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https://accounts.ulster.ac.uk/repo24/files/original/201cde3064df753cc64e20202c5f086f.pdf
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Text
24 November 2014
Interview with:
Eamonn Baker
Venue: The Junction, Towards Understanding and Healing,
Derry/Londonderry
The Memory Project, Smashing Times Theatre Company Ltd
File No: 00001406
TC:
00:26:30:00
02:37:04:18
Q: Talk to me about your experiences of the troubles
EAMONN: OK . . . I think in the time that we have got here I am going to be, maybe,
relatively rapid in what I tell you . . . I think the most brutal and in some ways the most
devastating experience I had was the experience of, of Bloody Sunday. And..... I was
twenty... I was a University Undergraduate at Queens and I had come down for the march
and I, for reasons that I am not entirely clear about, I had decided that it would be a good
thing to be part of the rioting group in . . in William street. So there’s still photographs of me
with . . . with. . sometimes a white hankie around my face throwing stones at the army at. .
on William Street and then utter panic when I realised that the army had actually come in
.... I’m, I’m hesitating about using the word ‘invaded’ which is a loaded word but they have
come in so, to escape I need to run back along William street, take my left along
Chamberlain street which takes me at the end of Chamberlain street into a courtyard. .
where already Jackie Duddy has been shot and is dying, so Jackie Duddy is horizontal on the
ground and in some strange way I cannot admit to myself that he has been shot and is
dying. It’s like... or.... my knowledge of such a situation before is rubber bullets so I don’t
have knowledge or maybe don’t want to admit, it’s like some kind of psychological process
of denial, this man, and I see the blood on his chest and I am aware of suddenly switching
into the present tense . . . this, I wouldn’t say he is writhing, I don’t think he’s moving that
fast and there’s people gathered around him and there are people screaming, shouting at
each other and then there is more shots and I run to my left with some. . You know, as a 63
�year old man looking back there is some part of me saying I am leaving a man who’s, who’s
dying, to save my own skin and as I run left, there is a man called Mickey Bradley who’s also
shot in the back and he actually says, in my recall, he says I am hit, you know, having
watched loads of movies I thought when someone was shot they’d be propelled forward
and they’d hit the deck but he didn’t, in my recall, he . . . I would say more stumbled and I
had the white hankie which I would have used then as people gathered around him,
somehow there was this . . thing that maybe we could apply a tourniquet, but then there’s
more shots and we run like hell. So leaving Mickey Bradley. . who didn’t die, lived. . only
died a number of years ago, so he was one of the wounded of Bloody Sunday . . Jackie
Duddy and Mickey Bradley are both Creggan people, I am from Creggan. . and run on left to
get out between the high flats that look out to Fahan Street and the high flats that are
directly facing me as I am running and there is a gap there that I can get out. I know it you
know, I know the area and there ‘s more shots and a man called Pius Mc Carron who was a
neighbour of ours in Creggan, also a Creggan man, ah there’s bullets hit above but I don’t
quite know what’s happening, I think he’s shot but it’s actually masonry has deflected off
the. . or been shot off the wall, hits him and he’s knocked down and as I am running
through this gap a man called, who was the same year as me at school . . . a First Aid man
comes through and people are screaming at him and there’s people shot, down there you
know, get out there and I be thinking why would you go out there and I run this way and I’m
ducked down and because there is some sense that they might be shooting from the walls
across you know, from the walls, and I see, I see Thomas McCarron who’s Pius’s brother
and I say Thomas . . ‘your brother’s shot back there’. And the two of us come back . . to
where we thought Pius was, where I thought Pius was, but Pius was gone and then we
came back, I don’t remember any more about Thomas. I see Thomas frequently, he is a
great Derry City Supporter, he’s now in his late 60’s and then that silence that people speak
about descended and . . . . I walked home.
Q: At what point did you, were you aware that they were actually shooting bullets. A lot of
people talked about, they weren’t, they didn’t believe it!
EAMONN: You know, you know I think, I think one of the things that. . hasn’t been
mentioned here today is the word trauma. And so that 20 year old, who’s me 43 years ago,
this is a trauma. And somehow that trauma is not admitting this reality. . when I get home, I
am the second eldest of eight children, and when I get home, at least half my family were on
the march, the Civil Rights march and. . so in the house, then already the army are
beginning to get their story out and there's this story that there's a riot and they respond
and there's a story that they’re being shot at and they respond and it’s already coming out
that maybe, I think maybe, early reports that three people had been killed. . so at that point
you know, we as a family in a small council house in Creggan, are becoming aware that
there’s . . there is death here. . not, I didn’t really get that when I saw Jackie Duddy , Jackie
Duddy’s by the way. . older brother Billy would have been a virtual contemporary of mine, I
would have played football with him. . the Duddy family lived directly opposite the Bishop’s
Field from us. Bishop’s field is where the march started from and such high hopes. . so we’re
all, including my Brother-in-Law, are all in this kitchen and everybody is through other . . .
and I think one of the other bits about, you know, I can feel this as I am speaking to you,
Oliver, I can feel this in my body, this recall . . . and I have stopped myself being tearful here
but I want to tell you one other thing . . because I think going back to your question about
�storytelling, there is a, there's a formula which I like, it’s in storytelling, there’s what I am
willing to tell, there is what I might tell, and there’s what I might never tell, so in each
storytelling occasion people are working through what, what am I willing to tell, what might
I tell if I'm safe enough, and what will I never tell. And for years I never told what I am about
to tell you now, but I started to tell it about 2009, which is, if you can imagine a small
kitchen with 11 people in it, that’s including my Brother-in-Law, my daddy witnessed me
throwing stones and . . .he said to me, something, my Daddy was a quiet man but he said . .
what were you doing down there and I didn't hear it like as a, a search for facts because he
knew what I was doing, I heard it like an accusation because already the news was saying
British army responds to riot, I was part of the riot so already some part of me was feeling
some guilt and when he asked me that question I exploded and I thumped my Daddy as
hard as I could thump him, which led to a . . . a massive squealing, roaring, I have four
sisters, my Mother, my Brother-in-Law is saying . . you want to fight, fight me. Come
outside, my Brother-in-Law was a tough man God Bless him, he’s dead now as well, and my
Daddy who was 51, he was 51, he was 12 years younger than I am now but I thought he was
an old man, he said I’m not staying here to be assaulted by my son and he put his coat on
and he left the house and I run down the street after him and I said ‘Daddy don’t be going
down there, don’t go down there’ and he says ‘I can’t stay here to be beat up by my own
son’ so part of this story is you know, you asked the question and Maureen answered the
question about victims and perpetrators, suddenly I went from being a pictim, victim . .
pictim’s an interesting word, to being a perpetrator. And what I didn’t know, what I didn’t
know was, y’know, y’know, y’know as an adult speculating, is that my anger towards the
army, to what I had seen, the trauma of what I had seen, and where I dumped it was on my
poor defenceless Daddy. And the first place that I ever told that story was in Theatre of
Witness . . that’s the first time I had the balls to say, ‘here’s a very . . significant addendum
to this story of working class Catholic niceness attacked by a British army . . and the utter
shame of it, the shame of being around funerals and thinking ‘I beat my Daddy up, I became
like the British army in my own house ‘ . . .
Q: Do you want to stop?
EAMONN: No I don’t actually . . so one of the things about that story is this, that if you
went to Creggan and you arrived in Creggan in, in February ’72, everybody was incensed,
that I knew, and the only story, you know they say the only . . the only show in town, the
only story in town, the only story in Creggan which was a big, big estate was ‘this is what the
paratroopers done’ and then the next bit of the . . ‘this is what the British Government
done with Widgery’ . . so it was like . . a classic . . this is my story, this is what happened
but somebody tells you this didn’t happened, the state says ‘this didn’t happened’ so your
story is squashed down and it would have been really, really healing if the British
government had the balls to say we did a wrong here, it would have saved so many lives . .
and I think . . part of my, in the 70’s, would have been smitten by the contagion of that
story which meant that even though I didn’t . . take up a gun, I didn’t speak out against men
and women who did, so you got a community. . like me and I’m not really meeting, you
know people, there’s a mythology that at University you meet people from other
communities . . my sense of University was I hung around with Derry people, not
Londonderry people, Derry people who, and we told each other the story . . so storytelling
becomes healing when you hear the other story and when the others hear our story and
�then we can maybe have one story . . And one of the most significant moments for me in
that journey was hearing Maureen’s story, which was in February 1992. I was 41, it was 21
years later . . when Maureen said to me that on her, on the first day of her husband’s work
as an RUC officer, he was shot by the Provisional IRA, very first day of duty. He went into
the, into the RUC having worked for the Housing Executive, so he was about 26 or 27 and
suddenly you think, my God here’s someone telling me the impact, you see, it was almost
like schizophrenic, I was throwing stones at the British army but I don’t think I was taking
account of what would happen if one of those stones hit somebody so what was happening
when those lead bullets hit people, a lot of the killing that was done in the city, men took
cars . . hijacked cars and then they drove them back into Creggan where I grew up and
actually still live and I did not have the empathy to understand that this damage, this
trauma is being done from our community and other people . . Maureen said ‘I was eight
and half’ . . she didn’t say it here but she was eight and a half months pregnant, this is in
the public domain and that really . . . ‘eight and a half months pregnant I am stood beside
my husband who’s lost his left arm’, he’s in intensive care, and she’s, she’s the first child
and suddenly it arrested me that this is the impact of this, this is, so in terms of the story of
the Troubles that’s a big moment where I start to see a truth other than the, the narrowed
truth that I was, sharing . . exporting.
Q: I look at . . I have in my time been through something similar but not as big as that, being
shot at and I was about 12, 13. I remember it didn’t feel real I’d never been shot at before
and I’m curious because I’ve heard this story many from many different aspects, I’ve
listened to Kay’s story of her experience or listened to her experience through her brother.
EAMONN: Kay Duddy?
Q: Kay Duddy. Yeah. I’ve heard others, I’ve actually edited programmes on it, and was one
of the few programmes after Widgery to actually show , so I’m curious that no one’s ever
explained that and I think in some ways it comes to the point of why you got so angry with
your dad because you had never experienced being shot at before.
EAMON: I’d never experienced seeing someone on the ground, these are streets that, I’m a
Derry man who loves his city and seeing someone on his back gurgling blood, never seen
anything like that before. I’d seen riots before, I’d participated in riots before but I never
seen anything like that. I never seen Mickey, Mickey Bradley shot in the back, I thought Pius
McCarron was shot you know, I’m 20 years of age, I have, I have no great knowledge of
psychology, so what I imagine is that, that there is a, it’s like when there’s grief, part of that
process is denial and there’s part of that process is anger and so there’s some kind of instant
denial, is this, is this. . can this be happening and then there’s a whole history, there’s a
whole history you know, when my Daddy asked that question, there’s all the twenty years
previously of the relationship with my father and mother, is, is evoked, you know, some
sense that I was the Black Sheep of this family even though I was in other ways you know
the great White Sheep, the great white hope up at university, first person ever from my
family right across the family being at university, you know. I, I, every time I meet Billy
Duddy, I . . we played football together, we talk about football but I have the greatest of
regard for him and the Duddy family, I know Gerry as well, I know the niece Julianne
�Campbell who’s a great, was a journalist, it’s very webbed into what it means to grow up in
our area. It, it was not just Jackie Duddy, there was William Nash for example, shot dead,
his father shot, so I think in total there was five people from Creggan shot but for me that,
y’know, watching the funerals, we lived very near the church but also having a sense of my
own family, that this 20 year old has gone on such a violent attack on his Da and my Daddy
was a quiet man, he wasn’t a, he didn’t do corporal punishment, physical punishment.
In the Theatre of Witness process I got to share this story, not in a, to an audience but to the
people in the, in the class I was in. And Teya Sepinuck invited me to reflect on what was the
medicine in my story and one of the things that’s in this, is that when I was a child, my
Granddad grew up in the Bogside, oh no, he don’t grow up, my Dad grew up in the Bogside,
my Granddad grew up in Donegal. I used to go from school to meet my, meet my father
who worked in a laundry in a low paid job, he’d come sweaty to me Granddads and then me
and him would have walked, walked to Creggan and sometimes we would have stopped at a
wee, a wee huckster shop and I would get, he would give me thru pence and I would get,
and I would get Rowntree’s Fruit Gums and we would share them on the way home to
Creggan, on the way home. . . So I would .... maybe prefer to remember that time.
Q: Do you not appreciate that you were actually traumatized by something you had not
experience before , you had no idea what you were facing, you were a young lad but you
were pretty innocent then?
EAMONN: Yeah . . well you see . . that whole, many, many people, Maureen, Jim, I am
sure know that many, many people would say that the word trauma and response to
trauma and counselling services, psychological support, therapeutic support, didn’t exist . . .
I mean I went back, I was at Queens. I went back to Queens the next day and lots of the
people from Creggan were drinking heavy, we were involved in a protest, there was a big
meeting in the Whitla Hall, I remember being surprised that a friend of mine . . he’s now
died as well Seamus Hegarty died, just a couple of years ago from leukaemia, I remember
him standing up and protest . . speak and I thought, Jesus I never saw Seamus Hegarty
speaking at a big public meeting before. I remember, we, we drank, we protested, we
picketed the English Department. I remember being so angry that Professor Braidwood
went on doing lectures on the Monday and we were out, outside, Queens with a placard
saying ‘University should be closed down’, something like that. We occupied the eh, was it
the Vice Chancellor’s office, we were angry, but I didn’t know the word trauma, I didn’t , I
just felt an enormous shame that I had, y’know, I didn’t see it in a context that this may be
happening in other homes, this may be happening around the town. Actually what comes to
mind is in the November before Bloody Sunday, I was home from Queens at the weekend
and I was writing a paper on, believe it or not, on the Baroque influence on Chaucer’s early
poetry, so I’m sitting in this working class house in Creggan writing this on a Friday night,
this is Free Derry and the, the horns go and they say, the horns means that there’s some
incursion from the army or the police and I drop my quill, haha, and we run up Iniscarn road
because that’s what people did to be involved in a riot which would keep the army out and I
run and I got, and the army had gone. I got to this point and the army had gone and then
we’re stood about y’know with bricks in our hands which are now redundant, that’s not
quite y’know, we dropped the bricks and, somebody said it’s terrible about that woman, it’s
terrible about that woman and I say, what woman? They say there’s a woman shot dead
�and so I had the neck or the curiosity or something and I went into the house and somebody
said you know the woman’s laid out dead on the sofa and I remember sitting on the bottom
step sort of like a no man’s . . I can’t go in there, I don’t have the courage to see but I’m not
ready to leave and then her son came in who had been at a dance, it was a Friday night and
he knew and his body all contorted, he did something and he came in. I got out. The house
was identical to our house stairs, come in the door, front door up the stairs, I think maybe
what I didn’t have was the skills, the vocabulary to say in a way how that impacted on me.
That was November the 6th, 1971. Kathleen Thompson was the person who was killed and, I
went back up to Queens and read my fucking seminar paper on the . . . and I, instead of
saying Baroque, I just said brock because brock is a word we use locally for food scraps that
we would gather and my tutor, it’s not her fault, like, how was she to know. It was Edna
Longley, Edna Longley, wife of Michael Longley and I just kept saying brock because I
thought what is this got to do with the price of chips and again maybe it means that I didn’t
know how to communicate it and there was no one around saying what’s that like to be in a
house where someone has been shot dead in the back yard. So there may be a connection.
That was November, Bloody Sunday was the end of the following January, I think I might
stop there now.
Q: Definitely?
EAMONN: Yeah.
Q: So you’ve just told a very strong story, a very important story to you. Is that storytelling
for you important and if so, why?
EAMONN: I, I think Maureen spoke some of what I, what I think about storytelling, that it’s,
that it’s almost like storytelling is part of who all of us, it’s in our DNA, and it’s like our blood,
that that courses through our veins and when there’s a blockage in the blood moving
through our veins we need to find a way to release that blockage. And I have found, as
someone reared in a family where, communication in at a deep level or at a, even at a, at a
middle level was not overall encouraged or supported, to find myself in places where
someone says what has happened in your life? What has been troubling you and then they
listen with authenticity and they’re listening for what you or I can share, and my, quite
usually my experience of that is, that I feel a bit lighter and going back to Bloody Sunday, if
the only story . . the only show in town, the only story in town was the Bloody Sunday
story, and the paratroopers did this, somehow, somehow it seems to me that us people in
Creggan didn’t quite realise that there were people with guns and bombs, getting bombs
ready and loading guns and going down and killing other people, it was like, I don’t know if
you would call it a double think, but we are the victims, this army is the Army of Liberation
and we don’t see the havoc, the devastation, the trauma that’s been inflicted on people like
Maureen . . so there’s a monocultural story, if I went up to, my local bar’s called The
Crescent, its round the corner from me in Creggan and I said to someone tell us about . . . do
you remember the Kingsmill massacre and I’m guessing that most men and women would
say ‘what was that? What was that? When did that happen, I don’t remember that? If you
were to say, what do you think of the UDR, burning bastards, they were involved in . .
collusive killings so if those people up there have had the opportunity to meet someone
from the UDR community or meet someone from Bessbrook who says this was what it was
�like, this is what happened in January, I think it was 1976, so the storytelling becomes a
vehicle for people to tell their . . as Maureen put it, their narrative truth, or their subjective
truth and as I, as we hear each other, then something different happens, and I just
sometimes wonder is it psychological healing or is it healing of the mind in a way that I’ve a
different perspective, so there’s a line that’s change the way you look at things and the
things you look at change, so I am deeply privileged to hear from Jim in this very room last
Wednesday, we had a woman who was in the UDR for 23 years, her husband David was a
Commanding Officer in the UDR unit that was blown up by an IRA bomb, he survived though
he was injured, his sister Heather, Heather Kerrigan was blown up and killed, and his
colleague and friend Norman McKinley was also blown up and killed. Most people in
Creggan and this may be a crass generalisation but it’s how I see it, would not know that,
they would not know the suffering that Irene has endured, that bomb was in July 1984, she
said here publicly, so I’m not talking behind her back, she said ‘I’ve lived for years with a
husband who has post traumatic stress disorder, I have lived in the shadow of his sister who
was killed’. So storytelling when people from diverse communities come in and they’re
willing to go deep you know, so go back to that, you know, what you’re willing to tell, what
you might tell if the situation seems okay and what you will never tell, it might be that
where we want to be is what you might tell because there’s risk involved and even . . I never
told, never told anything about attacking my Da on the bloody night of Bloody Sunday, I was
so ashamed so, a situation where you might bring, go deeper, that’s when I think it can be
healing and people can leave a room and they say, you know what, let’s make some actions
that will make this a better place, maybe just one thing, two things. And we don’t . . y’know
we don’t, we don’t present ourselves as therapists so if you . . came and you told a story
and there was a sense that maybe (you) would need to go to a counsellor or some kind of a
therapist, as we would say, there is that facility, there is that opportunity, we maybe don’t
have the money for it but there are organizations like Wave just up the street who are able
to provide that service for you and that’s why, I would see my job with Towards
Understanding and Healing, in a way, it’s like a vocation, it’s not, I would do this job if I
wasn’t being paid but it’s good to be paid at the same time, yeah.
Q: But is it, are there people out there who don’t want the stories to be told?
EAMONN: There are people out there for example former paramilitaries who can only tell
what they’ve been convicted for because if they were to say, well actually I killed those four
people as well then they would immediately, I guess there would be a process where they
might be before the courts again. There were people, my Daddy, I’ve said this a number of
times, he was a quiet man, he wasn’t the kind of man who was up for sharing his soul, and
that’s how I was brought up.
Q: Sorry, there’s interference on the radio again . . you were just saying about your dad,
who was a quiet man?
EAMONN: Well . . your question was . . are there people who don’t want to share their
stories.
Q: It was more . . . are there people out there who don’t want stories to be told?
�EAMONN: I think, I may be wrong, that there’s an agenda where, for example, Republicans
don’t want the story of their war to be told in this dirty detail because they present
themselves largely speaking as a war of liberation and so some of the dirty detail is, where
republicans killed nearly 60 percent of the fatalities. And I wonder is that also true of the,
the number of people who were injured, it was like forty thousand, sixty percent of forty
thousand, so there’s you know, there’s this talk of contested history. There’s talk of
revisionism, there’s the fact that, so many murders, I think it’s something like two thousand
or maybe more murders are unsolved and the people who are the perpetrators of those
murders, largely speaking are, are not saying I will give you the truth, that’s why in here last
Wednesday we had Irene Kerrigan because the broad picture is she’s unlikely to get the
truth of what happened in July 1984. Who, who triggered the bomb that killed her sister inlaw Heather, who...that killed Norman McKinley and, and injured her husband, and many
other deaths in the Castlederg area. She’s not going to get that truth and what I’ve learnt is,
that’s her Bloody Sunday, but it wasn’t a Bloody Sunday ‘twenty minutes of shooting’, it
was ‘we’ll take this man out, take this man out, take this man out, we’ll kill this woman’ and
it was systematic over a number of years so that people, were saying who’s going to be next
so she came in here and spoke to about forty, forty five people including Jim and she said
this is my truth, this my testimony. I’m not going to get it in the courts but this is what it
feels like to be me in this marriage with our children now and I’m not likely to get justice so
we’re setting up situations where there’s the possibility that she could get some healing, it’s
not going to solve the problem when she goes back and her husband David is still
traumatized and acting out and volatile and she said all that here so I’m not betraying her
confidence, that it’s a moment of significance for her and there are people who don’t want
to hear that, because their position is and I think it’s a position, if you change the way you
look at things, things you look at can change, their current position is UDR equals collusion
equals the killing of that, you know Anne Cadwallader's book - Lethal Allies, that’s their
position or their worldview, and where we need to get to is where both things are true . . I
think. My belief is that the UDR were collusive in some killings and the IRA had a shoot to kill
policy, that was their raison d'etre, to kill, you hear now in the surveillance that people from
distant community are talking of getting a killing it’s presumably the same language that
was used in the 70’s and 80’s and 90’s.
Q: What about the smaller stories what about the people who are, just felt they, just sort of
witnessed it, that it affected them, are they important?
EAMONN: Absolutely, I mean there’s, at the moment there’s five of us in this room.
Everybody has a story, it’s, as I say, it’s part of our, like our blood, it’s part of our DNA and
y’know people who are into psychology talk about creating the core conditions . . . where
people can share of their story, so they can leave, if you like, that weight behind and it
happens y’know when we’re working with groups, you might, I’ve had a group where . . not
Kay Duddy but Ann Duddy was in the group, and there was a woman in the group whose
mother was shot in Bloody Sunday, one of the, I think the only woman to be shot in Bloody
Sunday, and her brother also died in a bomb, he was in the Provisional IRA, the bomb went
off, he was one of two people to be killed so this woman is looking at Anne and Margaret,
and she’s saying I don’t have a story compared to this story so she’s doing the compar –
comparing and then when she actually gets involved, as the days evo-, y’know move from
week to week, and she tells us she was friendly with a community policeman who was shot
�dead by the Provisional IRA, she tells us that her son was friendly with a guy who was in the
Provisional IRA who was killed in a bomb, he was looking to plant and he left, he left the, her
son left Ireland to live in, in England to get away from here so in a sense she lost her son
even though he wasn’t a direct casualty of the bomb. And . . and more. You quite often find
that people maybe minimize. . they’re doing an internal comparison ‘my story is nothing
compared to the story of the Duddy family’ and yet there is truths and realities that have
deeply impacted people because going back to what you were saying earlier, how was I, as a
twenty year old, going to accommodate this vicious traumatic reality, you know I didn’t ..
didn’t even know the word trauma, I don’t think, so, people who witness bombs, you know
that notion that the abnormal became normal because somehow we were able to fix
ourselves internally, you know, so walking through Belfast you put your hands up and be
searched, that become normal. I’m working on a book of interviews and a woman talks
about, in this particular interview she talks about going to school and she’s going to a
school, it’s an oxymoron I think to refer to a school as a Protestant School, but she . . she’s,
men in balaclavas stop the bus and get all these school wains off the bus, she’s, its Grammar
school in the Antrim Road, and so somehow that’s the normality and in some ways she
needs to speak about that, so I welcome all stories, y’know I think that’s, that’s what needs
to happen, all stories are welcomed yeah.
Q: What about the kids? Do they understand?
EAMONN: Sometimes what the kids have got is the garbled version of history, that has
been, maybe unawarely transmitted by the father and I’ll give you an example of that. I
have a daughter, a very bright daughter who I’m sitting in a cafe with my daughter Gráinne
and a friend of mine and his English partner, she’s just arrived and we’re in the Sandwich
Company down the Strand Road and somehow we get to talking about the Orange Order
and I expressed some liberal sentiments about the Orange Order and my daughter who
might only have been ten, she says ‘Daddy that’s not what you said when you were driving
through Limavady and you couldn’t go on to Portrush, did you not say something like ‘who
the fuck do they think they – she didn’t say that - they think they own the road’. And you
know I remember doing work in a local secondary school and after a recent, after a bomb
here in the city and I said, in this corner will you stand if you’re against the bomb, in the
middle if you’re not sure and this corner if you’re for the bomb . . and there was two people
stood in this corner and one of them would have been part of a, a, what they call a Repub old style Republican family in this town, and is involved with the Dissident community, if not
actually involved now that he’s a bit older, he stood for election. . actually the same guy
comparatively recently in the council elections. Some young people haven’t a clue. I was
working last Wednesday morning in a, in a, again what is called a Protestant school, I’m not
sure these terms are helpful to us. And I said to the young people what would your view be
on the flag protest and some of them, they’re young, thirteen, fourteen, said what flag
protest? And we of course had planned on the notion that we would have some kind of
workshop on cultural identity and it was almost like we need to switch gear here, yeah, and
I think Maureen was right, it, you can’t . . . I wouldn’t make a broad generalisation about
young people, there are young people who are studying Politics and History who look at the
Troubles, and there are some young people whose real trouble is this - they’re being
sexually abused, whose real trouble is. . . their Dad’s an Alcoholic and is beating up their
mother, whose real trouble is there’s not enough money to go around, who maybe are
�dyslexic at school and cannot, don’t feel like they’re achieving, who are being bullied. You
know there’s a lot of, and part of our work is to say that. . y’know I sometimes call them the
big Troubles and the wee Troubles and it turns out that the big trouble for example sexual
abuse at home is more devastating, perhaps that’s obvious, than what was happening on
the streets, and sometimes you know I mean I certainly know people who were abused,
sexually abused at home in what was supposed to be the safe house for the IRA . . man. So
maybe generalizations are not, are maybe not helpful about young people. The, the thing to
do is to ask young people, yeah, get them in here, yeah.
Q: One last one, do you have hope, for reconciliation, in the sense that both communities
will come to some understanding?
EAMONN: You know I do, I do and, and, and I would love if our leaders, our political leaders
could behave in a way that incarnates that capacity to reconcile, that I would love if the two
top men Peter Robinson and Martin McGuinness could find a way of more obviously
connecting that would be like a role model for us all and in the want of that then, what
needs to happen is that I connect with, with Jim, with Jim’s brother Roy, that, that we work
at the grassroots level up and that we make things happen. There’s an organization up the
street, no not up the street, up the stairs, called the Foyle Women’s Information Network
and they bring like a hundred women together and they’re from all sorts of backgrounds
and they . . they do activities together, which . . which warms my heart, it warms my heart
that Irene Kerrigan would trust, in a sense would trust me enough to come into this room
last Wednesday, we’re just finished a project where we, it’s sort of a Smashing Times like
project, we’re hearing stories from people in the UDR, men and women, wives and sisters.
And we were able to create a drama which was called Inconspicuous Gallantry and then take
that out and validate the experiences of those men and women who were in the UDR, all of
those things and the work that you’s have been doing, all those generators of significant
conversation, give me hope. When I see Gregory Campbell with his, with his yoghurt carton
at the DUP conference the other day, part of me gets a bit despondent, how is that
supporting peace and reconciliation, now, he is saying well our culture’s not being respected
so I listen to that but I want him to respect my culture as well, you know, I have a lot of
Irish language, I probably could have done some of this interview as Gaelic and to think if
you don’t, if I don’t have hope, where, where am I going, where am I going, where are we
going.
Q: Fair play.
End of Interview
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Memory Project (<em>collection</em>)
Description
An account of the resource
"The Memory Project is an exciting, innovative arts programme that uses drama and theatre to deal with the past and build pathways for the future and to promote peace, reconciliation and mutual understanding in Northern Ireland and the southern border counties.
The project is run by Smashing Times Theatre Company in collaboration with Corrymeela Community / Irish Peace Centres and is funded through the EU’s European Regional Development fund through the PEACE III Programme for Peace and Reconciliation managed by the Special EU Programmes Body.
The project consists of a series of creative storytelling happenings, workshops and dramatic performances, along with a television documentary which will be made to record the process." (from the Smashing Times Theatre Company website)
In addition to the 12 filmed interviews (involving 15 interviewees), the project also produced an hour-long documentary entitled 'The Memory Project: Stories from the Shadows' which documented the work of the theatre company, over the course of two years, as it carried out the project.
Two theatre productions were also presented as part of The Memory Project.
Creator
An entity primarily responsible for making the resource
Smashing Times Theatre Company Ltd.
Publisher
An entity responsible for making the resource available
Smashing Times Theatre Company Ltd.
Date
A point or period of time associated with an event in the lifecycle of the resource
2015
URL
Non DC - URL of Organisation / Project
http://www.smashingtimes.ie/page-2/page-2a/
Stories Collected
Non DC - Number of stories recorded as part of the project.
12
Stories Deposited
Non DC - Number of stories deposited with Accounts of the Conflict.
11
Collection Permission Form
Non DC - Collection permission form signed and returned.
Yes (signed: 10 November 2015)
Delayed Access
Non DC - Yes/No on request for delayed access.
No
Availability Online
Non DC - Availabilty Status (deposited, delayed, external, cain)
deposited
Permission Form Scanned
Non DC - Scan of permission form uploaded to archive.
Yes
Publication
A book, article, monograph etc.
Author
Author of the publication
Eamonn Baker
Publication Title
Full title of publication, as it appears on item.
Transcript of interview with Eamonn Baker
Publisher Location
Place of publication: city / town
Dublin
Publisher
Smashing Times Theatre Company Ltd.
Publication Status
Published, in Press, Unpublished, etc.
Published on-line
Number of Pages
10
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Unititled Story</em>, by Eamonn Baker (<em>story transcript</em>)
Creator
An entity primarily responsible for making the resource
Smashing Times Theatre Company Ltd.
Publisher
An entity responsible for making the resource available
Smashing Times Theatre Company Ltd.
Date
A point or period of time associated with an event in the lifecycle of the resource
23 November 2013
Format
The file format, physical medium, or dimensions of the resource
PDF version of transcript
Language
A language of the resource
English
Availability Online
Non DC - Availabilty Status (deposited, delayed, external, cain)
deposited
Catalogue ID
Non DC - ID for the Catalogue entry that relates to this entry
3454
Memory Project
Smashing Times
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Memory Project (<em>collection</em>)
Description
An account of the resource
"The Memory Project is an exciting, innovative arts programme that uses drama and theatre to deal with the past and build pathways for the future and to promote peace, reconciliation and mutual understanding in Northern Ireland and the southern border counties.
The project is run by Smashing Times Theatre Company in collaboration with Corrymeela Community / Irish Peace Centres and is funded through the EU’s European Regional Development fund through the PEACE III Programme for Peace and Reconciliation managed by the Special EU Programmes Body.
The project consists of a series of creative storytelling happenings, workshops and dramatic performances, along with a television documentary which will be made to record the process." (from the Smashing Times Theatre Company website)
In addition to the 12 filmed interviews (involving 15 interviewees), the project also produced an hour-long documentary entitled 'The Memory Project: Stories from the Shadows' which documented the work of the theatre company, over the course of two years, as it carried out the project.
Two theatre productions were also presented as part of The Memory Project.
Creator
An entity primarily responsible for making the resource
Smashing Times Theatre Company Ltd.
Publisher
An entity responsible for making the resource available
Smashing Times Theatre Company Ltd.
Date
A point or period of time associated with an event in the lifecycle of the resource
2015
URL
Non DC - URL of Organisation / Project
http://www.smashingtimes.ie/page-2/page-2a/
Stories Collected
Non DC - Number of stories recorded as part of the project.
12
Stories Deposited
Non DC - Number of stories deposited with Accounts of the Conflict.
11
Collection Permission Form
Non DC - Collection permission form signed and returned.
Yes (signed: 10 November 2015)
Delayed Access
Non DC - Yes/No on request for delayed access.
No
Availability Online
Non DC - Availabilty Status (deposited, delayed, external, cain)
deposited
Permission Form Scanned
Non DC - Scan of permission form uploaded to archive.
Yes
Publication
A book, article, monograph etc.
Author
Author of the publication
Jim Arbuckle
Date Type
Publication, Submission, Completion date etc.
30 May 2014
Publication Title
Full title of publication, as it appears on item.
Transcript of interview with Jim Arbuckle
Publisher Location
Place of publication: city / town
Dublin
Publisher
Smashing Times Theatre Company Ltd.
Publication Status
Published, in Press, Unpublished, etc.
Published on-line
Number of Pages
10
Publication Type
Report, Book, Manual etc.
Transcript
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Unititled Story</em>, by Jim Arbuckle (<em>story transcript</em>)
Source
A related resource from which the described resource is derived
http://www.smashingtimes.ie/wp-content/uploads/2015/11/Interview-with-Jim-Arbuckle-Transcript-The-Memory-Project-Smashing-Times-Theatre-Company.pdf
Availability Online
Non DC - Availabilty Status (deposited, delayed, external, cain)
external
Catalogue ID
Non DC - ID for the Catalogue entry that relates to this entry
3453
Creator
An entity primarily responsible for making the resource
Smashing Times Theatre Company Ltd.
Publisher
An entity responsible for making the resource available
Smashing Times Theatre Company Ltd
Date
A point or period of time associated with an event in the lifecycle of the resource
30 May 2014
Format
The file format, physical medium, or dimensions of the resource
PDF version of transcript
Language
A language of the resource
English
Memory Project
Smashing Times
-
https://accounts.ulster.ac.uk/repo24/files/original/10b1270d34c4a8972f0d0c09b8d3da12.mp4
0f5a940f0ec332f26d7a56153db269c0
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Memory Project (<em>collection</em>)
Description
An account of the resource
"The Memory Project is an exciting, innovative arts programme that uses drama and theatre to deal with the past and build pathways for the future and to promote peace, reconciliation and mutual understanding in Northern Ireland and the southern border counties.
The project is run by Smashing Times Theatre Company in collaboration with Corrymeela Community / Irish Peace Centres and is funded through the EU’s European Regional Development fund through the PEACE III Programme for Peace and Reconciliation managed by the Special EU Programmes Body.
The project consists of a series of creative storytelling happenings, workshops and dramatic performances, along with a television documentary which will be made to record the process." (from the Smashing Times Theatre Company website)
In addition to the 12 filmed interviews (involving 15 interviewees), the project also produced an hour-long documentary entitled 'The Memory Project: Stories from the Shadows' which documented the work of the theatre company, over the course of two years, as it carried out the project.
Two theatre productions were also presented as part of The Memory Project.
Creator
An entity primarily responsible for making the resource
Smashing Times Theatre Company Ltd.
Publisher
An entity responsible for making the resource available
Smashing Times Theatre Company Ltd.
Date
A point or period of time associated with an event in the lifecycle of the resource
2015
URL
Non DC - URL of Organisation / Project
http://www.smashingtimes.ie/page-2/page-2a/
Stories Collected
Non DC - Number of stories recorded as part of the project.
12
Stories Deposited
Non DC - Number of stories deposited with Accounts of the Conflict.
11
Collection Permission Form
Non DC - Collection permission form signed and returned.
Yes (signed: 10 November 2015)
Delayed Access
Non DC - Yes/No on request for delayed access.
No
Availability Online
Non DC - Availabilty Status (deposited, delayed, external, cain)
deposited
Permission Form Scanned
Non DC - Scan of permission form uploaded to archive.
Yes
Video
A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation.
Transcription
Any written text transcribed from a sound
Transcript available
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
Video
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
28 minutes 15 seconds
Compression
Type/rate of compression for moving image file (i.e. MPEG-4)
MPEG-4
Interviewee
The person(s) being interviewed
Eileen Weir
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Untitled Story</em>, by Eileen Weir (<em>story video</em>)
Description
An account of the resource
The video interview with Eileen Weir was carried out by Smashing Times Theatre Company Ltd. as part of The Memory Project.
Creator
An entity primarily responsible for making the resource
Smashing Times Theatre Company Ltd.
Publisher
An entity responsible for making the resource available
Smashing Times Theatre Company Ltd.
Date
A point or period of time associated with an event in the lifecycle of the resource
30 September 2013
Format
The file format, physical medium, or dimensions of the resource
Video
Language
A language of the resource
English
Availability Online
Non DC - Availabilty Status (deposited, delayed, external, cain)
deposited
Catalogue ID
Non DC - ID for the Catalogue entry that relates to this entry
3464
Memory Project
Smashing Times
-
https://accounts.ulster.ac.uk/repo24/files/original/4523ea5d1969837133c9e54726bb56a9.mp4
03963e4bdbdc88e6a31010ce8689aec7
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Memory Project (<em>collection</em>)
Description
An account of the resource
"The Memory Project is an exciting, innovative arts programme that uses drama and theatre to deal with the past and build pathways for the future and to promote peace, reconciliation and mutual understanding in Northern Ireland and the southern border counties.
The project is run by Smashing Times Theatre Company in collaboration with Corrymeela Community / Irish Peace Centres and is funded through the EU’s European Regional Development fund through the PEACE III Programme for Peace and Reconciliation managed by the Special EU Programmes Body.
The project consists of a series of creative storytelling happenings, workshops and dramatic performances, along with a television documentary which will be made to record the process." (from the Smashing Times Theatre Company website)
In addition to the 12 filmed interviews (involving 15 interviewees), the project also produced an hour-long documentary entitled 'The Memory Project: Stories from the Shadows' which documented the work of the theatre company, over the course of two years, as it carried out the project.
Two theatre productions were also presented as part of The Memory Project.
Creator
An entity primarily responsible for making the resource
Smashing Times Theatre Company Ltd.
Publisher
An entity responsible for making the resource available
Smashing Times Theatre Company Ltd.
Date
A point or period of time associated with an event in the lifecycle of the resource
2015
URL
Non DC - URL of Organisation / Project
http://www.smashingtimes.ie/page-2/page-2a/
Stories Collected
Non DC - Number of stories recorded as part of the project.
12
Stories Deposited
Non DC - Number of stories deposited with Accounts of the Conflict.
11
Collection Permission Form
Non DC - Collection permission form signed and returned.
Yes (signed: 10 November 2015)
Delayed Access
Non DC - Yes/No on request for delayed access.
No
Availability Online
Non DC - Availabilty Status (deposited, delayed, external, cain)
deposited
Permission Form Scanned
Non DC - Scan of permission form uploaded to archive.
Yes
Video
A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation.
Interviewee
The person(s) being interviewed
Andrew Redican
Transcription
Any written text transcribed from a sound
Transcript available
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
Video
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
24 minutes 39 seconds
Compression
Type/rate of compression for moving image file (i.e. MPEG-4)
MPEG-4
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Untitled Story</em>, by Andrew Redican (<em>story video</em>)
Description
An account of the resource
The video interview with Andrew Redican was carried out by Smashing Times Theatre Company Ltd. as part of The Memory Project.
Creator
An entity primarily responsible for making the resource
Smashing Times Theatre Company
Publisher
An entity responsible for making the resource available
Smashing Times Theatre Company
Date
A point or period of time associated with an event in the lifecycle of the resource
29 September 2013
Format
The file format, physical medium, or dimensions of the resource
Video
Language
A language of the resource
English
Availability Online
Non DC - Availabilty Status (deposited, delayed, external, cain)
deposited
Catalogue ID
Non DC - ID for the Catalogue entry that relates to this entry
3463
Memory Project
Smashing Times
-
https://accounts.ulster.ac.uk/repo24/files/original/129fe7b725748ef10c46eb22c9f567b6.mp4
5936c2ab83bcbcbe04784404e5ca0ed2
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Memory Project (<em>collection</em>)
Description
An account of the resource
"The Memory Project is an exciting, innovative arts programme that uses drama and theatre to deal with the past and build pathways for the future and to promote peace, reconciliation and mutual understanding in Northern Ireland and the southern border counties.
The project is run by Smashing Times Theatre Company in collaboration with Corrymeela Community / Irish Peace Centres and is funded through the EU’s European Regional Development fund through the PEACE III Programme for Peace and Reconciliation managed by the Special EU Programmes Body.
The project consists of a series of creative storytelling happenings, workshops and dramatic performances, along with a television documentary which will be made to record the process." (from the Smashing Times Theatre Company website)
In addition to the 12 filmed interviews (involving 15 interviewees), the project also produced an hour-long documentary entitled 'The Memory Project: Stories from the Shadows' which documented the work of the theatre company, over the course of two years, as it carried out the project.
Two theatre productions were also presented as part of The Memory Project.
Creator
An entity primarily responsible for making the resource
Smashing Times Theatre Company Ltd.
Publisher
An entity responsible for making the resource available
Smashing Times Theatre Company Ltd.
Date
A point or period of time associated with an event in the lifecycle of the resource
2015
URL
Non DC - URL of Organisation / Project
http://www.smashingtimes.ie/page-2/page-2a/
Stories Collected
Non DC - Number of stories recorded as part of the project.
12
Stories Deposited
Non DC - Number of stories deposited with Accounts of the Conflict.
11
Collection Permission Form
Non DC - Collection permission form signed and returned.
Yes (signed: 10 November 2015)
Delayed Access
Non DC - Yes/No on request for delayed access.
No
Availability Online
Non DC - Availabilty Status (deposited, delayed, external, cain)
deposited
Permission Form Scanned
Non DC - Scan of permission form uploaded to archive.
Yes
Video
A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation.
Interviewee
The person(s) being interviewed
Olivia O’Hagan
Transcription
Any written text transcribed from a sound
Transcript available
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
Video
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
22 minutes 2 seconds
Compression
Type/rate of compression for moving image file (i.e. MPEG-4)
MPEG-4
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Untitled Story</em>, by Olivia O’Hagan (<em>story video</em>)
Description
An account of the resource
The video interview with Olivia O’Hagan was carried out by Smashing Times Theatre Company Ltd. as part of The Memory Project.
Creator
An entity primarily responsible for making the resource
Smashing Times Theatre Company
Publisher
An entity responsible for making the resource available
Smashing Times Theatre Company
Date
A point or period of time associated with an event in the lifecycle of the resource
26 October 2013
Format
The file format, physical medium, or dimensions of the resource
Video
Language
A language of the resource
English
Availability Online
Non DC - Availabilty Status (deposited, delayed, external, cain)
deposited
Catalogue ID
Non DC - ID for the Catalogue entry that relates to this entry
3462
Memory Project
Smashing Times
-
https://accounts.ulster.ac.uk/repo24/files/original/40a31c4273072511435261dd7671cd83.mp4
7a4fdcaa5f1ab01d1e1f218df5f6a434
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Memory Project (<em>collection</em>)
Description
An account of the resource
"The Memory Project is an exciting, innovative arts programme that uses drama and theatre to deal with the past and build pathways for the future and to promote peace, reconciliation and mutual understanding in Northern Ireland and the southern border counties.
The project is run by Smashing Times Theatre Company in collaboration with Corrymeela Community / Irish Peace Centres and is funded through the EU’s European Regional Development fund through the PEACE III Programme for Peace and Reconciliation managed by the Special EU Programmes Body.
The project consists of a series of creative storytelling happenings, workshops and dramatic performances, along with a television documentary which will be made to record the process." (from the Smashing Times Theatre Company website)
In addition to the 12 filmed interviews (involving 15 interviewees), the project also produced an hour-long documentary entitled 'The Memory Project: Stories from the Shadows' which documented the work of the theatre company, over the course of two years, as it carried out the project.
Two theatre productions were also presented as part of The Memory Project.
Creator
An entity primarily responsible for making the resource
Smashing Times Theatre Company Ltd.
Publisher
An entity responsible for making the resource available
Smashing Times Theatre Company Ltd.
Date
A point or period of time associated with an event in the lifecycle of the resource
2015
URL
Non DC - URL of Organisation / Project
http://www.smashingtimes.ie/page-2/page-2a/
Stories Collected
Non DC - Number of stories recorded as part of the project.
12
Stories Deposited
Non DC - Number of stories deposited with Accounts of the Conflict.
11
Collection Permission Form
Non DC - Collection permission form signed and returned.
Yes (signed: 10 November 2015)
Delayed Access
Non DC - Yes/No on request for delayed access.
No
Availability Online
Non DC - Availabilty Status (deposited, delayed, external, cain)
deposited
Permission Form Scanned
Non DC - Scan of permission form uploaded to archive.
Yes
Video
A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation.
Interviewee
The person(s) being interviewed
Charlie McMenamin
Transcription
Any written text transcribed from a sound
Transcript available
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
Video
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
25 minutes 4 seconds
Compression
Type/rate of compression for moving image file (i.e. MPEG-4)
MPEG-4
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Untitled Story</em>, by Charlie McMenamin (<em>story video</em>)
Description
An account of the resource
The video interview with Charlie McMenamin was carried out by Smashing Times Theatre Company Ltd. as part of The Memory Project.
Creator
An entity primarily responsible for making the resource
Smashing Times Theatre Company
Publisher
An entity responsible for making the resource available
Smashing Times Theatre Company
Date
A point or period of time associated with an event in the lifecycle of the resource
23 November 2013
Format
The file format, physical medium, or dimensions of the resource
Video
Language
A language of the resource
English
Availability Online
Non DC - Availabilty Status (deposited, delayed, external, cain)
deposited
Catalogue ID
Non DC - ID for the Catalogue entry that relates to this entry
3461
Memory Project
Smashing Times
-
https://accounts.ulster.ac.uk/repo24/files/original/2a9935464952abe0b0030b2a09bd5c16.mp4
97e6cb909449361bd61a3ef662bf8ab8
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Memory Project (<em>collection</em>)
Description
An account of the resource
"The Memory Project is an exciting, innovative arts programme that uses drama and theatre to deal with the past and build pathways for the future and to promote peace, reconciliation and mutual understanding in Northern Ireland and the southern border counties.
The project is run by Smashing Times Theatre Company in collaboration with Corrymeela Community / Irish Peace Centres and is funded through the EU’s European Regional Development fund through the PEACE III Programme for Peace and Reconciliation managed by the Special EU Programmes Body.
The project consists of a series of creative storytelling happenings, workshops and dramatic performances, along with a television documentary which will be made to record the process." (from the Smashing Times Theatre Company website)
In addition to the 12 filmed interviews (involving 15 interviewees), the project also produced an hour-long documentary entitled 'The Memory Project: Stories from the Shadows' which documented the work of the theatre company, over the course of two years, as it carried out the project.
Two theatre productions were also presented as part of The Memory Project.
Creator
An entity primarily responsible for making the resource
Smashing Times Theatre Company Ltd.
Publisher
An entity responsible for making the resource available
Smashing Times Theatre Company Ltd.
Date
A point or period of time associated with an event in the lifecycle of the resource
2015
URL
Non DC - URL of Organisation / Project
http://www.smashingtimes.ie/page-2/page-2a/
Stories Collected
Non DC - Number of stories recorded as part of the project.
12
Stories Deposited
Non DC - Number of stories deposited with Accounts of the Conflict.
11
Collection Permission Form
Non DC - Collection permission form signed and returned.
Yes (signed: 10 November 2015)
Delayed Access
Non DC - Yes/No on request for delayed access.
No
Availability Online
Non DC - Availabilty Status (deposited, delayed, external, cain)
deposited
Permission Form Scanned
Non DC - Scan of permission form uploaded to archive.
Yes
Video
A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation.
Interviewee
The person(s) being interviewed
Maria McBride, Anne Blair, and Sheila McBride
Transcription
Any written text transcribed from a sound
Transcript available
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
Video
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
31 minutes 21 seconds
Compression
Type/rate of compression for moving image file (i.e. MPEG-4)
MPEG-4
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Untitled Story</em>, by Maria McBride, Anne Blair, and Sheila McBride (<em>story video</em>)
Description
An account of the resource
The joint video interview with Maria McBride, Anne Blair, and Sheila McBride was carried out by Smashing Times Theatre Company Ltd. as part of The Memory Project.
Creator
An entity primarily responsible for making the resource
Smashing Times Theatre Company
Publisher
An entity responsible for making the resource available
Smashing Times Theatre Company
Date
A point or period of time associated with an event in the lifecycle of the resource
26 October 2013
Format
The file format, physical medium, or dimensions of the resource
Video
Language
A language of the resource
English
Availability Online
Non DC - Availabilty Status (deposited, delayed, external, cain)
deposited
Catalogue ID
Non DC - ID for the Catalogue entry that relates to this entry
3460
Memory Project
Smashing Times
-
https://accounts.ulster.ac.uk/repo24/files/original/0df5262678c29afd463264e9e98775a6.mp4
cf46a8da92a47d48442deeadb314724b
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Memory Project (<em>collection</em>)
Description
An account of the resource
"The Memory Project is an exciting, innovative arts programme that uses drama and theatre to deal with the past and build pathways for the future and to promote peace, reconciliation and mutual understanding in Northern Ireland and the southern border counties.
The project is run by Smashing Times Theatre Company in collaboration with Corrymeela Community / Irish Peace Centres and is funded through the EU’s European Regional Development fund through the PEACE III Programme for Peace and Reconciliation managed by the Special EU Programmes Body.
The project consists of a series of creative storytelling happenings, workshops and dramatic performances, along with a television documentary which will be made to record the process." (from the Smashing Times Theatre Company website)
In addition to the 12 filmed interviews (involving 15 interviewees), the project also produced an hour-long documentary entitled 'The Memory Project: Stories from the Shadows' which documented the work of the theatre company, over the course of two years, as it carried out the project.
Two theatre productions were also presented as part of The Memory Project.
Creator
An entity primarily responsible for making the resource
Smashing Times Theatre Company Ltd.
Publisher
An entity responsible for making the resource available
Smashing Times Theatre Company Ltd.
Date
A point or period of time associated with an event in the lifecycle of the resource
2015
URL
Non DC - URL of Organisation / Project
http://www.smashingtimes.ie/page-2/page-2a/
Stories Collected
Non DC - Number of stories recorded as part of the project.
12
Stories Deposited
Non DC - Number of stories deposited with Accounts of the Conflict.
11
Collection Permission Form
Non DC - Collection permission form signed and returned.
Yes (signed: 10 November 2015)
Delayed Access
Non DC - Yes/No on request for delayed access.
No
Availability Online
Non DC - Availabilty Status (deposited, delayed, external, cain)
deposited
Permission Form Scanned
Non DC - Scan of permission form uploaded to archive.
Yes
Video
A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation.
Interviewee
The person(s) being interviewed
Kay Green
Transcription
Any written text transcribed from a sound
Transcript available
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
Video
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
17 minutes 36 seconds
Compression
Type/rate of compression for moving image file (i.e. MPEG-4)
MPEG-4
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Untitled Story</em>, by Kay Green (<em>story video</em>)
Description
An account of the resource
The video interview with Kay Green was carried out by Smashing Times Theatre Company Ltd. as part of The Memory Project.
Creator
An entity primarily responsible for making the resource
Smashing Times Theatre Company
Publisher
An entity responsible for making the resource available
Smashing Times Theatre Company
Date
A point or period of time associated with an event in the lifecycle of the resource
23 November 2013
Format
The file format, physical medium, or dimensions of the resource
Video
Language
A language of the resource
English
Availability Online
Non DC - Availabilty Status (deposited, delayed, external, cain)
deposited
Catalogue ID
Non DC - ID for the Catalogue entry that relates to this entry
3459
Memory Project
Smashing Times
-
https://accounts.ulster.ac.uk/repo24/files/original/d42bb78401abebabc93a61fa03d28c6a.mp4
1d9ee391e53d98a755d55ed0fb2a9c3e
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Memory Project (<em>collection</em>)
Description
An account of the resource
"The Memory Project is an exciting, innovative arts programme that uses drama and theatre to deal with the past and build pathways for the future and to promote peace, reconciliation and mutual understanding in Northern Ireland and the southern border counties.
The project is run by Smashing Times Theatre Company in collaboration with Corrymeela Community / Irish Peace Centres and is funded through the EU’s European Regional Development fund through the PEACE III Programme for Peace and Reconciliation managed by the Special EU Programmes Body.
The project consists of a series of creative storytelling happenings, workshops and dramatic performances, along with a television documentary which will be made to record the process." (from the Smashing Times Theatre Company website)
In addition to the 12 filmed interviews (involving 15 interviewees), the project also produced an hour-long documentary entitled 'The Memory Project: Stories from the Shadows' which documented the work of the theatre company, over the course of two years, as it carried out the project.
Two theatre productions were also presented as part of The Memory Project.
Creator
An entity primarily responsible for making the resource
Smashing Times Theatre Company Ltd.
Publisher
An entity responsible for making the resource available
Smashing Times Theatre Company Ltd.
Date
A point or period of time associated with an event in the lifecycle of the resource
2015
URL
Non DC - URL of Organisation / Project
http://www.smashingtimes.ie/page-2/page-2a/
Stories Collected
Non DC - Number of stories recorded as part of the project.
12
Stories Deposited
Non DC - Number of stories deposited with Accounts of the Conflict.
11
Collection Permission Form
Non DC - Collection permission form signed and returned.
Yes (signed: 10 November 2015)
Delayed Access
Non DC - Yes/No on request for delayed access.
No
Availability Online
Non DC - Availabilty Status (deposited, delayed, external, cain)
deposited
Permission Form Scanned
Non DC - Scan of permission form uploaded to archive.
Yes
Video
A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation.
Transcription
Any written text transcribed from a sound
Transcript available
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
Video
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
1 hour 7 minutes 8 seconds
Compression
Type/rate of compression for moving image file (i.e. MPEG-4)
MPEG-4
Interviewee
The person(s) being interviewed
Carol Doey and Tony Mc Gurk
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Untitled Story</em>, by Carol Doey and Tony Mc Gurk (<em>story video</em>)
Description
An account of the resource
The joint video interview with Carol Doey and Tony Mc Gurk was carried out by Smashing Times Theatre Company Ltd. as part of The Memory Project.
Creator
An entity primarily responsible for making the resource
Smashing Times Theatre Company
Publisher
An entity responsible for making the resource available
Smashing Times Theatre Company
Date
A point or period of time associated with an event in the lifecycle of the resource
21 September 2013
Format
The file format, physical medium, or dimensions of the resource
Video
Language
A language of the resource
English
Availability Online
Non DC - Availabilty Status (deposited, delayed, external, cain)
deposited
Catalogue ID
Non DC - ID for the Catalogue entry that relates to this entry
3458
Memory Project
Smashing Times
-
https://accounts.ulster.ac.uk/repo24/files/original/02763363d64d7ee32f2d830fdbbd820e.mp4
75157a6e461b5c892864720fad499cce
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Memory Project (<em>collection</em>)
Description
An account of the resource
"The Memory Project is an exciting, innovative arts programme that uses drama and theatre to deal with the past and build pathways for the future and to promote peace, reconciliation and mutual understanding in Northern Ireland and the southern border counties.
The project is run by Smashing Times Theatre Company in collaboration with Corrymeela Community / Irish Peace Centres and is funded through the EU’s European Regional Development fund through the PEACE III Programme for Peace and Reconciliation managed by the Special EU Programmes Body.
The project consists of a series of creative storytelling happenings, workshops and dramatic performances, along with a television documentary which will be made to record the process." (from the Smashing Times Theatre Company website)
In addition to the 12 filmed interviews (involving 15 interviewees), the project also produced an hour-long documentary entitled 'The Memory Project: Stories from the Shadows' which documented the work of the theatre company, over the course of two years, as it carried out the project.
Two theatre productions were also presented as part of The Memory Project.
Creator
An entity primarily responsible for making the resource
Smashing Times Theatre Company Ltd.
Publisher
An entity responsible for making the resource available
Smashing Times Theatre Company Ltd.
Date
A point or period of time associated with an event in the lifecycle of the resource
2015
URL
Non DC - URL of Organisation / Project
http://www.smashingtimes.ie/page-2/page-2a/
Stories Collected
Non DC - Number of stories recorded as part of the project.
12
Stories Deposited
Non DC - Number of stories deposited with Accounts of the Conflict.
11
Collection Permission Form
Non DC - Collection permission form signed and returned.
Yes (signed: 10 November 2015)
Delayed Access
Non DC - Yes/No on request for delayed access.
No
Availability Online
Non DC - Availabilty Status (deposited, delayed, external, cain)
deposited
Permission Form Scanned
Non DC - Scan of permission form uploaded to archive.
Yes
Video
A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation.
Interviewee
The person(s) being interviewed
Peter Conlon
Transcription
Any written text transcribed from a sound
Transcript available
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
Video
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
23 minutes 40 seconds
Compression
Type/rate of compression for moving image file (i.e. MPEG-4)
MPEG-4
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Untitled Story</em>, by Peter Conlon (<em>story video</em>)
Description
An account of the resource
The video interview with Peter Conlon was carried out by Smashing Times Theatre Company Ltd. as part of The Memory Project.
Creator
An entity primarily responsible for making the resource
Smashing Times Theatre Company
Publisher
An entity responsible for making the resource available
Smashing Times Theatre Company
Date
A point or period of time associated with an event in the lifecycle of the resource
6 October 2013
Format
The file format, physical medium, or dimensions of the resource
Video
Language
A language of the resource
English
Availability Online
Non DC - Availabilty Status (deposited, delayed, external, cain)
deposited
Catalogue ID
Non DC - ID for the Catalogue entry that relates to this entry
3457
Memory Project
Smashing Times