public space and shared agency in the lived experience of multicultural Ireland Author(s)

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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
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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.

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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.
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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
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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
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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)
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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
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