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Jewish Waterford, 1893-1940

Cormac Ó’Gráda’s book Jewish Ireland in the Age of Joyce, was a ground-breaking work for looking at religious and ethnic minorities in Ireland historically. I recently heard Ó’Gráda speaking as part of the UCC Historical Society’s History Week. Ó’Gráda spoke about the potential of the 1901 and 1911 census, especially in relation to the study of minorities in Irish life from that period. With that in mind, and following on from some tentative work which I had done for my PhD thesis, I’ve decided to sketch a portrait of Waterford’s Jewish community from the end of nineteenth century up to the beginning of the Second World War.

The Beginnings of the Jewish Community in Waterford

According to Louis Hyman, in his history of Irish Jewry up to 1910, ‘At the close of the seventeenth century, the Council of the Waterford Corporation encouraged the settlement of foreign merchants.’ One man who applied to trade freely in the city was Jacob Nunes who was given the freedom of the city to conduct trade in 1701.[1] Thus Nunes has a fair claim to being Waterford’s first Jewish settler. Again, Hyman notes that ‘individual Jews resided in Waterford in the eighteenth century, and some were there in 1805, one of them, surely Josias Jacob, registered with the Dublin Goldsmith’s Company in 1809. About the middle of the nineteenth century, the grandparents of the late Professor James Desmond Bernal settled in the town.’[2] According to the census of 1871, there was still only a solitary Jew in Waterford, however that was all about to change. With the introduction of what are popularly known as the May Laws, many Jews in Tsarist Russia made their way to Britain and Ireland. As Hyman notes, this movement of Jews from what was sometimes called Russian Poland, and Lithuania, had the effect ultimately of strengthening the communities of Jewish settlers in places other than in Dublin and Belfast.[3]

One of the earliest mentions of the new Jewish community in Waterford comes from 1893 with the death of Joseph Diamond at the age of 68, who lived on 8 Manor Street in the city centre, a street in Waterford that would in time form a central part of the Jewish community in the city.[4] Many of the Jews then settled in Waterford were Welsh, and were part of the Jewish community in Britain that were middle-class emigrants from Central Europe, what were known in Ireland as “English Jews”. The lives of these Jewish people were in stark contrast to those who would come to make up the bulk of Britain, Ireland, and Waterford’s Jewish communities in time, those fleeing pogroms and persecution in Russia.

Shortly after the death notice of Joseph Diamond, the Jewish Chronicle noted that a congregation had been established in the city, with Mr R Smullian as president, and so prayers were held for the  Jewish New Year, Rosh Hashanah, for probably the first time in Waterford’s history.[5] A year later, the Jewish Chronicle again mentioned the new congregation noting that:

Mr and Mrs Goldring presented a Scroll of the Law to the newly-established congregation. In the evening they gave a party to which every Jewish resident of Waterford was invited. Mr M. Simon presided  and great satisfaction was expressed by the Chairman, Mr Hanasan[sic], President of the congregation, Mr R. Smullian, Mr Levy, Mr Diamond and others at the formation of the congregation.[6]

With the congregation up and running in Waterford city, the Jewish community there could do perform rites of their faith in their new home, rather than travelling to other cities in Ireland with synagogues. The development of the congregation breathed life into the city’s Jewish community and it wasn’t long before the city saw its first Jewish wedding, something which attracted a great deal of interest from Waterford people generally:

On Wednesday 14th inst the first Jewish wedding that has been solemnised in Waterford took place in the synagogue 88 the Manor. The couple were Miss Fanny Diamond and Mr Jack Lappin. The ceremony was performed by Rev J. E. Myers of Cork assisted by the local minister Rev Simon Aarons. The wedding created a great deal of interest  in Waterford and the synagogue was filled with Christians. Rev J. E. Myers  preached on Sabbath morning and also at a special service on Sunday evening, the latter attended by several Christians. Mr Goldring, President, and his wife have made handsome presents to the synagogue. Mr Robinson is Treasurer and Mr J. Levy is Hon Sec.[7]

The development of the community was of interest in particular to JE Myers, who ministered to the Cork congregation, and who visited Waterford on a number of occasions.[8] The community was growing in strength and in no time, there was a plan to open a Hebrew School in the city.[9] As the Jewish community grew and developed, children were born into families in Waterford, like the Sherowitz family. The progress of the community in Waterford was followed closely by the Jewish Chronicle, and many notices, no matter how small, relating to the city’s community, appeared throughout its pages. And so we know that some of the members of Waterford’s Jewish community got involved in politics, like Harris Sherowitz who sent a letter to John Redmond MP on the Aliens Act in 1905, signed by many, in the hopes that he would seek amendments to it. There was a significant difference between the size of the community in 1901 and by 1911. The interwar period was the peak of the Jewish community in Waterford, built as it was by the community that had developed and was captured in the census of 1911. Waterford’s Jewish community was at its most numerous in the city then: there were around 62 Jewish people in Waterford at that date. It was never bigger, before or since. While these numbers obviously pale in their significance when placed next to the Jewish communities of Dublin, Cork or Limerick, nevertheless the Jewish community in Waterford left their mark on the city. These maps show where Waterford’s Jewish community settled in the city (click images to enlarge them):

Fig. 1: Jewish Settlement in Waterford, 1901

Fig. 1: Jewish Settlement in Waterford, 1901

As you can see from Fig. 1 above, the very small community that existed in 1901, was centred in the main around John Street and Manor Street. This concentration would remain in 1911, as you can see from Fig.2, below:

Fig. 2: Jewish Settlement in Waterford, 1911

Fig. 2: Jewish Settlement in Waterford, 1911

To get the full effect, Fig.3 below shows both the 1901 and 1911 settlements overlaid on each other:

Fig.3: 1901 and 1911 Jewish Settlement in Waterford, overlaid on each other.

Fig.3: 1901 and 1911 Jewish Settlement in Waterford, overlaid on each other.

These few streets then, encompassed Waterford’s Jewish community until the beginning of the Second World War.

The Figure of the ‘Jewman’ in Popular Imagination and Memory in Waterford

Once the community strengthened, and became a more visible presence in the city, centred as it was around John Street and Manor Street, the figure of the ‘Jewman’, in that peculiar Irish turn of phrase, was a figure of curiosity and later, folk memory. In Waterford a song was sung called ‘The Jewman’, and according to Dermot Power was popular at one time with workers in Denny’s Bacon curing factory back in the late 1920s and 1930s, when the community was at its height. If as Hyman’s history of the Jews in Ireland has it ‘they knew no trade but peddling’, a fact contested in Ó’Gráda’s work, then this aspect of Irish Jewry is well summed up in the opening verses of ‘The Jewman’:

 At the top of town, Anne Street, a lady does dwell,

Her name I won’t mention, I dare not tell,

One cold winter’s morning the Jewman did call,

And unslung his bag outside of the hall.

He knocked at the door with his usual grin,

Saying good morning, missus, is your husband within

Says she no he’s not I want nothing today,

Ah take something said the Jewman don’t send me away.[10]

In the song, the woman takes some blankets on the promise of payment the following week, and duly the following week no payment is forthcoming, so the Jewman makes a grab for his goods, is hit over the head with a can by the woman before both are brought before a court, the song finishing with the testimony of ‘a big red nosed Bobby’ and a suitably amdmonished Jewman:

Said the Jew oh your Worship my poor head is sore,

And I’ll never go look for me wool anymore.[11]

As Cormac Ó’Gráda notes of such songs, and this particular one seems to have existed in a variety of versions Dublin as well, were indicative of views among Irish people that were ‘more xenophobic than strictly Anti-Semitic.’ Indeed, he contends that ‘the outlook of most Irish people of all persuasions was blinkered, parochial, and prejudiced by today’s standards.’[12] Such was the power over the local imagination of this figure, the ‘Jewman’, that one of Waterford’s lanes, Kneeff’s Lane, was popularly known as ‘Jewman’s Lane’. Indeed, the popular folk memory of the ‘Jewman’ and ‘Jewman’s Lane’ were revisited in a recent documentary about the Barrack Street area in the heart of Waterford city (the relevant segment is from 36:00 to 38:45):

As we’ve seen, the first Jewish marriages and other occasions were of deep interest to many locals, and something of this interest first present in the 1890s remained in the 1930s, as when the Munster Express carried a small notice relating to the Jewish Day of Atonement in September 1931.[13] Members of Waterford’s Jewish community found themselves in court on occasion, and in a rare display of anti-Semitism, a local District Court judge told a member of the family that he should count himself lucky, given what was happening to his people in Hitler’s Germany, though many rushed to defend the judge saying his comments were not meant in such a way.[14] There was also this joke which appeared in the pages of the Munster Express:

Munster Express, June 26 1936

Munster Express, June 26 1936

Still, whether this properly reflects the relationship between the Jewish community and their hosts is difficult to ascertain for certain, perhaps like the figure of the ‘Jewman’ this was more parochial than anti-Semitic. One of the more unusual stories involving Ireland’s Jewish community and Waterford comes from the late 1930s as well. Frank Edwards, a member of the Communist Party of Ireland and rugby player with Waterford City RFC and teacher in Mount Sion, took a leave of absence from his teaching duties in the school to join the International Brigade  to fight fascism during the Spanish Civil War. Upon returning, Edwards was refused his old job and barred from teaching in any Catholic school. Rev. Herzog, the Chief Rabbi in Ireland, gave Edwards a job teaching in Zion Schools, recently established on Bloomfield Avenue in Dublin, where Edwards would work for the next thirty years.[15]

The legacy of Waterford’s Jewish Community

Ray Rivlin’s Jewish Ireland: A Social History, contains a chapter on sport and entertainment.[16] The chapter opens with the story of Maurice Woolfson, a Jewish Waterford man who led local club Evergreen, when they achieved great victory on the field in the 1930s. The Woolfson name is an important one in the early history of Waterford soccer. Isaac Woolfson, was in the 1930s, chairman of the Waterford and District Association Football League and a key figure in establishing the first Employer’s League in 1931, forerunner to the factory leagues. Like many of the figures explored in Anthony Clavane’s Does Your Rabbi Know You’re Here?, men like Isaac, Maurice and later ‘Duffy’ Woolfson, emigrant Jews from the poor edges of Russia, who were not of the middle-class “English Jew” origins of earlier Jews in Waterford, used sport, and soccer in particular as a means of integration and acceptance. Cormac Ó’Gráda, discussing the wide variety of sporting and other bodies established by Ireland’s Jewish community noted that success in the sporting arena ‘fostered communal pride’ but he also noted that it wasn’t long before many Irish Jews, and the membership of their sports clubs, moved beyond the community itself. [17]In 1938, with Maurice Woolfson as chairman, Evergreen won the FAI Minor Cup, beating Sligo United 2-1 in a game held at Kilcohan Park in the city. On his leaving for Dublin 1940, the loss was lamented by all involved in the club.

The Woolfson family dispersed from Waterford but returned in 1971 for the inauguration of the Maurice Woolfson Perpetual Challenge Trophy for the local Schoolboy League at half time during a League of Ireland game between Waterford and Finn Harps. However, as was noted by a journalist at the time, the contribution of the Woolfson family to Waterford soccer amounted to a lot more than just a silver trophy, ‘no matter how magnificent’.[18] The same might be said of the entire Jewish community, who breathed life into the streets on which they lived in Waterford, leaving a long lasting impression on the city and its people.


[1] Hyman, Louis, The Jews of Ireland: From Earliest Times to the year 1910, Shannon: Irish University Press 1972, p.22

[2] Hyman, The Jews of Ireland, p.79

[3] Hyman, The Jews of Ireland, p156 and 161

[4] Jewish Chronicle, 1 September 1893

[5] Jewish Chronicle, 22 September 1893

[6] Jewish Chronicle, 20 October 1894

[7] Jewish Chronicle, 23 November 1894

[8] Jewish Chronicle, 27 March; 17 July 1896

[9] Jewish Chronicle, 6 November 1896

[10] Power, Dermot, The Ballads and Songs of Waterford from 1487, Waterford: Munster Express 1992, pp.10-11

[11] Power, Ballads and Songs of Waterford, p.11

[12] Ó’Gráda, Jewish Ireland in the Age of Joyce: A Socio-economic history, Princeton: Princeton University Press 2006, p.180

[13] Munster Express, September 25 1931

[14] Munster Express, Septembr 27 1935

[15] Rivlin, Ray, Ireland: A Social History, Dublin: The History Press Ireland, 2011, p.110

[16] Rivlin, Ray, Jewish Ireland, pp.209-210

[17] Ó’Gráda, Jewish Ireland, pp.186-187

[18] Munster Express, April 23 1971

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Filed under Irish History, Memory, Nineteenth Century, Social History, Spanish Civil War, Sports History, Twentieth Century

Intermission: Musicians on Strike in Dublin, 1921-1925

Infinite Variety: Post-Independence Leisure

Following Irish independence and the end of civil war hostilities, leisure pursuits in Ireland experienced unprecedented growth. The Football Association of the Irish Free State and the new Free State League following the split from the Belfast-centred Irish Football Association (IFA) would form a cornerstone of popular working-class leisure, particularly in Dublin, where the first new league season saw all eight teams coming from the capital. Over the course of the 1920s, these Dublin clubs would be joined by Athlone, Fordson FC formed by workers the Ford marina plant in Cork and by 1930, Waterford FC. Many of the staple sides of the League in that era were from the factories of Dublin including Jacobs and St. James’ Gate. Dalymount Park was then the home of Irish soccer, and the game was in such rude health that as well as the Freemans Journal Saturday supplement, Sport, for a few brief years at least, a soccer-only newspaper, the Football Sports Weekly came out. As well as clicking through the turnstiles at Dalymount and elsewhere, you could find your favourite footballers in the back of cigarette packets, as cigarette cards with sporting heroes were reproduced for the Irish market. Better again, you could relive glorious goals and near misses watching, for a couple of pence, the newsreels before the main feature.[i]

If soccer wasn’t your thing, Shelbourne Park hosted from 1927 onwards greyhound racing as well as soccer. The sport, which began in the United States, soon found its way to the United Kingdom, with a track at Belle Vue Park opening in Manchester in 1926. Only a year later, the first greyhound races, with the electric hare whirring around the track, began at Belfast’s Celtic Park and followed quickly in Dublin. If you fancied a flutter but hadn’t the price of a special train to the races, or the price of admission, you could walk your way down to the newly opened licensed betting shops and lay a half crown on a horse, and if your luck was out there, there was always the hospital sweepstakes.

The development of this infinite variety of entertainments, argue Kevin and Emer Rockett, were part of the process that led to the development of cinema, but were also part of creating entertainment venues that could be controlled, unlike the unruly fairs and pattern festivals of the eighteenth century and earlier, such as the notorious Donnybrook; this was a process similar to that which drove the modernisation of sport.[ii] While the legitimate theatre developed in the late nineteenth century for Ireland’s emerging middle class, working-class people had their own theatre: music hall and vaudeville, described by Kevin and Emer Rockett as “a form of entertainment that emerged from an altogether more basic source: the pub or public house.”[iii] Of course, the music halls and similar venues frequented by working-class people often used the forms available in these theatres to poke fun at their social superiors.[iv]

The music halls, argues Christina Herr, occupy an important place in the work of James Joyce in his rendering of Dublin in Ulysses, particularly in the “Circe” episode of the novel, reflecting the importance of the music halls in the Dublin of Joyce’s time for working-class people.[v] Cinema in the 1920s in Dublin would occupy a similarly important place. Kevin and Emer Rockett write that the appeal of the cinema, not unlike the music halls was “of a shared communal space, which was characterized in the first instance as pleasure-giving rather than being as part of, or governed by, the instrumental rational order of capitalism, the state, or the church.”[vi] This demand for the cinema was all a result of greater purchasing power of unskilled workers, the regulation of opening hours for the cinemas, particularly on a Sunday – the most important day for adult attendance at the cinema, and a boom in the building of cinema spaces.[vii] Such was the demand and interest in the cinema in post-independence, that hundreds of people were employed in the sector. These hundreds worked as ushers, projectionists and did other work in the cinemas, along with hundreds more musicians who, solo or together as orchestras, provided the soundtracks to the newsreels, cartoons and feature films watched by people in their thousands.

The theatres and cinemas in Dublin had a body called the Theatre and Cinema Association (TCA), an employers’ organisation, who set wages and conditions for staff. Most of the cinema and theatre workers were part of the ITGWU – ushers, bar attendants, and projectionists, although there was also a cinema operators union. The musicians who provided the sound in the silent film era had a union too, a union unafraid to speak up on behalf of their members. Amid the troubles of the war of independence in 1921, for instance, a minor dispute between the Musicians’ Union and the TCA over employment conditions saw the musicians threaten a stoppage of play which resulted in representatives of both bodies meeting at the Theatre Royal, a meeting that ended amicably.[viii] Close to twelve months later, a dispute between staff and management at the Theatre Royal that involved the TCA, ITGWU and the Musicians’ Union was resolved by a settlement, in talks held by the government’s Department of Labour.[ix] These disputes were relatively minor by comparison with what happened in 1923, when a draft proposal by the TCA was rejected by ballot of the cinema workers who were members of the ITGWU.

The draft proposal asked that the employees take a wage reduction of between 12.5 and 15%. As a result, the management of the city’s cinemas, theatres and music halls threatened that they would lock-out the workers. This decision to reject the ballot and the possibility of a lock-out meant that the musicians, who played and earned their living through the same theatres, would also lose out on work and pay. As the Irish Times noted what this meant in real terms was a reduction in pay of 2s 6d for women cleaners in the theatres, as well as wage reductions, apparently depending on the standing of the theatre, for bar attendants, checkers, ushers and stage workers. For cinema workers it meant reduced pay as well rolling back on ‘certain rights peculiar to the trade, which had become established by custom’ which had been recognised in the previous agreement.[x] When matters came to a head on June 17 1923, the Sunday Independent ran a story with the headline “No Plays No Pictures” and quoted a manager of one of the theatres as saying “we are locking up tonight and taking keys from staff. There will be no performance here, nor in any other theatre in Dublin, on Monday night, and we don’t know when we are opening again.”[xi]

A 1923 newspaper report on the lock-out of part-time workers in cinemas and theatres.

A 1923 newspaper report on the lock-out of part-time workers in cinemas and theatres.

FJ 1923

According to a member of Dublin Corporation interviewed in the same article, it was estimated that some 25,000 people went through the doors of the various theatres, cinemas and music halls a night on average. The lock-out was expected to have a knock-on effect for everyone from the restaurant trade to printers and bill posters. The Freemans Journal meanwhile was reporting that the management were firm on the issue writing that one manager said ‘with great determination’ that “my house will remain closed until the staff returns to work on the terms already laid down. We are quite prepared for a long period of idleness.” The same report, reproducing figures the same as those in the Sunday Indpendent, reckoned it affected roughly 250 theatre employees.[xii] The closures would last roughly a fortnight, when an agreement between the workers and the management was reached at a conference held in the Mansion House by Alderman A. Byrne.[xiii] The settlement of this dispute seems to have satisfied the workers in the cinemas, theatres and music halls for a period at least, although the difficulties experienced by the ever-growing and ever-popular entertainments industry wouldn’t have to wait too long before trouble reared its head once again.

The Main Event: The 1925 Lockout

It was 1925 which proved to be a watershed year in the rumbling disputes between cinema and theatre workers and musicians on one side and their management on the other. This time the dispute was being led by the musicians, rather than the other staff. According to a report in the Irish Times the Musicians’ Union demanded a new agreement for wages and conditions, which it was felt, had the potential to lead to a serious dispute. The musicians demanded a pay increase of 25% along with double-time pay for all Bank holidays, and a fortnight’s paid holiday. It also sought the right to refuse playing on Sundays, Good Fridays and Christmas, unless the show was open by permission of the authorities, and in which case they demanded double-time for playing.[xiv] In June, the Irish Independent ran a piece on the demands of the musicians with the headline “Grave Theatre Crisis”.

The Irish Independent describes the seemingly inevitable dispute as a "grave crisis"

The Irish Independent describes the seemingly inevitable dispute as a “grave crisis”

According to one theatre manager interviewed for the article, musicians in the theatre orchestras of Dublin had big wages during the day and could not claim to have a living wage. By July, with no apparent agreement reached on these new terms looked for by the musicians, the newspaper was reporting that the musicians were “out” and the TCA were offering to engage musicians on the old terms if they were willing to take that pay in order, the management insisted to prevent inconvenience to the public.[xv] The same day that saw this story run, there was an ad placed elsewhere in the Irish Times by the musicians’ union’s secretary HJ Leeming. Leeming’s ad sought to rectify that a 25% increase in salary had not in fact been asked for, but rather an increase by that degree in minimum rates of pay and that the management use union-only musicians instead of hiring foreign musicians. It also insists that the situation was the fault of the TCA, since they jumped the gun by locking out the musicians before there was a conciliation board arranged by the Ministry of Industry and Commerce.[xvi]

The Irish Independent is certain this will be a long, drawn-out affair

The Irish Independent was certain this would be a long, drawn-out affair

The employers, for their part, we busily engaged in hiring non-union musicians and it was ‘anticipated that the managers would have no difficulty in getting full orchestras after a short time.’[xvii] Likewise the Irish Independent ran a story with the headline “Amusement as Usual” assuring readers that the shows would go on. [xviii]Some 250 or so musicians were involved in the dispute, and after the first week, the picketing of the musicians appeared to have had little impact as managers reported that their business had been unimpaired and the improvised orchestras were described as “working satisfactorily”. One band who were engaged from England to play the Theatre Royal, the Frank E Lubin’s band, returned by night mail boat when they learned of the dispute. The band’s leader explained that as members of a similar union in England they didn’t wish to cross the picket line. According to the newspaper report, AT Cullen, President of the musicians’ union, thanked Lubin’s band for “their manly action.”[xix] In another show of support, the Irish Dance Bands’ Association agreed to co-operate with the musicians’ struggle in the cinemas and theatres. There was almost no popular support for the dispute it seems, or very little. People continued to attend the cinemas and theatres.

As the month of July wore on, and positions became entrenched there seemed less and less hope of a conciliation board being arranged for a discussion of terms. One theatre manager interviewed by the Irish Independent felt that many of the musicians had no grievance and felt that the terms of the old agreement, given the apparent depressed state of the economy was a fair one.[xx] Indeed for that newspaper, the musicians strike was just one among many in what it called the “city of strikes”, before detailing the “latest menace” of hotel and catering workers about to begin a dispute with the Hotel, Restaurant and Caterers’ Association.[xxi] Pickets outside of the theatres continued, and marches through the street by a band of fifty took place, while they also played at the East Pier in Kingstown and another band played a garden party at Shankill.[xxii] HJ Leeming continued to write to the Irish Times insisting that the dispute had been misrepresented generally in the press, insisting that this was not a strike action but a lockout by employers, and that they were willing and waiting to engage with the management to work out a deal at a conciliation board but they had not yet heard from either the secretary of the department in government or from the managements’ association.[xxiii] The strike would last right into August, with the Irish Times reporting its collapse in the middle of the month, and the comprehensive defeat of the musicians in their hopes of improved pay, conditions and use of union musicians.

A few years after the 1925 lockout, as the talkies made their way to Dublin, some in the Irish press were sceptical, quoting great silent film star Charlie Chaplin as saying “I can say anything I want to say by a gesture”; the intermission imposed by Dublin’s unionised cinema musicians was itself a gesture that said loudly as any of Chaplin’s movements, fair wages, good working conditions and the right to union membership while at work were worth fighting for.


[i] See the appendices of Chambers, Ciara, Ireland in the Newsreels, Dublin: Irish Academic Press 2011 for a fairly comprehensive list of newsreels produced about Ireland and to get some sense of how much of this material was sport related

[ii] Rockett, Kevin and Rockett, Emer, Magic Lantern, Panorama and Moving Picture Shows in Ireland, 1786-1909, Dublin: Four Courts Press 2011, pp. 169-216; On the suppression of Donnybrook see Ó’Maitiú, Séamas, The Humours of Donnybrook: Dublin’s Famous Fair and its Suppression,  Dublin: Irish Academic Press 1995

[iii] Rockett and Rockett, Magic Lantern, Panorama and Moving Picture Shows, p. 205

[iv] See Selenick, Laurence, “Politics as Entertainment: Victorian Music Hall Songs”, Victorian Studies, Vol. 19 No. 2 December 1975, pp. 149-180. For some good general reading on music hall see also Bratton, JS (ed.), Music Hall: Performance & Style, Milton Keynes: Open University Press 1986 and Bailey, Peter (ed.), Music Hall: The Business of Pleasure, Milton Keynes: Open University Press 1986; Vicinus, Martha, The Industrial Muse: A Study of nineteenth century working-class literature, London: Croom Helm 1974 and most recently Maloney, Paul, Scotland and the Music Hall, 1850-1914, Manchester: Manchester University Press 2003. Little is written on music halls in Ireland except for Watters, Eugene, and Murtagh, Matthew, Infinite Variety: Dan Lowrey’s Music Hall, 1879-97, Dublin: Gill and MacMillan 1975 and McDowell, Jim, Beyond the Footlights: A History of Belfast Music Halls and Early Theatre, Dublin: The History Press Ireland 2007

[v] Herr, Christina, Joyce’s Anatomy of Culture, Urbana and Chicago: University of Illinois Press, 1986, pp.189-221

[vi] Rockett, Kevin and Rockett, Emer, Film Exhibition and Distribution in Ireland, 1909-2010,  Dublin: Four Courts Press 2011, p.42; See also Daly, Mary, Dublin: The Deposed Capital, a Social and Economic History, 1860-1914, Cork: Cork University Press 1984

[vii] Rockett and Rockett, Film Exhibition, pp.41-47

[viii] Irish Times, 29 July 1921

[ix] Irish Times, 15 May 1922

[x] Irish Times, 6 June 1923; 12 June 1923; 28 June 1923

[xi] Sunday Independent, 17 June 1923

[xii]  Sunday Independent, 17 June 1923; Freemans Journal, 18 June 1923

[xiii] Sunday Independent, 1 July 1923

[xiv] Irish Times, 21 May 1925

[xv] Irish Times, 6 July 1925

[xvi] Irish Times, 6 July 1925

[xvii] Irish Times, 7 July 1925

[xviii] Irish Independent, 7 July 1925

[xix] Irish Times, 14 July 1925

[xx] Irish Independent, 9 July 1925

[xxi] Irish Independent, 20 July 1925; to judge by the pages of the Voice of Labour during the summer months of 1925 this other dispute centred largely on staff in the Metropole.

[xxii] Irish Times, 22 July 1925; 27 July 1925

[xxiii] Irish Times, 22 July 1925

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Bloody Sunday: November 21 1920 – Representation and Legacy

As we wend our way through the next decade of commemorations great and small, sometimes with a sure footing, sometimes without, Fintan O’Toole has written that ‘the decade that is being marked is not only about violence and conflict but it is undeniably steeped in bloodshed, animosity and disastrous division. History should not wallow in these swamps, but it cannot stay clear of them either.’[1] Violence and sport are age-old bed-fellows – whether on the pitch or in the stands – violence, and the threat of it, forms part of the frisson of sporting endeavour. However, some forms of violence enacted in sporting contexts are utterly unexpected. Violence doesn’t tend to form as strong a part of Irish people’s conception of their sporting history as it does say in England, where violence at football in particular has been absorbed into its narrative particularly in the last forty years. Largely this is because the same phenomenon, hooliganism, hasn’t received quite as much attention in an Irish context – except by a sensationalist press – and because it happened on a much smaller scale. There is an exception to this: one violent act does loom large in Ireland’s sporting history.

Representation

One of the stand-out sequences in Neil Jordan’s biopic Michael Collins are those depicting the events of November 21 1920, more commonly known as Bloody Sunday. One of the most arresting aspects of Jordan’s portrayal is the Gaelic football match between Tipperary and Dublin in Croke Park. As with much of the film, Jordan took some liberties in portraying this retaliatory event, though having read some contemporary reports, there seems little need since the reality strikes me as being sufficiently shocking. Two of Jordan’s key changes, partially for the purposes of narrative drive but also for visual impact, was firstly to have the shooting done by Auxiliary Forces rather than the Royal Irish Constabulary (RIC), and secondly to have an armoured tank come on the pitch to do the shooting, but this did not happen, rather the tank was outside the ground firing into the air. Sean Crosson, discussing the scene in an article on representations of the GAA on film says this scene was one of the most controversial on the films release in Ireland, in November 1996. According to Crosson ‘Jordan has defended his use of armoured cars as he wanted this “scene to last more than 30 seconds”‘.[2]

“A Thrilling Game Expected!”: A Challenge Match

Due to the disruptions to normal life caused by the war of independence, there were serious knock-on effects for sport too. Matches were less frequent and competition difficult to compete. It was in this context that a challenge match was arranged between Tipperary and Dublin to be played in November 1920. An ad in the Irish Independent the day beforehand let us know a thrilling game was expected between the challengers and the Leinster champions.[3] Somewhere between 5,000 and 15,000 people turned out to witness the game. What few of the spectators would have known was that morning, some 14 British intelligence officers were shot around various parts of Dublin (according to Ferriter several were not in fact intelligence agents at all and one was a cousin of Michael Davitt).[4] FSL Lyons wrote that ‘this multiple shooting spread a wave of horror through both England and Ireland’ but, he continues on ‘the horror was redoubled by the revenge of the Black and Tans’, where in Lyons’ words they ‘fired indiscriminately on the players and the crowd.’[5] Not long into the match, shots rang out as according to some armoured vehicles were parked at each corner of the ground. Amid the confusion, 13 civilians – some of them children – were killed and one player, Tipperary captain that day Michael Hogan, was shot in the mouth as he scrambled to duck from the firing.  Mike Cronin, Paul Rouse and Mark Duncan’s The GAA: A People’s History wrote of it that ‘of all the bloody days of the War of Independence, this was the bloodiest of them all – at least in terms of its impact on the public psyche.’[6]

Press Reporting

In the days and even weeks following this event, the newspapers were full of reports of the events as more and more of what happened slowly came to light. The thrilling match that had been advertised turned out to be something rather different. Rather than a tale of sporting exploits, the headline in the Irish Independent that Monday read starkly:

Irish Independent, Monday 22 November 1920

Irish Independent, Monday 22 November 1920

The newspaper reported ‘terrifying scenes’ when the RIC, military and auxiliaries made their appearance. They reported too that there were ‘most painful scenes’ as the dead and injured were picked up and brought to hospital for treatment.[7] The Freeman’s Journal wrote about a priest who ministered the last rites to the injured and dying.[8] The same issue of the newspaper carried an official statement from Dublin Castle to say that the RIC and other personnel had gone to the grounds on information of finding some particular suspects.[9] The Freeman’s Journal a few days later reported that Sir Hamar Greenwood in response to a query in Parliament about the matter that ‘the firing by the Crown forces was fully justified in the exceptional circumstances of the situation Sunday last.’[10] The Irish Times reports were the only ones to acknowledge that there was some ambiguity to the exact sequence of events, and conflicting reports. Given the papers political stance, the front page next Saturday led with the murder of the famous ‘Cairo Gang’ but their front page also had this as a follow on from that story:

Irish Times, Saturday 27 November 1920

Irish Times, Saturday 27 November 1920

Legacy

In the aftermath of the event, Hogan was buried in his Tipperary jersey, his coffin draped in the Irish tricolour. In their people’s history of the GAA Mike Cronin, Paul Rouse and Mark Duncan write of Bloody Sunday 1920 being ‘for the GAA… an entirely new aspect to the place of Croke Park in the story of the Association. This was now more than merely a playing field: it was martyred ground’. It was, they write ‘the place where people had been shot because they attended a Gaelic football match.’[11] Echoing this, John Sugden and Alan Bairner described the event as one ‘etched in the consciousness of Gaels’ and argue that ‘events like [Bloody Sunday] rapidly accelerated the alienation felt between the authorities and the Irish people’, thus ‘undermining the basis for continued British rule in Ireland.’[12]

The  naming of a stand after the Tipperary player who died, Michael Hogan, four years later attests to this – it is indeed hard to sit in a seat in the Hogan Stand and not, even briefly, cast your mind back to the event and so to the surrounding events. This stand was built in time for the 1924 Aonach Tailteann, a project for promoting the newly independent state to the world via the medium of sport.[13] Brian Hanley informs us the events of Bloody Sunday were being used in the mid-1960s in an United Irishman newspaper article on the ban on foreign games where the journalist insisted that on that day in 1920 the Black and Tans “knew where to find the Fíor Gael” and that was at Croke Park and not at Lansdowne Road or Dalymount.[14]

A ticket from the Bloody Sunday match, recently sold at auction. Image Source: www.thurles.info

A ticket from the Bloody Sunday match, recently sold at auction. Image Source: www.thurles.info

Former President of the GAA Peter Quinn (1991-1994), reflected that when the GAA was during his tenure considering the redevelopment or building of a new state-of-the-art stadium that the management committee decided that ‘tradition, history, the symbolism of Hill 16, the memory of Bloody Sunday and a myriad of other factors’ dictated against a new ground and instead the redevelopment of Croke Park as it then existed.[15] According to an Irish Examiner report, a ticket from that match (pictured above) was sold at auction in Co. Clare in 2012 for over €5,000. The same article notes that another ticket from the match had a few years previously, in 2007, sold for around the €7,500 mark. The Irish Examiner article places this March 2007 sale in the context of the opening of Croke Park to foreign games.[16] The event was a central part of the Queen’s visit to Croke Park as part of her visit to Ireland in the summer of 2011, where according to a report on TheScore.ie then President of the GAA, Christy Cooney, while making reference to the tragic events of Bloody Sunday 1920 said that

We also know that in our shared history there have been many tragic events which have inflicted hurt on us all.

While acknowledging the significance of the past and honouring all those that have lost their lives, including those that died in this place, the Gaelic Athletic Association has consistently supported and helped advance the peace process in Northern Ireland.

This use of the event stands in stark contrast to that which Brian Hanley noted in the 1960s in the pages of the United Irishman. This particular articulation of the event, as being part of a shared history, is in keeping with the more conciliatory role the GAA has been seen to play since the 1990s, and noted by both Bairner and Sugden in their work on sport and sectarianism in Ireland. Of all the legacies, tributes, and modes of commemoration, one stands out most. The most poignant tribute made to Hogan was the one when Tipperary would play Dublin for the title of 1920 All-Ireland champions in 1922, and upon winning, the Tipperary players gathered at the spot where Hogan was shot to hear the music struck up by the CJ Kickham band.[17]


[1] Fintan O’Toole, “Beyond Amnesia and Piety” in Horne, John and Madigan, Edward, Towards Commemoration: Ireland in War and Revolution, 1912-923, Dublin: Royal Irish Academy 2013, p.158

[2] Seán Crosson, “Gaelic Games and ‘the Movies’”, in Cronin, Murphy, Rouse (eds.) The Gaelic Athletic Association, 1884-2009, Dublin: Irish Academic Press 2009, p.119

[3] Irish Independent, 20 November 1920

[4] Diarmaid Ferriter, The Transformation of Ireland, 1900-2000, London: Profile Books 2005, p.235

[5] FSL Lyons, Ireland Since the Great Famine, London: Fontana Press 1985 edition, p.419

[6] Cronin, Duncan, Rouse, The GAA: A People’s History, Cork: The Collins Press 2009, p.154

[7] Irish Independent, 22 November 1920

[8] Freemans Journal, 22 November 1920

[9] Ibid.

[10] Freemans Journal, 27 November 1920

[11] Cronin, Duncan, Rouse, The GAA: A People’s History, p.154

[12] Sugden, John and Bairner, Alan, Sport and Sectarianism in a Divided Ireland, London: Leicester University Press 1993, p.33

[13] Cronin, Mike and Higgins, Roisín, Places We Play: Ireland’s Sporting Heritage, Cork: The Collins Press 2011, p.96; See also Mike Cronin, “The Irish Free State and Aonach Tailteann”, in Bairner, Alan (ed.) Sport and the Irish: Histories, Identities, Issues, Dublin: UCD Press 2005, pp.53-69

[14] Brian Hanley, “Irish Republican Attitudes to sport since 1921”, in McAnallen, Hassan and Hegarty (eds.), The Evolution of the GAA: Ulaidh, Éire agus Eile, Dublin: The GAA 2009, p.179; Interestingly though, one of the Tipperary players that day – James McNamara, had less than ten years previously won trophies playing soccer with Cahir Park Football Club, see Paul Buckley, Cameos of a Century, Cahir: Cahir Park 2010, p.9

[15] Peter Quinn, “From Tigh Mór to Croke Park”, in McAnallen, Hassan and Hegarty (eds.), The Evolution of the GAA, p.48

[16] Irish Examiner, 15 February 2012

[17] Cronin, Duncan, Rouse, The GAA: County by County, Cork: The Collins Press, pp.362-3

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Teddy Boy “Terrorists” & Mod Invasions: Youth sub-culture in Waterford, 1950-1985

One of the most remarkable books of Irish social history to appear in the past twelve months is Where Were You? by Garry O’Neill, a superb photographic record of youth culture and street style in our capital, Dublin, from 1950 to 2000. The various subcultures the book represents from Teddy Boys through to mods, rockers, punks and skinheads and beyond weren’t exclusively Dublin-centric developments. Although largely imports and imitations of both American and English youth subcultures, all of these were adopted by Irish teenagers and twenty-somethings, as a means of collective and individual expression of difference from their parents. These subcultures were very often also linked to violent and social criminal behaviour. Here, I’m going to take a brief look at some of those in Waterford from the 1950s to the middle of the 1980s.

The Teddy Boy, and Girl, emerged in post-war Britain, a subculture that appropriated Edwardian dress  (hence the shortening to Ted/Teddy) and subverted it through their associations with American Rock ‘n’ Roll and cemented their mythical status as troublemakers through the Blackboard Jungle and Notting Hill riots of respectively, 1956 and 1958. The style of the Teds was imported into Ireland in the same period, and caused panic akin to that in the British press.

The film in particular, so emblematic now of the Teds, was indeed popular in Waterford – being showed at regular intervals in The Coliseum (originally opened as a skating rink in 1910) cinema on Adelphi Quay from 1956-1958, but there seemed to be no desire to imitate the famed riots of their British counterparts among the youth of the south-east. One group of self-styled Teddy Boys in Waterford though in 1956 found themselves up in court for breaking and entering into various city premises and generally terrorising people on the streets; despite pleas of clemency from one of their mothers, one boy, McCarthy, was sentenced to two months in jail. The headline of the report was sensational, calling them Teddy Boy Terrorists:

teddy boys


Teddy Boys were most often referred to in Waterford in relation to more positive stories of youths – with local dignitaries and the clergy happy to be able to provide examples contrary to the behaviour of the Teddy Boys. But soon the Teddy Boys gave way to other emerging youth sub cultures in the early 1960s. Again taking their lead from their British counterparts, the mods and rockers of Ireland attracted the opprobrium of Ireland’s clerical class, as this stern warning from the Bishop of Ossory indicates:

Ossory Warning

Such fear-mongering was largely misplaced and indicative of a failure to understand that even in Ireland, now in the televisual age, would be open to much wider and disparate cultural influences, especially among the young. An article in the Munster Express of June 26, 1965 readily acknowledges this, if lamenting its impact on the fortunes of Irish language and culture by saying that ‘now we have more than Anglicisation: we now have world-wide Americanisation.” The journalist goes on to write, half-aghast, that “we hear so much about ‘Mods’ and ‘Squares’ that one cannot help wondering how certain sections of the community will be described next.” An article in the same newspaper in 1967 reporting a talk given by Frank Hall suggests that the Irish youth are becoming increasingly odd, and worse, unmanly, suggesting we institute mandatory military service in order to inculcate “general manliness and normal behaviour”, after all, he notes “there are no Beatniks or Mods in the defence forces.” But mods were such a part of Irish life by this time that Jacobs biscuits even did an ad for their Club Milk that saw bankers, mums, and Gardai, as well as too-cool-for-school mods doing the “Club Milk Kick!”

The mods gave way to various other youth subcultures in the 1970s, notably skinheads and a little later punks. There was a strong skinhead contingent in Waterford who became associated with the Waterford Football Club and who along with their Shamrock Rovers counter-parts caused serious trouble at games throughout the period:

A clipping from a Waterford FC match in 1973 that ended in a nil all draw.

A clipping from a Waterford FC match in 1973 that ended in a nil all draw poking fun at its skinhead following.

But it was in the wake of the post-punk new wave and the Mod revival led by bands like The Jam, that Waterford would see panic on the scale of the early Teddy Boy scares in the 1950s. Indeed, it was in the 1980s that what was a Mod revival for the UK, was probably the real flowering of Mod culture in Ireland, and this was strong in Dublin, Cork and Waterford especially. Tramore, the seaside town in County Waterford that we’ve seen in the past play host to motor car races, was in the early 1980s a popular rallying point for mods and scooter enthusiasts. Perhaps fearing that this would lead to an Irish version of the battle of Brighton beach, captured evocatively in the 1979 film Quadrophenia the local newspapers led with a bold headline. The Munster Express was certainly raising the alarm with this notice in June of 1983:

Mod Invasion

There appears to have been little enough to have worried about, and tellingly, the paper the following week steadfastly insisted that it was not whipping up a storm of controversy, but their ‘Invasion’ headline was based upon a reliable local Garda source. There had been a major rally in 1982, and there was certainly a crowd in 1983, but whatever the Munster Express had been expecting to happen that Whit weekend didn’t seem to!

Issue 3 of Mod revival fanzine 'Who Are You' featuring Tramore

Issue 3 of Mod revival fanzine ‘Who Are You’ featuring Tramore. Source: irishjack80s.web.com

A girl looks on at Mod revivalists in Tramore in 1982. Source: irishjacks80s.web.com

A girl looks on at Mod revivalists in Tramore in 1982. Source: irishjacks80s.web.com

Mod revivalists line up along the Prom in Tramore in 1982. Source: irishjacks80s.web.com

Mod revivalists line up along the Prom in Tramore in 1982. Source: irishjacks80s.web.com

 

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The Irish Famine in Historical Memory: A Comparison of Four Monuments

Though without doubt a seminal event in Irish history, the meaning and memory of the Great Famine of 1845-9 remains contested. It is estimated that over 1 million people died and 2 million emigrated and it catalyzed emigration for the rest of the century. While historians debate exact figures and the evolution of the historiography of the event, its complex legacy in historical memory, especially across the vast diaspora, remains underemphasized. A comparison of four memorials, one in Canada, two in the United States, and one in Dublin, offers some insights. As Ian McBride writes, ‘we need to scrutinize collective myths and memories, not just for evidence of their historical accuracy, but as objects of study in their own right’.[1] These monuments are a physical manifestation of those ‘myths and memories’ and can be read as visual, cultural sources. First, an introduction to each monument, then some reflections on them.

Grosse Île, Canada

Opening ceremony in 1909 for the monument on Grosse Île. Photograph: Wikimedia Commons.

A 46-foot high Celtic cross stands at the highest point of this three by one mile island in the St. Lawrence River, thirty miles downriver from Quebec. Grosse Île served as a quarantine station for incoming immigrant ships from 1832 and witnessed the terrible devastation wrought by famine and disease on the ‘coffin ships’ that brought Ireland’s destitute to the New World in the late 1840s. Michael Quigley estimates that between 12,000 and 15,000 from the Famine era are buried here.[2] This monument, the first of its kind, was paid for by public subscription raised by the Catholic, nationalist organization the Ancient Order of Hibernians (AOH).[3] It was unveiled on 15 August 1909 in a ceremony attended by 9,000 people, including the last surviving priest who had attended the sick and a woman who had been orphaned there as a young child and adopted by a local family. Now, the whole island is a National Historic Site and many other commemorations have taken place there.

The inscription on the cross reads:

Cailleadh Clann na nGaedheal ina míltibh ar an Oileán so ar dteicheadh dhóibh ó dlíghthibh na dtíoránach ngallda agus ó ghorta tréarach isna bliadhantaibh 1847-48. Beannacht dílis Dé orra. Bíodh an leacht so i gcomhartha garma agus onóra dhóibh ó Ghaedhealaibh Ameriocá. Go saoraigh Dia Éire.

Children of the Gael died in their thousands on this island having fled from the laws of foreign tyrants and an artificial famine in the years 1847-48. God’s blessing on them. Let this monument be a token to their name and honour from the Gaels of America. God Save Ireland.

Famine Memorial, Washington Street, Boston

Famine Memorial, Boston. Photographs: Sara Goek.

Famine Memorial, Boston. Photographs: Sara Goek.

This memorial by Robert Shure was unveiled in June 1998 as part of the 150th anniversary of the Famine. It consists of a small round plaza with eight plaques describing the historical context and in the middle of the space are two groups each with three bronze figures, a man, a woman, and a child. In the first group, the man sits, head hanging limp and bones showing through his skin, while the woman kneels looking upward with one arm raised, with the child beside her. They are clothed in rags and emaciated. In the second group, all three figures are standing and they appear in motion, as if striding forward, healthy and well-clothed, but the woman has her face turned back, looking at the first group.

Irish Hunger Memorial, New York City

Irish Hunger Memorial, New York City. Photograph: Downtown Magazine NYC.

Irish Hunger Memorial, New York City. Photograph: Wikimedia Commons.

Designed by artist Brian Tolle and opened in 2002 this is perhaps the most ambitious and diverse of the four memorials here. The structure looks like an Irish hillside. A passage under it is reminiscent of ancient tombs like Newgrange. Above, the landscape incorporates the ruins of a nineteenth-century stone cottage from transported over from Mayo, surrounded by native Irish plants and inscribed stones from every county. From the top visitors look out over the Hudson River and the Statue of Liberty. The sculpture sits on an valuable piece of real estate, to south is the New York Mercantile Exchange, and the artist says that seen from this context it’s ‘an extraordinary thing’ that visitors ‘look out on an abandoned Irish field that’s here to commemorate a traumatic event in terms of world hunger’.[4]

Famine Memorial, Custom House Quay, Dublin, Ireland

Famine Memorial, Dublin. Photograph: Sara Goek.

Famine Memorial, Dublin. Photograph: Sara Goek.

Erected in 1997, this monument designed by sculptor Rowan Gillespie marks the site of departure of many emigrant ships. It takes the form of bronze figures, all emaciated and ragged, grasping bundles in their arms and walking towards some unknown future. On a wet, gray day, these figures appear eerie and unnerving. I am told that a sound instalation on the site used to play looped recordings of a voice reading lists of the food exported from Ireland during the Famine (though I don’t believe this was the the case when I visited). Nearby is the World Poverty Stone, expressing solidarity with people living in poverty across the globe, its proximity situating the Irish Famine as a lesson for understanding human rights today.

Why compare these? What can we learn from them? They commemorate the same event, but in quite different ways and in doing so I think they reveal much about how and why the Famine is remembered in Ireland and the Americas and why its meaning remains contentious. The first, the monument at Grosse Île evokes the ethos of its era, both in standing and inscription: the imagery of the Celtic Cross is one of a grave marker but in a form that brings to mind a Gaelic, Catholic golden age, while the plaque on it ties into the idea of Famine emigration as forced exile and the nationalist interpretation of the event and conditions that produced it as the work of ‘foreign tyrants’. Kerby Miller writes that in the aftermath of the Famine, Catholic clerics and nationalist politicians (both opinions represented in the AOH), ‘generalized the people’s individual grievances into a powerful political and cultural weapon against the traditional antagonist’.[5] In America they did so particularly effectively, not only because of memories of terrible suffering in Ireland and with no choice but emigration, but perhaps also because in the New World they faced prejudice and discrimination, which kept them as a group largely disadvantaged and left them bitter and disillusioned.[6] Nationalist readings of the Famine, represented by the opinions of John Mitchel and the AOH cross at Grosse Île, offered an explanation for their suffering as well as a ‘redemptive solution’ by calling on them to unite in recognition of their proud heritage, made mockery of by both the British government and American nativists.[7] The first memorial thus is both commemorative, marking the last resting place of thousands, and a strong signal of the strength of Irish nationalist sentiments in Canada and the United States.

The monuments in Boston and New York convey similar messages, albeit in slightly different ways. In the Boston memorial, the two groups of figures seem to be of the same people, a ‘before and after’ portrait of emigration. The first group, foresaken and emaciated leaving their native land, the second, healthy and successful in their new lives, though the female figure glances over her shoulder at the former. However, this sort of progress in the New World often took multiple generations and those who succeeded did not always choose to look back at where they had come from, viewing the Famine with shame or as part of the baggage of a past best left behind. Nonetheless, that story of ‘rags to riches’, of ‘No Irish Need Apply’ to the election of John F. Kennedy, has proven powerful regardless of its truth or complications. Not all immigrants found prosperity in America, but the enduring mythology is of those who did. As Kevin O’Neill writes, ‘The Famine provides Irish Americans with a “charter myth” – a creation story that both explains our presence in the new land and connects us to the old via a powerful sense of grievance.’[8] The Irish Hunger Memorial in New York emphasizes this point: the sense of grievance encapsulated in the abandoned, ruined cottage on an overgrown and rocky hillside, and the presence and success in the new land in the surrounding skyscrapers and view of the Statue of Liberty, the symbol of American opportunity.

The Famine Memorial in Dublin, in contrast, conveys an image of starvation, hopelessness, and tragedy. Who are these people? Where are they from? Where are they going? Will they even make it there? Their bodies are emaciated, their faces vacant. They show no signs of anger or resistance. It is a representation of the starving poor of Ireland leaving their country while food is also exported from along the same quays. Though it draws on nationalist sentiments similar to those found in North America, unlike its counterparts this memorial contains no suggestion of positive opportunity or triumphalist vision for these people. However, its proximity to the ‘World Poverty Stone’ does relate to the message emphasized by Mary Robinson during her presidency and in her speech at Grosse Île in 1994, that we should recognize the connection between human suffering in the past and that in the present. She said we must choose between being ‘spectators’ or ‘participants’, between separating ourselves or being compassionate and involved.[9] She rejected any moral distancing or dispassionate analysis, instead choosing to see the human element of the past and to understand it in contemporary terms.

These physical memorials each in a sense embody the ethos of the time and place that produced them and its historical memory of the event. Overall they suggest that for those in Ireland, the Famine continues to evoke memories of shame, hopelessness, and suffering, and while people such as Mary Robinson have, after 150 years, come to use it as a lesson for the present, that has not changed the persistent image in national consciousness. The memorials in Canada and America suggest a very different type of historical memory: for members of the Irish diaspora the Famine was not just a tragedy to be commemorated, but one from which they rose despite hardships, their creation story. These latter memorials contain a greater sense of optimism, a reminder of how far they had come. While the Irish nationalist historical narrative on both sides of the Atlantic used the Famine as proof of British misrule, the story of its casualties has gone down divergent paths.


[1] Ian McBride, ‘Memory and National Identity in Modern Ireland’, in I. McBride (ed.), History and Memory in Modern Ireland (Cambridge University Press, Cambridge, 2001), p.41.

[2] Michael Quigley, ‘Grosse Île: Canada’s Famine Memorial’, in A. Gribben (ed.), The Great Famine and the Irish Diaspora in America (University of Massachusetts Press, Amherst, 1999), p.150.

[3] Ruth-Ann M. Harris, ‘Introduction’, in Gribben (ed.), The Great Famine and the Irish Diaspora in America, p.12.

[4] RTÉ, Blighted Nation [radio programme], Episode Four, January 2013. For a longer discussion and interpretation of the Irish Hunger Memorial in New York see: Marion Casey, ‘Exhibition Reviews: The Irish Hunger Memorial, Battery Park City, New York’, Journal of American History, vol.98, no.3 (2011), pp.779-782.

[5] Kerby Miller, ‘“Revenge for Skibbereen”: Irish Emigration and the Meaning of the Great Famine’, in Gribben (ed.), The Great Famine and the Irish Diaspora in America, p.185.

[6] Ibid., pp.189-90.

[7] Ibid., pp.189-90

[8] Kevin O’Neill, ‘The Star-Spangled Shamrock: Meaning and Memory in Irish America’, in McBride, History and Memory in Modern Ireland, p.118.

[9] In: Peter Gray, The Irish Famine (Thames & Hudson, London, 1995), pp.182-3.

Update 19 June 2014: for further reading also see Emily Mark Fitzgerald, Commemorating the Irish Famine: Memory and the Monument (Liverpool University Press, 2013) and Margaret Kelleher’s lecture ‘Hunger in History: Monuments to the Great Famine‘ and article of the same name in Textual Practice, vol.16, no.2 (2002).

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Those Pesky Kids! Football on the Street

This post is driven by the same impulses as those that produced my piece on fish ‘n’ chips in Ireland, which you can check out here.

The part of Cork I live in is reasonably old, with most of the houses dating from around the 1880s. The oldest houses are in terraced rows. There are plenty of children in the area, and in the good weather they can be seen out and about, playing. One particular gable end is a favoured spot of some boys to either kick a ball or hurl a sliotar at. The importance of having a gable end that can operate as a goal, or as someone to pass the ball back to you tends to be underestimated. This particular gable end is in a wide open spot near the major road artery that brings you around to all of the streets in the area. This is usually only used by maybe one or two kids at a time and rarely are full-blown matches played here.

richardmaynefootballThe iconic image to the left, taken by British photographer Roger Mayne in 1956, captures the essence of playing on the street. There was a time, before the mass provision of outdoor and indoor facilities for sport in Ireland by the local club, the local government, or private leisure companies – the field of dreams for many was the street. Often narrow, usually packed, dirty, noisy, and always hard, they saw sporting triumph and tragedy to match any of the great pantheons of modern sport. For many kids, being out on the street playing was a necessity – small, cramped housing in many of Ireland’s towns and cities invariably meant that children were more likely to be found on the relatively spacious streets as opposed to their small homes.

Not surprisingly, much of this play was not looked on too kindly by some adults, and certainly not by the police. The antagonism between ball-playing youngsters and either local residents or police, has a long established tradition in Ireland. In Dublin Tenement Life, Kevin Kearns’ excellent oral history of inner-city, working-class Dublin, a huge array of stories abound on this subject. Take for instance the testimony of Senan Finucan, a Clare native who was a policeman in the Liberties in the 1930s:

Children all in the streets playing football and handball. They shouldn’t have been but they’d just give a signal that the police are coming and they’d run. And children swinging on the lamp-posts, that was dangerous with the lorries coming along. And scutting that was highly dangerous. We always tried to prevent that.

Throughout the book there are stories from people playing in the streets, in pitch ‘n’ toss schools, keeping sketch for policemen that might be coming. Such things weren’t restricted to Dublin’s inner-city though. Way back in 1875, in Nenagh, north Tipperary, football was already popular with young boys in the area with many being brought before the Petty Sessions in order to be fined either for playing football on the street or trespassing in farmer’s fields to play games with a football.

On one occasion a total of more than thirty young boys were summoned by the court in Waterford to pay one shilling for the “nuisance” they had caused with their ball playing. He said that it was a pity there weren’t more playing pitches in the city, and thought it a good thing that the boys should be playing football, calling it a “natural” thing. The previous day he had fined two boys five shillings and warned those in front of him that future fines would be two shillings six pence.

Similar incidences happened elsewhere throughout the country, even in the county towns. In Bantry, to take another example, one boy was brought before court for kicking a football off the bonnet of a Ford car during a game in which fifteen or sixteen boys took part according to a report in the Southern Star in September 1930, while many years earlier boys near Borrisoleigh in north Tipperary were summoned to court for trespassing on a farmer’s land to play football, according to court reports in the Nenagh Guardian during August of 1909 – following in the footsteps of boys nearby back in 1875.

In 1905, a tiny notice appeared in the Limerick Leader, informing us that at the Petty Sessions recently two boys were each fined a shilling for playing football on Market Alley. And, in Derry in April 1925, a boy of 16 was fined the remarkable sum of five shillings for playing football in the street, with the magistrate quoted as complaining that it was ‘almost impossible to get walking on the footpath in some districts.’ It’s unlikely the surly magistrate had the sunny south-east in mind, but around the same time in Waterford there was much he would have recognised.  Between 1927 and 1930 especially there was a good number of cases appeared before the district court relating to young boys who had been apprehended for playing football in the street, often with broken windows becoming a problem from stray footballs.

For one journalist, this was the thin end of the wedge, writing in the Irish Independent in July 1933 that kids who are fined for playing football in the streets come ‘to treat as no more serious [the laws forbidding] street football the laws forbidding truancy and petty stealing.’ Moralistic alarmism this may well have been but remarkably, the same newspaper records an incident in Belfast where a woman, Matilda Kernaghan, 74 years of age died in hospital from shock and exhaustion. This was  following a fractured leg sustained after being knocked over by a boy during a game of football on the street in April 1937.

street footie 1

Irish Press, 19 January 1934

Only three years previously, the Irish Press reported of a near fatal game which saw two boys involved in a game brought before the circuit criminal court in Dublin, when one boy caused sever bodily harm to another he was playing against in January 1934.

In July of that same year, the Irish Press ran the story of a Dublin dressmaker who had collected some 400 footballs that had been put through her window by boys playing in the street, which a Garda cited in the case of 17 year old boy four shillings for playing football in Denmark Street. These were extreme and unusual cases, but were apt to cause panic and dismay.

street footie 2

Irish Press, 6 July 1934

Part of the problem of course was that where previously road traffic had been minimal in Ireland, it was increasingly the case that cars were on the roads. By 1940 things had reached such a pitch over this issue of playing on the streets, and the accidents it was causing that the ‘Safety First’ Association published a handbook Safety First for Children. The publication was the subject of an Irish Times article in May 1940, which threw scorn upon those parents whose children played on the streets.  Although the article acknowledges the dearth of playing spaces, nevertheless the blame lies squarely with the parents who don’t teach their children how best to behave on the roads.In Waterford, the problem had become such by the 1940s that the newspapers nonchalantly ended court reports with the topic in a careworn fashion:

The usual fines were imposed on a number of city youths charged with ball playing on the street

Highlighting a significant gap between those for whom streets were fields of play and those for whom they were to be patrolled, these stories bear out the gap between desired and actual behaviour at a time when it was deemed right and proper that children should be seen and not heard!

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Take Me Out To The Ball Game

It can be easy to think sometimes that the games and pastimes which are so ubiquitously a part of Irish life these days – Gaelic games, rugby, soccer – were forever the dominant sports. But, before the GAA, the IRFU or the FAI and long before teenagers donned their New Era flat-peaked caps, baseball was being played in Ireland. Not among the Irish people admittedly, but it was on view and in the public consciousness, however briefly. Of the sports that we associate with Ireland in the late nineteenth century,baseball isn’t likely to be one of them.

Yet, there it was. Nestled in among all the other amusements, exhibitions, athletics displays and all else in between, if you looked hard enough, you could find baseball. Typically, when we think of Irish sport in the late nineteenth century, we think of the revolution in sporting culture begun by the Gaelic Athletic Association from its founding in 1884 – but the story of Irish sport in this period is wide-ranging and frequently surprising. In March of 1889 there were a number of exhibition games of baseball played in our capital city, Dublin. These exhibitions were part of a wider trend that saw American businessmen attempt to bring the game to cities in Britain as well, where they had set up businesses and saw it as a viable market for the establishment of a British and Irish Baseball League. One of the most well known remnants of this attempt to spread America’s past-time is Derby County Football Club’s home, the Baseball Ground. This ground was part of a complex built by Sir Francis Ley for workers at the Ley Ironworks – it was used as baseball ground from 1890-98. Martin Johnes has noted that among the sports that South Wales’ municipal authorities provided pitches for in public parks included in the summer time cricket and baseball.[1] There are no obvious remnants of the game here in Ireland, but the games were well-reported on in the press of the day as curiosities and social occasions that brought out the great and the good, even if they didn’t entice very many to take up the game.

Spalding is a name synonymous with the development of professional baseball in the United States in the late nineteenth century.[2] And, in 1889 Albert Spalding, following a fine and established tradition of touring sides, arranged a baseball tour of the United Kingdom that made its way through both Belfast and Dublin. This advertisement appeared in the pages of the Irish Times on March 25th:

Baseball 1

The team came to Dublin by way of Belfast that week where they played an exhibition at the North of Ireland Cricket Club’s ground in apparently gusty and inclement weather. We are reliably informed that despite this ‘the lawn in front of the pavilion was filled with a fashionable assemblage, the fair sex, in particular, being well represented.’[3]  We are also told that the most striking feature of this keenly contested game, which All America won 9-8 over their Chicagoan counterparts, was the outfield catching. For the uninitiated there is an explanation of how the game operates given by the correspondent. When the teams made it to Dublin the game, watched by among others then Commander-in-Chief of Ireland, Prince Edward of Saxe-Weimar, the game was a less exciting one. This time the correspondent complained that the striking of the batters, which he notes is one of the key attractions of cricket, was decidedly lacking in this game but again he praised the fine catching of the outfield players who put on a fine display in front of the crowd of 2,000 spectators. The American-ness of the event was commented upon, the correspondent saying they ‘played for blood’ and complaining that the bickering and challenging of umpires’ decisions  ‘reminded one of the disputes and unpleasantness sometimes associated with a hotly-contested football match in Yorkshire.’[4] In the pages of the Freeman’s Journal there was a greater welcome for the men, whom they describe as ‘the nicest lot of fellows to have come here for a long time’.[5]

This though wasn’t the first ever visit of American baseballers to Irish shores. About fifteen years previously similar exhibitions games had been played. Here is the ad that appeared then on the front page of the Irish Times on that first occasion of the visit of the Philadelphia Athletics and a team from Boston in 1874:

Baseball 2

From the account given then in the Freeman’s Journal it sounds as though it was a less successful tour than that of 1889. This tour of 1874, and the later one of 1889 weren’t the end of baseball’s time in Dublin however. In 1917, with the world at war, baseball was once again called upon in Ireland. This time the game was held to raise funds for the Dublin Castle Red Cross Fund. The event, once more attended by all of Dublin’s great and good, was between a team of American soldiers and Canadian soldiers. The Canadians ran out clear winners of the game 10-6. As a fundraising appeal of some novelty, the game was a great success, raising £752.[6]  Meanwhile, in Cork by the Mardyke, some 4,000 spectators looked on as a game was played between crews from two ships docked in the harbour.[7] A similar game was also mentioned among the papers brieflets after the war had ended, when a game between University College Dublin’s American students was arranged against members of the Navy in the city at Terenure Park in 1919.[8] Even in the Free State era, baseball exhibitions came to town, though perhaps reflecting the shift in political power, this time the match was held in Croke Park, the jewel in the crown of the GAA even then. In 1924, only months after the country hosted it’s first Tailteann Games, Chicago White Sox and the New York Giants came to play in Dublin as part of a European tour. The game though was played in poor conditions in front of a small crowd – the game had been arranged to start in the afternoon but due to the bad weather conditions, it started in the mid-morning. On heavy ground, the Giants beat the White Sox in a low scoring game by 4-3.[9]

This was an era when such sporting tours were first becoming common, and there was even an Irish cricket team that toured the north-eastern United States to face teams in New Jersey, Philadelphia and New York in 1879, but that’s another story for another post. Despite the continued touring, the game never really established serious roots in Ireland, competing as it would have been in an already crowded sporting environment. During the tour of 1974, a reporter in the Freeman’s Journal wrote

The elite of American athletes, the bone and muscle of their country, had come across some thousands of miles of ocean and were to be seen within a half a mile of our city, wearing the same garb and playing the same game that they had so recently worn and played on American fields,, amidst the uproarious applause of American spectators. Yesterday the spectators at the ground seemed to have penetrated pretty deeply into the mysteries of the game, and to understand its varieties and vicissitudes, and we even had some talk of establishing a club for its promotion in Ireland… It would be well then for our city athletes would take the game fairly in hands and give it a reasonable trial…[10]

The hoped-for baseball craze never took off and events like those of 1874, 1889, 1917, 1924 only cemented it’s reputation as a touring novelty. Had such a call to baseball been heeded though, then we might have seen the baseball cap on Irish heads much sooner than we thought!


[1] Martin Johnes, Soccer and Society: South Wales, 1900-1939 (Cardiff: University of Wales Press, 2002), p.99; See also Martin Johnes, “‘Poor Man’s Cricket’: Baseball, Class and Community in South Wales c.1880-1950”International Journal of the History of Sport, 17:4 (December 2000), and Daryl Leeworthy, Fields of Play: The Sporting Heritage of Wales (Aberystwyth: Royal Commission on Ancient and Historical Monuments, 2012), pp. 22-23

[2] As good an introduction to the games early history as any is Peter Morris, But Didn’t We Have Fun? An Informal History of Baseball’s Pioneer Era, 1843-1870 (Chicago: Ivan R. Dee, 2008)

[3] Irish Times, 26 March 1889

[4] Irish Times, 28 March 1889

[5] Freeman’s Journal, 25 March 1889

[6] Irish Times, 29 October 1917; November 13 1917

[7] See John Borgonovo, ‘Exercising a Close Vigilance Over Their Daughters: Cork Women, American Sailors, and the Catholic Vigilantes of 1917-1918’, Irish Historical Studies, Spring 2012

[8] Irish Times, 14 May 1919

[9] Irish Times, 27 October 1924

[10] Freeman’s Journal, 27 August 1874

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Filed under Irish History, Nineteenth Century, Social History, Sports History