Provided by the author(s) and NUI Galway in accordance with publisher policies. Please cite the published version when available. An alternative gathering: public space and shared agency in the Title lived experience of multicultural Ireland Author(s) King, Anna Publication 2014-01-31 Date Item record http://hdl.handle.net/10379/4418 Downloaded 2020-06-07T02:46:33Z Some rights reserved. For more information, please see the item record link above. An Alternative Gathering: Public Space and Shared Agency in the Lived Experience of Multicultural Ireland by Anna King A thesis submitted to the School of Political Science and Sociology. In conformity with the requirements for Degree of Doctor of Philosophy National University of Ireland, Galway (January, 2014) Copyright © Anna King, 2014. Due to real names being used in this thesis, all quotes attributed to individuals in this research cannot be reproduced without written consent from Anna King. No photographs are to be reproduced elsewhere or downloaded. Supervisor: Professor Ricca Edmondson Internal Examiner: Dr. Cormac Forkan External Examiner: Professor Darlene Clover 'I'd like to think that maybe some of the young people will tell this story to their children… it's about joint ownership…' (Conal Kearney, Director of Youth Theatre Project) 'We brought life into the story…' 'Yeah, I feel like I’ve also made a little bit of history too.' (Ammar Tahir and Nathan McPhilbin, young actors in The Táin. ii Abstract Within less than a decade the community of Doughiska, Roscam and Ardaun (DRA) transformed from a semi-rural small Irish community to a city suburb with over 33 different nationalities. The urban development that took hold in a dramatically short period of time has led to a form of ‘landscaped identity crisis’, where the meaning people attach to their local environment is challenged and uprooted with an influx of newcomers and mass urbanisation. This research follows how older community members coped and responded to change, as well as how newcomers struggled to make homes in unfamiliar cultural landscapes. In so doing, it draws attention to place being a complex setting, where history, culture, politics, environment, social and personal life interact. This research uses creative methods to enable people to explore how a range of social patterns (often articulated through common narratives) either shape or constrain their experience. This four year ethnographic and action research provides empirical evidence that strongly indicates the power of place within social development. It also highlights how making dislocated spaces into meaningful places within the DRA was realized through a range of cultural and artistic gatherings (Church events, Ghanaian celebrations, the Polish, Come2gether Association, the GAA, World Café experience and the DRA Youth Theatre Project), as well as activities that elevate the role of nature in creating landscapes conducive to social and community dialogue. It was during these encounters that individuals participated in (re)negotiating their social and cultural landscapes, thus creating a sense of belonging. One of the more significant findings has been the positive role for diversity in creating meaningful change. Tentative though these findings are, they identify a desire and willingness on the part of diverse groups to develop relationships and to engage in the community-building puzzle, rather than ‘hunker down’. This is not to suggest that this is a process without challenges between individuals and groups, but the projects examined here provide valuable insight into how these may be overcome. In particular, they indicate that the primary feature for social dislocation, or lack of social development, is more to do with context rather than the issues of diversity. iii Rather, diversity, at least for the residents in this study, is experienced as a creative prerequisite to building meaningful long-term relationships. iv Acknowledgements I dedicate this PhD research to the DRA community. Without all the people mentioned (and many more) this piece of work would not exist. My personal, ethnical and emotional commitment was at all times to give justice, in the most integral way possible, to the people who invited me into their lives during my period of research. Here, it is important to be honest about these relationships. They are not ‘research subjects’; they are people with whom I have spent vast amounts of time and shared some extremely meaningful moments. I have a deep respect for them and have developed some very special bonds. Some, more than others, hold special significance. I am not a Catholic, or for that matter joined in any other institutional religion, and yet one of the most meaningful encounters was with Fr. Martin Glynn, who is a visionary and inspiration to many. Endless conversations with him gave shape to my thoughts, eased fractured emotions and provided an anchor point from which to discuss many issues from community interaction to philosophy and human nature. I am a better person from meeting this man and a much more refined researcher. He became for me a symbol of integrity and hope as he, alongside many others, strove to transform a barren social landscape into vibrant ‘alive’ spaces for cultural encounters that matter. Dan Hurley’s drive, enthusiasm and unrelenting commitment to ‘putting in place’ the necessary structures for community participation is incomparable. He taught me great things about sticking with a project, even when all the odds are stacked against you. His expertise together with the dedication of other members of the DRA Development Company Ltd. has shaped a positive future for many generations to come. I will never forget Randy Asante’s unrelenting love of Ghanaian culture, coupled equally with his desire to be involved in Irish traditional forms of community. His commitment, enthusiasm and gentle demeanour was an endless source of strength. Nuala Keady’s personality, for me, is like the scent of wood smoke meandering across the Irish landscape; she makes you feel at home and exemplifies everything local. While rooted in old Irish culture, she has a compassionate heart and endless energy to embrace new people and practices into her life. Elizbieta Nikiel brought grace and beauty to every v event, as well as a fundamentally heart felt love of family and friends. I am deeply honoured that her family took me into their home and shared troubled and painful memories. I am exceptionally grateful to Mirostaw Kuzenko for sharing the history of his grandfather and father. It was equally moving that people who had lost so much in their lives were such magnanimous and joyous people to be around. They literally would do anything for me and for that I am deeply grateful. Peter Brennan was a gentleman. While always present with his camera, his gentle presence and sensitivity enabled people to ‘be themselves’. His photographs are testament to this and his constant willingness to turn up at every event, however small, is an example of his commitment and amenable personality. His work alone leaves an historical account of change in the area. There are many, many others who I would like to thank, to name a few: Julius Daree, who spent hours sharing with me with the tortures of Liberia and the horrendous experience of living through the asylum process. I am deeply impressed with how he transcended these experiences and devoted so much of his talents to developing community in the DRA. Sanober Jaffry for her generosity of spirit, Godwin for his mature and insightful mind, Bridget who brought colour and laughter to every event, Magnus for his support and encouragement, Bernadette for her wisdom and presence, Paula, for her hard work and exemplary professionalism, Chris Taylor for sharing his talents and knowledge, Niamh Heery, for being an exemplary film maker, and James Harrold from the Galway City Council Arts Department and the Galway Film Centre for their support and guidance. A big thank you to all members of the GAA for giving us the Castlegar Complex for free during our youth theatre project. Thank you to the FFC Residents Association (in particular Maura Mulroe and Michael Nolan) and to all members of the Friends of Merlin Woods for inspiring this research to another level. Importantly, it cannot be overestimated how much Conal Kearney contributed to the youth theatre project, and I am deeply honoured to have been able to work with such a talented individual, and all the wonderful young people that made this project such an overwhelming success. Then there are those who I engaged with briefly, but who, none the less, left an indelible imprint on my memory, including Paddy King, for his proud vi demeanour and Breda McNicholas for her openness and generosity, especially at the very beginning of this research, when she brought me into her home and gave me tea, when I most needed it. By no means least, I would like to thank my Graduate Research Committee, Professor Chris Curtin and Dr. Brian McGrath, and, especially, my supervisor, Professor Ricca Edmondson, for her patience, insights and guidance throughout the fullness of this research, as well as the IRCHSS (IRC) for funding this research. vii Statement of Originality I hereby certify that all of the work described within this thesis is the original work of the author. Any published (or unpublished) ideas and/or techniques from the work of others are fully acknowledged in accordance with the standard referencing practices. (Anna King) (January, 2014) viii Table of Contents Abstract ........................................................................................................................................... iii Acknowledgements .......................................................................................................................... v Statement of Originality ................................................................................................................ viii Table of Contents ............................................................................................................................ ix List of Figures ................................................................................................................................ xii Chapter 1 Introduction ..................................................................................................................... 1 1.1 Social Capital ......................................................................................................................... 3 1.2 Cultural Encounters that Matter ........................................................................................... 10 1.3 Creativity and Place in the Community-Building Puzzle .................................................... 14 1.4 The Central Themes of the Thesis ....................................................................................... 18 1.5 Overarching Aim ................................................................................................................. 23 Chapter 2 ........................................................................................................................................ 28 The Case for Artful Sociology and its Methods ............................................................................ 28 2.1 Why Ethnography? .............................................................................................................. 34 2.2 Performance Ethnography ................................................................................................... 41 2.3 Reflexivity ........................................................................................................................... 45 2.4 The Arts as a Form of Social Development ......................................................................... 50 2.5 Ethnographic Activities from 2009 – 2014 .......................................................................... 54 2.6 Background to the World Café experience methods ........................................................... 61 2.7 Background to the Youth Theatre Project ............................................................................ 69 2.8 Community Documentary .................................................................................................... 72 2.9 Lessons Learnt: Descriptive Text, Photography and Community Mapping ........................ 78 2.10 Future Plans: School for the Performing Arts, Public Art Programmes, Regeneration of Public Spaces, Mixed ethnographic Methods. ........................................................................... 86 Chapter 3 A Shifting Landscape in which to Gather ..................................................................... 91 Chapter 4 The Setting for the Gathering: Public Policy in Ireland .............................................. 119 4.1 The Irish Welfare State ...................................................................................................... 122 4.2 A Property Bubble and Social Dislocation: The Case of the DRA .................................... 127 4.3 The FFC (FearannRi, Fionnuisce, Caistlean Thorlaigh) Residents Association................ 135 4.4 Moving from the Material to the Ideational ....................................................................... 157 Chapter 5 New Forms of Gathering ............................................................................................. 164 ix