Create – National development agency for collaborative arts in social and community contexts - Create - the national development agency for collaborative arts in social and community contexts Create is the national development agency for collaborative arts in social and community contexts Fri, 27 Mar 2015 18:51:51 +0000 Joomla! 1.5 - Open Source Content Management en-gb DIY 12 – deadline April 10–-deadline-april-10–-deadline-april-10  From Katie Etheridge & Simon Persighetti's DIY11 Atmospheric pressure: Performance vs Weather

DIY 12: 2015 Call for Proposals

Deadline: Tuesday April 10th, 2015

Professional development projects BY artists FOR artists across the UK and Ireland.

DIY is an opportunity for artists working in Live Art, Live Performance and interdisciplinary live work to conceive and run unusual training and professional development projects for other artists.

In 2015, Create will join a cohort of UK partners to support and host DIY projects in Ireland, with an overall minimum of 20 projects in collaboration with 10+ national partner organisations.

DIY 12’s partner organisations include Abandon Normal Devices (North West), Artsadmin (national), Chelsea Theatre (London), Colchester Arts Centre (South East), Compass Live Art (Yorkshire), Contact Manchester, Create (Ireland), Folkestone Fringe, hÅb (Manchester), Heart of Glass, (North West), Home Live Art (national), Live at LICA (North West), National Theatre Studio (London), Norwich Arts Centre, Sound and Music (national), STUN (Manchester), Unlimited (national) and Warrington Arts Festival (North West).

Follow these links for details of:
The Call for DIY 12 Proposals and Application Guidelines
Information on previous DIY projects

DIY understands that the development of a Live Art practice is as much about the exploration of ideas and experiences as training in skills and techniques, and past DIY projects have proved to be invaluable experiences for project leaders, participants and organisers alike. DIY supports exciting, innovative and idiosyncratic Live Art professional development projects that offer something new and are geared to the eclectic and often unusual needs of artists
whose practices are grounded in challenging and unconventional approaches, forms and concepts.

DIY projects can take any form, can be based anywhere, and can be loosely or rigorously focused on a specific theme/content. We particularly encourage proposals from artists from culturally diverse backgrounds and disabled artists, and artists working in other “politicised” territories.

We are pleased to announce that in 2015 DIY awards will increase by 50%, with each DIY project receiving £1,500 support which covers fees and all direct project costs including venue hire, travel, materials and hospitality.

Game 5 A final networking event — the ‘DIY picnic’ — for all participants, lead artists and DIY partners will take place in late 2015.

Create took part in DIY10 and DIY11. Irish artists Siobhan Clancy and Ciara McKeon were awarded travel bursaries to work with Barby Asante and Jordan McKenzie, respectively, as part of Live Art Development Agency’s DIY10.

DIY 12 is part of the Collab Arts Partnership Programme co-funded by the Creative Europe programme of the European Union.

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Tolka Nights art commission–-successful-applicants–-successful-applicants  Tolka Nights Art commission 2015. Research image: Matt Green.

Tolka Nights 

OPW Commission with Dublin City Council, Meath County Council and Fingal County Council

Managed by Create

The Office of Public Works (OPW) under the Per Cent for Art Scheme and local arts authorities with Create, have provided funding for a number of Per Cent for Art commissions relating to the creation of flood defence systems on the River Tolka in catchment areas across Dublin City Council, Fingal County Council and Meath County Council.

Create is delighted to announce that Dr Matt Green (lead artist) and an artist group consisting of Sven Anderson, John D’Arcy, Jennie Guy, Conan McIvor and Stuart Sloan have been successful in this exciting commission.

Three innovative hi-tech happenings are to occur as the sun sets upon the river Tolka and its banks. Through image, video, audio, performance and interaction, the Tolka, its people and the life that it nurtures are to be spotlighted and celebrated.

Over three consecutive nights, in each of the three county districts through which the Tolka flows (Co. Meath, Fingal and Dublin), a specially produced film exploring the Tolka and its significance to an ecosystem, to industries, to communities and to local, regional and national history will be shown upon a large screen erected by the riverside

The group will curate this series of ‘art happenings’, as well as organising bespoke creative engagement activities and provide a platform for the river’s different communities to share their memories thoughts and perceptions, in order to ultimately document and make observations on the Tolka from a variety of perspectives. Devised and led by a different member of the artist team, the series of events will be aimed at deepening knowledge of the river itself. The engagement activities are to be as innovative as the happenings. They are to provide creative, unconventional means for both the artist team and community collaborators to consider and speak of the Tolka.

For more information on Tolka Nights contact Katrina Goldstone at Create: communications (at)

Artists Bios

Matt Green is a site-specific sound artist who holds a Phd in Sonic Arts. Matt’s PhD research was conducted in association with Hewlett-Packard Media Labs, Bristol. Matt’s previous practice includes Resounding Rivers (2010), which was commissioned by Belfast City Council and PLACE, Belfast and explored Belfast’s buried waterways via six concurrent sound installations housed externally throughout the city. In Hear, Out There: Madrid (2008) was a mobile sound work that addressed a culturally impoverished site in Madrid known as AZCA. For this work, Matt and his collaborators received a Spanish Ministry of Culture ‘Culturas 2008’ award. For each of Matt’s installations and mobile works, including those mentioned, the practices of soundscape composition and field recording, the aural equivalent of photography and documentary, have been of importance.

John D’Arcy is an artist based in Belfast at the Sonic Arts Research Centre. His work explores the relationship of voice, text and place - taking in a wide variety of formats including performance, installation, radio documentary, mobile. Recent projects include Belfast City Choir, an experimental singing ensemble for vocalists of all abilities. John composes site-specific verbal scores that invite improvisation and interaction amongst participants in locative performances.

John also works with young people, teaching audio recording and computer music to early-teens and undergraduate students. He holds a BSc in Music Technology and MA in Sonic Arts, both from Queen’s University Belfast. He has performed and exhibited work at Belfast Festival; International Samuel Beckett Festival, Enniskillen; and Sounds Alive Festival, Dublin; as well as broadcast on BBC Radio Ulster and London’s Resonance FM.

Conan McIvor is a filmmaker and video artist, his diverse practice spans from experimental film and video art to ‘moving image’ design for installation, theatre and performance. He received an MA in Film and Visual Studies from Queen’s University Belfast, during his studies he was awarded NI Screen’s Bill Miskelly Award.

Conan’s work has been exhibited internationally in Trondheim, Sarajevo and Paris. Exhibition highlights include: ‘Royal Ulster Academy Annual Exhibition’ (Ulster Museum, 2014); Open University’s public art commission ‘Luminous, Curious, Journey’ (Belfast City Hall, 2013); ‘Denizen’ (Belfast Exposed, 2014) and ‘Arrivals’, (Ormeau Baths Gallery, 2010). Conan was awarded the Visual Artists Ireland & Digital Arts Studio Residency Award in 2013. Conan’s work concentrates on the metaphysics of the human condition exploring spirituality, relationships, the corporeal and the unfolding of consciousness with an ever-present undercurrent of the ethereal.

Sven Anderson is an artist working between Ireland and the US since 2001. Anderson's work explores the act of listening within diverse architectural, physical, social, and emotional contexts. His practice is a discursive platform that operates through artistic intervention, academic publication, participatory processes, and interactive design. His public art project MAP: Manual for Acoustic Planning and Urban Sound Design with Dublin City Council received the European Soundscape Award issued by the European Environmental Agency in 2014. Within this project he is completing two public sound installations – Glass House for Smithfield Plaza and Continuous Drift for Meeting House Square – in early 2015. and

Jennie Guy is an artist and curator based in Dublin, Ireland. Her practice embraces visual, textual, performance, and event-based output, initiating both formal and informal collaborations and participative environments. These situations act as mirrors that destabilize the intent of both the creator and the observer, complicating notions of self, community, and the rituals surrounding artistic production, seeking new modes of observation and response. Recent projects include JG?AP?JG and Melancholy Park for TULCA 2014; and How to See Clearly from a Distance, a commission for Galway University Hospital. She is currently working on a research residency with RUA RED.

Stuart Sloan makes video art-inspired documentaries and documentary-inspired video art. Moving to the USA in 2010, Stuart edited and co-produced the PBS Alzheimer's documentary You're Looking At Me Like I Live Here and I Don’t and also edited Collapse, a fiction feature film concerning the San Francisco Ballet with Cannes and Sundance-winning Director Rob Nilsson, as well as All Ears, a documentary about instrumental hip-hop in Los Angeles, which premiered at SXSW in 2013. Now once more residing in Northern Ireland, he has recently completed Towers of Belfast, a personal and experimental documentary about his hometown, which premiered at the 2014 Belfast Film Festival. He is currently editing a documentary about the river Foyle in Derry, as well as producing a video project on migrants and ethnic minorities in Belfast.

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Bridge: Croi Glan and West Cork Inclusive Dance Group Bridge: Croi Glan and West Cork Inclusive Dance Group 

Bridge: Croi Glan and West Cork Inclusive Dance Group

Funded by the Arts Council Artist in the Community Scheme

Report by Kath Gorman, independent producer, who attended the performance of Bridge 31st May 2014 on behalf of Create

There was a sense of occasion and anticipation as hundreds of people gathered at the Pier at Ballydehob, West Cork to see the site-specific performance of Bridge by integrated dance company Croi Glan. This was a fine summer’s evening on the last Saturday of May 2014, attracting and audience from Ballydehob and neighbouring villages. Live music and local artisan food set the scene as the audience looked out at the bridges before them. In particular, catching the attention was the imposing 12 Arch Bridge, which crosses the estuary at Ballydehob and originally carried the West Cork railway..

This project has been many months in the making, involving different local partners - COPE Foundation, West Cork Arts Centre, CoAction and West Cork Mental Health as well as dance and arts participants from West Cork Arts Centre. The diversity of groups involved was clearly evident in the numbers of people both attending as audience members and as performers. Performing with Croi Glan members were also the newly formed West Cork Inclusive Dance Group - created specifically for this project - a diverse group of people from teenagers to older people, with and without disabilities. The group had been working on the project since the autumn, with rehearsals at the site over the last week before the public performances.

A lone voice signaled the beginning of the performance. As the singer, backed by a live band, moved slowly towards the audience, dancers in red and black began to move across the lower footbridge. The footbridge became a moving stage as over time thirty plus performers moved back and forth, arching and bending their bodies athletically and gracefully in solo, duet and group performances. The footbridge became a dance barre, demonstrating the dancers’ physicality, strength and finesse. Mary Nugent, a performer with Croi Glan, and other performers, used their wheelchairs playfully, both as vehicle and dancing partners.

Behind and above them on the imposing 12 Arch Bridge performers moved creating a sense of scale and drama as they reached to the sky. Other performers perched birdlike across the entire width of the same bridge. Aerialist Tara Brandel and her companion lowered themselves to the soulful sounds of ‘strength, courage and wisdom’ and scaled down the side of the bridge on ropes, like mountaineers and arching and circling their way down until they released yellow silks billowing like sails in the breeze. Two rowing boats waited beneath them and this aerial finale ended with a solo figure watching from on high as her two companions were rowed towards the shore and the audience.

Music for the performance was provided under the guidance of musician and composer Eoin Nash of Suisha Inclusive Arts at the COPE Foundation, and arranged and performed by Siobhan Heapes, Miranda McCarthy-Fisher, Anna Murray, Marcus Magdalena. This was a project ambitious in its site, scale and performer numbers, aiming for full inclusiveness and physical expression by all performers that echoed the dramatic cinematic quality of the 12 Arch Bridge.

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Rustom Bharucha: Reflections on Terror and Performance – April 13–-april-13–-april-13  

Create presents

Reflections on Terror and Performance

A performance lecture by Rustom Bharucha

Date: 13 April
Time: 5-7pm
Venue: The Ireland Institute, The Pearse Centre, 27 Pearse Street, Dublin 2

Create is delighted to be working again with Internationally renowned writer, director and dramaturge, Rustom Bharucha . Drawing on his recently published book Terror and Performance (Routledge 2014), Rustom Bharucha will probe the modalities and enigmas of one key question: What happens when the performance ends? The idea of ‘performance’ will be extended beyond theatre practice to encompass four primary sites of investigation: ‘September 11’, Islamophobia, Truth and Reconciliation, and Non-Violence.

Using a dialogic mode of inquiry, he will throw out questions relating to the relationship between ‘terror’ and ‘terrorism’, the ethical considerations involved in viewing the act of killing as ‘performance’, the efficacy of the Truth and Reconciliation process beyond the aporias of affect, and the ‘violence’ of nonviolence. These issues will be contextualized within a spectrum of practices including suicide bombing, lip-sewing , blood-graffiti, and peace activism. To what extent can theatre counter its complicities within a larger narrative of terror? Is non-violence viable in an age of terror? Can justice exist beyond – and against – the law? These are some of the critical questions that will be raised in the lecture, which attempts to provide a reflective framework on the terror of our times.

Rustom Bharucha is Professor of Theatre and Performance Studies at the Jawaharlal Nehru University in New Delhi, India. A leading interlocutor in the fields of interculturalism, secularism and oral history, he has written a number of books including: Theatre and the World; The Question of Faith; In the Name of the Secular; The Politics of Cultural Practice; Rajasthan: An Oral History; Another Asia: Rabindranath Tagore and Okakura Tenshin; and Terror and Performance.

In recent years, he has worked as a dramaturge for the Tangencya public art project in Durban, as Project Director for Arna-Jharna: The Desert Museum of Rajasthan and as Artistic Director of the Inter-Asia Ramayana Festival at the theatre laboratory Adishakti in Pondicherry. In February 2015 he curated an international conference at the Jawaharlal Nehru University on Rethinking Labor and the Creative Economy: Global Performative Perspectives. In April 2015, he will be in Ireland to take part in a symposium Performance and Interculturalism Now: New Directions?, NUI, Galway.

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Asylum Archive Panel Discussion – March 3–-march-3–-march-3 Asylum Archive: The Old Convent centre in Ballyhaunis, 2008 (Vukasin Nedeljkovic )

Galway Arts Centre and Create present

A panel discussion as part of Asylum Archive



Exhibition: February 13 – March 20
Launch: February 13
Venue: Galway Arts Centre, 47 Dominick Street, Galway City

Panel discussion

Discussion Event: March 3
Time: 6pm
Venue: Galway Arts Centre, 47 Dominick Street, Galway City

Panel: Vukasin Nedeljkovic, Anthony Haughey, Anne Mulhall, Charlotte McIvor, Megs Morley

Chair: Katrina Goldstone

‘The archive has to be read from below, from a position of solidarity with those displaced, deformed, silenced or made invisible by the machineries of profit and progress’

– Allen Sekula

Create and Galway Arts Centre have programmed a panel discussion on the themes evoked by Asylum Archive, the exhibition running at the Galway Arts Centre from February 13 – March 20.

In its practice, Asylum Archive is rooted in fieldwork research through the process of taking photographs of the direct provision centres and of found discarded or abandoned artefacts. Also it incorporates video and audio recordings into the body of the work.

The work of Vukasin Nedeljkovic poses a number of questions on the role of art – and the artist - and society. It is also a work which demands reflection on broader issues, such as political power and the Archive. Asylum Archive pulls us up short, to consider difficult topics and to remind us, as per Michael Lynch, “the archive is never ‘raw’ or ‘primary,’” because it is always assembled so as to lead later investigators in a particular direction. The work of Asylum Archive also requires us to reflect on modes of incarceration, and the creation of art within oppressive systems or sites. In what ways does the involuntary embeddedness of the artist influence what is created. And does this change when the artist is no longer on site but still re visiting themes connected to direct provision?

Yet Nedeljkovic also asks us to consider Direct Provision Centres not only as sites of incarceration, social exclusion or extreme poverty but also as sites of collectivity and resistance. Direct provision Centres are where different nationalities and ethnic groups exist(ed) and persist(ed) through the confinement created by the State. Where people wait patiently for meals, sign in and out almost every day in order to get 19.10 euros per week and a medical card, watch friends being transferred and deported, and open Government letters with anxiety, fear and hope. Also in terms of continuity of themes in social history and the State’s treatment of those deemed ‘outsiders’, does the Direct Provision system represent a legacy or echo of older systems of confinement in Ireland - borstals, laundries, prisons, mother and baby homes, lunatic asylums?

About Asylum Archive

The exhibition, featuring video, photography and found objects, unpacks the structures of the Direct Provision system in Ireland. The absence of human subjects in the artworks encourages viewers to examine the traces, structures and architectural spaces of this system. The formal compositions of the photographic work and clean presentation of the found objects raise the question of what is being represented, or presented to the viewer. Traces of individual presence through marks within spaces, discarded objects and attempts at personalisation of spaces coexist with the deliberately anonymous spaces and the artist’s decision to represent the structure of direct provision through the absence of people.

The subject of direct provision in Ireland is contentious; with research and lobby groups presenting consistent evidence of dehumanisation of asylum seekers in Ireland. The confinement, segregation and categorisation of people seeking asylum in Ireland has led to serious inequalities and discriminations, in full view of society. Rather than Asylum Archive looking at asylum seekers as victims with a story that presents them as other to the citizens of Ireland, the exhibition instead presents the structure that people are siphoned into, a system that is supported and witnessed by the Irish government.

Vukasin Nedeljkovic received an award from the Arts Council Artist in the Community Scheme Research & Development Award in 2011.

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New Director for Create  Ailbhe Murphy, director of Create

New Director for Create, the national development agency for collaborative arts

12 January 2015

Create, the national development agency for collaborative arts, is delighted to announce the appointment of a new Director / Chief Executive, artist Ailbhe Murphy.

Announcing the appointment today, Create’s Chair, Deirdre Figureido, said: “The board of Create are delighted to announce Ailbhe’s appointment as Director. Her wide ranging skills, and her extensive and diverse experience of arts and civic participation will be a tremendous asset for Create. Over the last eight years Create has expanded its reach and influence in the Irish arts sector, culminating in its successful Creative Europe bid, adding an international dimension to its work with EU arts organisations and with prestigious cultural innovators such as the UK art agency Artangel. The staff and board of Create look forward very much to working closely with Ailbhe to facilitate the next stage of the organisation’s strategic development , nationally and internationally.”

Of her appointment as Director of Create, Ailbhe says “I believe strongly in the role of the arts in civil society and I’m passionate about the transformative power of cultural engagement and participation.I am really excited to be taking up the helm at Create at such a pivotal time, with exciting commissions coming up with Jesse Jones and Sarah Browne through Artangel as well as the four year COLLAB Arts Partnership, funded under Creative Europe. My new role will give me a wonderful opportunity to support artists, arts organisations, our partners and the wider arts sector in further promoting the role of collaborative arts practice both in Ireland and internationally.”

Artist Ailbhe Murphy comes to Create with over twenty-five years experience in collaborative arts practice. Her work has traversed a wide range of situated practice, including community development, new neighbourhoods, urban regeneration processes and institutional networks where questions of agency, knowledge production and representation have always been central.

Since 2007 she has been a member of the interdisciplinary platform Vagabond Reviews, which combines socially engaged art and research practice. Recent Vagabond Reviews projects include Scientia Civitatis: Missing Titles, part of ‘Phoenix Rising, Art and Civic Imagination’on exhibition at the Hugh Lane Gallery (Nov 2014 – March 2015) and the Arcade Project, a collaborative research initiative with the Rialto Youth Project in Dublin which explores arts-based pedagogy in youth work. Throughout her career she has collaborated with the community development sector. Most recently such collaborations include (In)Visible Labour Factorium where Vagabond Reviews engaged with twenty membership organisations of the National Women’s Council of Ireland for the Legacy Project (2013 - 2015) curated by Valerie Connor. Working collaboratively with new communities in a new neighbourhood, the Sliabh Bán Art House (2011-2012) was a participatory public art project commissioned by Galway City Council.

Earlier work includes long-term projects such as Unspoken Truths (1991-1996), Once is Too Much (1987 – 2004) and Tower Songs (2003-2006) with the Community and Education Dept of IMMA, St. Michael’s Estate Family Resource Centre, the LYCS, Fatima Groups United, the Rialto Youth Project and City Arts respectively.

Ailbhe has published widely on collaborative arts and presented at numerous conferences nationally and internationally. A graduate of the National College of Art and Design, her research interests focus on the question of critical coordinates for collaborative arts practice. In 2011 she was awarded a practice-based Ph.D from the University of Ulster, Belfast.

To request an interview with Ailbhe Murphy, email communications at

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The Amulet – exhibition extended until April 11–-launch-performance-and-discussion-january-15-16–-launch-performance-and-discussion-january-15-16 Image: 18.10v2 Anamnesis photograph by Marie Brett.

Create is delighted to be working with The LAB, supporting the exhibition and Public Programme of The Amulet

The Amulet Exhibition at the LAB Dublin

Exploring the hidden world of infant loss with artist Marie Brett

15 January – 11 April 2015 (new dates)

Launch: 15 January 5-7pm

Roundtable Discussion: 16 January 3-5pm; book here (free)

The Amulet, a national exhibition tour exploring infant loss, will open in Dublin at The LAB Gallery on 15 January 2015.

Shedding light on an often hidden aspect of Irish life, the exhibition stems from The Amulet project (2009-2013), a collaboration between artist Marie Brett, bereaved parents, and three hospital sites: Cork University Maternity Hospital, University Maternity Hospital Limerick, and Waterford Regional Hospital.

We all have amulets, those special objects often hidden away in drawers and cupboards which mark a significant time, occasion or person in our lives. Bereaved parents worked with artist Marie Brett to locate an amulet they possessed which has significance in relation to the loss of their baby. Marie recorded the stories behind the chosen amulets and these stories, together with visual materials gifted by the parents, formed the basis for a new artwork. Intimate and universally relatable, you’ll feel and think differently about loss after seeing this show.

Live Performance

The Amulet will launch at The LAB Gallery with a special performance event from 5-7pm on Thursday 15 January 2015. Artists Ceara Conway, Helga Deasy, Dominic Thorpe and Frances Mezzetti will respond to the artwork through voice, dance and performance art.


On Friday 16 January, there will be a Round Table discussion from 3-5pm hosted by Create with participants from arts, healthcare and bereavement settings. To book a place at the Round Table discussion visit


The Amulet at The LAB Gallery has now been extended until Saturday, April 11, 2015. The LAB Gallery Address: Dublin City Council, Arts Office, The Lab, Foley Street, Dublin 1. Ph: (01) 222 5455. Exhibition opening hours: Monday - Friday: 10am - 5pm | Saturday: 10am - 6pm

These events are free and all are welcome.

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Arts Council Artist in the Community Scheme Bursary Award 2014: Collaborative Dance recipient  

The successful applicant for the Arts Council Artist in the Community Scheme Bursary Award 2014: Collaborative Dance has been announced and the Bursary Award is to go to independent dance artist, Cathy Coughlan.

Her Dublin based practice encompasses live performance, dance media and collaborative practice. Most recently she directed and choreographed ‘Source’, a production for Dublin Fringe Festival 2014 which gained two award nominations. Her March 2012 production, ‘Aspect’, was the culmination of an Arts Council award at the Dunamaise Arts Centre, involving solo work, community collaborations and dance on film.

As a dance/visual artist working in a community context she has delivered projects/performances in association with RADE, CoisCeim Broadreach, Common Ground, Create, Focus Ireland, Fatima Regeneration project, Dunamaise Arts Centre youth reach (YES Scheme 2010), Dublin City Council, Dance Ireland, Laois County Council and Laois Partnership.

Cathy ‘s research and reflection will examine screen based technology as a device for collaboration in the community and study its potential to create a model for best practice. She will further investigate the possibilities of re thinking collaboration, in the light of her various recent projects, using the interaction between live performance and projected, particularly in relation to the role of the non-vocational dancer.

The Artist in the Community Scheme Bursary Award was set up to enable artists across artform with significant track record of collaborative arts practice to research and reflect on the foundations of their practice as well as contributing to general learning to the broader collaborative art sector. This year Create worked in partnership with Dance Ireland on the information sessions and the award.


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Create Networking Day programme of performance  


A programme of performance and multimedia for the Create Networking Day for Collaborative Arts

NB: For Create members the event is free of charge.

Join the conversation: @CreateIreland and #NNDCreate


Evidence I: Making Visible

Ceara Conway with Able Women | Galway

Making Visible is a collaboration between Ceara Conway and a group of women asylum seekers based in Galway.

Making Visible is a socially engaged art project that aimed to highlight and make Visible the current Direct Provision system in Ireland and to bring to light the suffering of asylum seekers living within this system.

Drawing upon the old Irish tradition of ''Caoineadh'' a vocal lament associated with mourning, Ceara created a series of ritual performances that were informed by her time engaging with ''Able Women'', a group of women who are currently seeking asylum in Ireland.

In the series of performances each woman chose a lament and a location in Galway City that they wished to have it performed. The location and lament they chose was pertinent to a personal aspect of their experiences living within the direct provision service in Galway.

In Ireland it was traditional for the ''bean caoineadh'' to lament and ask for things on behalf of the grieving family and community.
These performances aspired to create a connection between both audience and performer, communicating emotive, personal and political aspects of these women's experiences through voice and song.


Evidence II: Jennie Moran and Luncheonette

Unholy Mess - a shared meal to take place in an altered chapel

Jennie Moran is a Dublin based artist who uses her practice to create opportunities for hospitality.


Evidence III: Between Land & Water

Outlandish Theatre with Arabic/Muslim women, Dublin 8

Between Land & Water is a collaborative arts project by outlandishtheatre platform, in collaboration with Sarah Jane Scaife and a newly formed group of 5 first generation Arabic/Muslim women from Dublin 8. The project is inspired by Samuel Beckett’s Come and Go and responds to the landscape of Portobello’s canal banks. By exploring basic theatre principles, we create inter-media material uncovering the connection between the present day canal landscape and the women’s memorized landscapes.

Maud Hendricks (artistic director) Bernie O’Reilly (assistant director) with Sarah Jane Scaife (Beckett specialist, Company SJ) Participants: Nazish, Rula, Sarah Jane, Zakiyyah Filmmaker: Kilian Waters. Sound editor: Craig Cox


Amhrán na mBeach (Song of the Bees)
Softday with beekeepers, scientists and monks of Glenstal Abbey | Limerick

Multi-media socially engaged sound work

Based on four years of scientific data about bee diseases and colony losses in Ireland, Softday created musical scores for the Glenstal Abbey Choir, organ and the Irish Chamber Orchestra. A sound art composition was also created by the Softday Apiary Ensemble, based on field recordings carried out by the participating beekeepers in their respective habitats. The world premiere performance of this work took place in Glenstal Abbey Church, the 27th of April 2013.

Teampall fuaime
Ian Wilson with the Cork Chamber Choir | Cork

Recording of 4 of the work’s 10 movements

Teampall Fuaime (sound temple) was the result of an 8-month project between composer Ian Wilson and the Cork Chamber Choir. Members of the choir firstly provided original texts in direct response to spending time in the Triskel Christchurch space then, with the composer’s encouragement, also provided melodic fragments for parts of those texts; often each member would provide a piece of melody for both their own text and someone else’s, thus creating a broad pool of material.

The composer then used this textual and musical material as the basis of a large-scale choral work which, as well as exploring ideas specific to the architecture and character of Triskel Christchurch, also examines ideas evoked and provoked by that space, including faith, society, war and daily life. The result is a work that speaks broadly of the human experience, very much shaped by the singers and the space they s sang in. Part of the work’s concept was to fully employ Triskel Christchurch and therefore the choir sang in different parts of the space at different times during the work. Teampall fuaime was funded through the Arts Council of Ireland’s Artist in the Community scheme managed by Create.


Artist Information

Ceara Conway is an Irish artist and singer from the Connemara in the west of Ireland.

In her work she uses photography, performance, song and narration as ways to engage her audiences in exploring social themes and issues. She is interested in the efficacy of performance and its capacity to act as an agent of change.

outlandishtheatre platform - Maud Hendricks and Bernie O’Reilly: 'we aim to make theatre that moves from the real to the stage, for which a longterm engagement with a local group/community is central to the artistic process. We hereby develop unique and layered insights into the local changes and group cultures that exist within defined geographical areas. We have completed a process like this for Come into The Gardens (2012-2014).'

Softday is a  collaboration between Sean Taylor and Mikael Fernstrom exploring ideas in multimedia art. Since 1999 Softday, the art-science collaboration of artist Sean Taylor and computer scientist Mikael Fernström, have engaged with issues relating to natural cycles in time, climate change and its global effects.

Early projects such as Bliain Le Baisteach (A Year of Rainfall) (2000) looked at fluctuating annual rainfall patterns in Ireland. Further, Cóisir an Tsionainn (The Shannon Suite) (2003) focused on the four-year life cycle of the wild Atlantic salmon and the effects of overfishing and pollution on the species ability to survive. Projects such as Nobody leaves till the Daphnia sing (2009) examined the implications of contaminated domestic drinking water supplies in Galway and West Limerick. The Marbh Chrois (Dead Zone) (2010) project addressed the impact of two ‘contested’ marine dead zones as a key stressor on marine ecosystems in Donegal, Ireland. In 2011 Softday were selected as one of the winning entries to the prestigious project EUROPE – A SOUND PANORAMA, in Karlsruhe, Germany. The Karlsruhe live concert was recorded by Deutschlandradio Kultur and distributed to all European radio stations. Between 2011 and 2013, Softday collaborated with a number of Irish beekeepers, scientist and the monks of Glenstal Abbey, creating Amhrán na mBeach (Song of the Bees) about the life of honey bees and current threats such as Colony Collapse Disorder (CCD).

As a collaborative team they use their arts practice to explore relations to and understandings of nature, expressed through sonifications and multimedia artworks and performances.

Both artists are interested in exploring the cracks between various media and creative genres such as expanded theatre, sound art, socially engaged practice, sculpture, music, dance and the application of new technologies.

Ian Wilson has written nearly 150 works, including operas, concertos, string quartets, a range of orchestral and chamber music and multi-media pieces. His compositions have been performed and broadcast on six continents, and presented at festivals including the BBC Proms, Venice Biennale and Frankfurt Bookfair and at venues such as New York’s Carnegie Hall, London’s Royal Albert Hall and Vienna’s Musikverein. He is a member of Aosdána, Ireland’s State-sponsored body of creative artists, and in recent years has been AHRB Research Fellow at the University of Ulster, An Foras Feasa post-Doctoral Research Fellow at Dundalk IT, director of the Sligo New Music Festival and Composer-in-Association with California’s Camerata Pacifica ensemble and the Ulster Orchestra.

His music is published by Ricordi (London) and Universal Edition. 

Cork Chamber Choir was founded in 2005 by a small group of Cork-based choral singers who were looking for a new challenge, at the invitation of founder Anne-Marie Curtin. From informal beginnings it is has grown to 20 singers under musical director and conductor Helen McGrath. With members from Ireland, north and south, England, France and Scotland the choir has enjoyed a combination of concerts and competition participation while continuing to refine and develop its sound.

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Create News 17: Chrissie Tiller on The Spectrum of Participation Create News 17: Chrissie Tiller on The Spectrum of Participation


The Spectrum of Participation - CREATE: NEWS 17 - October 2014

Chrissie Tiller on The Spectrum of Participation

“It’s one of the great joys of travel, and indeed life, to come across something so unexpected and mind-bendingly wonderful in the midst of what appears to be the bleakest of places, that one’s ideas of what’s possible change entirely.”1

Thinking about this piece on the spectrum of practice I believe is art and participation, I am indulging in ‘useful’ procrastination. Today it takes the form of flicking through a Lonely Planet Guide. Then I come across the statement above. It is indeed one of life’s unexpected ‘joys’, that what I go on to read is about a small town in Sicily called Favara. Previously known for two things, ‘some of the highest unemployment in Italy’ and its ‘many ugly buildings’, for the past four years lawyers Andrea Bartoli and Florinda Saieva have been transforming it, through participatory arts practice, to, ‘a better piece of the world, a small community committed to inventing new ways of thinking and living.’

Read more [PDF]


1. Lonely Planet: Sicily, p. 249

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