Classifieds Advertise Archive Subscriptions Family Announcements Photos Digital Editions/Apps
Connect with us

Archive News

How to look smug by exploiting vulnerable teenagers

Published

on

Date Published: {J}

 What’s the best thing you could do for half a dozen troubled teenage girls who collectively share problems with parents, drink, drugs, school and the entire universe?

Would it be to stick them on the telly so that a nation can know them as the birds with broken wings, the ones that slipped through the cracks, the dysfunctional teenagers who are heading down the fast lane to trouble?

That’s what Teens in the Wild’s smug clinical psychologist David Coleman is doing with six such teenage girls who between them have enough issues to carry the Eastenders storyline for the next six months.

“Life today can be difficult for teenagers and their parents,” whispers our all-knowing psychologist, who nevertheless decides that the way to heal these broken birds is to whisk them off for a three week activity and therapy based programme in the wilds of Donegal.

First off in week one, we met the cast – and frankly you were grateful that this was only on the telly because you wouldn’t want to face most of them in person unless you were heavily armed.

Amy is 16 and lives with her mum Cathy and two sisters in Limerick, her dad committed suicide three years ago and she was fighting with him at the time, so she blames herself for what happened.

Because of her anger, she misses school, and she is physically and verbally abusive to her mother; she hits her sisters, classmates and anyone else who gets in her way. She has no patience and yet can reason out her thoughts and knows she needs help – perhaps not in the glare of the camera, mind you.

Niamh is 16, her parents are separated and she lives in Dublin with mum Ann and her brother; she is not in school ever since she told the teacher to f*** off; again she is verbally and physically abusive and her mother lives in fear of where Niamh will end up.

She has broken windows in the house, trashed cars, steals money from her mother, and calls her mother a f***ing bitch, and for good measure put a sledgehammer through the door where the gaping hole is still testimony to her prowess.

Lisa is 14 and lives in Dublin with parents Yvonne and Declan and five siblings; she often goes missing, has dropped out of school and her parents worry for her safety – so they stick her on camera and give out to her on national telly.

She was once the victim of a serious assault by eight other girls banging her head off the ground; given that she sleeps with a hurley and a golf club at the bottom of her bunk bed, it doesn’t look like she’d allow that to happen again.

For more, read this week’s Connacht Sentinel

Galway in Days Gone By

The way we were – Protecting archives of our past

Published

on

A photo of Galway city centre from the county council's archives

People’s living conditions less than 100 years ago were frightening. We have come a long way. We talk about water charges today, but back then the local District Councils were erecting pumps for local communities and the lovely town of Mountbellew, according to Council minutes, had open sewers,” says Galway County Council archivist Patria McWalter.

Patria believes we “need to take pride in our history, and we should take the same pride in our historical records as we do in our built heritage”. When you see the wealth of material in her care, this belief makes sense.

She is in charge of caring for the rich collection of administrative records owned by Galway County Council and says “these records are as much part of our history as the Rock of Cashel is. They document our lives and our ancestors’ lives. And nobody can plan for the future unless you learn from the past, what worked and what didn’t”.

Archivists and librarians are often unfairly regarded as being dry, academic types, but that’s certainly not true of Patria. Her enthusiasm is infectious as she turns the pages of several minute books from Galway’s Rural District Councils, all of them at least 100 years old.

Part of her role involved cataloguing all the records of the Councils – Ballinasloe, Clifden, Galway, Gort, Loughrea, Mountbellew, Portumna and Tuam. These records mostly consisted of minutes of various meetings.

When she was cataloguing them she realised their worth to local historians and researchers, so she decided to compile a guide to their content. The result is For the Record: The Archives of Galway’s Rural District Councils, which will be a valuable asset to anybody with an interest in history.

Many representatives on these Councils were local personalities and several were arrested during the political upheaval of the era, she explains.

And, ushering in a new era in history, women were allowed to sit on these Rural District Councils – at the time they were not allowed to sit on County Councils.

All of this information is included in Patria’s introductory essay to the attractively produced A4 size guide, which gives a glimpse into how these Rural Councils operated and the way political thinking changed in Ireland during a short 26-year period. In the early 1900s, these Councils supported Home Rule, but by 1920, they were calling for full independence and refusing to recognise the British administration.

“I love the tone,” says Patria of the minutes from meetings. “The language was very emotive.”

That was certainly true of the Gort Rural District Council. At a meeting in 1907, following riots in Dublin at the premiere of JM Synge’s play, The Playboy of the Western World the councillors’ response was vehement. They recorded their decision to “protest most emphatically against the libellous comedy, The Playboy of the Western World, that was belched forth during the past week in the Abbey Theatre, Dublin, under the fostering care of Lady Gregory and Mr Yeats. We congratulate the good people of Dublin in howling down the gross buffoonery and immoral suggestions that are scattered throughout this scandalous performance.

 

For more from the archives see this week’s Tribunes here

Continue Reading

Archive News

Call for poets to enter new competition

Published

on

Date Published: 24-Jan-2013

Galway University Hospitals Arts Trust is seeking entries for a new poetry competition.

The winner will have her or his poem published and displayed on the Arts Corridor of University Hospital Galway as part of the 2013 Poems for Patience. This is a long-running series which has previously featured work by leading Irish and international poets including Seamus Heaney, Philip Schultz, Michael Longley, Vona Groarke, Jane Hirschfield and Tess Gallagher.

The winner will be invited to read her or his winning poem in April, at the launch of the Poems for Patience during the Cúirt International Festival. Prizes also include accommodation in Galway for one night during Cúirt.

Poems should be less than 30 lines long and must be the entrant’s original work. The entry fee for one poem is €10. For two or more, the entry fee is €7.50 per poem. Payment should be made by cheque or postal order to Galway University Hospitals Arts Trust. The closing date is Friday, March 1.

The judge is Kevin Higgins author of several books of poetry and Writer-in-Residence with Galway University Hospitals Arts Trust.

Entries should be posted to Margaret Flannery, Arts Director, Galway University Hospitals Arts Trust, Galway University Hospitals, University Hospital, Newcastle Road, Galway. Entrants should put their names and contact details on a separate sheet.

Continue Reading

Archive News

The true story of the saint that the church wanted to airbrush

Published

on

Date Published: 30-Jan-2013

Italian saint, Francis of Assisi will get a new lease of life in Francis, the Holy Jester, a free one-man show being performed at Muscailt Arts Festival on February 5.

The play about the renowned saint, who died in 1226 was written by Italian Nobel prize-winner Dario Fo, and this performance is by Mario Pirovano, a long-time collaborator with Fo, who translated the piece into English.

It embraces papal history, biblical stories, and controversial Italian politics while exploring the life of one of the Catholic Church’s most famous saints. It also shows how the medieval Church was so afraid of Francis and his relationship with ordinary people that it set about sanitising his legacy and elevating him above the reach of his followers.

Mario, who lives near to St Francis’s home of Assisi, speaks eloquently and passionately about the saint and the way that Dario Fo has brought the Francis’s message to modern audiences in a timeless, dramatic way, while casting new light on the famous Italian Franciscan monk.

But first, he explains why this was necessary.

Francis was born at the end of the 12th century and died at the age of 46. By then, he had created great embarrassment for the Church, simply because of the way he lived his life, explains Mario. He treated people in a genuinely Christian way and wanted to tell the Gospels in people’s own language rather than in Latin.

The Church hierarchy – what an awful word, he says – decided to rewrite the story of his life and, 50 years after his death, only one official account of his life was permitted by the authorities. That was written by a fellow Franciscan, St Bonaventure, who had been ordered to destroy many of Francis’s papers and write a sanitised biography. All other books on him were deemed heretical.

The Church was afraid of him, stresses Mario, and so decided to distance him from the ordinary people, by canonising him shortly after he died. Francis was the fastest saint ever produced in the history of the Church, being canonised within three years of passing on, says Mario. That took him away from ordinary people, as they felt they couldn’t aspire to such greatness.

For more, read this week’s Connacht Tribune.

Continue Reading

Local Ads

Local Ads

Advertisement
Advertisement

Facebook

Advertisement

Trending