Programme and Registration

Registration for this conference is now open. This event is free and open to all. Please register via eventbrite: https://www.eventbrite.ie/e/designing-commemoration-conference-ul-and-tcd-8th-9th-october-2015-tickets-17905212974

Please note this is a draft programme and may be subject to change. 

8th October 2015 – UL, Theatre 1

(Please note the later start)

12 noon – Introduction to the conference – Dr. Kathryn Milligan & Dr. Niamh NicGhabhann

12.10 Keynote chair: Dr. Sandra Joyce, Director, Irish World Academy of Music and Dance.

12.20 Keynote Address, Professor Ronald Grimes

Bridging Rituals, Commemorative Gestures

At the heart of this presentation is A Daughter’s Song, a short film about a commemorative ceremony enacted in Montreal, Canada, in 2014 by Mohawks and artists, Jews and Muslims. Such an event challenges popular and scholarly assumptions about ritual, for instance, that it is primarily backward-looking or that it consolidates an in-group against an out-group. The Mohawk Condolence Ceremony, which provides the central gestures of this memorial, is not only traditional but also forward-looking; it constructs bridges across chasms dividing groups. Effective memorials are as much about re-framing the present and envisioning the future as they are about remembering the past. Participants in commemorative rites are not typically recollecting events they once experienced. Rather, they are imagining retrospectively. A Daughter’s Song helps viewers understand how and why.

Ronald L. Grimes is the author of several books on ritual, most recently The Craft of Ritual Studies (Oxford University Press, 2014). He resides in Waterloo, Ontario, where he is Director of Ritual Studies International and Professor Emeritus of Religion and Culture at Wilfrid Laurier University. Recently, he has held the following positions: Visiting Professor of Religious Studies at Charles University, Prague in the Czech Republic; Senior Researcher and Senior Lecturer at Yale University; and Chair of Ritual Studies at Radboud University Nijmegen in the Netherlands.

1.30 Lunch

(Lunch can be purchased at the Blas cafe or Pavilion restaurant next to the Irish World Academy. There are many cafes and shops on campus for further lunch options).

2.30 – 4.00 Session 1: Contemporary commemorations

Chair: Dr. Niamh NicGhabhann, UL

Brian Keegan Hier Wohnte – Remembering One – Remembering All

This paper concerns my recent music composition, Hier Wohnte, for string quartet.The piece commemorates the life of an individual and this is reflected in the title which simply means ‘here lived’. The phrase in German appears on the tens of thousands of Stolpersteinen that appear on brass plates embedded in streets across Europe, mainly in Germany. These are the work of the German artist Gunter Demnig. These stones commemorate those individuals who lost their lives during the regime of the national socialists during the 1930s and 40s. While each stone represents the life of one person, each is also an echo of the greater tragedy of mass transportation and mass murder. Hier Wohnte commemorates the life of an individual who lived during this time but survived. Their life is both ordinary and extraordinary, spanning a period of long stability but also a period of immense suffering. It is a life of day-to-day survival and survival on an epic scale.This paper asks the question: when we commemorate an individual, to what extent are we commemorating all those who lived ‘parallel’ lives? When we remember those who survived, do we also remember all those, unknown to us, who didn’t?As an art form, a piece of music, Hier Wohnte reflects on the most basic of facts; the fact that somebody lived. The music consists of sequences of echoes. Sometimes these are solitary, fading to silence or noise. Sometimes they are part of a cacophony of traces. From, the echo, this most elemental of sonic phenomena, musical texture and form are created.

Steve Maher, Crossroads: Context for Socially Engaged Artistic Strategies dealing with the History of Censorship in Post-Civil War Ireland

Censorship is the suppression of information and culture, when music is censored its suppression is motivated by an understanding by an authority of music’s compelling abilities. Understanding the legacy of censorship in Ireland, through the dynamics offered in the participatory art project detailed in this paper, offers a community insight into their relationship with the past as well as their future in a very unique and more importantly engaging way.In the earliest days of the state, censorship was a foundational tool for the formation of power structures from which we are only now experiencing an overdue hangover; music like many other art forms was subject to successful control. A popular campaign to ban Jazz in the 1930’s lead by Fr Peter Conifrey successfully lobbied the state to pass the Public Dance Halls Act of 1935, this in reality lead to the collateral extinction of the age old midsummer tradition of crossroads dancing, in fact the original legislature although obscure persists in statute to this day. This act was a portent of the successful broadcast ban of Jazz and crooner music in Ireland between 1943 and 1948, a close mirror to a similar law passed shortly before in Nazi Germany. Jazz was representative of the closely encroaching type of modernism which the young state under the guidance of the Roman Catholic Church could not permit; the legacy of this relationship can be seen in many cultural artefacts to this date. Taking from this point this paper will outline a relational project which proposes strategies for negotiating this important aspect of Ireland’s history in the context of the upcoming decade of centenaries. The project will make use of an alternative re-enactment embedded amongst one of the rural communities from which the original campaign originated in Leitrim; this will take shape in the form of an “illegal” crossroads dance organised with the community featuring jazz and crooner music as its alternative content, the event will exist as a way for these communities to sublimate the contested history which originated nearly 100 years ago where they now live. This paper itself will discuss some of the research and artistic strategies used to develop this project.

Paul Tarpey, A Memento for the Dock road: Liminal space as a site of resistance. 

Concentrating on the urban environment that surrounds the docklands of Limerick City this presentation illustrates the type of visual research that is led by aspects of psychogeography and chance for a process that seeks to position a representation of liminal space within ongoing urban narratives.
There are two methodologies under review here.  One is a type of archeological sifting of debris while the other processes this material and repositions it to explore the context of permanent and temporal mark making.  Like all exercises that channel psychogeography the socio-political content inherent in lines of desire are acknowledged in the construction of outcomes.
These outcomes suggest that the application of a process of psychographic cartography can contest the types of meaning imposed on a place by developers.
Outcomes also suggest how  subsequent narratives can be re-introduced as potential monuments for certain sites. Certain sites can provoke interventions and offer new readings for liminal space.  Limerick’s  Dock road is a such a site as it currently hosts an imposed identity of commercial failure. Yet it is also a place that prompts curiosity when this imposition is challenged.  Can the site itself operate as a site of resistance against neo-liberal presuppositions and commercial led civic planning if a monument to those conditions is proposed for that site and what form would such a monument take?

4.00 – 4.30: Coffee Break

4.30 – 5.30 Session 2: Community Participation & Public History

Chair: Dr. Kathryn Milligan, National Gallery of Ireland and TRIARC (TCD)

Fiona Byrne Community Remembering: Exploring the histories of St. Davnet’s campus in Monaghan town

This paper will focus on the act of remembering rather than on celebration, a problematic word in the context of histories of care provision for mental health. This paper will look at the facilitation of community remembering through a number of the strands of the World Within Walls project. This project was funded by the Health Service Executive (HSE) and aimed to remember and recall the histories of St. Davnet’s. The site now known as St. Davnet’s Campus was established in 1869; then known as Monaghan District Lunatic Asylum. Throughout its 142 years of existence, it expanded from an initial capacity of 300 patients to over 900 at its peak. In 2011 the hospital ceased taking admissions. This paper will focus on three key aspects of the project: the oral history project, community events and exhibition. It will examine how the oral history gathering provided a platform for remembering and sharing of stories that are not recorded in official records. It will look at the community events and how these formed connections and delivered shared experiences which created dialogue about life in the hospital. It will then look at the public responses to the exhibition held at Monaghan County Museum. This paper will argue that although this approach requires a considerable investment of time and resources it provides a relevant and worthwhile way to explore the difficult history of this site. This project has allowed the community to explore and add to the narratives of the hospital’s past. Commemoration needs to be relevant to have meaning, remembering is located in the present; therefore the link between ‘then’ and ‘now’ needs to be acknowledged. By providing a space for community input the World Within Walls project encouraged shared ownership of the project making it more significant to those interacting with it.

Barry Stephenson, Remembering Hus: Cultural Trauma in Contemporary Festivity

The 600th Jubilee of the Council of Constance (1414-1418) is a five-year long celebration inaugurated in June of last year, in Constance, Germany, and its sister city, Tábor, in the Czech Republic. The celebrations in Constance and Tábor will no doubt be characterized by conflicting meanings and interpretations, since the organizers, participants, and visitors will need to incorporate into this otherwise festive occasion the trial and execution of the Czech reformer Jan Hus. The symbolic, ritual, and memorial handling of the figure of Hus will be particularly crucial in 2015, the “Year of Justice”, in which Constance (in close partnership and Tábor) will commemorate the 600th anniversary of the death of Jan Hus on July 6th. This paper will be based on fieldwork in Constance and Tábor this coming July, documenting and analyzing the festival’s events as they unfold, and interviewing both the  audience and the organizers to understand how the rites and performances (processions, speeches, worship services, museum exhibits) were both conceived and perceived. The precise thesis and argument of the paper will only emerge in the course of fieldwork and analysis. A framing approach, however, is found in the work of sociologist Jeffrey Alexander, who draws attention to the fact that painful memories of events far in the past are not premised on shared experiences per se (we were not present when Jan Hus was executed at the Council of Constance) but rather remembered and constructed as “cultural trauma” in and through social processes and discourses, such as a public jubilee or commemorative event. The approach and ideas developed in this dimension of cultural memory research should be applicable to other festivals and celebrations, since public festivals are not merely celebratory, but often draw upon and open-up painful cultural memories.

5.30 – 6.00 roundtable discussion with all speakers

6.00 – wine reception.

PLEASE NOTE THAT THE EVENING KEYNOTE HAS BEEN POSTPONED DUE TO ILLNESS.

Unfortunately, due to illness, we have had to postpone the keynote lecture by Noeline Kavanagh tomorrow evening. This event had initially been scheduled for 6pm, following a reception at 5.30.
We will aim to reschedule this keynote by Noeline at a later date, but instead will have a roundtable discussion with event participants following the sessions, and conclude the day with a wine reception at 6pm.
We will contact you when we have a date for this keynote, and we hope that you will join us again then.

The full programme for both the UL and TCD sessions can be found here: https://designingcommemoration.wordpress.com/programme/

6.15 – Keynote address, Noeline Kavanagh, Artistic Director, Macnas.

This keynote address will look at the overall art of spectacle in the west and in Ireland and how Macnas emerged in a 1980’s landscape and brought theatricality, pageant and, wildness out into the landscape right up to current times. It will look at the role of the audience in this, the role of poetry, creativity and inventiveness , the diversity of the work over 30 years, the seizing of streets, warehouses , towns and cities to become  the unlikely stages for this creative chaotic and joyous communion between public, participant and performer.
What ties it all together? The act of imagination, “a universal sensibility that makes the invisible visible, makes visible the unfathomable and the ineffable, builds bridges between thoughts and words” art is social change.

Noeline Kavanagh currently holds the post of Artistic Director in Macnas, Ireland’s internationally acclaimed Performance and Spectacle Company based on the grounds of the National University of Ireland Galway (NUIG).

A graduate of Trinity College, Noeline began her career with the Dublin Theatre Festival in 1994. From there she went on to work as assistant director at the Abbey Theatre and Rough Magic Theatre Company and with Spanish spectacle company Els Commedients. In 1998 Noeline directed the annual Macnas parade for The Galway Arts Festival 21st Birthday. She continued creating spectacle shows in collaboration with Kilkenny Arts Festival, Linenhall Arts Festival, Fatima Mansions Regeneration Project, St Patrick’s Festival Dublin, and Tallaght Community Arts Center. She spent two years as Director of Carlow Youth presenting outdoor shows in partnership with the Eigse Festival and also spent time as an intern with Theatre Du Soliel, France.

In 2003 Noeline moved to the UK to work as Performance Director with Welfare State International. As a freelance director, collaborations include shows with Spanish spectacle Company Els Commedients, Liverpool Lantern Company, Hope Street Liverpool, Walk the Plank and Inishowen Carnival . She returned to Ireland in 2008.

Her productions with Macnas include “Wild Hunt and the Sleepwalker” which won the award for the Best Production in the Absolut Fringe Festival in 2010 and “Chaosmos” for best performance at the Chaoyang Spring Festival in Beijing, 2013. Since her appointment, Macnas has toured to China, Australia, Moscow, Lithuania and the UK. The company tour Ireland with a number of street shows and Macnas present the celebrated annual street spectacle parade at Halloween in the company’s home town of Galway, now in its 29th year. Other Highlights include taking part at Wilderness Festival UK in 2014 and Bram’s Stoker Festival Dublin 2014 , Woodford Folk Festival Australia 2014 & WOMADelaide in 2012 .


9th October 2015 – TCD (Long Room Hub)

11am – Introduction – Dr. Kathryn Milligan & Dr. Niamh NicGhabhann

11.15 – Keynote chair: Dr Yvonne Scott, Director, TRIARC-Irish Art Research Centre and Associate Professor, Department of History of Art and Architecture, TCD.

11.30 – Keynote address Dr. Síghle Bhreathnach Lynch

From Queen Victoria to the Spire: the transformative potential of the public monument

The public monument, executed as it is from inert materials such as bronze and stone, appears to inhabit the urban landscape in a ‘fixed’ way through its still and silent presence. Yet when analysed in the context of patronage, location, scale and choice of artistic style, such statuary, employed by governments and other political movements down through the centuries, offers a very tangible form of expression. The monument has the ability to visually articulate the various deeply-held beliefs and aspirations not only of those involved in its commissioning but equally those opposing it. In particular, because of its ability to transmit political ideas, a monument reveals not only the shifting nature of politics and power but acts as a barometer in the construction of national identities. In the case of Dublin, a city that saw the transformation of political power from colonial rule to the establishment of an Irish republic in the twentieth-century, the choice of monuments erected over that time reveal the conflicted nature of the ideological concerns of the nation before and after Independence.

Dr. Síghle Bhreathnach-Lynch is a writer and art historian. . Having lectured at UCD for almost a decade in European and Irish art, she was appointed Curator of Irish Art at the National Gallery of Ireland in 1998 and retired in 2009. She is author of Ireland’s Art Ireland’s History (2007) and has published a substantial number of articles in Irish British and American journals of art for over three decades. Her latest publication is 50 Works of Irish Art,published September 2015 by Gill & Macmillan.

12.30 –1.30 Lunch Break (Lunch can be purchased at a wide range of cafes and shops both within the TCD campus and in the surrounding area).

1.30 – 3.30 Session 3: Cultures of commemoration

Chair: Dr. Angela Griffith, Trinity College Dublin

Mary Jane Boland, Commemoration, celebration or control? King George IV’s visit to Ireland in 1821

On the 12th of August 1821, the newly crowned King of England, George IV, landed in Howth for an eighteen-day visit to Ireland. His arrival was marked with much pomp and ceremony: a temporary triumphal arch was erected on College Green; flags, banners and bunting were strewn across the streets; fireworks were set off each evening. When the King made his formal entry into the city via Sackville Street, he was followed by a 200-carriage cavalcade and an array of regimental officers. The event was reported on in meticulous detail by the press – both in Dublin’s newspapers and in regional publications in Cork and Limerick. Unsurprisingly then, artists also sprang into action, keen to capture the event on canvas, but also to capitalise on the public’s celebratory mood. This was probably due, in part, to a competition that was run by the Royal Institution for the Promotion of Fine Arts in Ireland, which offered £500 for ‘the best painting of his Majesty’s landing in this country by an Irish artist.’ This competition is also probably the reason why so many images of the event still exist today – commemorative renderings of the King’s entry into the city can be found in the collections of the National Gallery of Ireland and in the British Embassy in Dublin (to name but a few). This paper will examine the extant visualisations of the event and in particular, will investigate the work of William de Turner de Lond, who painted as many as four versions of the Kings entrance to the city (for example, see fig. 1). By focusing on the ideological constructs of the public space in these images, the paper will question what they meant to their elite contemporary audiences: were they manifestations of patriotism and pride? Do they communicate ideas about social hierarchy and public order? Or, are they merely commemorative objects – acting in many ways like extravagant souvenirs of a momentous occasion? Finally, as the bicentenary of this event draws near, the paper will also question its relevance and meaning today.

Kayla Rose, Ceremony Made Material: Constructing Belfast’s Protestant Civic Identity through the Illuminated Address, 1875-1925

This paper would present an analysis of the artistic, social, and cultural values of illuminated addresses as commemorative objects imbued with civic pride and wealth in Victorian and immediate post-Victorian Belfast. As material objects imbued with the meanings and messages of commercial and industrial life, the ceremonial presentation of illuminated addresses in Belfast formed a microcosm of Victorian performative culture, on par with the larger industrial cities of Manchester, Birmingham, Liverpool, and Glasgow. As physical manifestations of Victorian and immediate post-Victorian identity, illuminated addresses were more than decorative and representative; they were the actual embodiment of accomplishment – commemorative objects presented to people for significant achievements through public ceremony. Their production and presentation remained in fashion until the late 1920s, thus providing a form of commemorative material culture that existed in both northern and southern Ireland pre- and post-independence and partition. This paper would further explore the material culture of illuminated addresses, and their production, presentation, and circulation, as physical examples of how deeply embedded Protestant culture and wealth were into nineteenth-century Belfast’s society and culture. While the text itself was exceedingly formal, representative of the polite and ceremonial nature of Victorian middle- and upper-class society, illuminated addresses recalled more antiquated traditions involving the nobility, such as heraldry. Like their heraldic counterparts, the language and content conveyed in the text of an address asserted the receiver’s qualifications and legitimized his civic role. Illuminated addresses provide key evidence for the development and expression of a strongly Protestant civic identity in Belfast, and through this expression helped mediate the shifting values and traditions of commemoration from the middle of the nineteenth century through the first quarter of the twentieth in what would become Northern Ireland.

Lucy Moore and Ian Kirkpatrick, Rebranding the Great War: Challenging traditional narratives through contemporary sculpture and graphic design

Approaching the commemoration of the First World War from a new perspective, ‘A Graphic War’ is a current Leverhulme Trust residency based at Leeds Museums and Galleries that seeks to explore the conflict through the lens of its graphic design outputs.  Drawing from Leeds Museums and Galleries collections, our project highlights the communicative, emotional and logistical roles that everyday objects such as postcards, biscuit tins, ration cards, and decorative ceramics played during the war.  Our investigations will culminate in a multi-site exhibition across the city that involves both museum and commercial partners, and collaborations with multiple youth groups in Leeds.  This new, alternative perspective on traditional social and military history collections aims to engage new audiences and challenge viewers to reassess their thoughts and feelings on war and its Commemoration. Our presentation will discuss the creative processes underlying our curator/artist collaboration, and address the challenges involved in developing a city-wide art trail within a modest budget and timeframe.  Also detailed will be our work with local youth groups including the Preservative Party and Cupboard, who are participating in the project via their own First World War design creations.  Their artworks – along with several large-scale pieces created by sculptor/designer Ian Kirkpatrick – will be exhibited at Leeds Museums’ venues and commercial retail spaces during November 2015.  The placement of art interventions at non-traditional sites is a key element of our project, which aims to make Great War history accessible to a wide variety of demographics, including those who may not typically engage with art or heritage.

Kate Buckley, O’Connell Street As A Ritual Space

‘The public’s image of O’Connell Street as a place for spontaneous assembly, meetings or protests, confers a hallmark of civic character of which any town should be proud.’ (Irish Times, 17 April 2001)

O’Connell Street is the pre-eminent street in Dublin and ‘there is no other street in the Republic which has such an unequivocal role as Ireland’s main street’ (Irish Times, 22 February 1998). O’Connell Street is a fundamental component of the urban tissue of Dublin and of Ireland. It is key to understanding and perceiving the urban fabric. Streets are complex material objects that are used for work, worship, to live in, socialise and play. They have the power to connect the present with the past. They are places where the repetition of everyday activities can become charged with significance, invoking memories of people and events. O’Connell Street has been appropriated by both the public and the state for commemorations, protests, parades, demonstrations and funerals. No work has investigated why or how the street became a space for ritual.The urban landscape of O’Connell Street stimulates a visual memory, which has afforded it to becoming a ritual space. ‘It is a platform for speaking to the nation’ (Wills, 2009, p.19), that has been used by both the state and the public. It’s scale, shape and location have lent it to becoming a space in which to be seen, which has in turn lent it to becoming the chosen space for extraordinary ritual in the city. The use of the street as a ritual space is embedded in the history and morphology and has become embedded in people’s minds. It is a memory palace of 1916 and the fully lived space of Thirdspace, ‘the chosen space for struggle, liberation and emancipation’ (Soja, 1996, p.68). The public perception of O’Connell Street as a ritual space will be investigated and ideas about O’Connell Street as the main street of the nation played out in relation to the street as a ceremonial or ritual space will be explored. Edwards Soja, the spatial theorist will be looked at and his ideas about Thirdspace will be investigated in relation to O’Connell Street as a ritual or commemorative space.

3.30 – 4.00: Coffee Break

4.00 – 5.10 Session 4: Commemorative spaces

Chair: Dr. Ellen Rowley, Trinity College Dublin

Maeve Casserly St. Patrick’s Cathedral and the ‘Tree of Remembrance’: a contemporary art installation as a commemoration of more than the Great War

On Monday 28 July 2014 St. Patrick’s Cathedral in the heart of Dublin’s ‘Liberties’ unveiled the Tree of Remembrance, a modern art installation to commemorate ‘all those who have been affected by war.’ The memorial is intended to demonstrate the destruction and futility of war by its harsh, barren and warped appearance. Located in the North Transept of the Cathedral, among memorials dedicated to soldiers of the Boer War, the South African War and other conflicts, the tree is part of an exhibition called Lives Remembered. It will run until 2018 and focuses particularly on the impact of the First World War on members of the Cathedral. There are three different components to the Lives Remembered Great War commemoration; the Tree of Remembrance monument; a series of video interviews with men and women who have a connection with the Cathedral and have been affected by the Great War; and the First World War Irish Memorial Records on display in the North Transept. Each element is available in a physical form and is also accessible online, on the Lives Remembered website. Prompted by the centenary of 1914, the eight hundred year old Cathedral set out to demonstrate a change in attitude from monuments which endorse an exclusive glorification of war to creating an inclusive memorial which anyone can identify with on some human level, ‘we are using the centenary… as a kind of opportunity to make a statement that it doesn’t sit well with us that so few are remembered. Each of the components in the exhibition has its own pros and cons, due to time constraints I will look at each individual element and evaluate them in terms of their design and demonstration of commemoration.

Joanna SkryzdelskaCommemorative places related to operation “Storm” in Croatia – anniversary, monuments and flags During my speech I would like to present the Croatian National Day – “Victory and Homeland Thanksgiving Day and the Day of Croatian Defenders”, which is celebrated every year on 5th August. This anniversary is celebrated to commemorate the victory of Operation “Storm” (Oluja) in 1995. It was on 5th August when the Croatian army liberated Knin, which was the capital of the self-proclaimed Republic of Serbian Land. The entrance of the Croatian army to the capital (Knin) is symbolic in the reclaim of land that was taken by the Serbs. Every year the main and official celebration of the national day is held in the city of Knin. Other commemorative places which can be seen in the public space of Knin include the monument called “Oluja 95″ and the flag on top of Knin’s hill. For Croats the 5th of August is a symbol of victory over the enemy and of respect for their own heroes and defenders. In the mind of most Croats, this day is completely worth its anniversary and commemoration and for many it is treated with the same level of respect as that of a holy day. In my analysis I will look at: the forms of commemoration used during the 5th of August, the symbols that accompany the anniversary, people’s thoughts (social actors – Croats and politicians), which moments, dates and heroes of croatian history are remembered, which points are highlighted, and what speeches and references are made by the Croatian politicians. This day has a very strong impact on the Croatian collective memory and the people have created a tradition to celebrate it, maintain it and to pass it from generation to generation.Furthermore, I would like to answer to the folowing questions: Can we find any moment when the Serbian victims are commemorated during the anniversary? Are there any other place where Croats are celebrating the 5th of August in a less formal atmosphere which is not under the protocol arrangements? Why the Cavoglave celebration is so popular among the Croats?

Mícheál Ó Súilleabháin and Helen PhelanA House of Light and the Commemoration of Ethos:A Case Study of the Irish World Academy 20th Anniversary Celebrations

In 1994, the same year in which the Irish World Academy was founded, Eugene Garner wrote Aristotle’s Rhetoric: the Art of Character. Described as the most important publication on Aristotle of the 20th century, one of its core proposals is that ethos does not exist in the disembodied world of theoria, but manifests through forms of civic art.  This understanding of ethos suggests that character or value is played out and interrogated through the arts in a number of ways: by ‘characters’ in theatre; through the persuasive powers of music or the representation of character in visual or literary artistic expression. Furthermore, the value of ethos is decided, not so much by the artist as by the audience or community of participants.A number of activities were coordinated throughout 2014 to mark the 20th anniversary celebrations of the Irish World Academy. Under the rubric of ‘sounding forward, listening back’, the events and commissions were invited to interact with the ethos of the Academy, as well as providing a space to imagine future directions. Two of these contributions happened under the rubric of the ‘House of Light’, a descriptor used by the architect to describe the building that houses the Academy. One was a ritualized dawn procession marking the opening of the year of celebrations and the other, an artistic commission for a film by international film director, Alan Gilsenan. These will be explored as ‘rehearsals’ (in the Heaney sense of providing a ‘sketch’ rather than a ‘map’ of a given reality) of the Academy’s ethos and act as springboards for a wider discussion, based on the proposal of journalist and broadcaster Vincent Wood, on the potential of commemorative events to act as acute measures of a society’s core values.

5.10 – 5.30 – coffee break

5.30 – 6.30 Round-table discussion, chair Dr. Ciarán Wallace Wallace, Lecturer in Irish Studies, DCU/Mater Dei.

Professor Mícheál Ó Súilleabháin, Chair of Music at the Irish World Academy of Music and Dance, University of Limerick

Dr. Emily Mark Fitzgerald, Lecturer at the School of Art History and Cultural Policy, University College Dublin.

Dr. Lisa Godson, Lecturer in the Faculty of Visual Culture, National College of Art and Design

Paul Tarpey, Senior lecturer and course leader of Photography and lens based media in the Limerick School of Art and Design.

Closing remarks: Dr. Kathryn Milligan and Dr. Niamh NicGhabhann.

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