Liverpool Irish Festival: Round Up/ CCEN Network.

This year marks the 21st birthday of the Liverpool Irish Festival, and there was a fabulous array of events. I attended as many as I could, including the launch, the Creative Cultural Exchange Network Day for Irish creatives, which was eye-opening and inspiring. I also enjoyed an insightful talk about the cultural memory of The Good Friday Agreement at the University of Liverpool, two fabulous plays, exhibitions, amazing musical events, Zoom lectures, and a very moving memorial service.

What I loved about this year was that it had more of an international feel, and there was so much variety, some of them in exciting new venues. I especially appreciated the exceptional quality of the plays, and it's great to see their number increasing each year.

I also appreciate that there is a theme for each year. This year focused on anniversaries, with several significant milestones. The Irish Centre is celebrating its 25th anniversary, as is The Institute of Irish Studies, and it's been 100 years since the formation of the Free Irish State. Next year, the theme of the Festival is "Departures," and Irish creatives and those with an Irish theme are encouraged to apply to take part. The Festival next year will run from the 17th to the 27th of October.

It would be amazing if the Festival could attract even more attendees. It's not just for Irish people; it’s for everyone who enjoys arts and culture. It truly is an amazing Festival, and it's surprising how many people in Liverpool still don’t know it exists, which is a tragedy. It’s absolutely wonderful. I won’t rest until it's a household name in Liverpool and beyond because it deserves it!

The Irish Creative Network (CCEN) - Cultural Connectedness and Exchange Network:

On the 19th of October, I attended an in-person Creative Networking day kindly funded by the Irish Government’s Emigrant Support Programme, and The Irish Consulate General of the North of England was in attendance. There were plenty of networking opportunities and workshops focused on us as creatives, addressing barriers to overcome, reasons for creating, and the whole notion of identity. There was a lot of overlap in personal and professional experiences, along with excellent advice on funding opportunities, who had secured what, and who to speak to. Creatives from all over the UK and Ireland were present.

It’s not an exhaustive list, but there were representatives and talks given by "I am Irish", who work specifically with biracial Irish people, Indie Cork, and a fascinating discussion on the film entries that have been coming through in recent years. Additionally, Pamela Sullivan produced the beautiful Liver bird harps this year, which are dotted around the city with the “key to the door” theme, in celebration of the Festival turning 21 this year! (Liver Harp and Seek). You can follow @pamelasullivartist to get some clues and register your find on the Festival website. www.liverpoolirishfestival.com/events/liver-harp-and-seek.

Stu Harrison, a cartoonist and writer, also produced "Brave Maeve", which will be available shortly to buy on the Festival. More information can also be found on the website: www.liverpoolirishfestival.com/brave-maeve/

“Brave Maeve connects 6,000 years of Irish folklore to today. This celebratory work ties beautifully with anniversary and legacy, commemorating thousands of years of storytelling, culture, and history”.

Why have such a network? And why join?

It began in 2020 and has become a regular meeting and support network for Irish creatives. The Network aims to:

- Support the needs of Irish and Northern Irish artists (particularly those working in England or with England-based organisations).

- Address barriers they were facing post-Brexit and during Covid-19.

- Explore how cultural providers/commissioners could provide value/service in relation to Covid-19/Brexit.

Irish artists face particular challenges and discrimination.

“Arriving in large groups has meant Irish migrants have become the ‘whipping population’ for other (previously) vulnerable groups who pass on the position of the bullied to the bullies as a way of ending their own isolation ('No blacks, no dogs, no Irish'). Common issues Irish people can - and do - face, include common tropes/assumptions that they are:

- Poor and hungry (famine; unable to earn at home; are determined to have a working class/rural accent by those who know no better)

- Uneducated, illiterate, and slow-minded and/or ‘great craic’; alcoholics and drug users ('Paddy and Mick go into a bar…')

- White

- Catholic/Protestant/Christian

- Terrorists (IRA or other)

- Criminals (transportation)

- Violent

- Abusers or abused.

- White-on-white racism (remembering that not all Irish people are white) often goes unchecked and so English-on-Irish (or Irish-on-English, though rarely 'British-on-Irish') has continued hiding in plain sight. This kind of nation-on-nation struggle has not received the rejection and review that other ‘white racism’ has rightly received, such as that of white-on-Black or white-on-Asian racism, returning us the to 'No blacks, no dogs, no Irish' example”.

I personally have found it to be an invaluable and inspirational resource. Many artists have links overseas, and there has been so much chance for collaboration. I met someone there who is also in the process of writing about their experiences as a second-generation Irish person. Two quotes spring to mind: “Collaboration, not competition” and “Many hands make light work”.

Words by Clare McGrath
Images by Arts Bar