Rebel Reads: “Our Commitment is to Always Fight for This to Happen”

With progressives and community activists more mobilised than ever in recent years, the time was coming for a hub for ideas, thoughts and events. Enter Rebel Reads, a new community bookshop and co-operative space on Father Mathew Quay. Mike McGrath-Bryan speaks with co-ordinator Declan Synnott.

The tide has turned in Ireland in recent years. Our well-documented conversion from a once-conservative island fealty to a diverse, forward-looking nation has been an increasingly common international media story. The last thirty years have seen everything, from the decriminalisation of homosexuality and divorce, to liberalisation of laws regarding marriage equality and reproductive rights. The latter saw an unprecedented civic partnership of social and political groups come together, to push for citizen’s assemblies and eventual referenda on these matters, leading to hard-fought but decisive results in its favour. The question of ‘what next’ has many answers, and a great many debates are to be had regarding civil partnership among community groups and progressive political factions.

But on a local level, taking that energy and organisation forward and building on the work of the Together for Yes campaign was of vital importance, especially in the light of the loss of community arts spaces in recent years. Rebel Reads, a community bookshop and organisation space on Father Matthew Quay, occupies the campaign’s former headquarters, and as co-ordinator Declan Synnott reveals, came from the desire to move things forward. “An initial callout was made via Solidarity Books’ Facebook page. Solidarity Books was an anarchist bookshop on Douglas Street, which closed in 2015. People were attempting to reorganise, and we began holding meetings every few weeks to discuss how we’d go about it. The plan was to have a physical space with a bookshop running out of it, that would be acting as facilitators for radical, left-leaning political activities and organising, but also open to cultural and creative activities on the independent level in the city.”

The process of assembling a team and reaching consensus on a mission statement, while building on effort and enthusiasm, had to be taken seriously. In carrying on from Solidarity Books, a hefty precedent exists, and providing a progressive space requires solid policy and a plan. “Within those meeting was an overt focus on dialogue and discussing what individuals wanted and what the city needed, and start to organise according to ability to start to address these issues. That meant setting up working groups, so there was a policy group, for organisation and operation, PR groups for social media and engaging with the outside world. But there was always the understanding that they would be coming from a left-leaning background, working toward the end of social change. That was the discussion, understanding that that’s what we wanted.”

The idea of a multi-use space grew from these discussions. The process of taking ideas from different sources on board, and putting them all in one place to set about actioning them, has been essential to its development and general pitch to the public. “Part of our view is wanting to enable people to do what they want to do, or need to do, in the city. So, we’ve always had something of an open call for people to come and propose uses of the space, and we’ve attempted to enable people to do that by themselves, so that we would be in a facilitation role, providing resources. Again, it’s a conversation, we talk to them, see what their needs and our capabilities are, and find common ground.”

Community spaces right now in the city are at a premium as gentrification continues, which makes the shop’s existence even more important at this time. The response, support and interaction from other community organisations has been essential to its development. “It’s all been incredibly positive, people have been supportive. The space we’re in came through Cork Together for Yes, a lot of us were involved, and we’re, as is our policy, a pro-choice organisation, so that was one very natural relationship. But lots of people from varying backgrounds have been involved, and it’s been a positive response, whether it’s wanting to collaborate or showing support. There is that understanding that having community-focused, non-profit spaces in the cities is getting harder. People tacitly understand our existence is precarious, and want to help work to secure it. We knew space might be transient, and the nature of the rental market, gentrification, our government not really caring about how these things happen once profit is generated. But part of our commitment is to always fight for this to happen, and so many people feel the same way, cares, and reaches out.”

In terms of events – there’s screenings and plans for quiet gigs, and there’s already been cookouts and repair shops. The role of events in the space’s development is that of creating a destination for all manner of interests. “We have regular things, a screening every Friday, music. We have vegan food nights, repair cafes. All of those things are about community outreach, where people feel comfortable coming into a space where paying in isn’t essential, where we can do donations or keep admittance as low as we can, and that emphasises how we operate as a bookshop as well. We have couches, we want people to come in, drink some free tea, hang out and feel like they don’t have to pay any money to be in a space. Having these events is to have a sense of like-minded people, sharing an experience, and fostering a sense of co-operation and unity. Cities are alienating places, and spaces like this are where you find support.”

What’s in the future for the space, and what is its importance in light of the changes happening to the city over the next decade? “I believe that people will always come in with great new ideas. Keeping that open to external ideas, and letting those develop more, and more. It’s gonna add to what’s there and assist in changing things. We’re not focused on development for profit-making. We’re focused on aiding communities and positive, radical social and political change, and we’re always going to be dedicated to that. Offering support, a view to alternatives, and a sense that people care, people care beyond monetary value, about individuals.”

Rebel Reads is open Wednesday through Saturday, 10am-7pm, at 14 Father Mathew Quay, around the corner from RTÉ Cork. For more information on events and concerts, check out @rebelreadscork across social media.

HAUSU Records: “Something Local and Independent”

Collectivisation and co-operation is the name of the game in a Cork music scene ever more affected by precarity and gentrification. Amid all the uncertainty, some of Cork’s young musicians and music professionals are sticking together, with a collective, label and creative working arrangement known simply as HAUSU. Mike McGrath-Bryan speaks with some of the people involved.

The narrative in the city right now is of one generation coming of age creatively, post-recession: bands and musicians that have gutted out the “bad times” are perpetually set for bigger and better things. Having reorganised, focused and garnered resolve from formative periods spent garnering resources and connections without much in the way of formal help, they rightly stand centre-stage and place Cork firmly at the centre of the national music picture. But the seismic impact of DIY music on the city’s culture has left its fingerprint on a wave of younger musicians and facilitators that have witnessed change for themselves, and subsequent grown up with wider skillsets and changed expectations out of necessity. Against this background comes Hausu (pronounced ‘how-soo’), a collective of musicians, designers and press professionals based in Cork, emerging from various backgrounds but sharing a commonality of coming up through local music schools and programmes like the YMCA Groundfloor studio and student media.

Bands comprised of collective members, like Repeater and Ghostking is Dead, as well as solo projects, like spoken-word outlet Mothra (aka Hassan Baker, pictured) and electronic pop prospect Automatic Blue, provide a verdant creative offering musically for the group’s label aspect, while a team of young designers and student music journos-turned-DIY press relations people furnish the project with a unique visual identity. Repeater man Hassan Baker details how the collective initially rallied around. “We’d always talked about this while working on (first EP) ‘Who Sold It To Ya?’. We talked to other talented buds of ours, and planned on a more planned launch of it all. But then things fell into place when Ghostking is Dead wanted to release ‘Sweet Boy’ under our banner. This lit a fire under our collective asses, that just became a very Hausu way of doing things. Basically when something is going down, it’s all hands on deck, to chip in and to spread the word.” Intervening to help the artists organise were a number of volunteers, among them journalist and former college radio host Colm Cahalane, whose ‘Tapes’ radio shows had garnered something of a cult following locally. “It landed when we realised we had a lot of individual bodies of work coming up; debuts, follow-ups, singles, remixes etc – and we’d benefit from sharing support and resources every step from recording to releasing. At the start, I kind of pushed this attempt at a professional image of Hausu Records as a label; but lately I’ve been more honest about calling it what it is; a collective, a group of friends, something local and independent.”

In just over a year, the label has come to represent cohesion between younger artists in the city, something that, as mentioned, has become necessary in the absence of structure. They’re not the only ones, of course, and the lads are more than cognisant of the place of their efforts in the city’s wider musical landscape. For Cahalane, it’s arguably a Venn diagram of time, place and necessity. “I have a lot of time and respect for the shift towards collectives in Ireland as a whole. We’ve seen what people like Cuttin’ Heads and Outsiders are doing for Cork hip-hop, Anomaly taking that momentum to Waterford, what SESH FM are bringing to dance music in a national and even global sense, how Soft Boy Records are carving a niche for themselves in Dublin. We want to become a part of that scene for real and collaborate with them. I grew up on some of this stuff, going to Feel Good Lost gigs as a teen and through college to see acts like Talos and Young Wonder find their feet.” Lofty ambitions aside, it adds to the practicality of running musical projects that may be adjacent to each other regardless, to which Baker can attest. “It’s very important. We all have our own skills and experience. I spent some time in student journalism, so it helps knowing the process of journalists and bloggers. Then, for example, (collective members) Tadhg (McNealy), Emer (Kiely) and Neil (O’Sullivan-Greene) know the design world. They see trends, and formulate them into things us philistines can then understand. This helps us form our own system for traversing the Irish music scene.”

Matt Corrigan, operating under the nom-de-guerre of Ghostking is Dead, has been haunting the city in a few forms from a very young age, a preternaturally gifted musician with a tremendous flair for drama and/or sarcasm, as the mood takes him. The label this year released his most recent series of singles, and overseen a transition to full-band gigging, effectively providing him with everything necessary to expand on his vision. “Hausu has been a dramatic accelerant to my work. The force at which such ambitious and talented company drives one forward is like being pulled behind a car on a skateboard. I have come dangerously close to burning out a number of times, but the near-familial support and relationships keep me locked in. My drive is perpetually reinforced by how taken I am with the tremendous work of my friends and peers. Hausu makes me want to be better. It makes me excited to be a musician.”

Corrigan’s cousin Jack, creating music on the label as Actualacid, is drawn to the collective by the mutual supports shown among members, and how it’s benefited himself and others. “I think seeing Matt’s progress is like watching a superhero movie where they gradually begin to realize the extent of their powers. Everything he’s turned his hand to thus far, he’s been good at. He’s an inherently talented guy, same with Drew. Watching my two young cousins develop and getting to collaborate with them on the way has been the highlight of all of this so far. Hausu is a collective, a DIY label, a dangerous, dysfunctional co-dependency, but it’s family business for me. I’m just happy to be making things with the best people I know.”

Drew Linehan has been releasing steadily on the label under the Automatic Blue pseudonym, an initial aside to his role in Repeater, foreshadowing an electronic-informed indie/pop strain that draws on the likes of FlyLo and the Internet. The creative process behind the singles we’ve heard so far is a look at the ambition and greater reach to accessibility within the group’s electronic parish. “I recorded most of (debut) “Baby” in the background to everything I was doing in Repeater, and the formation of Hausu, which was more for fun without any thoughts about releasing the songs. I think I was embarrassed a bit by how poppy some tracks were. I’ve always loved melody and a good hook, and with Automatic Blue melody comes first, which is a relief now because melodies have always been the most rewarding aspect to write for me. Once I have the song though, I’m in the studio, trying to imagine what could be happening behind that melody and with the chords. I’m working on a new EP called “Junk” which has kept me in nearly complete solitude this summer. It’s gotten a bit obsessive but hopefully that’s lead to some more developed and creative songs.”


Baker himself has recently begun spoken-word work under the name Mothra, including a performance at Electric Picnic this month. Within the Hausu arrangement laid the freedom to pursue performance poetry, and transition from more boisterous punk-rock rhetoric into hip-hop. “I’ve been been writing poetry since I was young, as a writing exercise. I did open mics at (weekly night) Ó Bhéal, as a way to workshop lyrics or other ideas, and even did the odd closed mic gig. The focus was always on the music. The poems fed into the music pretty easily. It’s a lot easier to shout poetry in a punk song than to actually sing. Moving away from shouting and screaming myself hoarse, and into rap sounded like it was more suitable for my skill set.”

With a sense of community now firmly entrenched among its members and artists, the idea is to proceed with collaborative efforts. Whether it’s the fundamentals of DIY music infrastructure being extended to new venues and artists, or capitalising on the advance of the cloud and collaborative working tools, the group has an eye firmly fixed on the future, as Cahalane outlines. “Our number-one focus, even more than our next slate of releases, is getting events happening in Cork. Nights we’re playing and curating, using to support local talent, and collaborate with others outside our own reach; especially with other collectives, as I’ve said before. Hopefully we’ll do a listening party for our upcoming stuff, get proper live debuts for Automatic Blue, Mothra, Actualacid and Repeater, and showcase some other local bands while we’re on it. In the coming weeks and months, we’ll be extending the lessons we’ve learned with Hausu to a national framework; running off a new Discord server or something of the sort. My own background is in software, so we’re going to try and build a community where we hold weekly demo critique and review sessions, share advice, resources and contacts, and give new artists everywhere the things that aren’t easy or obvious to find. Groups like First Music Contact have been vital for us, but we want to create a peer-to-peer environment for that too.”

Hausu releases, as well more artist and collective info, are available at hausurecords.com. Individual singles and releases are available for streaming on Spotify, and other streaming services.

Culture Night: “An Expression of Cultural Capital”

Once a year, cities, towns and villages around the country are filled with the hard work, ideas and creativity of artists and facilitators in their communities, as the spotlight goes on them for Culture Night. Mike McGrath-Bryan speaks with some of the co-ordinators of the event.

Since its inception in Dublin in 2006, Culture Night has become an annual highlight for arts organisations and practitioners around the country. Expanding nationally two years later with the help of city and county councils around the country, the first Culture Night in Cork city saw 34 venues partake in proceedings, a figure that has jumped over ten years to a staggering 130 spaces, hosting over 250 distinct and separate arts events, with fifty thousand revellers filling the streets for the occasion. It’s a phenomenon that continues to grow, and for City Council Arts Office’s Trish Murphy, it’s an event that places their office’s work in perspective. “This is a city wide collaboration that wouldn’t be feasible without the engagement and participation of cultural venues, both traditional and non-traditional, practitioners and volunteers across the city. It includes people and institutions from all walks of life, and across all creative genres, that make up our vibrant city, including music, theatre, visual arts, dance, performance, spoken word, literature, craft, heritage and sport. For one night only each year, this is an expression of the cultural capital this city has to offer its citizens, and all for free.”

The process of assembling a programme comes from input from participating organisations, many of whom organise major annual showcases for the night. Working from there to get everything in place, and getting the overall programme over the line involves an extended process of consultation. “Cork City Council, under the remit of the Arts Office, coordinates the production of the Culture Night Cork City programme each year. However, this wouldn’t be feasible without engagement of all of the participants, including venues, practitioners and volunteers, who make it happen on the night. The call for participation in Culture Night began in May of this year and marked the start of an intensive three-month procession of following up with venues, collating information, design, proof and print.”

Within ten years, there’s been a tremendous amount of turnover in the city’s artistic and performance spaces, which has only accelerated amid the current property bubble. Meanwhile, the city’s ongoing expansion provides opportunities for growth for the arts, alongside the resurgence that various arts groups have been having as of recent. Murphy tends toward looking forward when quizzed on her thoughts on the venue changes. “What has been evident is how much Culture Night has grown over the years, and has become such an intrinsic part of the City’s cultural calendar. What is particularly evident is the increased level of participation across non-traditional venues, like hospitals, sports grounds, offices and banks, as well as the continued growth and development across our more traditional cultural venues, like museums, theatres, galleries, libraries etc. As the City is redeveloped, and expands, it is anticipated that Culture Night’s reach will expand as well, and in particular it is hoped to reach out further into local communities to host events and to have a truly city-wide celebration.”

Meanwhile, the greater county area will be engaged in a wide-ranging series of events, as the towns and villages of Cork will play host to community-organised events, concerts, installations and exhibitions. It’s a broad church, with West Cork towns drawing from a rich vein of artistic talent, while the North and East county areas begin mounting their plans for rebuilding the arts and music in their areas as a means of community work and rejuvenation. For visual artist and Ballyhea woman Judy Reardon, the challenge of her first Culture Night as its co-ordinator is to be relished, presenting new opportunities. “It’s been a very positive experience. Everybody’s been only too happy to get onboard. There’s a lot of time invested in organising by all the participants, and everyone is doing so free of charge, and there was a lot of good feedback when I contacted them and asked them to be part of it.”

While working with community arts groups and venues is part and parcel of the Culture Night initiative, it comes into especially sharp focus in smaller towns and villages around the county, where, in many cases, such groups are the only arts infrastructure in town. Additionally, many of these groups are helping take the mantle of social recovery after decades of underinvestment and the onslaught of austerity. “People are talking among themselves, creating their own Culture Night, seeing what each grouping has to offer, be it the library, the local gallery, the local artists… it’s become more collaborative within small towns, that’s the feeling I get. When I’ve been onto participants, they’re telling me they’ve been onto others that are organising, as well. Working together.”

The knock-on effect that Culture Night has had on arts uptake and engagement in towns and villages around the county is evident, providing a rare opportunity not only for non-festival programming, but also for arts programmers and enthusiasts to co-ordinate and get planning among themselves, as stated. As an artist herself, Reardon sees firsthand the initiative bringing out the best in people. “I see it as an opportunity for artists to showcase, get known in their community, and become part of an event. It wouldn’t be as intimidating as setting up by themselves. It’s a very enjoyable way for people to get out there as artists (and facilitators).”

Culture Night happens on Friday, September 21st around the country. For more information on Culture Night in Cork City, check out culturenightcork.ie. Physical brochures are also available throughout the county, in venues and other public spaces.

…and remember to support your local artists, musicians and facilitators, because for them, every night is Culture Night.

Cork City Ballet: “Never Use the Words ‘I Can’t'”

Over the last 25 years, Cork City Ballet has gone from strength to strength, hosting international superstars and bringing the genre’s classics Leeside. Ahead of the premiere of their new documentary ‘Breaking Pointe’ at the Opera House, MIke McGrath-Bryan speaks with director Alan Foley.

The arts are a labour of love, of this there is no doubt. Look at the city’s veterans, the people that have rowed in behind their passion, and laid the foundations for future generations to build on theirs, and you see an unswerving dedication to their work, inextricably tied with the city, building their artistic and facilitative identities in its venues and spaces. These same intangibles are evident as your writer sits down upstairs in Cork Opera House for a chat with Cork City Ballet director Alan Foley, as he casually discusses corralling over twenty-five years of archive material for ‘Breaking Pointe’, a documentary on the troupe’s development and milestones, co-produced with Frameworks Films. Premiering at the Opera House on September 11th, the documentary feature includes interviews, professional performance footage and never-before-seen audiovisual material.

For Foley, it certainly doesn’t seem so long ago since he made a break with the city’s musical establishment to do something new, a change borne of frustration and the need for a body to represent the city’s dance community on the world stage. “I was a dancer, myself. I got to dance with the legendary Joan Denise Moriarty. I came to her when she was older, and tired, I suppose, and it used to drive me bonkers, when I asked her, ‘please, may I do this, may I go to New York, or London, or Russia?’, and she’d say ‘no, you may not’. ‘Why?’. ‘You just may not.’ I put up with that for so many years, I could not be dealing with it and needed to do my own thing. I was always very sure from a young age that I wanted to be in the driver’s seat, so as a result, maybe out of ignorance, I did. So, I set up Cork City Ballet in 1991, and we had our first performance at the Everyman Palace in 1992, and it’s just gone from there… it feels like about five minutes ago, then I look at this lifetime it’s been, and I can’t believe how quickly it’s gone.”

Foley has choreographed and produced all of the troupe’s productions since its foundation, alongside a busy professional career, both as a dancer, and later on the boards of various ballet organisations around the country. One imagines the work/life balance has been a bit of a challenge to maintain. “Necessity. Bottom line. It had to be done. All the jobs, I’ve always done myself to save money, and the one thing I did learn from Moriarty was to never use the words ‘I can’t’. Don’t be coming to me with excuses. If you do have a problem, come to me with it, but come to me with five solutions, and we’ll pick one. So that’s what I’ve employed, even with the young dancers I teach today… I can’t stand bureaucracy, the bulls**t that goes with so much of the world today. ‘Oh, you can’t do this because Memorandum A, Subdivision Q, Article 13 states that the green form and the blue form have to be triplicated and duplicated, etc.’ Are you serious? I want to do a ballet! That kind of thing used to, and still does, drive me to distraction. I can’t cope with it, so I avoid people like that as best I can. I surround myself with doers. Anyone that causes grief, or isn’t willing to make the tea. I don’t care if you’re the prima ballerina or the cleaner, we’re all on the same train, and it’s worked!”

The City Ballet is well-known and regarded on the international stage, with dancers from all over the world coming to town for its productions, as well as to coach and hold seminars. As anyone in the arts will tell you, relationships are everything, and Foley has over the years made a virtue of building on international working agreements. “Very much of it comes from my training or upbringing. I was the youngest of eight kids, airs and graces weren’t tolerated by my parents or my family. Very often, in the arts and particular in the ballet world, the elitism is there. Maybe not so much now, thankfully, but I’m one of those people that believes ballet isn’t just for the privileged. Talent doesn’t have an address. And I bring that ethos into every part of my working life, as well, when trying to attract sponsors or patrons, because we don’t get Arts Council funding. There is a very good product, we deliver that. And if you have that you can go anywhere. You can do anything. Another thing I don’t do too often is dichotomise and politicise. ‘Here’s the ballet, if you like it, fine, if you don’t, that’s fine, too.’ It’s a bit like Picasso, he painted, ‘d’you like it or don’t you?’.”   

The troupe’s business model has increasingly included community and corporate patronage, which allows those involved to enjoy the benefits of supporting the troupe – DVDs, discounts on the door, etc. In an age of crowdfunding and collectivisation of resources, Foley is open about how this model has added to sustainability for the group. “Ballet is very expensive. The tutus that ballerinas wear can go for upwards of three grand. The pointe shoes that they wear, they can go for €100 per pair. They run through three or four pairs of them per show. That’s a lot of money just to make this happen. We’re very lucky over the years to have had some great sponsors, great supporters. The Irish Examiner, Evening Echo, RedFM, have all been brilliant. The Arts Council pulled all their funding in 2011, they don’t approve of us as they say we’re too old-fashioned. Heard that a thousand times before. Innovation is great, it has to come along, but you also have to respect the traditions. Ballet as a modern artform has been around for over 250 years, and will be there for the next 250. The Nutcracker, Swan Lake, Sleeping Beauty. They’re all milestones, that great dancers are judged by. This is what I’m trained to do. I don’t want to bring swans in on horseback or in roller skates. I want to bring them in on pointe shoes! We’ve had a presence here for 25 years, we’re bearing the torch of Aloys Fleischmann and Joan Denise Moriarty before us, so there’s a very rich legacy, and the support we get every year is phenomenal. That’s how we survive.”

‘Breaking Pointe’ began production earlier this year, mining the troupe’s extensive and meticulously-kept archive, as well as engaging dancers and staff in new interviews. While the Ballet had chronicled itself in years prior in text form, the idea occurred to Foley amid unhappiness at how the history of dance had been documented prior. “I had gone to see another documentary about Joan Denise Moriarty, and I was appalled at some of the footage that was used. It was all very well to use old footage, but there was nothing new or progressive. Nothing young people can identify with, and go ‘oh my god, this is cool’. Young people see the fifties or sixties, and it means nothing to them. They can’t relate. Bring it into their world and let them have a look at beautiful dancers, doing beautiful things, to their kind of music. You’ll attract a new audience. And I looked at the archive we have, and I thought, ‘I want to do something different’, and show people what we have today. We are all only of our time. Moriarty had her time, she did things her way. This is my time, it’ll be over soon, and someone else will do it their way. You can only do what you can in your time, and make the most of that.”

While an extensive archive certainly expedited the process of production, the dig for material wasn’t without its surprises, especially when dealing with external footage and its owners. “There wasn’t much of a process as we have a huge archive. I knew we had it documented. I went to press clippings and marketing materials and they were all there. I had wonderful interviews with some of the dancers that we’ve had, big stars, from the Bolshoi Ballet in Moscow, the Royal Ballet in London, the Met in New York. I knew I had all of this. And then, in the last two years, there was much more footage. Backstage interviews, interviews with the public. But once I had started exploring, I found some real hidden gems that I’d forgotten about. RTÉ came in and filmed me teaching with the Kirov Ballet when they were at the Point about twenty years ago, there was stuff from TV3. So, I was able to draw on all that.”

It’s a tall order, really: the Opera House’s capacity is about 800, all-seated, a challenge for any promoter to sell out on the local level in the current climate. For something as otensibly niche as a historical treatise on local ballet, though, it seems an even heftier challenge, one for which the venue was only more than ready, says Foley. “The plan was to screen it in the Firkin Crane, the 250-cap theatre where we’re based, and do all our classes and rehearsals. When I was speaking to the CEO of the Opera House, Eibhlín Gleeson, she said ‘no, this is your performance home, you have a great following, you sell out every year, I think you should have it here’. I thought, ‘oooh, it’s very big, will we get an audience, what if we don’t’, etc. And she said ‘no, we’re gonna do it here, and that’s it’. So I went with her gut instinct on it, and I’m pleased to say tickets are selling very well. The company and myself are used to the venue, we’ve been here for many years, so it makes sense that the showing is here.”

With the first twenty-five years of the group’s history now comprehensively catalogued, it’s time for the group to look at the future, both in the short-term and as the arts scene in the city changes alongside the city’s expansion. “We have the premiere on September 11th. On Wednesday 12th, we’re straight into rehearsals for the Nutcracker, which opens at the Opera House on the 8th of November. Nutcracker is always a sellout. There are plans afoot for ‘Breaking Pointe’, to bring it to Irish Arts Centre in New York for a screening, to London, to Cannes. But for now, we’re just focusing on the premiere and, getting that over the line.”

‘Breaking Pointe’ premieres on Tuesday September 11th at 7pm at Cork Opera House. For more info on Cork City Ballet, check out corkcityballet.com.

Gender Rebels: Fighting for Visibility and Rights

Gender Rebels are a group dedicated to working on the rights of transgender, intersex and non-binary people in Cork City, negotiating obstacles both infrastructural and everyday, and providing an outlet for social events and peer support. Mike McGrath-Bryan speaks with chairperson Jack Fitzgerald.

With Pride month in the rear view mirror for another year, and celebrations around the country winding down, it’s easy to bask in the colour, pomp and circumstance that the weekend’s proceedings confer on the city. Inclusivity and visibility have traditionally been at the heart of Pride celebrations, stemming from its roots in civil rights protest. But with criticism mounting in recent times of co-option by major sponsors of the Pride movement, the importance of maintaining that visibility for the city’s LGBT* community on a day-to-day basis has been drawn into sharp focus. For transgender, intersex, non-binary and otherwise gender non-conforming individuals, representation and community has historically been of utmost importance in the absence of substantial infrastructural assistance, with this year seeing Dublin host Ireland’s first ever Trans Pride march.

Enter Gender Rebels, a group formed last year to provide peer support and social outlets with a distinctly Corkonian identity. For chairperson Jack Fitzgerald, being part of its foundation was about strengthening connections between people in the city. “The last peer support group in Cork had kind of wound down, and (advocacy group) TENI was looking for something to fill the gap. Just from other things, they knew who I was, called me and asked would I be interested in taking up the peer support group. From looking at what the support group did and the resources it had, I kind-of figured that I might as well do my own thing here, that wasn’t connected to any organisation. I thought that would give us more of a voice and more visibility.”

Last November saw the group’s inaugural AGM, at the Village Hall community venue on Patrick’s Quay. With the event’s agenda ranging from social events to addressing the wider infrastructural needs of Cork transgender, non-binary and intersex communities, reaching a consensus among members before settling on a mission statement was a considered process. “It took a while. When I set the AGM, the community was very dispersed in Cork, there wasn’t one epicentre for people. Loads of people are online, in online groups, that’s where we advertised it, we got the name out there, as well as networking with people we know, and we booked the space in The Village Hall upstairs for the AGM. It was surprisingly well-attended, about 50 people, which was absolutely fantastic. There, we just said what each wanted from the scene in Cork, what we were looking for, and then, from that, hearing stories. From there, I was able to pull together a steering group, we set it up and outlined the aims of our community, how to raise awareness, and then also to try and get better resources for ourselves here in the city.”

Among the key items on the agenda, and one that has defined the group subsequently, has been that of addressing the needs of the city’s community, in different ways. Recent years have seen an upsurge in national awareness of the issues facing trans, non-binary and intersex people, but on a local level, Gender Rebels have been putting in the work on educating others on the issues that affect people on a daily basis. “The big one is if you’re wishing to transition and get onto HRT, there’s no services in Cork for you. You have to go to either Galway or Dublin, and the waiting list for Loughlinstown in Dublin is twenty months. There’s no guarantee that you’ll get onto HRT after that time, either. They’re using a very outdated mode of care for trans people, they’re not applying themselves to the international standard, the WPAT. There’s a movement in Dublin, This is Me, trying to get the international standard of care brought in. The other issue is people don’t know. They don’t know what being trans is, don’t know what being intersex is. If you’re an individual trying to access a support or service, the people you’re dealing with don’t know what you are. That can be very difficult. People that are going to their GPs or their counsellors are often in the position where they are the educator, and that can be very difficult as they may not know everything themselves, but they are expected to. Other people may choose not to come out because of that, so they may use a service in the city and people may not know they’re trans because they don’t want to have that conversation.”

Among the biggest issues facing the community in Cork at present, is the coarsening of discussion on the topic of gender, thanks in no small part to the rise in agenda-driven online debate channels and personalities. Recurring jokes and memes belittling minority social groups have been a pillar of their online strategies, and Jack has seen the attrition on discourse in his everyday life. “You get the people that think this is some new fad that just came up, don’t realise there’s a history to it, thinking that it’s okay to have “debates” with trans, non-binary and intersex people. This could be a person just going about their day, and all of a sudden, they’ll meet an individual that has this pre-planned debate, made out in their head. You’d be, y’know, just trying to get your coffee. You don’t want to be debating if the ‘they’ pronoun is singular or not. I just want to have a coffee. You’re always expected to ‘perform’. Part of that is, as the gay and lesbian movements have picked up acceptance, visibility and allies, they’re no longer the ‘easy target’. Trans people are likely to be more vulnerable or isolated, so they might be an easier target for this stuff.”

Another stated goal for the group has been garnering better resources with which to work, and provide spaces for people from the community to meet up and support one another. The processes of dealing with officialdom and venues around the city have been relatively easy for the group, with goodwill being extended from different quarters. “It’s been very positive. I was volunteering with Cork Community Art Link, who are at the Lido (in Blackpool). I had asked them if we could avail of the space and they were more than happy to give us that space. So, while you do have those people online that are anti-gay, or anti-trans, the average person is more than willing to be accepting, almost like they can’t do enough for you, and it’s really been heartwarming to see that. People are really kind, or if they don’t know, say, the right way to go about things, they just ask questions like ‘how can I support you better?’, which is really encouraging. Interestingly, we have had difficulty in accessing (lesbian and gay spaces), but it is getting better. The Cork Gay Project has recently changed their remit to include trans men, which is really encouraging. Bi Ireland has been fantastic. I’m surprised by the amount of trans people in bi groups in Ireland. They’re an accepting space and they’ve made sure that they’re an accepting space.”

With the polarisation of online discussion and subsequent second-hand talk, it could be difficult for some people to know where to begin getting up to speed on matters pertaining to the city’s trans, non-binary and intersex communities. Discussion regarding preferred pronouns, gender identities and trans rights have come to the surface in recent years, but for Fitzgerald, knowing how to help starts with the everyday ways in which people interact and support each other. “The biggest one is, first and foremost, view us as human. There’s a lot of ‘othering’ that can happen. Some people can be so different to you, so out of your norm, that it’s easy to other them, but when you do that, you dehumanise them. Just realise that we are human and the vast majority of us want to live our lives. I’d be very unusual, by being very proactive and advocating for trans rights, but the majority want to live their lives and get on with things. The second one is, if someone has come out to you, and has changed their pronouns, to just respect those pronouns, try and use them. I know it can be difficult if you know someone for a long time to change to a new name and new pronouns, especially if it’s ‘they’ as a singular. It can a take to while to get used to it. If you do make a mistake, misuse pronouns, etc., what works best, I find, is to say sorry and move on. One thing that often happens is someone will get the wrong pronoun, and then spend the next half-hour saying sorry for it. It comes from a place of kindness… if it’s an accident, it’s an accident. It happens.”

Another pillar of the group’s remit is raising the local profile of the community in Cork, with this awareness feeding into the main aim of better resources and support in the city. To this end, creating visibility has been a major part of the group’s activities. “I think the mere fact that we exist has created a lot of awareness. I’m after getting phone calls or emails from people where a family member has come out, or they have a client who’s trans, and they go online because they don’t know anything about it, they Google it and they find us. We’re a place for them to ask their questions. Another one is having been involved in Pride this year, which allowed us to have our own trans event. In UCC, I’d do a lot of talks… when anyone calls us asking to do a talk, I’d always raise my hand. During the Repeal campaign, I was asked to provide my perspective as a trans person. Y’know, we have meetups and social events, we do so in public, to reinforce the idea that there’s nothing wrong with being trans. We can exist in public spaces. When we launched the group, a gay man came up to me and said he thought it was unusual that we would have gatherings in public. He said he knew two trans women that wouldn’t “pass”, didn’t ‘look’ female, and because of that they shouldn’t be out in public. It’s that kind of thing we want to challenge. We are as entitled as anyone to be in these spaces.”

While the social events include coffee gatherings, nights out and games nights in places like Tabletop and Barcadia, an important offering for the group is a closed-doors peer support group at the Lido, happening monthly. Provided is an accepting space for people to present themselves as who they are, with group discussions, workshops and changing facilities available. “Mainly, we meet up in cafes. It’s a lot more chill for people. If you saw us sitting around, you wouldn’t twig that we are trans, non-binary or intersex. We just look like everyone else. We get people that go to our peer support meetings, those are closed spaces, people can be ‘more’ themselves, can dress the way they want, act the way they want. Some people can be more reserved in public, depending on how ‘out’ they are and where they are in their transition. It’s a place to support each other, discuss their experiences. If someone is just coming out, don’t know where they fit, groups like this are very handy, they can hear stories, ask questions. Oftentimes, it’s the first space (people) have been in where they’re ‘out’, or the norm, they’re not ‘unusual’. And just to have that, where they’re not the different person in the room, can be very liberating.”

The group has come along in leaps and bounds, with another AGM due later in the year, advocacy work ongoing, and social activities planned throughout. Fitzgerald points to ongoing growth and hard graft. “To grow bigger, have more events. Weekly events. Down the line, our own centre or space. When you look at Belfast, they have the Trans Resource Centre there. Seeing what they’ve done up there, we’d love to have something similar up there, where you can get resources and info. Another thing is more of an online presence, at the moment, we’re all based on Facebook. We want to move from that to our own website, so that will be a resource to access, as people might be afraid of using socials, others might not know they’re out, etc. There’s a few other things lined up, but right now it’s about getting stable, growing and building our community.”

For more information on upcoming peer support groups and social activities, email genderrebelscork@gmail.com, or find Gender Rebels on Facebook.

Groundfloor Theatre’s The Collector: “It Goes to Some Very Dark Places”

A study in obsession, boundaries and the depths of human behaviour, John Fowles’ novel ‘The Collector’ makes for an unsettling stage production, courtesy of Groundfloor Theatre. Before the show’s final run at the Everyman Palace from September 26th-28th, Mike McGrath-Bryan speaks with actor Andrew Holden.

When Frederick Clegg, a socially awkward man with a hobby in collecting butterflies, falls under the spell of Miranda Grey, the woman he admires from afar, the heady rush of longing and nervousness becomes something much, much worse. Unable to overcome his anxiety, he does the unthinkable, and resorts to kidnap to add her to his tally. Adapted from John Fowles’ deeply unsettling novel by Mark Healy, The Collector confronts in uncompromising fashion the depths to which obsession will stoop to be satiated.

For actor and co-producer Andrew Holden, who led crowdfunding for the initial run of the show via Irish platform fund:it, bearing responsibility for staging the show was a labour of love for the tale that unfolds. “For me personally, the attraction in taking on the project in the first place was the power of John Fowles original story. I found it to be dramatic, challenging and completely gripping. Obviously, adapting any novel for the stage is a mammoth task, but Mark Healy’s version has been a joy to work on. It is unmistakably the same story, but he has a brilliant understanding of how to tell a story to a theatre audience, and keep them engaged.”

Conveying a story that is inherently uncomfortable, and perhaps reflecting on an unfortunately all-too common fear for many people in the obsession of another, presented a very challenging environment for the cast and crew, with a very delicate balance to be maintained in storytelling and production. “It has been, without a doubt, a difficult piece to rehearse and perform as it goes to some very dark places at times. I think the main challenge involved for the director and actors has been not to pull our punches. A watered-down version of this story would be pointless, but judging from the reaction of audiences around the country we have managed to avoid that.”

The show has completed national touring, including engagements with major city theatres and festivals. For such an uncomfortable piece, garnering the response and making the decision to go on tour from Waterford was a big decision, but one that ultimately was the making of the production. “The reaction to the show around Ireland has been fantastic. Our first performances were in Central Arts, an intimate sixty-seat theatre in Waterford, and being realistic, if it hadn’t gone down well with the audiences there, we probably would not have had the confidence to tour, but the thing I am personally most proud of with this production is how the story is working for the audiences, and they’re having a brilliant night at the theatre.”

The Everyman is a unique venue, even among many of the older theatres still dotted around the country, and for the show’s crew, performing there was among the production’s end goals. “We have been touring the country with the production for many months now, and the Everyman is the largest venue that we will have visited. Obviously there are adjustments to be made from a technical perspective in adapting to a larger space, but we had been looking to bring the show to Cork for some time now, and the Everyman was always our first choice! We are delighted to finally be getting to bring the production to Cork audiences.”

The late September dates for the production herald its eventual end after the aforementioned run around the country. The weight of storytelling aside, the crew have achieved everything they have set out to accomplish and are winding down at the right time, according to Holden. “As it stands, these three Cork performances will be the final performances for this production of ‘The Collector’. It is now just over two years since we originally performed it. One of the original hopes was always that the production would have a life outside of a short run in one venue, and I think we can safely say we have achieved that.”

With that in mind, what’s left is for Holden to reflect on what crowds in Cork City can expect later next month, when the show pulls into the famed McCurtain Street theatre for its final curtain. “For anyone who has never read the novel, never seen the play or film, I describe ‘The Collector’ to them as a drama with a strong thriller vibe at times. When I first read it, the story just sucked me in, and, without sounding too cocky, feedback from our audiences indicates that the story works exactly the same way for them. I’ve still not met anyone who has been able to predict the ending.”

‘The Collector’, produced by Groundfloor Theatre in association with Central Arts Waterford, stops at the Everyman Palace from September 26th to 28th. Tickets €20, available at the venue’s box office now.

Franciscan Well Fem-Ale Festival: “The First Measure for More Involvement”

With craft beer now firmly at the heart of pubs and venues around the country, women are staking their claim in a rapidly-changing business. Enter the Franciscan Well’s Kate Clancy, who’s spearheading the first all-women craft beer festival on August 10th and 11th. She tells Mike McGrath-Bryan about the idea and how it happened.

The rise of craft beer over the past five years or more has been inexorable: local and regional breweries have become part of the national retail landscape, while home-brewed options have made appearances on taps around the county alongside the brewery giants. Since its takeover by Molson Coors, the Cork-based Franciscan Well has been at the vanguard of this insurgency, leveraging the increased distribution at its disposal with a unique offering of specialty beers and ales, countering the craft-branded alternate offerings marketed to casual drinkers by its parent company’s rivals. It’s against this background of innovation and growth that the latest initiative undertaken by the brewery’s pub emerges: Fem-Ale festival, happening on August 10th and 11th at the quayside superpub.

Talks, musical performances, panels and even Saturday morning pilates sessions make the event’s first annual excursion, which aims to open up the conversation around gender equality in craft brewing, according to the venue’s marketing head, Kate Clancy. “I’ve been working in the Franciscan Well now for three years as their marketing manager. Over the past three years, I have been attending and running beer festivals in Cork. Most events I attend, I normally would end up being the only female attending. This was very noticeable at our last festival, the Spring Beer Festival, which is Ireland’s longest running beer festival. I felt that there has to be women in Cork that are interested in Craft beer but may not feel comfortable in attending these events. I wanted to share with people just how welcoming the beer industry is to everyone, and showcase the women that have been part of the success of the industry in Ireland. Also a female-led beer festival hasn’t yet been held in Ireland, and considering we are celebrating our twentieth year brewing, and that it is The Year of the Woman, I thought, ‘why not do something different?’.”

She might just have a point – craft alcohol has something of a boys’ club around it, but the task of finding other brewpubs and home breweries led by women wasn’t the challenge Clancy quite had in mind, either. “It’s been amazing. It’s snowballed! Once I got in touch with one woman, they were very quick to mention another woman working in some aspect or other of the beer industry, and everyone has helped me to put the list of attendees together (specifically) to ensure no-one was left out! It’s been a pleasure of a festival to organise.”

In terms of the layout of the event, how does it break down between tastings and panels/discussions, and regarding the latter, how were themes agreed upon and reached? “Like all our beer festivals, we will have a bar with over twenty taps set up in the beerhall. Of course all beers that will be pouring will be beers that have been brewed by women. At this stage, I have over thirteen Irish brewers, which is a lot more than what I thought I’d get! As the festival is focused on showcasing women in the industry, the talks will play a major role over the weekend. They’ll start on Friday evening with Melissa Cole, followed by a panel discussion with brewers like Kinnegar Brewing’s Rachel & Libby, and West Kerry’s Adrienne. The talks will resume on Saturday at 2pm, and will be a combination of panel discussions of brewers, journalists, graphic designers, marketers, Christina Wade, the founder of the Ladies’ Craft Beer Society of Ireland, and Edana Hinchy, director of the Craft Brew Labs. There is no specific theme for the speeches, as all the women are coming from different backgrounds. The idea is for them to share their experiences in the industry, and also shed some light on how to get involved.”

The guest of honour is journalist, sommelier and food expert Melissa Cole – a pioneering professional who has blazed a trail for women in specialist service industries. Her importance as a gala headliner, for lack of a better term, cannot be underestimated, especially as part of the festival’s first year. “First off, we couldn’t run a Female festival without asking Melissa, she has done amazing work and is an inspiration to any woman in the craft beer industry. Melissa has been fighting against sexism in the beer industry for twenty years now, and it is an honour to have her speak, and share her experiences at the festival. Everyone is looking forward to meeting her, especially me!” Part of the event’s remit is reaching out to women who would like to be involved with the craft beer industry. Outreach measures are being taken at the event, and followed up on after by the brewery, in addition to the given networking opportunities such an event possesses. “I would hope that the event itself is the first measure to get more women involved, especially in Cork, and again the talks might inspire! I am hoping to run a series of follow-up events after the festival, e.g. tasting nights and tap takeovers. Christina has set up the Ladies’ Craft Beer Society of Ireland, which is based in Dublin, so I’m hoping to set up a Cork based one after the event. I will also be collecting emails over the weekend (and getting in touch).”

That spirit makes its way down to the entertainment on offer across the weekend, as the stage is set for some of Cork’s busiest musicians to showcase themselves and their work. “On Friday night, we’ll have Christiana Underwood and friends taking to the stage, with soul & reggae music. Saturday from 3pm, we’ll have member of local band She Said, and Saturday at 8pm, all-woman vocal trio Koa, off their residency at the Bridge pub on Bridge Street. All females, and all Cork-based!” As the Fran Well looks set to continue a national expansion that has seen its cans land on supermarket shelves and at festivals & events all over the country, the pub where it all started on North Mall continues apace, and preparations are in place for a special anniversary later this year. “We can’t say much about it just yet, but our biggest event to date will be in November, as we’ll celebrate our twentieth birthday. Watch this space.”