#ceara conway

[alpheratfilms]

Alpherat Films on Instagram: “Stills taken from a recent project: Ceara Conway's performative interpretation of 'Split/End', a poem by Doireann Ní Ghríofa. A response…”

0 Likes, 0 Comments - Alpherat Films (@alpheratfilms) on Instagram: “Stills taken from a recent project: Ceara Conway's performative interpretation of 'Split/End', a…”

[thosewhomakewaves]

Aural landscape of WW1

IDEA: Explore the aural landscape of 1916 and WW1.

WHAT: A sound installation with the title 'Time' for the Making History 1916 exhibition at the Ulster Museum. She examined themes of love and loss connected to the Easter Rising and worked with singing groups and artists based in the north-west to develop a contemporary piece of music that responded to those themes. Ceara created casts of white gramophone horns to symbolize lilies and to signify the amplification of loss. The contemporary sound piece 'Say goodbye to someone you love' was created and performed by the artist and features singing by the Derry Traditional Singing Circle and artist Lihi Shivak.

WHY: The continuation of saying goodbye is a universal soundscape. She was drawn to the fact that during war times songs were used to lure men into conscripting and that one of our resounding soundscapes throughout time is that of people saying goodbye to each other, through death, through war and migration. 

BY: Ceara Conway commissioned by the Nerve Center, Derry & the Ulster Museum, Belfast

Photographs courtesy of Deirdre Power.

[mhvarchive]

Murder Machine 

Ormston House

Cultural Resource Centre 9-10 Patrick Street Limerick City Ireland

16 April - 17 July 2016

Ceara Conway, George Hallett, Linda O'Keeffe, The Otolith Group and Rusangano Family.

Curated by Christine Eyene

Murder Machine revisits thoughts and writings by Irish linguist and activist Pádraig Pearse (1879-1916), one of the leading figures of the Easter Rising, who voiced criticism against the English educational system imposed on Ireland. In his eponymous pamphlet The Murder Machine (January 1916), compiling articles and notes dated between 1912 and 1914, Pearse spoke of a system devised “for the debasement of Ireland”. He described it as a system doing “violence to the elementary human rights of Irish children” and compared it to slave education.

His criticism echoed many of the concerns expressed by leading African intellectuals and anti-colonial activists who challenged the effects of colonisation on African cultures. In South Africa for instance, the usage of European languages in the formation of African modernity quickly became a matter of debate. This was, for instance, the case of the New African Movement (1860s-1960s) that championed the cause of African languages. The iconic Heinemann African Writers Series launched with Chinua Achebe’s seminal novel Things Fall Apart (1958) was not spared such questioning about vernacular languages. In a similar vein, of the Négritude movement that emerged in 1930s Paris, South African writer, activist and educationist Ezekiel Mphahlele once asked: “is African writing in French not French literature?”

Murder Machine brings together Ceara Conway (Ireland), George Hallett (South Africa), Linda O’Keeffe (Ireland/UK), The Otolith Group (UK) and Rusangano Family: God Knows, MuRli and mynameisjOhn (Zimbabwe/Togo/Ireland) for an interactive display and a series of monthly public interventions around text and language, across histories, geographies and political contexts, through art pieces, performances and archival material previously unseen in Ireland.

Please join us at the launch of the project on Saturday 16 April from 12pm to 2pm for a coffee, a curatorial tour with Christine Eyene, and a performance by Ceara Conway produced by DJ Deviant.

Ormston House website

Image by George Hallett: James Matthews, South of France (1980), silver print.