Page 1

Irish World Academy of Music and Dance / University of Limerick Dรกmh Chruinne ร‰ireann Rince agus Ceol / Ollscoil Luimnigh




Front cover: Canadian (Cape Breton) sister and brother Sabra MacGillivray (MA Irish Traditional Dance Performance) and Troy MacGillivray (MA Ethnomusicology) performing at the Limerick Fling, University Concert Hall, Limerick Photograph Š Maurice Gunning


CREDITS General Editor: Mícheál Ó Súilleabháin Text Editor: Gráinne O'Donovan Compilation of Material: Alexandra Dougall Photography: Maurice Gunning Design: Joe Gervin Space Booking Coordination: Melissa Carty Ag Féachaint Siar/Recent Events: Jennifer de Brún Tower/Logos Module Coordinator (Colloquium): Aileen Dillane Tuesday Lunchtime Performance Coordinators: Sandra Joyce and Niall Keegan Thursday Lunchtime Performance Coordinator: Lisa McLoughlin Taighde/Research Editor: Helen Phelan









57 SCHOLARSHIP AND AWARD RECIPIENTS Malachy Robinson, Irish Chamber Orchestra, performing at a concert with Academos and students of the MA Classical String Performance Photograph © Maurice Gunning





I have been in the privileged position of studying and working at the University of Limerick since 1994 when the Irish World Music Centre, as it was then known, was established. Those early heady days were marked by the confluence of the cavalier, no-nonsense approach of an emerging, confident university and the entrepreneurial spirit of a new and maverick Chair of Music, our mentor and inspiration, Mícheál Ó Súilleabháin. This synergy did not break the rules – it transformed them, inventing an energy, an attitude, that we now characterise as the Irish World Academy of Music and Dance. If I were asked to write a memoir of that time I would have great difficulty, such was the whirlwind of activity and invention. The day I was given my research desk in the Foundation Building was the day that the arrival of the Irish Chamber Orchestra to UL was publicly announced by the then Minister for Arts, Culture and the Gaeltacht, Michael D. Higgins. I have very fond memories of Mícheál dragging me and my future husband to the Plassey House meal that was provided to mark the event and having to divest myself of my homemade sandwiches on the way! I sat next to John Hunt of the Hunt Museum and listened for the first time to President Ed Walsh – an extreme yet complementary juxtaposition of Limerick culture at the time, an energy that transformed the cultural landscape of Limerick and the nation. What has followed has been gregarious, daring and often outrageous. Degree after degree has been established – again, not by breaking the rules but by reinventing the game. One of our most successful programmes, the MA Irish Traditional Music Performance, is a case in point. Its success as perhaps the most popular postgraduate performance programme in the country in any arts practice context for the last 17 years has completely hidden the fact that, in its preparation, many thought it would not work; they questioned why anyone would go to university to study traditional music performance at postgraduate level, bringing a level of critique and engagement to the practice of a folk music tradition in a way that had never been envisaged. There are 20 students on this programme this year, and over 300 have graduated from it to date.


We started out with a clear focus on research, and we are often characterised as having moved our focus from research to delivering taught postgraduate and, later, undergraduate programmes. Although all of this development is centrally important to the Academy, we remain a research-focused centre. The Academy has over 200 undergraduate students, 100 taught postgraduate students, and, in December 2015, 40 PhD students, many of whom are successful recipients of Irish and international scholarships. The early generation of graduated PhD research students has had an immense impact on the world of music and dance education in Ireland and beyond. It is difficult to imagine the future impact of the current research energy at the Irish World Academy. Over its history, the Academy has built its engagement with community through festivals such as Blas and Sionna, outreach programmes like Sanctuary and Nomad, the work of Education, Music Therapy, Community Music and Festive Arts programmes and the inspiring community outreach of our longest-standing artists-in-residence, the Irish Chamber Orchestra. This engagement with local and national communities, which strengthens the relevance of performing arts, community and university, has been a central theme of the Academy’s mission and, perhaps, its crowning achievement. However, things change. Our inspiration and founding director, Professor Mícheál Ó Súilleabháin, has moved on from his role as director. We have to look long and hard at what we do and reflect on its relevance to students, the university and the wider communities we engage with: communities that support us and nourish everything we do. We have learned that things must change. We are reinventing our programmes through curriculum review, which, as a process, is building connections between students and the creative worlds they come from. We are designing new programmes that don’t follow the set pedagogical paths of centuries of music education but are serving the artistic and societal needs of Ireland and the world.

In short, we are an academy in transition, but it is a transition that must remain endless, accepting the multiple discourses that our world presents and reproduces with a consistent and often brutal ease. There are, of course, central philosophies that will continue to inform us. We reflect the performative and the academic – indeed, we fundamentally reject the distinction between the two. The creation of new knowledge, of original works of research from the synergy of histories of text and embodied knowledge, is core. Also centrally important to the Academy is Bealach – community outreach; our work must be real and have meaning: it must, as UL’s new research strategy urges us, be translational. Fundamentally, new knowledge is transitional – it links from the past into the present and to a future in which it is ultimately seen as archaic. Knowledge and art do not stay new for long but must be continually reinvented and reimagined. Communities are constantly transforming. We must continue to contribute to and inform that development by challenging discourse and building relevance to old, new and arriving communities, in ever-reinventing artistic contexts and discourse. This is the work of the Academy: to be in a constant state of flux responding to transition, and not just reflecting change, but challenging and leading it. The Academy must, of course, always question the relevance of what it does, but we cannot build only on the past, on the music of what happened. We must build on the music of what is now, the dance of what can be. Much great art and knowledge is, or is imagined to be, created in a white-hot working forge. The Irish World Academy must continue to be that forge but also the art in itself: it must form, break and remold itself as a working forge in kaleidoscopic transition. Dr Sandra Joyce Director, Irish World Academy of Music and Dance

WE MUST BUILD ON THE MUSIC OF WHAT IS NOW, THE DANCE OF WHAT CAN BE. Sabra MacGillivray, MA Irish Traditional Dance Performance Photograph © Maurice Gunning



Dr Sandra Joyce Director Course Director MA Irish Traditional Music Performance +353 61 202065

Dr Niall Keegan Academy Associate Director Director of Undergraduate Studies + 353 61 202465

Professor Mícheál Ó Súilleabháin Founding Director Chair of Music Course Director MA Irish Music Studies +353 61 202149

Paula Dundon Academy Administrator +353 61 202149

Barbara Christie Senior Administrator +353 61 202030

Melissa Carty Administrator +353 61 202590

Jennifer de Brún Performing Arts Coordinator +353 61 202917

Alan Dormer Academy Technical Officer +353 61 202726

Diane Daly Course Coordinator MA Classical String Performance + 353 61 202918

Dr Aileen Dillane Lecturer BA Irish Music and Dance +353 61 202159

Jean Downey Course Director MEd (Music) Professional MEd (Music) +353 61 213160

Hannah Fahey Course Coordinator MA Ritual Chant and Song +353 61 234743

Dr Catherine Foley Course Director MA Ethnochoreology +353 61 202922

Ernestine Healy Director BLAS International Summer Schoolof Irish Traditional Music and Dance +353 61 202653


Dr Yonit Kosovske Lecturer MA Classical String Performance +353 61 234922

Dr Óscar Mascareñas Lecturer BA Voice and Dance +353 61 202990

Dr Triona McCaffrey Lecturer MA Music Therapy +353 61 234358

Lisa McLoughlin Lecturer BA Voice and Dance +353 61 234967

Dr Mats Melin Course Director MA Irish Dance Studies +353 61 202542

Dr Orfhlaith Ní Bhriain Course Director MA Irish Traditional Dance Performance +353 61 202470

Dr Niamh NicGhabhann Course Director MA Festive Arts +353 61 202798

Dr Mary Nunan Course Director MA Contemporary Dance Performance +353 61 213464

Dr Helen Phelan Programme Director PhD Arts Practice +353 61 202575

Dr Colin Quigley Course Director MA Ethnomusicology +353 61 202966

Kathleen Turner Course Director MA Community Music + 353 61 213762

Dr Alpha Woodward Course Director MA Music Therapy +353 61 213122

Shaunagh Smith, final-year student on the BA Irish Music and Dance Photograph © Maurice Gunning





Rose Carey, BA Irish Music and Dance Photograph © Maurice Gunning





Every Tuesday at 1.15pm in the Tower Theatre, the Academy will put on a traditional music and/or dance performance that features a wide variety of traditional performing artists visiting the Academy during that week. Tuesday January 26th


Bríd Harper and Special Guests Bríd Harper is an Irish traditional fiddle player from Castlefinn, Co. Donegal and is now living near Dungannon, Co. Tyrone. Encouraged by her parents, Harper grew up learning and playing Irish traditional music with her sisters in the Finn Valley area. With music on both sides of the family, she is carrying on the tradition of fiddle playing. She won numerous under-age All Ireland titles and other prestigious fiddle awards, including the Senior All Ireland, Oireachtas na Gaeilge and Fiddler of Dooney. Harper has toured extensively and has performed with many great musicians, including Dermot Byrne and Steve Cooney. She has been hailed as one of the leading exponents of traditional fiddle-playing of our time. She is highly respected as a teacher and has tutored at many summer schools and workshops throughout Ireland and in France, Holland and he USA. Her first solo CD has now been released, and she is currently completing an MA in Irish Traditional Music Performance at the Irish World Academy.



Wednesday January 27th Hear Our Song 2016! Cork ETB School of Music Cork ETB School of Music is pleased to present a showcase of young musicians in the classical, popular and traditional genres representative of some of the school’s extensive “Let’s play together” programme of performance-based activities. Hear our Song 2016!, the school’s signature tune, embodies young people and teachers who are passionate about sharing their music with the community at large. Cork ETB School of Music ( is one of Ireland’s most dynamic multi-campus music schools and is committed to reaching out to communities to enhance the quality of young people’s lives. The school provides diverse instrumental tuition programmes in the classical and traditional Irish music styles and offers an exciting portfolio of ensembles, bands and musicianship classes and other music-making activities. The school has an extensive public performance, “Let’s play together” concert series and works closely with partner schools to support the formal school music programmes at Junior, Transition Year and Leaving Certificate levels.

Thursday January 28th Theatre 1: 1.10pm to 1.50pm Flamenco Al-Andar Al-Andar is a group of highly experienced dancers and musicians of Andalusian Flamenco. The group includes dancers Patricia Bolonia and Rocio Gil, guitarists Javier Mula and Javier Villa, violinist Stephanie Swanton and dancer and vocalist Fatima Lucia. Al-Andar conveys the unique sensitivity and passion of the Andalusian Flamenco tradition.


Fatima Lucia is the leader and director of Al-Andar. She was the first Flamenco teacher in Ireland and has been teaching Flamenco dance in Galway and Clare since 1993. She raised her family in the Burren, a long way from her native Cadiz, the heartland of Flamenco. She has toured Ireland on several occasions along with Flamenco musicians and dancers visiting from Spain and with Irish musicians and dancers such as Sean Keane, Arty McGlynn, Martin O'Connor and the Cunningham Family, combining sean nós with Flamenco. She appears as solo dancer on Sean Keane’s DVD The Irish Scattering. For further information, visit

Tuesday February 2nd


Sylvian Barou and Special Guests Flute player Sylvian Barou plays mainly Irish and Breton traditional music and has played with bands and musicians such as Donal Lunny, Padraig Rynne, Guidewires, Altan, Guichen, Alain Genty, Denez Prigent, Jacques Pellen-Celtic Procession, Erik Marchand, Smadj, Gildas & JB Boclé, Keyvan Chemirani and Trilok Gurtu. He has performed at major festivals and venues and travels the world with his own line-up and a new trio with legendary musicians Donal Lunny and Padraig Rynne. Barou is involved in projects with Breton jazz guitarist Jacques Pellen, including a new exciting collaboration with jazz drummer extraordinaire Trilok Gurtu and a new quartet called Offshore. Barou’s versatility extends to collaborations with musicians from other musical realms such as Iranian percussion wizard Keyvan Chemirani, Indian musicians Prabhu Edouard (tabla), Sandip Chatterjee (santoor) and Sukdhev Misra (violin), and Cretan genius Stelios Petrakis (lyra, saz, laouto).



Wednesday February 3rd Hear Our Song 2016! Cork ETB School of Music See details under Wednesday January 27th on page 8.

Thursday February 11th Love Songs



She lectures in music at the Irish World Academy of Music and Dance, where she is equally active as a pedagogue and an accompanist across degree programmes, particularly on the MA in Classical String Performance. She holds a Doctor of Music degree from the Indiana University Jacobs School of Music. Her book Historical Harpsichord Technique, Developing La douceur du toucher was published by Indiana University Press in 2011.

Elena McLeod (soprano) and Yonit Kosovske (piano)

Tuesday February 16th

Just in time for Valentine's Day, this concert features songs about love. The first part of the programme focuses on first love, infatuation and lust and the second part features songs of betrayal and loss. The concert concludes with uplifting art songs that reinforce the universal belief that "all you need is love". Composers include Strauss, Fauré, Puccini, Schumann, Dvořák, Handel and Mozart.

Mick O’Brien and Special Guests

Soprano Elena McLeod began her vocal studies in Limerick with Olive Cowpar and is currently studying at DIT Conservatory of Music. She has sung the roles of Laurie (Oklahoma), Gretel (Hansel and Gretel), Mrs Semm (Noye's Fludde) and soprano soloist in DIT's 2013 performance of Handel's Messiah. A member of Lyric Opera Productions, she has performed in the chorus of Aida, La Traviata, Rusalka and HMS Pinafore. She featured in the 2012 Camerata Ireland Young Artists Programme, where she participated in masterclasses with soprano Ailish Tynan. She won several competitions at the 2015 Féile Luimní, including "Voice of the Féile Luimní." Yonit Kosovske freelances as a soloist and collaborative keyboardist on both instrumental and vocal repertoire spanning ca1500 through contemporary, performing on modern and historical piano, harpsichord and chamber organ.

Dublin-born Mick O'Brien plays Uilleann pipes, whistle and flute. O’Brien began his musical education on the Uilleann pipes in the renowned Thomas Street Pipers Club in Dublin. His father, Dinny O’Brien, a traditional "box" player, was a constant source of tunes and inspiration to his son. O’Brien recorded his first LP with his family when he was 13 years old. He later joined Na Píobairí Uilleann, an organisation founded to promote piping, where he absorbed hundreds of tunes and refined his technique. O’Brien performs regularly as a solo artist, with the RTÉ Concert Orchestra and with the Norwegian groups Vamp, Hanne Krogh and Secret Garden. His playing can be heard on numerous recordings with artists such as The Dubliners, Frankie Gavin and the RTÉ Concert Orchestra.


Wednesday February 17th Professional Master of Education (Music) Variety Performance Professional Master of Education (Music) Students With guest artist Geraldine Mooney Simmie, students from years 1 and 2 of the Professional Master of Education (Music) programme present a variety of performances that are the culmination of their combined ensemble music-making experiences. The performers are inspired by their diverse musical backgrounds and are influenced by their experiences as beginning music educators. In keeping with the inclusive nature of music education, audience participation is welcome.

Thursday February 18th Clarinet and Piano Robert Sólyom and David Szabó This concert features probably the two most popular clarinet and piano sonatas. The pieces require high technical and musical skills to perform. Both sonatas were written at the end of the composers’ lives, showing a very dark and atmospheric essence of their last period. Despite both performers being from the same city and institute, they met, became friends and started to play together only in Ireland. David Szabó is a solo and collaborative pianist from Budapest, Hungary. He is a graduate of the Liszt Ferenc Academy of Music, Budapest and Irish World Academy of Music and Dance, Limerick. He has won several competitions as a pianist and accompanist and has given concerts throughout Hungary and Ireland.




Robert Sólyom performed as soloist, chamber musician and orchestral player in almost all European countries. He was the solo clarinettist of the prestigious Danube Symphony Orchestra, Budapest, Hungary and the Customs Professional Concert Band, Hungary. He is a graduate of the Liszt Ferenc Academy of Music, Budapest and holds a Cultural Manager degree.

Tuesday February 23rd Zoë Conway and Special Guests Irish fiddle player Zoë Conway is a prodigious talent, equally at home in both traditional Irish and classical styles. Zoë has performed across the globe, both as a solo artist and as part of international acts such as Riverdance, Damien Rice, Rodrigo y Gabriella, Nick Cave and Lou Reed. She is a holder of the much coveted All-Ireland Senior Fiddle Champion title. She was voted Best Traditional Female of the Year in Irish Music Magazine and is a featured musician on the current Leaving Certificate music syllabus. Conroy is increasingly in demand as a tutor and regularly gives workshops and lectures on the merits of classical and traditional music on the violin. She has performed at festivals such as Glastonbury, L’Orient, Tonder and Womad and has performed in some of the most prestigious concert halls in the world, including the National Concert Hall, Dublin; The Kremlin, Russia; the Kennedy Centre, Washington; the Broadway Gershwin Theatre, New York; and Carnegie Hall, New York.



Wednesday February 24th Scoil Ruáin Music Students Students from First Year to Leaving Certificate from Scoil Ruáin, Killenaule, Thurles, Co. Tipperary This performance features a variety of songs from traditional to modern pop and includes soloists and group performers. Founded in 1939, Scoil Ruáin is a co-ed Education and Training Board (ETB) school. Music is a relatively new subject to the Scoil Ruáin curriculum – the first full-time music teacher was appointed in September 2012. Since then, music has grown in stature in the school and students perform at various events throughout the school year. Scoil Ruáin is delighted to announce that the Department of Education and Skills has recently sanctioned the refurbishment of the music room, which will further enhance and promote music in the school.

Thursday February 25th The Melody of Thinking Angie Smalis This contemporary dance solo explores the dancer’s personal movement vocabulary in given space and refers to procedural knowledge and observation. 5 thought experiments, 5 single momentary events, 5 practical experiences of My natural world. Those movements generated could as well be the lyrics of a song or a melody that sticks in one’s head for a long time. Angie Smalis studied contemporary dance and choreography at the State School of Dance, Athens before joining the Viennese Folks Opera (Volks Oper Wien) in 2001. Two years



later she moved to Limerick and joined Daghdha Dance Company. Angie is artistic director of Limerick Youth Theatre while she continues to teach, create and perform contemporary dance as an independent artist. In 2012, Angie established Patterns Dance Collective, a group of dance artists with intellectual disabilities. In 2014, she initiated the formation of Limerick Youth Dance, where she currently teaches.

Wednesday March 2nd


Limerick School of Music Chamber Music Recital Students from Limerick School of Music In this recital, senior students from Limerick School of Music perform chamber music works from several musical eras. The recital showcases some of the school’s many chamber music groups. Limerick School of Music was founded in 1962. Located in the heart of Limerick city, the school is the largest provider of music education in the mid-west region. The teachers are performers of the highest calibre, and students enjoy being part of an exciting, vibrant and supportive community of musicians. Students are encouraged to take every opportunity to become involved in live performance, both individually and as members of the school’s many ensembles and orchestras.



Thursday March 3rd

Tuesday March 8th

Wednesday March 9th

Academos Irish Chamber Orchestra Academy, Theatre 1

International Women’s Day Performance

Members of the Irish Chamber Orchestra and students from CIT Cork School of Music, Royal Irish Academy of Music, Dublin Institute of Technology and the Irish World Academy

Staff, students, graduates and friends of the Irish World Academy

Music Generation Clare Young performers from Music Generation Clare and their friends from Maoin Cheoil an Chláir

This spring, an exciting collaborative project led by members of the dynamic Irish Chamber Orchestra, directed by Katherine Hunka, sees string students from four of the country’s foremost academies come together as part of the Academos Irish Chamber Orchestra Academy initiative. Featuring music by Mendelssohn, Elgar and the exciting Irish composer Sam Perkins, this lunchtime performance at the Irish World Academy is one of a series of three performances by this group of rising young stars.
 Katherine Hunka has been Leader of the Irish Chamber Orchestra (ICO) since 2002 and has directed many concerts from the violin as well as performing as soloist across a wide range of repertoire. She has been a guest leader with the Manchester Camerata, Scottish Chamber Orchestra and Royal National Scottish Orchestra and has performed as soloist with the National Symphony Orchestra of Ireland and RTÉ Concert Orchestra. She teaches on the MA in Classical String Performance at the Irish World Academy. She was a professor at the CIT Cork School of Music and has been a visiting professor at Indiana University, USA.


March 8th is an international marker to celebrate the achievements of women throughout history, identify aims for the future and encourage further conversation on the issues facing women and girls today. To mark the occasion of International Women's Day, the Irish World Academy prepares to host its fourth annual lunchtime concert. The concert will feature female voices in song, music, dance and the spoken word from friends, staff, students and graduates of the Irish World Academy. Join us for this exciting celebration.


Music Generation Clare, participants in Ireland’s national performance music education programme, will be joined by friends from Maoin Cheoil an Chláir to treat you to an uplifting lunchtime flavour of work from across their various vocal and instrumental programmes.

This concert is part of an Irish World Academy wider celebration, which features a special event entitled Remembering the Matriarchs of Irish Dance (see page 28 for details). As part of the day, the MA Festive Arts programme will hold an open seminar focusing on female artists, curating and commissioning from 11am to 12 noon in the Tower.

See page 44 for details on the ICO.

Jessie Keenan performing during the Step Up Dance Project at the Academy Photograph © Maurice Gunning



Thursday March 10th Chamber Music Recital: A selection of works for string trio by Mozart, Dohnanyi and Schubert Trió: Diane Daly (violin), Cian Ó Dúill (viola) and Aoife Nic Athlaoich (cello) Trió is an exciting new string trio comprising musicians from the Irish Chamber Orchestra. Violinist and community musician Diane Daly represented Ireland performing as soloist with the RTÉ Concert Orchestra at the age of 14. She received a BMus from the Guildhall School of Music and Drama, a postgraduate diploma from the Royal Northern College of Music (specialising in string teaching and the methodologies of Kodaly and Dalcroze) and an MA (first-class honours) from the University of Limerick. She has toured the world with a number of prestigious ensembles, including the Academy of St. Martin in the Fields and the European Union Chamber Orchestra, and has been a member of the Irish Chamber Orchestra since 1998.
 Cork-born viola player Cian Ó Dúill has performed with the Vanbrugh, Carducci and Calino String Quartets, the Fidelio Trio, the Avalon Ensemble, Chroma and the Crash Ensemble. He has played in chamber music recitals with Anthony Marwood, Howard Shelley, Jorg Widmann, Natalie Clein and Patricia Rozario, members of the Leopold Trio, the Nash Ensemble and Schubert Ensembles and has appeared at Cheltenham, Warwick Arts, Chichester, Aldeburgh, Wye Valley, Kings Lynn, Sligo Spring, Killaloe and West Cork Chamber Music Festivals. He was a founder member of the Regent String Quartet and the Rothko String Trio and is a member of the Oriel Trio and the London-based string sextet Chamber Players.



Dublin-born Aoife Nic Athlaoich is equally at home playing on period instruments and performing newly commissioned works. She has collaborated with jazz musicians and contemporary dance groups and plays as an orchestral musician under the baton of eminent conductors such as Sir John Elliot Gardiner, Sir Colin Davis and Bernard Haitink. She has performed with the Orchestra of the Age of Enlightenment, la Serenissima, the Avison Ensemble, Irish Baroque Orchestra, Scottish Chamber Orchestra, Classical Opera Company and London Mozart Players and is a member of the Irish Chamber Orchestra and the Orchestre Révolutionnaire et Romantique.

Wednesday March 16th Limerick Voices – The Tower Sessions Music Generation Limerick City Limerick Voices is a series of connected performances that take place in various settings across Limerick. The common threads that tie each series of performances together is multiple genres, generations and stages, allowing a rich variety of music to seamlessly flow from one part of the space to another. Limerick Voices – The Tower Sessions brings the format to the heart of UL. Musicians include young people from Music Generation Limerick City’s network of band and rap mentorship programmes and teaching hubs and some of Ireland’s most respected professionals from the highest level of the classical, traditional, jazz, rock and spoken-word scenes. Connecting the two groups are students and musicians in transition from learner to established performer.


Thursday March 24th Violin and Viola Collailm Duo Ireland’s only international award-winning violin and viola ensemble, Collailm Duo, comprises Cork sisters Karina and Aiveen Gallagher. Since their debut in 2014, they have been dazzling audiences in Europe with their passion, virtuosity and technical brilliance. This pre-eminent Irish duo has been recognised by some of the greatest artists of our time for their outstanding musical qualities and flair on stage. Inspired by the many countries in which they have lived and worked, Collailm Duo will showcase an eclectic mix of works for violin and viola. This concert is sure to delight and enthral. Since Collailm Duo’s debut in the Vilnius State Theatre in July 2014, the duo has performed at many iconic and historic venues in Europe, such as the Teatro Rossini, Puglia; Cité Internationale des Arts, Paris; and the spectacular Church of Saints Peter and Paul, Krakow. They have performed in Ireland for the Forte Festival, MusicTown Festival, the Dublin Philharmonic Society, and ‘At the Drawing Room’ and ‘Of Our Times’ concert series. Collailm Duo has won numerous international scholarships and awards, most recently the ‘concerti premio’ of the Livorno Music Festival, Italy and has been awarded scholarships by legendary artists violinist Ivry Gitlis and violist Bruno Giuranna.


Wednesday March 30th Practical Music in the Classroom Leaving Certificate Music Students of Maoin Cheoil an Chláir Students from Maoin Cheoil an Chláir will unite to showcase their talents and display their performing skills in both group and solo performances. Students in the group will perform on a range of instruments and will entertain you with traditional tunes and classical pieces, and vocalists will also take to the stage. So come along and enjoy the talents of our future musicians and singers from County Clare. Singing and playing violin, accordion, concertina, piano, harp and fiddle, the young musicians include Rachel Brady, Hannah Bredin, Saoirse Quinn, Emma Corbett, Miriam Daly, Bethan Godber, Sarah Hehir, Cathal Keane, Christóir King, Fionnuala McKey, Aoife Murphy, Jaana Newman and Shane Talty.

Thursday March 31st Mann Music Croan yn Tead – Amy Stoutt, Mera Royle, Arabella Ayen, Lucy Gilmore and Peddyr Cubberley, with guest Fiana Ní Chonaill Mann has its own unique tunes and songs that portray the environment in which the Manx people grew up and were moulded. Mann is one of the six Celtic nations, and her traditional music reflects that. Manx traditional music shares many similarities to Irish traditional music and indeed shares many of the same tunes and songs. For this reason, Croan yn Tead will be joined by Irish harper Fiana Ní Chonaill, who visited the Isle of Mann last year.



The name “Croan yn Tead” (Crann an Téad) is Manx Gaelic for ‘Tree of Strings’, in reference to the harp, and the Gaelic name reflects the mutual cultural heritage shared by the Isle of Mann and Ireland. Croan yn Tead is the collective name of a group of young musicians based in the north of the Isle of Mann: Amy Stoutt, Mera Royle, Arabella Ayen and Lucy Gilmore under the direction of flautist Peddyr Cubberley. Aged from 12 to 18, the girls are students at Ramsey Grammar School. They started harp under the encouragement of local teacher Mike Boulton and now study with Scottish harpist Rachel Hair, who visits the island once a month.

Thursday April 7th


Spring and Summer Emma Fitzgerald ‘Spring and Summer’ is a 25-minute solo performance featuring song, story-telling and dance. Moments of high tension and drama contrast with lyrical sparsity. Inspired by the seasons, ‘Spring’ references the living, dying impermanence of all that surrounds me and all that I am and ‘Summer’ is a dance in which the light that touches my skin is as affirming and nourishing as the love from a faithful lover or kind parent. ‘Spring and Summer’ was created with the support of the Arts Council Dance Bursary Award Scheme and Dublin City Council Arts Office’s Incubation Space Award. Special thanks to Robert Jackson. Emma Fitzgerald is a performer and choreographer whose work combines story-telling, dance and song. In 2008 she co-founded the dance theatre company ‘Fitzgerald and


Stapleton’ with artist Aine Stapleton. She has created five full-length works and a number of shorter duets and solos. Her work has been supported by the Arts Council, Dance Ireland, Culture Ireland, Dublin City Council and Project Arts Centre. Fitzgerald trained at London Contemporary Dance School, one of Europe’s leading conservatoires, and graduated with a BA Honours in Contemporary Dance. “Ms. Fitzgerald … is a gamine tour de force of charisma and contradictions.” New York Times. For more information, please visit

Wednesday April 13th Sing Out with Strings Showcase Pupils from Le Chéile National School and St. Mary’s National School Sing Out with Strings is a successful community engagement initiative designed and delivered by the Irish Chamber Orchestra (ICO). The programme provides tuition in singing, song writing, violin and cello tuition to over 300 children throughout Limerick city. The purpose is to develop not only musical skills but also key life skills for children (4–12 years) using music as a tool for tangible social change. This performance showcase features uplifting and inspirational choral and instrumental work by the children. Not to be missed! Le Chéile N.S. emerged from the amalgamation of Galvone N.S. and Southill Junior School and is Limerick’s newest school. Its motto, “Together we achieve”, summarises the school’s commitment to support each child to maximise his/ her talents and potential. The ICO’s Sing Out with Strings



programme has been active in this community for the past eight years. St. Mary’s N.S. is the amalgamation of St. Mary’s Boy’s N.S. and St. Mary’s Girls N.S. Sing Out with Strings initially worked with the boys’ school prior to the amalgamation and continues to work with the combined school.

Thursday April 28th MA Classical String Performance Showcase MA in Classical String Performers Students from the Irish World Academy’s unique MA Classical String Performance programme will perform a series of works drawn from over four centuries of string repertoire. The MA professional performance programme, which is run in a unique partnership with the Irish Chamber Orchestra, prepares musicians for professional life as classical performers, so this is a rare opportunity to hear professional quality performance in a relaxed and intimate setting. This performance will be repeated on Thursday May 5th.

Thursday May 5th MA Classical String Performance Showcase MA in Classical String Performers See above for details.





Qristina Bachand performing with her fellow MA Irish Traditional Music Performance students Photograph © Maurice Gunning



Wednesday January 27th



Did Not Bunting Do This? Presenters: David McGuinness and Alec Brown Chair: Dr Mats Melin (Irish World Academy) There was little interest in what actual musical material cellists or ‘bass fiddlers’ might have played before the instrument’s place in dance music was largely supplanted by the piano in the early 20th century. The study of basslines in early printed sources reveals a more complex picture, and by taking a critical look at early print sources in the first presentation of this seminar, David McGuinness shows that we can see musical practices sometimes clearly and sometimes through some very foggy glasses. The second presentation addresses the contemporary techniques that Alec Brown is introducing into the Irish music tradition. By way of incorporating techniques from American bluegrass music and Scottish traditional music, Brown attempts to create an Irish style of cello accompaniment. These techniques include, but are not limited to, advanced chopping techniques, finger-style accompaniment and the classical music technique “quasi chitarra”. David McGuinness is a senior lecturer in music at the University of Glasgow and director of the group Concerto Caledonia, which has produced 13 albums, mostly of historical Scottish music. He was Principal Investigator on the AHRC-funded project ‘Bass Culture in Scottish Musical Traditions’, which led to the setting up of the web resource, which hosts printed sources of fiddle music from before 1850. He has worked as a composer for television, most notably on Channel 4’s teen drama series Skins, and for many years was a



BBC radio producer, producing John Purser’s 50-part history of Scottish music for BBC Radio Scotland. American cellist Alec Brown currently guest lectures at UL. After completing the MA in Irish Traditional Music on the Irish flute and cello, he continued his pursuit of creating an Irish traditional style of cello on the PhD in Arts Practice. His unique style of cello playing fuses stylistic techniques and influences from Scottish and American traditional music and Western art music. Brown performs with artists such as The Chieftains, De Danann and others and was recently invited to play for the Scoil Uí Ruairc school of Irish dancing at the Festival Interceltique de Lorient in 2015.

Wednesday February 3rd


Arts Practice Research in Music Education and Community Music Shannon Burns, Diane Daly, Fran Garry and Kathleen Turner Chair: Dr Ailbhe Kenny (Lecturer in Music Education at Mary Immaculate College) Arts practice research is predicated on the centrality of artistic expression to the research process. It is now a well-recognised research approach in visual, performing and creative arts. However, its use as a research method in music education and community music is a more recent phenomenon, which the Irish World Academy leads in Ireland. In this seminar, four current doctoral students explore music education and community music-related research questions through their own artistic practices.



Shannon Burns is a saxophonist and music educator who is currently in her fourth year of the PhD in Arts Practice at the Irish World Academy. She has completed a Bachelor of Music degree from Ithaca College and a Master of Arts in Ethnomusicology from UL. Her PhD research focuses on developing a performance-based music theory curriculum for non-classical musicians and dancers. She is a co-founding director of the Redemptorist Centre of Music in Limerick, which provides music tuition to adults and children who would not normally have access to it. See page 12 for a biographical note on Diane Daly. Fran Garry is a singer/songwriter and musician from Navan, Co. Meath who specialises in choral direction, musical theatre, creative writing and community music. She holds a BA in English Literature and History and an MA in Community Music from UL and a Certificate in Youth Arts from NYCI in conjunction with NUI Maynooth. She is currently in her second year on the Arts Practice PhD programme at the Irish World Academy. Her research project is an exploration of lived arts experiences in educational and community settings. Kathleen Turner is a singer, songwriter and community musician living and working in Limerick city. She holds a BA in English and Politics from the University of Stirling and two master’s degrees from the Irish World Academy: MA Community Music and MA Ritual Chant and Song. She is currently in her third year of the PhD Arts Practice, exploring the role of community music in social regeneration. She is course director of the MA Community Music and is a former manager of the Irish Chamber Orchestra, with whom she currently works as a vocal tutor on the community music programme Sing Out with Strings.




Chair and invited speaker Dr Ailbhe Kenny lectures in music education at Mary Immaculate College (MIC). A Fulbright Scholar and holder of a PhD from the University of Cambridge, she spent the academic year 2014/15 at Teachers College, Columbia University and New York University. Previous roles include a research fellowship at St. Patrick’s College, primary school teaching and arts and education officer at The Ark, a cultural centre for children in Dublin. She has published internationally in journals, handbooks and edited volumes and is actively involved in community projects, including the MIC Children's Choir.

Erasmus Mundus CHOREOMUNDUS: International Master in Dance Knowledge, Practice and Heritage. She has trained in Benesh movement notation, ethnomusicology and social anthropology, and fieldwork has taken her to Australia, South Africa and India. She has published widely in French and English on a variety of topics, including Tiwi and South Asian dance, ice-skating, identity and bodily practices. Her children’s book Eyewitness Dance (1998) has been translated into eight languages. Some of her publications can be downloaded from

Wednesday February 10th

Wednesday February 17th

“Hard times require furious dancing”

Curating on Air: Dr Marie Ross (historical clarinet) and the Fidelio Podcast

Presenter: Professor Andrée Grau Chair: Dr Catherine Foley (Irish World Academy) With the backdrop of the ‘One Billion Rising’ campaign to end violence against women (according to UN statistics, one in five women is the victim of rape or attempted rape in her lifetime and one in three is beaten), Professor Andrée Grau examines the Women with Broken Wings (2014) project, which was developed by the Indian dancer activist Mallika Sarabhai with Swiss pianist Elizabeth Sombart to help raise ‘consciousness about the crimes committed onto women by other human beings’. The work will be situated within a broader gender analysis, engaging especially with the concept of gynocide, as developed by feminist authors in the 1970s. Andrée Grau, F.I.Chor, MA, PhD is Professor of the Anthropology of Dance at the University of Roehampton, London. She leads the MA in Dance Anthropology and the



Dr Marie Ross is one of the most innovative leaders of the next generation of early music performers. She specialises in historical clarinets and works as an arranger. She is the associate principal clarinetist with Ensemble Matheus and performs regularly with orchestras such as Concerto Köln, Musica Aeterna and Akademie für Alte Music Berlin.

Presenter: Dr Marie Ross Chair: Dr Yonit Kosovske (Irish World Academy) Dr Marie Ross will discuss the creative process behind curating her radio show, “The Fidelio Podcast”, which covers different topics in the arts. As host of the programme, Dr Ross combines her skills as a performing musician and scholar when interviewing artists who might not necessarily be household names but are all known and respected in their disciplines. For more information, visit

Andrew Sheeran, MA Classical String Performance Photograph © Maurice Gunning




Wednesday February 24th Celebrating 20 Years of Irish Research Council Funding at the Irish World Academy Presenter: Dr Eucharia Meehan, Director of the Irish Research Council, and past and present recipients of IRC funding Chair: Dr Helen Phelan (Irish World Academy) The mission of the Irish Research Council (IRC) is to enable and sustain a vibrant and creative research community in Ireland. Building on the work of the two former councils IRCHSS and IRCSET, the IRC has, since its inception, made a significant contribution to research in the arts. This event celebrates 20 years of IRC funding of doctoral and postdoctoral research at the Irish World Academy through a panel of presentations from past and present recipients and an invited address from the current director of the IRC, Dr Eucharia Meehan. Details of the IRC recipients will be available at the seminar in a specially published brochure celebrating 20 years of IRC funding at the Academy. The seminar will be followed by the launch of a new publication on the impact of the IRC on research at the Academy. In attendance at the launch will be Dr Mary Shire, Vice President Research, University of Limerick and Professor Jane Ohlmeyer, Chair of the Irish Research Council. Dr Eucharia Meehan is the director of the Irish Research Council. The IRC funds all disciplines to support the diverse talent and research needs of the economy and society. Prior to taking up this role, Dr Meehan was head of research and innovation (policy and investment) at the Higher Education



Authority (HEA). For over a decade, she managed the largest-ever investment programme for strategic research infrastructure in Ireland – the Programme for Research in Third Level Institutions (PRTLI). Prior to her move to the IRC, she instigated the development of a national framework for doctoral education. She was head of capital programmes for higher education from 2008 to 2012. Professor Jane Ohlmeyer, MRIA, is chair of the Irish Research Council. She is the Erasmus Smith's Professor of Modern History at Trinity College Dublin and director of the Trinity Long Room Hub, Trinity’s research institute for the Arts and Humanities. In 2014/15, she was the Parnell Fellow at Magdalene College Cambridge and a visiting professor at the Centre for Historical Studies, JNU in Delhi. In 2016, she will hold the Yeats Visiting Professorship at Sāo Paulo University in Brazil. She has taught at the UCSB, Yale and the University of Aberdeen. She is a member of the Royal Irish Academy, the National Archives, the Irish Manuscripts Commission and a number of editorial boards. She is a non-executive director of the Sunday Business Post.

Wednesday March 2nd


Sufi Poetry in Song: From Morocco to Birmingham Presenters: The Safa Singers and Dr Tony Langlois Chair: Dr Colin Quigley (Irish World Academy) Dr Tony Langlois will discuss Sufism in Morocco and its maintenance in the UK. The Safa Singers will perform traditional spiritual poetry inspired by the teachings of great Sufi masters, past and present.



Based in Birmingham and London, The Safa Singers have performed internationally, on TV and in numerous venues across the UK, including Oxford University and Westminster Hall. Although the group’s members come from a variety of backgrounds, they draw their musical and spiritual guidance from a Moroccan tradition. Dr Tony Langlois is an ethnomusicologist who lectures in the Department of Media and Communications, Mary Immaculate College, Limerick. His specialist areas of interest are North African musics, Icelandic electronica and Irish soundscapes. He is currently editor of Ethnomusicology Ireland, the online journal of the Irish chapter of ICTM, and is a co-director of the Limerick Soundscape Project.

Wednesday March 9th Three Forms of Gender: The Movement Repertoire of Balinese Kebyar Dance Presenter: Dr Kendra Stepputat Chair: Dr Catherine Foley (Irish World Academy) On Bali, many forms of dancing co-exist. Today, the most well-known and predominantly practised dance is a style known as kebyar. Dancers are male and female and can portray both male and female roles in performance. Interestingly, there is also a third “in-between” gender known as bebancihan. In this seminar, participants will gain insight into the development and manifestation of kebyar dances and particulars about the separation of roles into three genders. In addition, an embodied experience of male, female and bebancihan style positions and movement repertoires will be provided.




Dr Kendra Stepputat is a senior lecturer (senior postdoc) at the Institute of Ethnomusicology, University of Music and Performing Arts Graz (KUG) in Austria. She has an MA in Comparative Musicology, Communication Science (Free University Berlin) and Southeast-Asian Studies (Humboldt University Berlin) and a PhD in Ethnomusicology (KUG). She is leader of the FWF-sponsored Elise-Richter project "Tango-Danceability of Music in European Perspective" (2015-19). She has published articles in peer review journals and is co-editor of Performing Arts in Postmodern Bali (2013) and Sounding the Dance – Moving the Music. Her current general research focus is on the interrelation of sound and movement and social networks in the performing arts.

Wednesday April 6th


1. Music: A Possible Indicator of Social Adjustment among Immigrant Groups 2. Music, Migration and Knowledge Presenters: Dr Marcello Sorce Keller and Dr Helen Phelan Chair: Dr Sandra Joyce (Irish World Academy) 1. While research on migrant musics is quite a relevant theme in contemporary ethnomusicology, it is even more important and crucial to the study of musical cultures at large because we do not really know a musical culture until we see how it reacts to the experience of migration. This is because immigrants find themselves in a condition in which traditional forms of behaviour are challenged by the new environment. How immigrants fit into their new environment can be gauged by their musical horizon: memories, tastes, activities.



2. In distinguishing between explicit and tacit forms of knowledge, Polanyi (1958) describes explicit knowledge as a formal, structured mode of transmission while tacit knowledge is person and context specific, dependent on human-to-human contact. Knowledge transfer is a critical aspect of the knowledge-based economy. Williams and Baláž (2008) argue that this positions the migrant as a key player, particularly in areas where tacit knowledge is important. This presentation explores the unique position of the migrant as a cultural-broker and the complex role played by music in the transfer and generation of cultural meaning. Originally a pop pianist and arranger, Dr Marcello Sorce Keller later repented and graduated in composition from the Milan Conservatory, obtained a Laurea degree in sociology at Milan University and a PhD in musicology at the University of Illinois and taught in the USA, Italy and Switzerland. Although retired, he is Assoziierter Professor at the University of Bern (Switzerland). His work has been criss-crossing Western music history, ethnomusicology and the sociology of music. His most recent books are What Makes Music European (Scarecrow 2012) and, with Linda Barwick (eds), Out of Place and Time: Italian and Australian Perspectives on Italian Music in Australia (Lyrebird 2012). Irish World Academy faculty member Dr Helen Phelan is currently programme director of the PhD in Arts Practice and was course director of the MA Ritual Chant and Song for nine years. Her research interests are in the areas of performance studies, migrant studies, ritual studies, ritual song, arts practice research and music education philosophy. She is founder-director of Sanctuary, a HEA initiative supporting the cultural expression of new migrant communities in Ireland, and founder of the Anáil Dé/Breath of God Festival of World Sacred Music. Wednesday April 13th Eimear Byrne and Bianca Smith, MA Contemporary Dance Performance Photograph © Maurice Gunning




Wednesday April 13th Curating Performance Presenters: Dr Yonit Kosovske, Gerard Keenan and Francis Humphrys Chair: Dr Niamh NicGhabhann (Irish World Academy) The MA Festive Arts programme explores the processes and practices of curating and programming performance. In this seminar, we bring together three individuals involved in performing and curating in different contexts. They will explore the process behind creating and developing a programme for performance and the different ways in which these curatorial or programming decisions are communicated to audiences. See page 9 for a biographical note on Dr Yonit Kosovske. Having worked with the Irish Chamber Orchestra since 2006 in the capacity of orchestra manager, Gerard Keenan was appointed CEO of the ICO in 2013. He began his studies in the then VEC College of Music and subsequently joined the Army No. I Band, where he served for nine years. After playing professionally for 15 years, he moved into senior management roles with the National Youth Orchestra of Ireland, the ICO and the National Chamber Choir. He spent seven years working with the DIT Conservatory of Music and Drama as ensembles and concerts manager before moving to the ICO. Educated at Oxford and the London School of Economics, Francis Humphrys worked in theatre before moving to West Cork in the 1970s and taking up farming. He founded the West Cork Chamber Music Festival in 1996 and





developed the West Cork Literary Festival and Masters of Tradition in the following years. Still an active famer, he is the current director of the West Cork Chamber Music Festival and CEO of West Cork Music.

Wednesday April 20th Why Do Ballads Have Words? Presenters: Dr David Atkinson and Dr Sandra Joyce Chair: Dr Niall Keegan (Irish World Academy) Drawing on a seminal article by Simon Frith, this seminar considers ballads as popular songs and addresses such questions as “Who are we listening to?” The presentation takes issue with Alan Moore’s assertion that the words of popular songs are largely unimportant. Here, narrative content is an important and possibly distinguishing factor, but it is also possible to reconcile the approaches to some degree by drawing on Ricoeur’s theory of interpretation. Dr David Atkinson is an independent scholar and an Honorary Research Fellow at the Elphinstone Institute, University of Aberdeen. He is the author of The English Traditional Ballad: Theory, Method, and Practice (2002) and The Anglo-Scottish Ballad and its Imaginary Contexts (2014) and co-editor of Folk Song: Tradition, Revival, and Re-Creation (2004) and Street Ballads in Nineteenth-Century Britain, Ireland, and North America: The Interface between Print and Oral Traditions (2014). He is the editor of Folk Music Journal and executive secretary of the Kommission für Volksdichtung (International Ballad Commission).

Quentin Vestur and Qristina Bachand during the Limerick Fling concert at the University Concert Hall Photograph © Maurice Gunning






Claire Duffy during a recent Baroque concert at the Academy Photograph Š Maurice Gunning


Thursday February 11th



‘The legs that put a kick into anthropology’ Presenter: Professor Andrée Grau Chair: Dr Catherine Foley (Irish World Academy) This seminar examines some of the shared history of ethnomusicology and the anthropology of dance and how both engaged with anthropology. Investigating the emergence of the anthropology of dance as a distinct field of study, the presentation will look at how pioneers such as Katherine Dunham (1909-2006), a student of Robert Redfield (1897-1958) and Melville Herskovits (1895-1963), and Zora Neal Hurston (1891-1960), a student of Franz Boas (1858-1942), never seemed to gain a foothold within the history of the discipline; neither do they belong to the canon of American anthropology, despite the valiant efforts of African American anthropologists to reclaim them. See page 17 for a biographical note on Professor Andrée Grau. MARCH

Thursday March 10th

Tango Argentino – Tango Cosmopolita Presenter: Dr Kendra Stepputat Chair: Dr Catherine Foley (Irish World Academy) Tango Argentino is a music and dance genre that has its roots in the delta of the Rio de la Plata in the towns of Montevideo and Buenos Aires. The beginnings of the genre can be dated to the early 20th century, yet a lot has changed in terms of music and dance from these times. For many political, economic and cultural reasons, the genre has spread over the globe to urban areas, mostly in Asia, the Americas and Europe. Now, in the early 21st century, it can be called acosmopolitan genre,


organised socially in the form of an international scene, social network and cosmopolitan formation. This seminar will show how this tango network functions and how, over the last decades, trends and their dissemination, both in music and dance, have shaped the present state of Tango Argentino both in Buenos Aires and abroad. See page 19 for a biographical note on Dr Kendra Stepputat.

Thursday April 7th


Do Animals Make Music? An Old Question – Some New Answers Presenter: Dr Marcello Sorce Keller Chair: Dr Sandra Joyce (Irish World Academy) The idea that music may exist in nature and in the animal world has a long history, both in the west and among cultures across the planet. In recent years, however, new information has emerged from scholars working in the field of animal behaviour. It is this information that allows us to reformulate the question in quite different terms. In fact, a new field of intellectual endeavour was born about 30 years ago: zoomusicology. Today, even the more fundamental question of “what do we really mean when we speak of 'music'” is ripe for re-examination and re-assesment.


Thursday April 21st History, the Ballad and the Idea of a Memory Presenter: Dr David Atkinson Chair: Dr Sandra Joyce (Irish World Academy) This paper traces the remembrance in disparate songs of the sinking of HMS Ramillies in 1760 through to the period of folk-song collecting. This is compared with the much-admired ballad of ‘Sir Patrick Spens’, which supposedly commemorates events of perhaps as early as the 13th century, and yet which is unknown before the mid-18th century and has probably never had much traction until the 19th or 20th century. In both instances, the ‘idea of a memory’ is more important than demonstrable continuity – an idea that combines folklore and phenomenology. See page 20 for a biographical note on Dr David Atkinson.

See page 19 for a biographical note on Dr Marcello Sorce Keller.




Students of the MA Community Music ensemble performance Photograph Š Maurice Gunning



Wednesday February 10th


Ash Wednesday: A time for reflection and ritual, a time of turning round and beginning again 1.15pm, The Tower UL Chaplaincy and students of the Irish World Academy Ash Wednesday marks the beginning of the Lenten season in western Christianity. Lent is traditionally seen as a ritual period mirroring the 40 days Jesus spent in the desert in preparation for his public ministry. Lent is viewed as a period of reflection, repentance and preparation, commencing with a ritual of ashes, a cross-cultural symbol of the close relationship between life and death.


Thursday February 11th


Tough at the Top: Maintaining Excellence in Performance Practice 2pm to 4pm, Theatre 1 Sean Connolly, Marielle Lespérance and Cliodhna Donnellan This event highlights some of the challenges faced by elite performers who seek to maximise their performance careers while retaining passion and skill. Our speakers work across a range of performance genres with artists who are striving to achieve a consistently high standard of performance.

In the Judaic scriptures of Numbers, Jonah, Hebrews and the Book of Ester, ashes are a symbol of grief, sorrow for our faults and the transience of life. The canonical gospels of Matthew, Mark and Luke take up this theme, emphasising the need to examine our lives in the context of repentance. Traditionally, ashes are either sprinkled on the head or traced on the forehead in the form of a cross. In Indian religions, including Hinduism, Buddhism and Jainism, yogi, sadhu and other holy persons are often smeared with ashes as a sign of their detachment from the things of the world.

Published author Sean Connolly believes in the power of the mind to overcome any obstacle in life. Although he has worked as a motivational coach for two BBC series and with many elite athletes, he is mostly recognised for his powerful work with artists. Described by many as the first dance psychologist to study the minds of great Irish dancing champions, Connolly has worked with many of the leading dancers in the world on their way to the top. He works with dancers, musicians and singers at any level to enhance their performance and has conducted workshops in the USA, Canada, Ireland and the UK for the past 12 years.

Nugua, a goddess of ancient Chinese mythology, saves the earth from a great flood by burning reeds into ashes to create a dam, thereby using ashes to protect life through the balance between water and earth. A similar sense of this balance between life and death is found in the Mayan traditions of the Quiché, who viewed ashes as magical and life protecting and mixed them with maize seeds to promote a good harvest. The Christian symbol of the cross is also universally viewed as a symbol of the alteration between life and death and the intimate connection of one with the other.

Marielle Lespérance is the current adult Canadian and world champion in highland dancing. Throughout her competitive career, she has won four world, five Commonwealth and 11 Canadian championships. Beyond competing, Marielle’s passion for highland dance extends to teaching and performing. She is a member of the British Association of Teachers of Dance and has taught dance workshops across Canada, the USA and Scotland. She is one of the founding members of the highland dance performance company Change of Step, which aims to breathe new life into




traditional highland dancing. Marielle currently resides in Summerside, Prince Edward Island, where she is the highland dance instructor at the College of Piping and Celtic Performing Arts of Canada. East Clare musician Cliodhna Donnellan graduated from the Irish World Academy with an MA in Irish Traditional Music Performance and an MA in Community Music. In 2004, she produced Songs My Father Sang, an archival CD in tribute to her late father Sean Donnellan. She is founder and coordinator of the Mountshannon Traditional Music Festival and coordinates the MA in Irish Traditional Performance programme at the Irish World Academy. Her Arts Practice PhD study is entitled Perspectives on Formal Performance Settings for Irish Traditional Music.

Tuesday March 8th


Dance Proxemics in Mezőség, Transylvania 10am to 12 noon, Conference Room Sándor Varga Based on his observations since 1994 in the Mezőség/Cȋmpie area of the Transylvanian Plain, Romania, Sándor Varga will demonstrate that the local dance-proxemics is operating as a communications system, symbolising important social roles. He will illustrate his investigations on ethnic, economic, gender and status relations in the villages with the help of short video clips and will examine the effect that the spatial organisation and proxemics of various types of dance have on their formal and structural character and, through this, on the creative process of the dancers. Varga will argue that the combination of the formal-structural approach of the dance folkloristics and the “ethnosemiotic” approach of dance anthropology provides new possibilities for Hungarian dance research.

Joachim Roewer, Irish Chamber Orchestra, performing at a concert with Academos and students of the MA Classical String Performance Photograph Š Maurice Gunning




Sándor Varga is a lecturer and adjunct at the Department of Ethnography and Cultural Anthropology of the University of Szeged (Hungary) and the coordinator of the specialisation in dance folkloristics. Since 2013 he has been working as a scientific co-worker at the Institute for Musicology of the Hungarian Academy of Sciences. He lectures at different universities and colleges, especially at the distant divisions of the Hungarian Dance Academy. He is a member of the ICTM and the Hungarian Association of Ethnographers and is president of the Hungarian Society of Ethnochoreology. Varga is a traditional dancer and has worked as a choreographer, trainer and dance-house leader for almost 20 years in the Hungarian folkdance scene. His main research areas are dance folkloristics and social ethnography in villages of the Carpathian basin. His PhD (2012) presents the historical transformations in the dance culture of a 20th-century village in Mezőség, Transylvania.

Tuesday March 8th


Traditional Dances in Mezőség, Transylvania 2pm to 4pm, Conference Room Sándor Varga In this workshop, Sándor Varga will provide a short history of his dance research, including different approaches and fieldwork techniques, in the Mezőség area of the Transylvanian Plain, Romania. He will familiarise participants with the various types of Mezőség solo and couple dances, including their basic techniques, and will shed light on the historical, social and economic background of the traditional dance culture in Mezőség. The presentation will include a video presentation and dance performance and training.

Tuesday March 8th Remembering the Matriarchs of Irish Dance 2pm to 4pm, Theatre 2

Dr Catherine Foley and Dr Orfhlaith Ní Bhriain This event will highlight some of the leading ladies in the Irish dance tradition over the course of the 20th century. It will celebrate the contributions to the development of step dance in Ireland of several female dance masters of note, including legendary figures like Mrs Mathews, Nan Quinn, Patricia Mulholland, Lily Comerford, Una Ní Ruairc and Peggy McTeggart. Dr Catherine Foley is a senior lecturer in ethnochoreology at the Irish World Academy. She is founding chair emerita of the international society Dance Research Forum Ireland, founding director of the National Dance Archive of Ireland, elected chair of the Study Group on Ethnochoreology of the International Council for Traditional Music (ICTM) and a member of the executive board of the ICTM. Her monographs include Step Dancing in Ireland: Culture and History (2013) and Irish Traditional Step Dancing in North Kerry: A Contextual and Structural Analysis (2012). She has published widely and is a dancer and musician.

See the previous event for a biographical note on Sándor Varga.



Steve Boyland performing 'Mythos' at the Academy Photograph © Maurice Gunning

Dr Orfhlaith Ní Bhriain lectures at the Irish World Academy and is course director of the MA in Irish Traditional Dance Performance. Her research interests include Irish dance among the diaspora, examining creative processes in the context of competitive Irish solo step dance and arts in health. An accomplished musician, singer and dancer, she is a registered Irish dance teacher and adjudicator with An Coimisiún le Rinci Gaelacha. She has travelled extensively to workshops and step dance competitions throughout the world as a tutor and dance accompanist. She has authored a book entitled The Terminology of Irish Dance (2008).

June 20th to July 1st


Blas International Summer School of Irish Traditional Music and Dance 2016 The 20th Blas International Summer School of Irish Traditional Music and Dance will take place in the Irish World Academy at the University of Limerick from June 20th to July 1st 2016. Blas is now firmly established as one of Ireland’s most prestigious summer schools and has developed a reputation for its quality and innovation. The school provides students (aged 16 and over) from around the world with access to the expertise of some of Ireland’s finest musicians, singers, dancers and academics, such as John Carty, Steve Cooney, Colin Dunne, Catherine Foley, Martin Hayes, Jim Higgins, Sandra Joyce, Niall Keegan, Donal Lunny, Matt Molloy, Ryan Molloy, Michelle Mulcahy, Muireann Nic Amhlaoibh and Mícheál Ó Súilleabháin. The two-week programme entails the best of tuition, ranging from formal lectures, public seminars, interactive master classes, daily Irish classes, an excursion to a number of Ireland’s greatest tourist attractions in Co. Clare,

Pictured at the 43rd ICTM World Conference hosted by the National Kazakh University of Performing Arts in July 2015 in Astana, Kazakhstan are (left to right) Professor Salwa El-Shawan Castelo-Branco (President ICTM; Universidade Nova de Lisboa, Lisbon, Portugal); Dr Colin Quigley (Irish World Academy of Music and Dance, University of Limerick); Dr Catherine Foley (Irish World Academy of Music and Dance, University of Limerick); and Prof. dr. Svanibor Pettan (Secretary General, ICTM; Univerza v Ljubljani, Ljubljana, Slovenia). The photograph was taken to mark the formal invitation to the Academy to host the 2017 ICTM World Conference at the University of Limerick.

daily lunchtime concerts featuring tutors and local musicians, an Irish traditional table quiz, evening concerts, céilí and, above all, the opportunity to share tunes with some of Ireland’s finest traditional musicians.

Thursday June 30th


One-Day ICTM Symposium at the Irish World Academy

The programme is worth three academic credits or six ECTS credits towards an undergraduate degree, which makes Blas unique within the world of traditional music summer schools in that the study of Irish traditional music, song and dance can count as a modular component of a university degree.

With the presence of members of the executive board of the International Council for Traditional Music (ICTM) at the Irish World Academy of Music and Dance during this period, a one-day symposium entitled The Contributions of Ethnomusicology and Ethnochoreology to Vernacular Music and Dance Education in Third Level Institutions is being organised by Dr Catherine Foley and Dr Colin Quigley at the Irish World Academy.

In 2010 musician, singer/songwriter Paul Brady made available a number of bursaries for participation on the Blas summer school. Applications are now open for places on Blas 2016 and for the Paul Brady Blas Bursary 2016. For information on the summer school in general, the bursary, other scholarships that are available and early bird tuition fee offers, please visit Alternatively, contact Ernestine Healy, Director, Blas Summer School of Irish Traditional Music and Dance, Irish World Academy, University of Limerick, Ireland. Email Ernestine at or call her on +353 61 202653/202030.

In recent decades, there has been a proliferation of vernacular music and dance performance practice programmes within university music and dance departments. These departments are being challenged to acknowledge and address the everyday musical and dance lives of their students and the music and dance practices that are important within the communities they serve. Somewhat belatedly, these forms of music and dance practices are being given a place in the core work of such departments. Inroads have led to the establishment of independent courses of study standing alongside the long-established canons of European art music and dance.

(See page 32 for details on last year’s programme.)

Ethnomusicologists and ethnochoreologists have, for some time now, served this same demand for diversification as part of humanities-oriented faculty teaching a broad range of students about music and dance. Now, these fields are also found within performance programmes taken by aspiring professional musicians and dancers. This newer disciplinary context has not been much examined within academia. What do these fields have to offer such students? What challenges are thrown up as a consequence of this engagement? How are those working in these contexts responding? For further information about the symposium, please contact either Dr Catherine Foley ( or Dr Colin Quigley ( The ICTM is an NGO (non-governmental organisation) in formal consultative relations with UNESCO. Its aims are to further the study, practice, documentation, preservation and dissemination of traditional music and dance, including folk, popular, classical and urban music and dance of all countries.



Monday June 27th to Friday July 1st Kommission für Volksdichtung (International Ballad Commission) Annual Conference: Songs of Liberation, Rebellion and Resistance Irish World Academy The Irish Government has designated 2012 to 2022 as the ‘Decade of Centenaries’ (see, a period when Ireland was, in the words of W.B. Yeats, ‘changed utterly’. Important events that occurred during this period include the Dublin Lock-out of 1913-14, the First World War (1914-1918) and the Irish War of Independence (1919-1921). Of particular significance to the timeframe of this conference are the events commemorating the Easter Rising of 1916. The centenary has inspired the central themes of the 2016 ballad conference, Songs of Liberation, Rebellion and Resistance, and invites proposals on the topics of liberation, rebellion and resistance within the broader context of international song scholarship. The week-long conference to be hosted at the Irish World Academy will include concerts, fieldtrips and much more. Founded in 1966 in Freiburg, Germany, Kommission für Volksdichtung is an international association of song scholars. The association meets annually for a conference on ballads and other genres of traditional song. Academics, performers and enthusiasts come together from a wide variety of theoretical perspectives to discuss themes and motifs, questions of gender and national identity, orality and performance, computer methods of classification, the intellectual history of our discourse and more.




Conor Crimmins and Mícheál Ó Súilleabháin performing at the Limerick Fling concert, University Concert Hall Photograph © Maurice Gunning




STEP UP DANCE PROJECT 2015 Step Up is an intensive five-week programme of classes, development, rehearsals and performance for newly graduated dancers. The programme, which represents a partnership between the Arts Council, Dance Limerick, Dance Ireland and the Irish World Academy, aims to bridge the gap between dance education and professional contemporary dance practice in Ireland. It is led by a steering committee comprising Paul Johnson (Dance Ireland), Laura Murphy (UL), Victoria O’Brien (Dance Advisor at the Arts Council) and Jenny Traynor (Dance Limerick).

The 19th Blas International Summer School of Traditional Irish Music and Dance was hosted by the Irish World Academy in the University of Limerick from June 22nd to July 3rd 2015. Personnel involved in Blas 2015 included Tereza Bernardova, Peter Browne, John Carty, Karan Casey, Alan Colfer, Steve Cooney, Kevin Crawford, Colin Dunne, Catherine Foley, Bríd Harper, Derek Hickey, Jim Higgins, Sandra Joyce, Niall Keegan, Donal Lunny, Dermot McLaughlin, Ryan Molloy, Louise Mulcahy, Michelle Mulcahy, Kieran Munnelly, Orfhlaith Ní Bhriain, Róisín Ní Ghallóglaigh, Eileen O’Brien, Conal O’Kane, Iarla Ó Lionáird, Mícheál Ó Súilleabháin, Siobhán Peoples and Michael Ryan. The summer school was officially opened on Monday June 22nd by Peter Browne. A number of public events took place throughout the two weeks. The first public lecture, entitled Idir an Dá Shaol, was delivered by Áine Hensey and included a bilingual interview with Irish Traditional Music Archive director Nicholas Carolan. Dermot McLaughlin presented the annual Francis Roche Memorial Lecture, entitled A Soundscape of the Donegal Fiddle: A Response to the Challenges of Defining a Regional Style. The two Blas public concerts, both held in the Academy’s Theatre 1 and featuring many of the artists named above, were hugely popular. The summer school drew to a close on Friday July 3rd with the Blas students concert in the Tower Theatre.

Bríd Harper, with Ryan Molloy and Kieran Munnelly, performing during the Blas Summer School 2015

Now heading into its 20th anniversary year, Blas 2016 is already off to a flying start in terms of preparation. For further information on the summer school, contact Ernestine Healy (director) at or by phone on +353 61 202653/202030.


Step Up Dance Project 2015

In 2015, guest choreographer Hélène Cathala created Hopscotch, a new dance work exploring the predicament of five individuals caught in a game where the rules are constantly changing. Hopscotch was performed by Robyn Lyster, Hayley Cunningham, Jessie Keenan, Marion Cronin and Olwyn Lyons and was presented at Dance Limerick, Firkin Crane in Cork and Dance Ireland in Dublin.


ALPENTONE FESTIVAL IN SWITZERLAND Students from the MA Irish Traditional Music Performance at the Irish World Academy were invited to participate in an interactive student-based performance project at the prestigious Alpentone Festival in Altdorf, Switzerland in August 2015. The project was hosted by the Department of Music at Lucerne University of Applied Sciences and Arts and included musicians and faculty from Sibelius Academy, Helsinki. Led by faculty from each of the three institutions, including Dr Sandra Joyce, Irish World Academy Director, the project culminated in two performances at the festival to capacity audiences of thousands. There was a lot of coverage in local and national media; for example, highlights from the final concert and interviews with the participants were broadcast on SRF, Swiss national radio. 


MAURICE GUNNING WINS 2015 GALWAY INTERNATIONAL HUMAN RIGHTS PHOTOGRAPHY COMPETITION Under the theme of ‘Belonging’, photographers from around the world were invited to have their work featured in an exhibition at St. Nicholas' Collegiate Church, Galway from July 10th to 24th 2015. The exhibition was an integral part of the 2015 Galway International Human Rights Summer School and included a photography competition, which was won by Irish World Academy artist in residence Maurice Gunning. The judges for the competition were Professor Rod Stoneman, Director of the Huston School of Film & Digital Media at the National University of Ireland; Professor Paul Seawright, Professor of Photography and Head of Belfast School of Art at the University of Ulster; Dr Dominique Bouchard, Curator at the Hunt Museum; and Professor Michael O’Flaherty, Director of the Irish Centre for Human Rights. See inside back cover for a biographical note on Maurice Gunning.

Maurice Gunning (second from left), winner of the Galway International Human Rights photography competition, at the awards ceremony with NUIG President Dr Jim Browne (third from left) and competition co-directors Dr Dominique Bouchard (left) and Professor Michael O’Flaherty (right).

Performing at the Alpentone Festival in Switzerland last August were MA Irish Traditional Music Performance students Stacey Gilroy and Creena Mulchrone.



SSEM-ICTM JOINT FORUM AND ESEM In September 2015, the Irish World Academy hosted two international conferences involving three of the top ethnomusicology societies in the world. From September 13th to 16th 2015, the first ever joint-forum between the Society for Ethnomusicology and the International Council for Traditional Music (ICTM) took place on the theme of ‘Transforming Ethnomusicological Praxix through Activism and Community Engagement’. The historic event involved over 80 delegates and a number of highprofile speakers, including the presidents of both societies – Professor Beverley Diamond and Professor Salwa El Castelo Branco. The local arrangements were co-chaired by Dr Colin Quigley and Dr Aileen Dillane with support from Academy faculty members, administrative staff and, in particularly, incoming MA in Ethnomusicology students.  The event paves the way for the Academy to host the 2017 World ICTM conference at the University of Limerick. Dovetailing with this event was the 31st European Seminar for Ethnomusicology (ESEM) annual conference, which ran from 16th to 20th September on the theme of ‘Music, Dance and the Individual’. The conference was coordinated by Dr Aileen Dillane and Dr Colin Quigley of the Irish World Academy. ESEM is the representative society for ethnomusicology studies across all of Europe, and the 2015 conference featured over 60 presenters as well as the John Blacking Memorial Lecture by Professor Mícheál Ó Súilleabháin. Academy faculty with ethnomusicology interests chaired panels and sessions, and some Academy students presented their own work.  Both conferences provided invaluable experiences not only to ethnomusicology and ethnochoreology students but also to undergraduate and graduate students on all the Academy’s programmes, who were given unprecedented access to the event. Bringing these delegates to the University of Limerick assists enormously in the Academy’s efforts to internationalise UL by placing a spotlight on what the Academy does for the disciplines of ethnomusicology and ethnochoreology specifically and for music and dance scholarship more broadly. The Academy’s capacity to generate new students across a broad range of programmes, as well as copper-fasten international research networks, is greatly enhanced by such events.



CANTORAL INVITED TO PERFORM AT PRESTIGIOUS FRENCH MEDIEVAL MUSIC FESTIVAL Cantoral, the early music female ensemble at the Irish World Academy, was invited to perform at France's most prestigious early music festival, Festival Voix & Route Romane, on September 13th 2015. This is the only festival in France dedicated exclusively to vocal medieval music. Combining architecture, music, heritage and tourism, the festival takes place across some of the most noteworthy sites of Alsace’s Romanesque heritage, including Strasbourg, Surbourg, Sélestat, Andlau, Kaysersberg, Rosheim, Ottmarsheim, Haguenau and Guebwiller. The 2015 programme included performances from Ordo Virtutum (Germany), Peregrina (Switzerland), Discantus (France), LaReverdie (Italy) and Cantoral (Ireland). Cantoral performed a programme of Irish chant and religious songs led by artistic director Catherine Sergent, an internationally acclaimed singer



BUSKATHON IN AID OF THE IRISH REFUGEE COUNCIL OF IRELAND On October 1st 2015, Irish World Academy students and faculty took part in a buskathon in aid of the Irish Refugee Council of Ireland. Organised by Laura Murphy, Dr Orfhlaith Ní Bhriain and Dr Niamh NicGhabhann, performances took place across the UL campus, and the sum of €745.13 was raised. Showing its appreciation, the Irish Refugee Council said: “We are delighted by a show of support from the Irish World Academy of Music and Dance that demonstrates solidarity not only with our organisation but with asylum seekers and refugees everywhere. It seems especially appropriate that the Academy, which celebrates the vibrancy of cultural diversity, should use its musical talents to help people from around the globe.”

Irish World Academy students visit Siamsa Tíre in September 2015


IRISH WORLD ACADEMY FIELD TRIP TO NORTH KERRY For the second year running, postgraduate students from seven Irish World Academy MA programmes in music, song and dance participated in a field trip to North Kerry with Dr Catherine Foley. Dr Foley has been involved in field research in the area since 1980, initially as a collector of Irish traditional music, song and dance for Muckross House, Killarney and later for her own personal research into traditional dancing in the area. Organised as part of the module on fieldwork methods, the trip focused on Siamsa Tíre, the National Folk Theatre of Ireland, where students participated in traditional Irish music, song and dance workshops with professional members of Siamsa Tíre (Jonathan Kelliher, Nicky McAuliffe, Tom Hanafin, Geraldine Heaslip, Anne O'Donnell, Catherine O'Connor, Greta Curtin and James Dillon). The students attended a public interview between Dr Foley and Jonathan Kelliher, the Artistic Director of Siamsa Tíre. The students also participated in an session with members of Siamsa Tíre at a local public house, where they had the opportunity to share what had been learned in the workshops and to observe other local musicians, singers and dancers perform in an informal setting.

Buskathon Fundraiser, October 1st 2015


Professor Ronald Grimes presenting at the Designing Commemoration Conference at the Irish World Academy in October 2015


Irish World Academy students mark International Day of the Girl on October 11th 2015


Pictured at the Tradsong Symposium 2015 are (left to right) Aine McGeeney and Elle Marie O’Dwyer, students of the MA Irish Traditional Music Performance; Eibhlín Broderick, student of the BA Irish Music and Dance; John Tunney, traditional singer; and Karl Larsson and Ciara O’Shea, students of the BA Irish Music and Dance.





In collaboration with TRIARC, the Irish Art Research Centre at Trinity College Dublin, the MA Festive Arts programme at the Irish World Academy presented a conference on the subject of Designing Commemoration in October 2015. Convened by Dr Niamh NicGhabhann (UL) and Dr Kathryn Milligan (NGI and TCD), the conference addressed the issue of commemoration and creativity. Held at the Irish World Academy on October 8th and at the Trinity Long Room Hub on October 9th, the conference featured international keynote speakers Professor Ronald Grimes (Professor Emeritus of Religion and Culture at Wilfrid Laurier University) and Dr Sighle Bhreathnach Lynch (author, art historian and former curator of Irish painting at the National Gallery of Ireland). The conference was supported by the Irish World Academy, TRIARC and the Department of Art and Architectural History at Trinity College Dublin, and the Department of Arts, Heritage and the Gaeltacht.

On October 11th 2015, the Irish World Academy joined forces with Limerick City and County Council, Limerick Milk Market and Music Generation Limerick City to mark International Day of the Girl. The afternoon was packed full of music, dance, story-telling, poetry and art to celebrate the lives of girls and to raise awareness of Plan International’s 'Because I am a Girl' campaign. The campaign aims to support four million girls over the next four years to access education, tackle poverty and become young leaders in their communities. The event featured performances from students and staff of the Irish World Academy, traditional musicians led by Caireann Keegan and Brid Dunne, and musicians from the Redemptorist Centre of Music led by Shannon Burns. The event was hosted by Kathleen Turner, course director of the MA Community Music. Kathleen also organises the annual International Women’s Day celebrations at the Irish World Academy (see page 11 for details).

The TradSong Symposium was held at the Irish World Academy on October 14th and 15th 2015. The symposium featured academic papers as well as contributions from organisations, artists, singers and those teaching traditional song in a variety of contexts. Papers were read in both English and Irish. The symposium brought together researchers and activists working in this area in advance of the hosting by the Irish World Academy of the 46th  International Ballad Conference of the Kommission für Volksdichtung from June 27th to July 1st 2016.



THE LIMERICK FLING Over 100 performers from five continents came together in a dynamic concert held in the University Concert Hall on Thursday October 29th 2015 to celebrate all the creativity, talent and passion that the Irish World Academy has to offer. Honouring the past and creating the future, the Limerick Fling was a spectacular flash of music and dance at the cutting edge of the Irish tradition. Celebrating the sounds and gestures of our times, the concert featured noted musicians, singers and dancers, including Professor Mícheál Ó Súilleabháin, the Meitheal Orchestra and students of the BA Irish Music and Dance, MA Irish Traditional Music Performance and MA Irish Traditional Dance Performance.





Following on from the successful three-day international conference ‘Songs of Social Protest’ held in May 2015, the interdisciplinary research cluster Popular Music, Popular Culture @UL held a two-day symposium on the seminal, UK postpunk band Joy Division on 25th and 26th November 2015. As well as featuring 30 academic papers and panels over two days, the event included a public Q&A with musician, singer, DJ and author Peter Hook, co-founder of Joy Division and New Order, along with a performance by Peter Hook and the Light at Dolan’s Warehouse. Graduate students from the Irish World Academy had free access to the day-time events, and undergraduate students taking popular music and dance studies particularly benefited from topical papers presented on music and identity and on fandom.

Dr Mats Melin’s book about the transmission and culture of Cape Breton step dancing, One with the Music, was launched by Professor Mícheál Ó Súilleabháin jointly with Liz Doherty’s book The Cape Breton Fiddle Music Companion on November 3rd 2015 at the Irish World Academy. The book launch formed part of the Academy’s Tráth na gCos Festival celebrating Cape Breton music and dance. The festival featured pipers, fiddlers and step dancers of visiting piping group Nuallan and dance group Fileanta, both of which are based in the Gaelic College in Cape Breton, Nova Scotia, Canada.

Pictured at the opening of the Atrocity exhibition were members of the Research Cluster, which organised the event: Dr Martin Power (left), Professor Eoin Devereux (second from left) and Dr Aileen Dillane (right). Also pictured is Noel Hogan of the Cranberries (second from right), who opened the conference.

Shaunagh Smith, BA Irish Music and Dance, at the Limerick Fling




BOOK LAUNCH OF BY DR NIAMH NICGHABHANN Medieval Ecclesiastical Buildings in Ireland, 1789–1915: Building on the Past (Four Courts Press, 2015) by Dr Niamh NicGhabhann, course director of the Academy’s MA Festive Arts programme, was officially launched on November 11th 2015 at the Irish World Academy by Professor Mícheál Ó Súilleabháin, Chair of Music at the Academy. The book is the first full-length study of the perception and treatment of Gothic architecture in Ireland in the period between 1789 and 1915. It considers three main areas: the perception of Gothic architecture; the development of a tradition of scholarship on Irish Gothic; and the actual changes wrought to the fabric of the buildings as well as the social and legal framework for those changes. Shifting the focus from high-status monuments such as the medieval cathedrals of Dublin, the book considers the treatment of smaller medieval buildings, including the ruined monastic buildings and cathedral buildings outside of Dublin and smaller parish churches that were being restored for reuse as places of worship, such as those at Adare, Co. Limerick. The book examines the increasingly political interpretation of these monuments throughout the 19th century and the role of these buildings as sites of memory within devotional landscapes. The evolving professionalisation of architectural restoration in this period is charted and considered within the developing legal framework for the protection of what was seen as ancient and national heritage.


FIGURES BY DR ÓSCAR MASCAREÑAS, PERFORMED BY NORA RODRÍGUEZ The world premiere of Óscar Mascareñas’s new work for piano, FIGURES, took place at the Tower Theatre on November 12th 2015. The work was performed by Mexican dance artist Nora Rodríguez and by Mascareñas. The performance was presented by the Embassy of Mexico in Dublin, the Honorary Consulate of Mexico in Limerick and the Irish World Academy as part of the 40-year celebrations of diplomatic relations between Ireland and Mexico.


Graeme Dalton and Mackenzie Roark performing at the Darkest Midnight event at the Academy Photograph © Maurice Gunning






National Dance Archive of Ireland

Cruinniú, the Irish World Academy’s outreach initiative, sees staff from all walks of life at UL engaging in free weekly classes/sessions of Irish traditional music. The sessions have been facilitated by a number of players within the group and by students of the Irish World Academy. All members of UL staff are welcome to participate, so come along if you fancy a tune! Sessions take place at the Irish World Academy from 1pm to 2pm every Wednesday in Room IW2.51.

The National Dance Archive of Ireland (NDAI) at the Glucksman Library, University of Limerick was founded in 2009 with a seed funding award from the Arts Council. The NDAI works in partnership with the Irish World Academy of Music and Dance and Dance Research Forum Ireland.

For more information, contact Noel McCarthy at, telephone 061 213326.

(Irish Harp Research Centre) Ionad na Cruite was established at the Irish World Academy of Music and Dance in 2013 and was formally launched with a special performance by The Chieftains. Ionad na Cruite aims to stimulate scholarship, performance and advanced research on the Irish harp. It also aspires to being a national and international centre of excellence for the Irish harp at doctoral and postdoctoral level, to building effective links with colleagues in the field of harp research and performance internationally and to providing a stimulating environment for performances, research and interdisciplinary projects at the University of Limerick. Ionad na Cruite recognises the centrality of The Chieftains Fund (in memory of Derek Bell) in its founding.


The NDAI is devoted to the collection, preservation and promotion of dance in Ireland and is accessible to all. It chronicles dance in Ireland in all its manifestations (contemporary dance, traditional step dancing, set dancing, ballet, social dance, urban dance and world dance) and conveys an understanding of the different processes and practices of creating, performing and writing about dance in Ireland. For further information, please contact the NDAI founding director, Dr Catherine Foley, at, telephone +353 61 202922 or Special Collections Librarian Ken Bergin at, telephone +353 61 213158. Alternatively, email or telephone +353 61 202690. Visit the NDAI at Access to the National Dance Archive of Ireland is by appointment only.


In partnership with the Vocational Education Committee of County Clare and with the assistance of Clare County Council and Ennis Urban District Council, Maoin Cheoil an Chláir (MCC) is a local cooperative model serving the needs of County Clare from its Ennis headquarters in the 18th-century Erasmus Smith School building owned by the Sisters of Mercy. MCC celebrated its twentieth anniversary in 2014. With members of faculty from the Irish World Academy on its board (Mícheál Ó Súilleabháin and Jean Downey along with former board member Helen Phelan), MCC enjoys a special relationship with the Academy. MCC Director Hans Boller is a graduate of the Academy’s MA Ritual Chant and Song programme. MCC is a member of the Clare Music Education Partnership, which was awarded €450,000 from Music Generation (funded by U2 and The Ireland Funds) in 2014. For more information on Maoin Cheoil an Chláir, email or call +353 65 6841774.

Dance Limerick Since its inception, the contemporary dance programme at the Irish World Academy has sought to twin-track its activities with the professional contemporary dance energy in Limerick city. The emergence of Dance Limerick at the former Daghdha Space in St. John’s Square sets the scene for a new level of cooperative dance activity. The Irish World Academy is proud to be associated with Dance Limerick and looks forward to reclaiming the original spirit of contemporary dance cooperation in Limerick.




Ionad na nAmhráin Ionad na nAmhráin (The Song Centre) was set up in 1995 by sean-nós singer and academic Dr Lillis Ó Laoire (NUI Galway) and Professor Mícheál Ó Súílleabháin to support the performance and transmission of Irish sean-nós/traditional singing. Each year it presents Lá na nAmhráin, a gathering of traditional singers who come together to celebrate this unique tradition. Joined by Academy graduate Dr Síle Denvir and under its new chair Dr Sandra Joyce, Ionad na nAmhráin has now reconvened under its two initial founders.

The Irish Chamber Orchestra resides in its own specially designed expansive building beside the Irish World Academy in a wooded area on the banks of the River Shannon on UL’s north campus. The location also includes the university’s Graduate Entry Medical School, Health Sciences, superb sports facilities and three modern student villages.

ACADEMOS ACADEMOS is a string ensemble comprising the MA Classical String Performance postgraduate students led by members of the Irish Chamber Orchestra. Featuring a central full-time, two-year programme at master’s level offered jointly by the Irish Chamber Orchestra and the Irish World Academy, students in ACADEMOS interact with the Irish Chamber Orchestra (ICO) throughout the two-year period. Individual classes are taught by ICO leaders, and students engage in ensemble work with orchestral members. Classes, workshops, seminars and performances with a host of international performers, conductors and directors with whom the ICO works on a regular basis are a feature of the programme. Members of ACADEMOS have regular opportunities to engage with acclaimed ICO community music public outreach programmes. Graduates of the programme are invited to apply for a place on the innovative PhD Arts Practice (a four-year structured doctoral programme) at the Irish World Academy while maintaining ongoing contact with the ICO. Dermot McLaughlin teaching during the Blas Summer School at the Academy Photograph © Maurice Gunning






Colin Booth, harpsichord maker and Yonit Kosovske with the Academy’s new harpsichord Photograph © Maurice Gunning





Irish Chamber Orchestra

The Chieftains

Fidget Feet Aerial Dance Company

The Irish Chamber Orchestra (ICO) has gained a remarkable reputation as a fresh and vibrant force on the Irish and international music scene and is recognised as one of Ireland’s world-class cultural assets. The ICO excels in a diverse repertoire that ranges from classical to modern-day masterpieces and new commissions. Outside the concert hall, the ICO stimulates minds and hearts with a vitality unmatched by other ensembles. It offers music as an instrument of social change; by introducing children to music, creativity, innovation, understanding and openness, it helps them to reach their full potential as individuals. The ICO resides on UL’s north campus adjacent to the Irish World Academy and is funded by the Arts Council of Ireland/An Chomhairle Ealaíon.

Interacting with up to 80 student musicians and dancers from Irish World Academy programmes, The Chieftains continue their iconic association with the Academy through their occasional concerts at UL. In memory of their late harper Derek Bell, The Chieftains Fund has been in operation at the Academy for a number of years, and it is through this fund that the Academy launched Ionad na Cruite, the Irish Harp Research Centre, in 2013.

Fidget Feet Aerial Dance Company has been appointed Irish World Academy Dance Company in Residence for an additional three years following a year of creative interaction with the Academy’s newest programme – the MA Festive Arts. Originating in Donegal, Fidget Feet is Ireland’s leading aerial dance theatre company and is internationally renowned for creating spectacular indoor and outdoor productions for both theatres and festivals. The company’s dynamic work draws on dance, aerial circus, theatre, music and video art. Founded in 2004 by choreographer Chantal McCormick (Donegal) and musician Jym Daly (Cork), Fidget Feet work with an outstanding production team to create productions that are both original and fresh. Elements of aerial dance have already begun to permeate aspects of the curricular offerings of the Irish World Academy’s programmes.


Neža Jamnikar, MA Contemporary Dance Performance Photograph © Maurice Gunning

Martin Hayes Irish World Academy Artist University of Limerick The University of Limerick has announced a new three-year arts patronage award through the Irish World Academy of Music and Dance. The award, entitled Irish World Academy Artist, University of Limerick, will facilitate the creative process of selected artists across a three-year period through a budget of €60,000. The Irish World Academy is grateful to the University of Limerick Foundation (ULF) for its generous financial support of this initiative The first artist to receive the award is Clare fiddler Martin Hayes, who will commence his three-year association with the Irish World Academy in January 2016. Martin Hayes has been internationally acclaimed for bringing his local East Clare traditional fiddle style to a global audience through his many performances and recordings. More recently he has formed the ensemble The Gloaming, which has further pushed the boundaries of Irish traditional music in the field of ensemble playing that started with Seán Ó Riada’s (1930–1971) pioneering ensemble Ceóltóirí Chualainn in the 1960s. Hayes also acknowledges the significant influence of Dublin fiddler Tommie Potts (1912–1987) on his creative output. The Irish World Academy Artist at the University of Limerick will undertake a series of creative projects across the three-year span. Students of the Academy will have access to open workshops in the state-of-the-art Irish World Academy building on the banks of the River Shannon on the university campus.


The award will be launched in January 2016, and further details of events will be posted on the Irish World Academy website (




The Martin Hayes Quartet The Martin Hayes Quartet is the working title for the first of a series of creative workshops by Irish World Academy Artist Martin Hayes, which will take place at the Irish World Academy on the University of Limerick campus on January 26th, 27th and 28th 2016. On Friday 29th January, the Quartet will perform at the Temple Bar TradFest in St Patrick’s Cathedral, Dublin. The Martin Hayes Quartet members are Liz Knowles (fiddle), Doug Wieselman (bass clarinet), Dennis Cahill (guitar) and Martin Hayes (fiddle). Liz Knowles had her auspicious beginnings as the fiddler for Riverdance and as soloist on the soundtrack for the film  Michael Collins. She has performed with the New York Pops and Cincinnati Pops orchestra as well as being a member of Cherish the Ladies and String Sisters. She toured for four years in Europe, Asia and South America as performer and artistic and music director of the popular Celtic Legends Irish music and dance show. She has performed in venues including Carnegie Hall, the Kennedy Center and on Broadway with artists such as Marcus Roberts, the Bang-on-a-Can Orchestra, Bobby McFerrin, Steve Reich, Don Henley and Tim O’Brien. Doug Wieselman has worked as a composer, arranger and musician with a variety of artists in different fields: in theatre with director Robert Woodruff and the Flying Karamazov Brothers, in dance with Jerome Robbins and Paul Taylor and in music with, among many others, Victoria Williams, Robin Holcomb, Wayne Horvitz, Lou Reed, Tricky, Anthony Coleman, Laurie Anderson, Syd Straw, Steven Bernstein, Joan as Police Woman and John Lurie. He is currently composing music for the animated Nickelodian show "The Backyardigans" in association with Evan Lurie.



Dennis Cahill is a master guitarist, a native of Chicago born to parents from the Dingle Peninsula in County Kerry. He studied at the city’s prestigious Music College before becoming an active member of the local music scene. Cahill’s spare, essential accompaniment to Martin Hayes’s fiddle is acknowledged as a major breakthrough for guitar in the Irish tradition. In addition to his work with Martin, Dennis has performed with such renowned fiddlers as Liz Carroll, Eileen Ivers and Kevin Burke as well as with many Irish musicians on both sides of the Atlantic. He is a sought-after producer for musical artists, whom he records in his own Chicago studio, and is an accomplished photographer. Martin Hayes and Dennis Cahill met in Chicago in the 1980s. They formed the jazz/rock/fusion band Midnight Court, which allowed them to experiment with a variety of new music styles. After recording two solo albums grounded in his traditional roots, Hayes began a new musical relationship with Cahill, beginning with the lyrical music of East Clare. They played long, sometimes thirty-minute, multi-tune sets in their concerts, starting from the simplest of melodies, building in intensity, but never abandoning musicality and ideas. Martin Hayes is regarded as one of the most extraordinary talents to emerge in the world of Irish traditional music. His unique sound, his mastery of the fiddle and his acknowledgement of the past and his shaping of the future of the music combine to create an astonishing and formidable artistic intelligence. He has drawn musical inspiration from sources as diverse as the Estonian composer Arvo Pärt, the Spanish viola da gamba master Jordi Savall and the jazz genius John Coltrane but remains grounded in the music he grew up with in his own locality in Feakle, Co. Clare. The music Hayes learned at home from his late

father, P. Joe Hayes, the renowned founder/leader of the long-lived Tulla Céilí Band, profoundly influenced his musical accent and ideas. His latest performing project is with The Gloaming, a band that has burst on the music scene with a rare combination of Irish tunes, ancient sean-nós song, brave explorations and exhilarating and explosive medleys with a distinctive new sound. The virtuosic fiddles of Hayes and Ó Raghallaigh, the soaring voice of Ó Lionáird, Cahill's minimalist guitar work and Bartlett's sparse, yet insistent, piano deliver an astonishing, combustible and unforgettable listening experience, deeply rooted in the tradition but moving into an entirely new musical dimension of rhythm, melody and texture.



Mary Collins performing in Baroque dress at the Academy Photograph © Maurice Gunning


Since its foundation in 1994, the Irish World Academy has been recognised as a global leader in Irish music and dance scholarship. The Academy’s areas of research excellence have expanded to include research clusters in arts and health, ethnographic and practice-based research approaches as well as pedagogical, therapeutic and community-led research in music and dance. Developments in festive arts have enhanced curatorial, entrepreneurial and landscape-based research initiatives. Supporting a variety of artistic practices, including contemporary, traditional and aerial dance, Western art music practices, theatre and early music performance, the Academy is a national leader in arts practice research. Doctoral, postdoctoral and faculty-led research initiatives give rise to a wide range of outputs, including peer-reviewed journal articles, books, commissioned compositions and choreographies, audio and audio-visual recordings, and live performances of international calibre. The following is a selection of recent publications from faculty and postgraduate students at the Irish World Academy. Diane Daly, course coordinator, MA Classical String Performance with her students at a recent performance at the Bourne Vincent Gallery Photograph Š Maurice Gunning


Bernini, Leah (2015) ‘Capitalism and resistance in professional Irish music’, FocaalBlog of Focaal: Journal of Global and Historical Anthropology, April 9, Brown, William ‘Alec’ (2015) Transcending Liminality: (Re)Locating Thebrowncello, composer and performer, PhD in Arts Practice Performance, Irish World Academy of Music and Dance, University of Limerick, 7 April. Brown, Russell Patrick (2014) Mercy of Trees, creator and performer, Origin Theatre’s First Irish Theatre Festival, in partnership with New York Public Library, 27 September, New York City. Byrne, Fiona (2015) Any news from Inside? in Mac Lellan, A., NicGhabhann, N. and Byrne, F., eds., St. Davnet’s: The Story of a Monaghan Institution, Health Service Executive & Stair: An Irish Public History Company Ltd., Monaghan. (2015) Community remembering: exploring the histories of St. Davnet’s campus in Monaghan town, paper for Designing Commemoration: Performance, Process and Participation, Irish World Academy, Limerick. (2014) A Celebration of Irish Glass: 2011-2014, Editor, Glass Society of Ireland. Cotter, Pamela (2013) ‘Foreigners in the Session: An Examination of Participation and Authenticity at the Costello’s Irish Music Session’ in Taking Part in Music: Case Studies in Ethnomusicology, Elphinstone Institute Occasional Publications 9, eds. Ian Russell and Catherine Ingram. Aberdeen: Aberdeen University Press, in association with the European Seminar in Ethnomusicology, pp. 198-215. Courtney, RAS Mikey (2015) YeBuna Alem (A Coffee World), choreography and performer, 26 May, Irish World Academy of Music and Dance, Africa Day.  (2015) Our City, Our Culture, choreography and performer, 11 April, Limerick City, Bedford Row. (2014) Limerick Winter Carnival Cabaret, choreography and performer with Nigerian musician David Idioh, 27 December, Limerick Milk Market. Dillane, Aileen (2015) with Devereux, E. and Power, M. 'Culminating Sounds and (En)visions: A critical reading of Bowie's "Ashes to Ashes"’, in Devereux, E, Dillane, A. & Power, M. (eds) David Bowie: Critical Perspectives, New York: Routledge, pp. 33-55. (2015) with Langlois, T. ‘Our sounds, our city: urban soundscapes, critical citizenship and the LimerickSoundscapes project’, Journal of Urban Cultural Studies, 2(1/2), pp. 135-150 http://,id=20122/ [accessed 13 November 2015].

(2015) with Langlois, T., Power, M., and Ní Bhriain, O. Explorations in Activating a Sonic Turn in Urban Cultural Studies', Journal of Urban Cultural Studies, 2(1/2) pp. 89-105 http://,id=20134/ [accessed 13 November 2015].  Dooley, Paul (2014) ‘Reconstructing the Medieval Irish Harp’. The Galpin Society Journal 67, pp. 107–42. (2013) String Wizard: A string calculator for metal-strung harps. Online Javascript application available: [accessed 10 November 2015]. Fahey, Hannah (2014) Cantoral. Let the Joyous Irish Sing Aloud!/Laetabundus decantet hybernicorum cetus [CD], ensemble performer. IWA001. (2014) ‘Blood and Bone’, director and performer, Sionna ensemble performance, 24 October, Mary Immaculate College Chapel, Limerick. Locating the Gothic Conference & Festival, in association with Limerick City of Culture. (2014) 'Amhrán na mBan', director and performer, Sionna ensemble performance, 30 July, King House, Boyle, Co. Roscommon. Boyle Arts Festival. Foley, Catherine E. (2014) ‘Negotiating the ‘native self’ and the ‘professional self’: ethnochoreological and ethnomusicological challenges in the field’ in Fiskvik, A.M. and Marit Stranden, M., eds.,  (Re)Searching the Field: Festschrift in Honor of Egil Bakka, Bergen: Fagbokforlaget, 227-242. (2013) Step Dancing in Ireland: Culture and History. Ashgate Popular and Folk Music Series, Scott, D.B., ed., Surrey: Ashgate Publishing Ltd. (2012) Irish Traditional Step Dancing in North Kerry: A Contextual and Structural Analysis [Book and DVD]. Listowel: North Kerry Literary Trust. Joyce, Sandra (2015) with Ní Ghallóglaigh, R. ‘Threshing in the haggard to her heart’s delight: women and erotic expression in Irish traditional song’ in Mantymaki, T., Rodi-Risberg, M. and Foka, A., eds., Deviant Women: Cultural, Linguistic and Literary Approaches to Narratives of Femininity, Frankfurt am Main: Peter Lang, 211-229. (2014) Naturstimmen Klang Festival im Toggenburg, [CD], track 4, ‘The Haymaking Song’, CD1; Track 17, ‘Gemeinsamer Ausklang’, CD2, Toggenburg: Toggenberg Festival Recording. (2013) Transforming Carolan, Ó Riada Memorial Lecture, Cork: University College, Cork. Keegan, Niall (2015) Traditional Music and Irish Society: Historical Perspectives by Dowling, M., reviewed in The Journal of Music [online], available: (2012) 'The linguistic turn at the turn of the tune: the language of 'contemporary ensemble' in Irish traditional music', Ethnomusicology Ireland, 1. (2012) Gradam Ceoil TG4, arrangement of music for live television broadcast on TG4, April 15, 21.30.


Kjeldsen, Svend (2015) 'Mancunian Irish: Identity, Cultural Intimacy and Musical Hybridization – Urban Ethnomusicology and Cultural Mapping', in Ross, S. and Sweers, B. (eds.), Urban Ethnomusicology and Cultural Mapping. Sheffield: Equinox Publishing. (2013) 'Bodhrán' (103-104), 'Bones' (107-108), in White, H. and Boydell, B. (General Eds.) The Encyclopaedia of Music in Ireland, Dublin: UCD Press. (2013) 'Peter Horan and Batty Sherlock: Basket of Turf/Geese in the Bog' in ICTM Ireland Fieldwork. An annotated CD publication of fieldwork recordings from Ireland [CD], International Council for Traditional Music, Ireland.

Melin, Mats (2015) One with the Music: Cape Breton Step Dancing Tradition and Transmission. Sydney, Nova Scotia: Cape Breton University Press. (2014) The Piper’s Schottische, choreography of a new social couple dance [online], available: [accessed 13 November 2015]. First performed in South Uist, Scotland, at the Ceolas Summer School. (2013) ‘Step dancing in Cape Breton and Scotland: contrasting contexts and creative processes’, MUSICultures. Special Issue: Atlantic Roots and Routes, Sparling, H., Szego, K. and Wilkinson, F., eds., 40(1), 35-56.

Mascareñas, Óscar (2015) FIGURES (For piano) [choreosonography]. Performed by Nora Rodríguez and Óscar Mascreñas, Limerick, Ireland: World Premiere Presented by the Embassy of Mexico in Dublin, the Honorary Consulate of Mexico in Limerick and the Irish World Academy. 12th November, 2015, Tower Theatre, Irish World Academy. (2014) E.D.G.E. (For voice) [choreosonography], Coventry, England: INTIME Symposium of Experimental Music/Coventry University. (2014) From With-In Not With-Out (For mixed ensemble) [composition], Monterrey, Mexico:  The Council for the Arts and Culture of Nuevo León.

Murphy, Laura (2015) Folkestone Moves, dance installation with filmmaker Gemma Riggs and sound artist JJ Maurage, 21 and 22 November. Light Moves Festival of Screen Dance. Exhibition at Folkestone Fringe Festival (Oct, 2014). Funded by the Arts Council of England and the University of the Creative Arts. (2015) A Dance Concerto (opening event), created as part of Laura Murphy, Cork’s Dancer in Residence Programme for Cork Midsummer Festival, 19 June, Cork City Hall, supported by Firkin Crane and the Arts Council. (2014) Wunderbar (premiere), duet dance performance choreographed by Laura Murphy and Rob Heaslip with live music by Irene Buckley. Directed by Tom Creed and Dramaturgy by Ailish Claffey. Firkin Crane, Cork; Dance Live, Aberdeen (2014). Project Arts Centre, Dublin; Tocht Festival, Siamsa Tire, Tralee; Cork Midsummer Festival; Shenzhen China (2015). Supported by Cork City Council, Creative Scotland, Dance Limerick and Firkin Crane, Cork.

Mateos Morante, Rebeca (2015) ‘La diosa que habito en el espejo: formación de un cuerpo que baila’ in Actas del VII Congreso Internacional de Análisis Textual, Segovia, Spain: Trama & Fondo. Available: www. pdf [accessed 13 November 2015]. (2015) Shadow. Duet choreography, MA Irish Traditional Performance Final Presentation, Irish World Academy of Music and Dance, University of Limerick, 11 May. McCaffrey, Triona (2015) ‘Music therapy’s development in mental healthcare: an historical consideration of early ideas and intersecting agents’, Music and Medicine, 7(2), 28-33. (2015) ‘Music therapy in mental health care for adults’ in Edwards, J., ed., The Oxford Handbook of Music Therapy, London: Oxford University Press. (2014) Experts’ by Experience Perspectives of Music Therapy in Mental Healthcare: A MultiModal Evaluation through Art, Song and Words, unpublished thesis (PhD), University of Limerick. Available: [accessed 13 November 2015]. McLoughlin, Lisa (2015) Moved to dance: an exploration of dancers’ phenomenological perceptions of what influences their movement while dancing and how they view themselves as dancers. MA in Dance from the University of Limerick. (2015) Sum of Parts, a performance event developed by the Limerick Dance Collective, performed in Dance Limerick, John's Square, Limerick. (2015) Anima, commissioned by the Mountshannon Arts Festival to choreograph and direct a site-specific dance performance for 14 performers, exploring the Jungian concepts of archetypes.


Ní Bhriain, Orfhlaith (2015) with Cahalan, R., O'Sullivan, K., Purtill, H. Bargary N. and O'Sullivan, P. ‘Inability to perform due to pain/injury in elite adult Irish dance: a prospective investigation of contributing factors’, Scandinavian Journal of Medicine and Science in Sports. (2015) with Shanahan J., Morris M.E., Saunders J. and Clifford A.M. ‘Dance for people with Parkinson’s disease: what is the evidence telling us?’, Archives of Physical Medicine and Rehabilitation, 16, 96(1), 141-53. (2015) with Shanahan J., Morris M.E., Saunders J. and Clifford A.M. ‘Is Irish set dancing feasible for people with Parkinson’s disease in Ireland?’, Complementary Therapies in Clinical Practice, 21(1), 47–51. NicGhabhann, Niamh (2015) Medieval Ecclesiastical Buildings in Ireland, 1789-1915: Building on the Past (Dublin: Four Courts Press) (2015) ‘Developing digital resources for the exploration of medieval Ireland: the Monastic Ireland project’, Breac: A Digital Journal of Irish Studies (special issue on Irish studies and the digital humanities (peer-reviewed). (2015) 'Festival studies and museums studies: building a curriculum', Museum Ireland, 19.

Ní Ghallóglaigh, Róisín (2015) with Joyce, S. ‘Threshing in the haggard to her heart’s delight: women and erotic expression in Irish traditional song’ in Mantymaki, T., Rodi-Risberg, M. and Foka, A., eds., Deviant Women: Cultural, Linguistic and Literary Approaches to Narratives of Femininity, Frankfurt am Main: Peter Lang, 211-229. Noone, Mattu (2015) ‘A way in to India’, Journal of Music [online], available: way-india [accessed 13 November 2015]. (2014) Indian Tour with Martin Hayes and Dennis Cahill, December 6–21, 2014. Tour manager, collaborator and performer. New Delhi, Bangalore, Chennai and Mumbai. Funded by Culture Ireland and the Irish Embassy. (2013) ‘North Indian classical music and the Kolkata experience: alchemical schismogenesis and being-in-the-world in a musical way’, Ethnomusicology Ireland, 2, 22-37. Nunan, Mary (2014) Starting with T 2, director; screen video installation, FabLab, Limerick, November, funded by Limerick City of Culture, LCGA and Create. (2014) ‘In the Bell’s Shadow’, performer; film directed by Mary Wycherley and Joan Davis. Premiere showing IFC Dublin December, funded by the Arts Council/An Chomhairle Ealaíon. (2013) Dancers ensemble, choreographer; premiere performance Oct 3, the Daghdha Space, Limerick. Commissioned by Dance Limerick. O'dyke Nzewi (2014) 'Performance Composition: For Effective Classroom Music Education', Saarbrücken: LAP LAMBERT Academic Publishing. (2014) 'Libation' African Ensemble music performance (director/performer), 8th May 2014 at the Irish World Academy of Music and Dance. (2014) 'Contextualizing traditional music studies in an institution of higher learning: a case study of the BA Irish Music and Dance at the University of Limerick', in Mangeni, P., ed., Pan African Journal of Musical Arts Education. 1(1), 74-86. Ó Súílleabháin, Mícheál (2015) Lumen i Luimneach. Closing concert of Limerick National City of Culture, St. Mary’s Cathedral Limerick, RTE Concert Orchestra, David Brophy conductor, Mícheál Ó Súilleabháin piano. Televised concert broadcast on TG4 on 16 January 2015. Repeat broadcast March 2015. (2014) Pioneers and Aviators: A Century of Irish Aviation. Limited edition publication [Book/ DVD/CD] from the film documentary by Alan Gilsenan with orchestral score by Mícheál Ó Súilleabháin, performed by the composer with the RTE Concert Orchestra. (2013) Three Sean-Nós Songs for Singer and Symphony Orchestra. First Performance RTE Concert Orchestra. Soloist Iarla Ó Lionáird (National Concert Hall, Dublin). Broadcast RTE lyric fm. Painter, Eli (2015) ‘Born to dance’, Centrepiece, Spring 2015, 18-20.

Phelan, Helen (2015) Le Festival Voix et Route Romane / France’s Premier Festival of Vocal Music from the Middle Ages, Chant and Songs of the Wandering Irish, September 13, Surburg, Alsace. Managing director and ensemble performer. (2014) Cantoral. Let the Joyous Irish Sing Aloud!/Laetabundus decantet hybernicorum cetus [CD], managing director and ensemble performer. IWA001. (2013) 'Immigrant Music, Ritual and Religious' (517-519), 'Music and Vatican II' (7-4-706), in White, H. and Boydell, B. (general eds.), The Encyclopaedia of Music in Ireland, Dublin: UCD Press. Quigley, Colin (2015) ’György Martin’s Place in Applied Ethnochoreology, Acta Ethnographica Hungarica Vol. 60, No. 1:111-120. Budapest: Akademia Kiado. (2014) ‘Dance Revival Activism and Ethnochoreological Research: The Hungarian Dance House Example’ in Anne Fiskvik and Marit Stranden, eds. Festschrift for Egil Bakka, pp. 279-289. Trondheim: Akademia Academic Press. (2014) ‘The Hungarian Dance House Movement and Revival of Transylvanian String Band Music’ in Bithell, Caroline and Juniper Hill, eds. The [Oxford] Handbook of Music Revivals, pp. 180-200. Oxford: Oxford University Press. Turner, Kathleen (2015) Ubuntu, Interactive community music performance featuring pupils of St Mary’s National School and Galvone National School. Supported by the Irish World Academy of Music and Dance and the Irish Chamber Orchestra. 10 June 2015, Tower Theatre, Irish World Academy of Music and Dance. Vaughan, Mairéad (2014) TerrainSkin: Four dimensional flow, Director; collaborative dance, video and visual arts installation, Firkin Crane, Cork, funded by the Arts Council/An Chomhairle Ealaíon, supported by Firkin Crane and Dance Limerick. (2014) TerrainSkin, choreographer; dance video installation, Premiere 29 April, Irish World Academy of Music and Dance, Firkin Crane, Cork, Light Moves Festival of Screendance, Limerick, funded by the Arts Council/An Chomhairle Ealaíon, supported by IWAMD. (2014) ‘Emanating awareness: tracing the impact of Bharatanatyam and Iyengar yoga on my contemporary dance and choreographic practice’. The Journal of Dance, Movement and Spiritualties, 1(1). Ward, Francis (2014) The Vanishing Lake (music composition and dance choreography), ‘Out and About UK 21’, broadcast on Sky channel ‘Irish TV’, June 2014 and available online (2014) Irish dance choreography for World Irish Dance Champsionships Reception at the Irish Embassy, London, April 2014 (2015) Music recital (piano) with Brid Harper (fiddle) in the Regional Cultural Centre as part of the Errigal Arts Festival and Ceol na Coille Summer School. 15th July 2015. Woodward, Alpha (2015) Tapestry of Tears: An Autoethnography of Leadership, Personal Transformation, Music Therapy and Humanitarian Aid in Bosnia and Herzegovina, unpublished thesis (PhD), Antioch University, USA. Available: [accessed 13 November 2015].



Kathleen Turner conducting the ensemble choir during the Darkest Midnight event at the Academy Photograph Š Maurice Gunning





Cantoral Voice Ensemble


Cantoral is an all-female vocal ensemble from the University of Limerick, Ireland. The ensemble specialises in Western plainchant and early polyphony and has a particular interest in medieval Irish repertoire. Formed in 2008 at the Irish World Academy, the ensemble had its first international appearance in 2009 at the Centre Culturel Irlandais in Paris. Other highlight performances include Imbolc, a programme of chant and Irish language song for St. Bridget, which premiered in New York in 2010, and a programme for the Galway Early Music Festival entitled … sed diabolus irrisit (‘… but the devil laughed’) in the same year. n April 2011, Cantoral sang for the Dalai Lama during his visit to Ireland, and in April 2012, the ensemble conducted a public seminar and a concert of Irish medieval music for Holy Week at the Yale Institute of Sacred Music. In 2013, Cantoral performed again at the Centre Culturel Irlandais in Paris and at Harvard University and the University of Notre Dame in the USA. In 2015, Cantoral performed at France's most prestigious early music festival, Festival Voix & Route Romane.

ACADEMOS is a string ensemble comprising the MA Classical String Performance postgraduate students led by members of the Irish Chamber Orchestra. Featuring a central full-time, two-year programme at master’s level offered jointly by the Irish Chamber Orchestra and the Irish World Academy, students in ACADEMOS interact with the Irish Chamber Orchestra (ICO) throughout the two-year period. Individual classes are taught by ICO leaders, and students engage in ensemble work with orchestral members. Classes, workshops, seminars and performances with a host of international performers, conductors and directors with whom the ICO works on a regular basis are a feature of the programme. Members of ACADEMOS have regular opportunities to engage with acclaimed ICO community music public outreach programmes. Graduates of the programme are invited to apply for a place on the innovative PhD Arts Practice (a four-year structured doctoral programme) at the Irish World Academy while maintaining ongoing contact with the ICO.

Cantoral Artistic Director Catherine Sergent is an acclaimed Parisbased singer who has performed and recorded extensively with several early-music ensembles, including Discantus and Obsidian. Catherine is a chant tutor for the MA Ritual Chant and Song programme at the Academy. The singers in Cantoral are graduates, doctoral students and members of faculty at the Irish World Academy and are from Ireland, France, the United States and Mexico.

The Irish Chamber Orchestra resides in its own specially designed expansive building beside the Irish World Academy in a wooded area on the banks of the River Shannon on UL’s north campus. The location also includes the university’s Graduate Entry Medical School, Health Sciences, superb sports facilities and three modern student villages.

Cantoral issued its first CD recording, Let the Joyous Irish Sing Aloud/Laetabundus Decantet Hybernicorum Cetus, in 2014. The CD was recorded on location at Ballintubber Abbey, Co. Mayo with the assistance of the Keough Naughton Institute of Irish Studies at the University of Notre Dame, Indiana.


Jane Hackett, Kayvon Sesar and Sean Warren, MA Classical String Performance Photograph © Maurice Gunning




Students of BA Irish Music and Dance and students from the Meitheal Summer School at the University Concert Hall, Limerick Photograph Š Maurice Gunning





2016 O’Donnell Research Fellowship in Irish Studies: Dr Aileen Dillane

a music teacher and studied the saxophone at Ithaca College. After Ithaca, she moved to Ireland to pursue a master’s degree in Ethnomusicology at the University of Limerick. Since moving to Ireland, Shannon has performed with the Irish Youth Wind Ensemble, University of Limerick Orchestra and Irish Symphonic Wind Orchestra. She is a founding co-director of the Limerick city-based Redemptorist Centre of Music, which provides access to music tuition for both adults and children.

Dr Aileen Dillane of the Irish World Academy was awarded the 2016 O’Donnell Research Fellowship in Irish Studies by Newman College, University of Melbourne, Australia. The O’Donnell Fellowship commemorates the donation to Newman College of the personal library of Melbournebased doctor and Irish scholar Nicholas Michael O’Donnell (1862-1920). The O’Donnell library forms the core of an Irish Studies collection that has grown since 1924 with further donations and acquisitions.  Aileen’s proposed research is entitled Exploring Cecilia Curtin’s Role as Irish Australian Entertainer, Vocal Pedagogue, and Catholic Chorister, Melbourne c. 1906?-? (Performances, Texts, Contexts). The fellowship period runs during the month of January and into early February 2016. In return for accommodation and travel costs, Aileen will deliver a seminar in the Melbourne Irish Studies Seminar (MISS) series hosted at Newman College by the Irish Studies Association of Australia and New Zealand (ISAANZ). Results of the research will be submitted for publication in the Australasian Journal of Irish Studies, and Aileen plans to present her findings at an Irish World Academy Tower seminar at a later date.

Irish Research Council Government of Ireland Postgraduate Scholarship Award: Shannon Burns PhD Arts Practice candidate Shannon Burns is in receipt of an IRC Government of Ireland Postgraduate Scholarship Award. She is originally from New York, where she trained as


Through her research, entitled Transmitting Music Theory: A Performative and Pedagogical Exploration of Teaching and Learning in a Higher Education Institution, Shannon aims to develop and test a performance-based curriculum for teaching music theory to non-classical musicians and dancers at a higher education level.

Irish Research Council Government of Ireland Postgraduate Scholarship Award: RAS Mikey Courtney PhD Arts Practice candidate RAS Mikey (Michael) Courtney is in receipt of an IRC Government of Ireland Postgraduate Scholarship Award. RAS has an MA in Ethnochoreology from the University of Limerick and a BFA in Modern Dance Performance from the University of the Arts in Philadelphia. He has taught, presented and produced dance as well as other performing arts worldwide with his company, Fore I’m a Versatile Entertainer (F.I.V.E.) Productions ( RAS’s current research, entitled Bridging Horizons: Embodied Cultural Understanding Through Dance: An Investigation into the Development and Presentation of Ethio-Modern Dance, is grounded in ethnochoreology; from this interdisciplinary



perspective, he investigates the use of dance composition/ performance as a cultural conduit. With an emphasis on Ethiopia, Ethio-modern dance is a movement study based on RAS’s amalgamated embodiment of global cultures, which he uses as a tool in his creative work as a western urbancontemporary performing artist.

Irish Research Council Government of Ireland Postgraduate Scholarship Award: Carrie Dike Scholarship Award: Carrie Dike Carrie Dike, PhD student in Ethnomusicology, is in receipt of an IRC Government of Ireland Postgraduate Scholarship Award for her investigation into the social life of Irish traditional singing. Social singing and traditional song have long been a vital aspect of Irish musical life. Carrie’s thesis sets out to investigate how traditional singing is being brought into the 21st century, particularly within the context of the Irish singing session. She conducts case studies on singing events in Ireland, including two monthly singing sessions, the Ennis Singers Club and The Night Before Larry Got Stretched, and two annual weekend festivals, The Clare Festival of Traditional Singing and the Inishowen Folksong and Ballad Seminar. Through a participant-observer approach to field research, interviews and direct involvement in the events, Carrie hopes to answer how the Irish model for sustaining the social life of Irish traditional singing can apply to the broader world of sustaining intangible cultural heritage.


Irish Research Council Government of Ireland Postgraduate Scholarship Award: Shane Holohan PhD Arts Practice candidate Shane Holohan is in receipt of an IRC Government of Ireland Postgraduate Scholarship Award. Shane’s research incorporates his background in three areas: He is an experienced teacher of English and art, he trained and worked as an integrative psychotherapist and he coaches and choreographs floor and aerial acrobatics and dance. Shane’s research considers how we can facilitate and document embodied creativity in high-level students of circus arts. The current phase of the project involves undertaking three ethnographic case studies of international circus schools – one each in Montreal, Stockholm and Melbourne. From this Shane will develop a model of practice that he will apply through two creativity residencies: (i) working with professional artists for two weeks and culminating in a public showing and (ii) working with students from the international schools and with Irish artists and culminating in a public showing and the production of a documentary film.

Irish Research Council Government of Ireland Postgraduate Scholarship Award: Mattu Noone PhD Arts Practice candidate Mattu Noone is in receipt of an Irish Research Council Government of Ireland Postgraduate Scholarship Award. Originally involved in the post-rock scene in urban Australia, Mattu has travelled an eclectic musical route via North India to Ireland. A student of the sarode (25-stringed India lute) since 2004, he has spent many years



(Photo: Lucy Dawson)

studying Indian classical music with Sougata Roy Chowdhury in Kolkata and more recently with K Sridhar in the UK. He completed his MA (1st Honours) in Ethnomusicology at the Irish World Academy and has been supported by both Culture Ireland and the Music Network to tour India and develop a new sarode, particularly for playing Irish music. Mattu’s research topic is Reclaiming the Mongrel: Irish Traditional and North Indian Classical Musical Connections – a practice-based exploration of hybridisation. This research is an interdisciplinary investigation of the relationship between Irish traditional and North Indian classical music. Grounded in ethnomusicological theory (Rice, 1994; Aubert, 2007), the research utilises an arts practice approach, theorising complex musical relationships through practice, analysis and the production of new hybrid musical works. The methodology draws upon the concept of ‘critical meta-practice’ (Melrose, 2002) to employ musical skill sets to generate data and pursue research questions. 


(McCann 2001; Smith 2006). New discourse is offered to the ethnomusicological record to present a critique of prevailing perceptions on the intra-communal relationship between academic and extra-academic representations of Irish traditional music discourse, pedagogy, transmission and performance.

Jack Kent Cooke Foundation Graduate Arts Award: Maeghan Dineen MA in Irish Traditional Music Performance student Maeghan Dineen is a recipient of the Jack Kent Cooke Foundation’s Graduate Arts Award, America’s leading graduate scholarship in visual arts, performing arts and creative writing. Having previously studied under Dr Anneliese Weibel at SUNY Geneseo, New York and Dr Ambrose Field at University of York, UK for music composition, Maeghan now seeks to broaden her creativity on the master’s programme at the Irish World Academy.

Irish Research Council Government of Ireland Postgraduate Scholarship Award: Jack Talty

EMI Music Sound Foundation Bursary in Community Music 2015/16: Sharon Howley, Siobhán Nelligan, Andrew O’Grady and Kate Scales

Doctoral student Jack Talty is the recipient of an Irish Research Council Postgraduate Scholarship Award for his study entitled Exploring Fifty Years of Institutionalisation in the Transmission, Pedagogy and Performance of Irish Traditional Music in Irish Higher Education from 1963 to 2013. This study looks at the relationship between the ‘Ivory Tower’ – a metaphor for the university, commonly misconceived as being removed from reality and social contact with others (Phillips and Pugh 2000) and the ‘Commons’ – the perceived ‘community-owned’ practices of Irish traditional music

The 2015/16 EMI Music Sound Foundation Bursary in Community Music was awarded to MA in Community Music students Sharon Howley, Siobhán Nelligan, Andrew O’Grady and Kate Scales. EMI Music Sound Foundation was established by EMI in 1997 to commemorate the centenary of EMI records. EMI Music Sound Foundation is an independent charity supported by Universal Music Group. It is now the single largest sponsor of specialist performing arts colleges in England and has created vital bursaries at music colleges to assist music




students. In 2005, EMI Music Sound Foundation extended its remit to cover the Irish World Academy of Music and Dance at the University of Limerick – a bursary was made available on an annual basis for the establishment of the EMI Music Sound Foundation Bursary in Community Music at the Academy. Applicants should normally be under 25 years of age, have been born in either the UK or Ireland and have applied for admission to the MA in Community Music at the Irish World Academy. In certain instances, bursary applications may be considered with applications for admission to Irish World Academy programmes other than Community Music.

promoting culture in novel settings, and Roche Continents is an example of this commitment. Participants attend concerts and talks by guest speakers and are given the opportunity to explore the common ground of innovation and creativity in the arts and science by joining in discussions with artists and taking part in group workshops.

A CV should be included with the application form for admission to the relevant degree programme along with a covering letter applying for the bursary and sent to Jean Downey, Irish World Academy, University of Limerick, Limerick, Ireland. Telephone: +353 61 202030; email: The criteria for selection of a bursary winner include the excellence of the CV and evidence of financial need.

Irish World Academy graduate Sharon Howley was selected to attend the 2015 Roche Continents Youth! Arts! Science! Conference in Salzburg in August. She completed her MA in Community Music at the Irish World Academy in 2015 and then commenced an MA in Irish Traditional Music Performance. A multi-instrumentalist from Kilfenora, Co. Clare, Sharon was delighted to have been selected as the 2015 Roche Continents Youth! Arts! Science! scholarship recipient, and believes that her attendance at the conference and her interactions there with other students from across Europe has widened her knowledge and appreciation of the arts.

EMI Music Sound Foundation patrons: Sir George Martin, Sir Paul McCartney, Yoko Ono, Sir Simon Rattle, Sir Cliff Richard, Diana Ross and Tina Turner.

Dancer in Residence at Firkin Crane: Laura Murphy

Roche Continents – Youth! Arts! Science! Scholarship: Sharon Howley Roche Continents – Youth! Arts! Science! is a project grown from a partnership between Roche and the Salzburg Festival. One hundred students from across Europe are selected to participate in this exceptional challenge; participants are students of life sciences, chemistry, the fine arts or music and are between 20 and 29 years of age. Roche is well known for


Laura Murphy is the recipient of a Dancer in Residence Award from the Arts Council of Ireland/An Chomhairle Ealaíon. The residency is at Firkin Crane, Cork from September 2015 to June 2016, and this is the fourth consecutive year in which Laura has been awarded Dancer in Residence at this venue. The aim of the residency is to promote the professional practice of dance in Cork city. Laura will work with community and professional dancers on various projects throughout the residency and will premier a new choreographic work for an ensemble of eight dancers at Cork Midsummer Festival 2016. Laura was acting course director of the MA Contemporary Dance Performance at the Irish Wold Academy in 2014/15.



Iarla Ó Lionáird, with Dermot McLaughin and Sean O'Meara, performing during the Blas Summer School Photograph © Maurice Gunning


Professional MEd (Music) Jean Downey, Course Director; +353 61 213160

Certificate in Music and Dance Dr Niall Keegan, Director, Undergraduate Studies; + 353 61 202465

MA Festive Arts Dr Niamh NicGhabhann, Course Director; +353 61 202798

BA Irish Music and Dance Dr Niall Keegan, Director, Undergraduate Studies; + 353 61 202465

MA Irish Dance Studies Dr Mats Melin, Course Director; +353 61 202542

MA (Research) Enquiries: Relevant Supervisor/ Faculty Member or; +353 61 202149

MA Irish Music Studies Professor Mícheál Ó Súílleabháin, Course Director; +353 61 202149

PhD Arts Practice (Structured Programme) Dr Helen Phelan, Programme Director; +353 61 202575

MA Irish Traditional Dance Performance Dr Orfhlaith Ní Bhriain, Course Director; +353 61 202470

PhD (by dissertation) Enquiries: Relevant Supervisor/ Faculty Member or; +353 61 202149

MA Irish Traditional Music Performance Dr Sandra Joyce, Course Director; +353 61 202065

Blas International Summer School of Irish Traditional Music and Dance Ernestine Healy, Director; +353 61 202653

BA Voice and Dance Dr Niall Keegan, Director, Undergraduate Studies; + 353 61 202465 MA Classical String Performance (in association with the Irish Chamber Orchestra) Diane Daly, Course Coordinator; + 353 61 202918 MA Community Music Kathleen Turner, Course Director; + 353 61 213762 MA Contemporary Dance Performance Dr Mary Nunan, Course Director; +353 61 213464

MA Music Therapy Dr Alpha Woodward, Course Director; +353 61 213122

MA Ethnochoreology Dr Catherine Foley, Course Director; +353 61 202922

MA Ritual Chant and Song Hannay Fahey, Course Coordinator; +353 61 234743

MA Ethnomusicology Dr Colin Quigley, Course Director; +353 61 202966

MEd (Music) Jean Downey, Course Director; +353 61 213160 Renee Hayes, MA Community Music student, performing at the Academy Photograph © Maurice Gunning


EU: Austria Belgium Czech Republic Denmark Estonia Finland France Germany Greece Hungary Ireland Italy Netherlands Poland Romania Slovakia Spain Sweden UK

The Irish World Academy continues to have a very strong international student profile. Since its inception in 1994, students from the following countries have graduated from the Academy.

INTERNATIONAL: Australia Belarus Brazil Canada Chile China Colombia Ecuador Ethiopia Georgia India Indonesia Israel Japan Malaysia Mexico Nepal New Zealand Nigeria Norway Palestine Russia Singapore South Africa Taiwan Thailand Turkey USA Vietnam


OTHER PROGRAMMES AND ARTS OFFICES Faculty of Education and Health Sciences: Graduate Diploma/MA in Dance (part-time) This two-year, part-time postgraduate programme is designed to offer students the opportunity to explore practical and theoretical aspects of dance through reflection, revisiting choreographic practice, a somatic approach to movement and developing dance workshop and lesson planning skills. Course Director: Brigitte Moody Email: Phone: +353 61 202807 Website:

Faculty of Science and Engineering, Centre for Computational Musicology & Computer Music: MA/ MSc in Music Technology The MA/MSc in Music Technology is a one-year, intensive course designed for graduate musicians from all disciplines who are interested in combining technological competence with artistic endeavour. Course Director: Jürgen Simpson Email: Phone: +353 61 202759 Website:

Faculty of Science and Engineering, Interaction Design Centre (IDC): MA in Interactive Multimedia The MA in Interactive Multimedia is a one-year, intensive course designed specifically for art and design graduates who are interested in pursuing studies that combine technological competence with design/artistic endeavour. Course Director: Mikael Fernstrom Email: Phone: +353 61 202606 Website:


Association of Irish Choirs

Department of Music, Mary Immaculate College, UL

The Association of Irish Choirs supports and promotes excellence in choral music in Ireland. It does this by providing information and advice and presenting a range of programmes and activities designed to respond to the needs of members, the wider choral community and the public.

The Department of Music at Mary Immaculate College (MIC) offers music for the BEd and BA (Liberal Arts) programmes as well as a taught MA in Music Education and other postgraduate degrees to doctoral level by research. Regular choral and chamber concerts are a vital part of the life of the department and there are close ties with the Irish World Academy. MIC has a 500-seater performing arts venue, the Lime Tree Theatre (

CEO: Dermot O’Callaghan Email: Phone: +353 61 202715 Administrator: Michelle Hynes Phone: +353 61 234823 Email: Website:

University of Limerick Arts Office

Dr Gareth Cox (Head of Department); Dr Paul Collins; Dr Michael Murphy; Dr Gwen Moore; Dr Ailbhe Kenny Departmental enquiries: Phone +353 61 204540 Website:

Arts Officer: Patricia Moriarty Email: Phone: +353 61 202130

University of Limerick Visual Arts Administrator: Yvonne Davis Email: Phone: +353 61 213052

Digital Media and Arts Research Centre (DMARC) Director: Jürgen Simpson Email: Phone: +353 61 202759 Website:

Aonad na Gaeilge/UL Irish Language Centre Dr Deirdre Ní Loingsigh, Stiúrthóir na Gaeilge Email: Phone: +353 61 213463 Ciara Considine, Oifigeach Margaíochta/Riarthóir Feidhmiúcháin Email: Phone +353 61 234754

Jesse Keenan and Amy Robyn Lyster performing during the Step Up Dance Project at the Academy Photograph © Maurice Gunning

MAURICE GUNNING MFA is an Irish photographer and documentary filmmaker. Appointed to the position of artist in residence at many cultural institutions, Gunning continues to exhibit internationally with support from the Irish Arts Council and Culture Ireland. He is currently a member of the advisory board of PhotoIreland. Since 2006, Gunning has been the resident photographer at the Irish World Academy of Music and Dance at the University of Limerick. He continues to collaborate with many national and international artists through this residency. His work was celebrated in 2010 in the form of an extensive permanent exhibition and catalogue at the Irish World Academy. Dance Ireland invited Gunning to be their artist in residence at Dance House, Dublin, where he created a new body of photographic work. This work was premiered in May 2013 with a large permanent solo show at Dance House. “We are delighted to commission such unique images from Maurice, a photographic artist of the highest quality whose work will add to our understanding of the beauty of movement.” (Paul Johnson, Dance Ireland Chief Executive). Gunning has worked extensively in Buenos Aires with the Argentine Irish Diaspora over a number of years. With support from Culture Ireland and the Irish Embassy, he exhibited his solo show, Encuentro, at the Centro Cultural de Recoleta in Buenos Aires, in several UK galleries and at the Irish National Photographic Archive at the invitation of PhotoIreland Festival 2012. According to Sean O’Hagan of The Guardian, the show “focuses on the Argentine-Irish community in Buenos Aires, descendants of the original immigrants that arrived there in the 1800s. Gunning’s poetic, fragmentary style is perfectly suited to the kind of visual storytelling that draws on memory, text and longing to at once evoke the past and the present”. In 2013, the Liszt Academy of Music in Budapest invited Gunning to be their first artist in residence. The work produced during this residency will be premiered in Budapest at the Liszt Academy in 2015 with support from Culture Ireland, the Arts Council and the Irish Embassy. In 2014, Hope & Homes for Children (Romania) commissioned Gunning to create a book and exhibition, Family:Familie – Stories of Five Romanian Families, which were premiered in May of that year at the National Parliament and National Library, Bucharest. In 2015, Irish Aid and the Department for Foreign Affairs and Trade awarded Gunning the Simon Cumbers Media Fund, which enabled him to work in The Gambia on themes relating to the UNHCR Millennium Development Goals. Gunning’s first documentary, The Chile 33, filmed during 2010, was broadcast in over 50 countries to commemorate the first anniversary of the mining incident. Gunning continues to work internationally as a cinematographer with Swedish intergovernmental organisation The International Institute for Democracy and Electoral Assistance (International IDEA).

Of Our Times - Spring 2016  

Irish World Academy of Music and Dance University of Limerick

Of Our Times - Spring 2016  

Irish World Academy of Music and Dance University of Limerick