Jean Butler and Colin Dunne.

This chapter considers the radical re-imaginings of traditional Irish step dance in the recent works of Jean Butler and Colin Dunne. In Butler's Does She Take Sugar (2007) and Dunne's Out of Time (2008), the Irish step dancing body is separated from its historical roots in nationalism, from the exhibitionism required by the competitive form, and from the spectacularization of the commercialized theatrical format. In these works, which are both solo pieces performed by the choreographers themselves, the traditional form undergoes a critical interrogation in which the dancers attempt to depart from the determinacy of the traditional technique, while acknowledging its formation of their corporealities; the Irish step dance technique becomes a springboard for creative experimentation. In order to consider the importance of the creative potential revealed by these works, this chapter will contextualize them within the dance background from which they emerged, outlining the history of competitive step dancing in Ireland, the "modernization" of traditional Irish dance with the emergence of Riverdance (1994), and the experiments of Ireland's national folk theatre, Siamsa T��re.<br/>

Traces of Peter Rice

A review of the events comprising Peter Rice at Queen's including the Traces of Peter Rice Exhibition at the Naughton Gallery

Cockney, pseudo-slang et argot de s��rie noire : San-Antonio et le moment Peter Cheyney du roman noir fran��ais

This article examines how in post-war France slang became a byword for the noir genre. It considers the mechanisms, models, networks and translators' practices which set the tone for the "S��rie Noire���, whose influence, both written and on the screen, had, within a decade, become, a "mythology" studied by Roland Barthes. It argues that this use of slang is redolent of the inauthenticity which characterises this stage in the reception of the Noir genre in France. It is certain that this artificial French slang is far from devoid of charm, or even mystery. But it tends to depreciate and deform the translated works and seems to be the hallmark of an era that might have defined and acclimatised Noir fiction in France, yet remains one which has not fully understood the gravity of its purpose. While such translations seem outdated nowadays (if not quite incomprehensible ), original works written at the time in French by writers inspired by the model of " pseudo- slang" and the fashionability of American popular culture have benefited from them. In this very inauthenticity, derivative novels have found a licence for invention and freedom, with authors such as Cocteau hailing it as a revival of the French written language. We see here how the adventures of Commissaire San Antonio, by Fr��d��ric Dard constitute the best examples of this new creativity in French and draw upon a template set for the reception of American literature

Northern Ireland, America and the Emerging Church Movement: Exploring the Significance of Peter Rollins andthe Ikon Collective

The Emerging Church Movement (ECM) is a primarily Western religious phenomenon, identifiable by its critical ���deconstruction��� of ���modern��� religion. While most prominent in North America, especially the United States, some of the most significant contributors to the ECM ���conversation��� have been the Belfast-based Ikon Collective and one of its founders, philosopher Peter Rollins. Their rootedness in the unique religious, political and social landscape of Northern Ireland in part explains their position on the ���margins��� of the ECM, and provides many of the resources for their contributions. Ikon���s development of ���transformance art��� and its ���leaderless��� structure raise questions about the institutional viability of the wider ECM. Rollins��� ���Pyrotheology��� project, grounded in his reading of post-modern philosophy, introduces more radical ideas to the ECM conversation. Northern Ireland���s ���Troubles��� and ���marginal��� location provides the ground from which Rollins and Ikon have been able to expose the boundaries of the ECM and raise questions about just how far the ECM may go in its efforts to transform Western Christianity.