1 10 247 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 Border Roads (collection) Description An account of the resource The Border Roads to Memories and Reconciliation project compiled a collection of stories related to life on either side of the border when many of the unapproved border roads were closed during the conflict. The intention was to all people to "express their feelings in relation to the the closure of border roads and the impact it had on their lives" (from the project flyer). (The stories have been deposited with Accounts of the Conflict but they have a 'delayed access' date. However, the stories are available to view at the Border Roads website.) Creator An entity primarily responsible for making the resource Latton Social Services and Development Ltd. Subject The topic of the resource story-telling, personal accounts Source A related resource from which the described resource is derived http://www.borderroadmemories.com/ Publisher An entity responsible for making the resource available Latton Social Services and Development Ltd. Date A point or period of time associated with an event in the lifecycle of the resource 2014 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The border, and border counties, between Northern Ireland and the Republic of Ireland. Date Formed Non DC - The year in which the organisation was first formed. Project began in 2012 and ended in 2014. Organisation Non DC - Name of the organisation. Latton Social Services and Development Ltd. Contact Non DC - Contact person within the organisation. Ciara King Address Non DC - Postal address of the organisation Latton Resource Centre, Latton P.O., Castleblayney, Co. Monaghan, Republic of Ireland. Funder Non DC - Name of the funding organisation for the work on story-telling. European Union’s PEACE III Programme, managed by the Special EU Programmes Body. Stories Collected Non DC - Number of stories recorded as part of the project. 162 (on Border Roads Web site - 16 January 2015) Stories Deposited Non DC - Number of stories deposited with Accounts of the Conflict. 160 (as of 16 January 2015) Collection Permission Form Non DC - Collection permission form signed and returned. No Permission Form Scanned Non DC - Scan of permission form uploaded to archive. No Format The file format, physical medium, or dimensions of the resource The collection consists of stories recorded on video, audio (only), and written. There is also a range of complementary material in the form of photographs and scanned copies of newspaper articles. Delayed Access Non DC - Yes/No on request for delayed access. Yes Delayed Access Date Non DC - Date (month, year) given on Permission Form. January 2021 Availability Online Non DC - Availabilty Status (deposited, delayed, external, cain) external Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Story Title The title, if any, of the story or account. Miami Showband Massacre by Stephen Travers Story Available Y/N Yes - click 'View Story' at top of page Story Format Main format of the story (video; audio; etc.). Video (49 minutes) Story Source Source of where the story can be found. The story was originally deposited with Accounts of the Conflict but with a 'delayed access' date. At that time the story was available to view at the Border Roads website, but this website is no longer available. In June 2025 a link was added to the copy of the video that is stored on the Accounts of the Conflict website. Interviewee Surname Travers Interviewee Forename(s) Stephen Language Spoken Main language spoken during the interview. English Interviewee Gender Male Victim Relationship Family or personal relationship to named victim. Colleague and friend of victims Victim 1 Name of first or main victim. Fran O'Toole ID Victim 1 ID number from Sutton for victim 1. 1356 Victim 2 Name of second victim mentioned. Brian McCoy ID Victim 2 ID number from Sutton for victim 2. 1357 Occupation during conflict Occupation status at the time of the conflict / story. Musican and band member Status Details of status of interviewee during conflict (civilian; security force; combatant; paramilitary; political party; loyal order; etc.). Civilian 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 Miami Showband Massacre by Stephen Travers (story details) Description An account of the resource One of the interviews recorded as part of the Border Roads to Memories and Reconciliation project. The project focused on the border road closures during the period of the conflict. Creator An entity primarily responsible for making the resource Border Roads project, Latton Social Services and Development Ltd. Subject The topic of the resource Border road closures during the Northern Ireland conflict Source A related resource from which the described resource is derived https://accounts.ulster.ac.uk/acc-videos/Louth/louth008_720p_full_edit.m4v Publisher An entity responsible for making the resource available Latton Social Services and Development Ltd. Date A point or period of time associated with an event in the lifecycle of the resource 2014 Format The file format, physical medium, or dimensions of the resource Video Language A language of the resource English Identifier An unambiguous reference to the resource within a given context louth008 Availability Online Non DC - Availabilty Status (deposited, delayed, external, cain) deposited Collection ID Non DC - ID for the Collection that relates to this entry 20 Organisation ID Non DC - ID for the Organisation that relates to this entry 24 Search Keywords Non DC - Keywords/Key Phrases seperated by a comma that will be passed to the CAIN databases to find related content Miami Showband Killings, CAIN Links Non DC - Links to related information on CAIN CAIN Chronology: <a href="https://cain.ulster.ac.uk/othelem/chron/ch75.htm#31775" target="_blank" rel="noopener">31 July 1975</a> Sutton Index of Deaths: <a href="https://cain.ulster.ac.uk/cgi-bin/dyndeaths.pl?querytype=date&amp;day=31&amp;month=07&amp;year=1975" target="_blank" rel="noopener">31 July 1975</a> Border Roads Latton 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 Border Roads (collection) Description An account of the resource The Border Roads to Memories and Reconciliation project compiled a collection of stories related to life on either side of the border when many of the unapproved border roads were closed during the conflict. The intention was to all people to "express their feelings in relation to the the closure of border roads and the impact it had on their lives" (from the project flyer). (The stories have been deposited with Accounts of the Conflict but they have a 'delayed access' date. However, the stories are available to view at the Border Roads website.) Creator An entity primarily responsible for making the resource Latton Social Services and Development Ltd. Subject The topic of the resource story-telling, personal accounts Source A related resource from which the described resource is derived http://www.borderroadmemories.com/ Publisher An entity responsible for making the resource available Latton Social Services and Development Ltd. Date A point or period of time associated with an event in the lifecycle of the resource 2014 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The border, and border counties, between Northern Ireland and the Republic of Ireland. Date Formed Non DC - The year in which the organisation was first formed. Project began in 2012 and ended in 2014. Organisation Non DC - Name of the organisation. Latton Social Services and Development Ltd. Contact Non DC - Contact person within the organisation. Ciara King Address Non DC - Postal address of the organisation Latton Resource Centre, Latton P.O., Castleblayney, Co. Monaghan, Republic of Ireland. Funder Non DC - Name of the funding organisation for the work on story-telling. European Union’s PEACE III Programme, managed by the Special EU Programmes Body. Stories Collected Non DC - Number of stories recorded as part of the project. 162 (on Border Roads Web site - 16 January 2015) Stories Deposited Non DC - Number of stories deposited with Accounts of the Conflict. 160 (as of 16 January 2015) Collection Permission Form Non DC - Collection permission form signed and returned. No Permission Form Scanned Non DC - Scan of permission form uploaded to archive. No Format The file format, physical medium, or dimensions of the resource The collection consists of stories recorded on video, audio (only), and written. There is also a range of complementary material in the form of photographs and scanned copies of newspaper articles. Delayed Access Non DC - Yes/No on request for delayed access. Yes Delayed Access Date Non DC - Date (month, year) given on Permission Form. January 2021 Availability Online Non DC - Availabilty Status (deposited, delayed, external, cain) external Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Story Title The title, if any, of the story or account. Untitled Story by Sean O Hanlon Story Available Y/N Yes - click 'View Story' at top of page Story Format Main format of the story (video; audio; etc.). Audio (8 minutes) Interviewee Surname O Hanlon Interviewee Forename(s) Sean Language Spoken Main language spoken during the interview. English Interviewee Gender Male Ind Permission Form Yes/No - Individual permission form signed and returned to Accounts. Yes Age Age of interviewee 54 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 Untitled Story, by Sean O Hanlon (story details) Description An account of the resource One of the interviews recorded as part of the Border Roads to Memories and Reconciliation project. The project focused on the border road closures during the period of the conflict. Creator An entity primarily responsible for making the resource Border Roads project, Latton Social Services and Development Ltd. Subject The topic of the resource Border road closures during the Northern Ireland conflict Source A related resource from which the described resource is derived https://accounts.ulster.ac.uk/acc-videos/Louth/louth003_720p_full_edit.m4v Publisher An entity responsible for making the resource available Latton Social Services and Development Ltd. Date A point or period of time associated with an event in the lifecycle of the resource 2014 Format The file format, physical medium, or dimensions of the resource Audio Language A language of the resource English Identifier An unambiguous reference to the resource within a given context louth003 Availability Online Non DC - Availabilty Status (deposited, delayed, external, cain) deposited Collection ID Non DC - ID for the Collection that relates to this entry 20 Organisation ID Non DC - ID for the Organisation that relates to this entry 24 Border Roads 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 My Bloody Sunday (collection) Description An account of the resource “My Bloody Sunday" Derry 1972 - The Bloody Sunday families and those who tended to the dead and injured recount the events of that fateful day when 13 unarmed civil rights demonstrators were shot dead by members of the British Army's Parachute Regiment. These three episodes examine the effect it has had on their lives and their quest for justice. The three episodes are The March, in which relatives of the victims and those who attended the march, along with journalists and photographers, recount the events of that fateful day 51 years ago; The Aftermath, which explores the wakes, the funerals and the effect it had on the families and the city of Derry, while family members remember in loving detail the type of people the victims were; and The Search For Justice, in which the relatives describe the 51 years they have spent fighting for justice for their families. My Bloody Sunday, <a href="https://accounts.ulster.ac.uk/repo24/items/show/3579/">Episode 1 - The March</a> My Bloody Sunday, <a href="https://accounts.ulster.ac.uk/repo24/items/show/3580/">Episode 2 - The Aftermath</a> My Bloody Sunday, <a href="https://accounts.ulster.ac.uk/repo24/items/show/3581/">Episode 3 - The Search for Justice</a> (Photo © William L. Rukeyser) Creator An entity primarily responsible for making the resource Deirdre Brennan and Barry Connolly. Concept, audio recordings and narration by Deirdre Brennan. The recordings were edited and arranged by Barry Connolly, a sound engineer at Plexa. Subject The topic of the resource The events of Bloody Sunday (30 January 1972) in Derry, Format The file format, physical medium, or dimensions of the resource Audio Files, MP3 format Language A language of the resource English Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Events in Derry, Northern Ireland, on 30 January 1972, and the aftermath. Source A related resource from which the described resource is derived The audio recordings and information about the project were made available at Deirdre Brennan's website: <a href="https://deirdrebrennan.com/my-bloody-sunday/">https://deirdrebrennan.com/my-bloody-sunday/</a> The audio recordings and information were made available at the Plexa website: <a href="https://plexa.ie/my-bloody-sunday/">https://plexa.ie/my-bloody-sunday/</a> The audio recordings were also made available on Spotify: <a href="https://open.spotify.com/show/53j8AwUq4HfwwdGneDXHFC">https://open.spotify.com/show/53j8AwUq4HfwwdGneDXHFC</a> Date A point or period of time associated with an event in the lifecycle of the resource Interviews took place, and recordings were made, during the winter of 2021 / 2022. The project was undertaken to conincide with the 50th anniversary of Bloody Sunday. Contact Non DC - Contact person within the organisation. Deirdre Brennan: <a href="https://deirdrebrennan.com/contact/">https://deirdrebrennan.com/contact/</a> Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Story Title The title, if any, of the story or account. My Bloody Sunday Story Available Y/N Y Story Format Main format of the story (video; audio; etc.). Audio files 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 My Bloody Sunday (story details) Description An account of the resource "My Bloody Sunday" Derry 1972 - The Bloody Sunday families and those who tended to the dead and injured recount the events of that fateful day when 13 unarmed civil rights demonstrators were shot dead by members of the British Parachute Regiment. These 3 episodes examine the effect it has had on their lives and their quest for justice. My Bloody Sunday, <a href="https://accounts.ulster.ac.uk/repo24/items/show/3579/">Episode 1 - The March</a> My Bloody Sunday, <a href="https://accounts.ulster.ac.uk/repo24/items/show/3580/">Episode 2 - The Aftermath</a> My Bloody Sunday, <a href="https://accounts.ulster.ac.uk/repo24/items/show/3581/">Episode 3 - The Search for Justice</a> Creator An entity primarily responsible for making the resource Deirdre Brennan and Barry Connolly Subject The topic of the resource Bloody Sunday, Derry, 30 January 1972. Interviews were conducted with: Charlie Glenn; Damien Donaghy; Eamonn McCann; Fulvio Grimaldi; Helen Deery; Jean Hegarty; Jimmy Duddy ; John Kelly; Kate Nash ; Kay Duddy; Kay Duddy; Kevin McDaid; Leo Young; Liam Wray; Michael McKinney; Roslyn Doyle; Susan North; Tony Doherty; Ursula Clifford; and William L. Rukeyser. Language A language of the resource English Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Derry, Northern Ireland, 30 January 1972, and the aftermath Date A point or period of time associated with an event in the lifecycle of the resource 2021, 2022 Format The file format, physical medium, or dimensions of the resource Audio MP3 Availability Online Non DC - Availabilty Status (deposited, delayed, external, cain) deposited Collection ID Non DC - ID for the Collection that relates to this entry 201 Organisation ID Non DC - ID for the Organisation that relates to this entry 200 My Bloody Sunday https://k8s-accounts-01.ulster.ac.uk/repo24/files/original/395798c5019e9d6dca7c1ceaa4dbb79b.mp3 51c861211dc5cb093fe22a478c1c9540 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 My Bloody Sunday (collection) Description An account of the resource “My Bloody Sunday" Derry 1972 - The Bloody Sunday families and those who tended to the dead and injured recount the events of that fateful day when 13 unarmed civil rights demonstrators were shot dead by members of the British Army's Parachute Regiment. These three episodes examine the effect it has had on their lives and their quest for justice. The three episodes are The March, in which relatives of the victims and those who attended the march, along with journalists and photographers, recount the events of that fateful day 51 years ago; The Aftermath, which explores the wakes, the funerals and the effect it had on the families and the city of Derry, while family members remember in loving detail the type of people the victims were; and The Search For Justice, in which the relatives describe the 51 years they have spent fighting for justice for their families. My Bloody Sunday, <a href="https://accounts.ulster.ac.uk/repo24/items/show/3579/">Episode 1 - The March</a> My Bloody Sunday, <a href="https://accounts.ulster.ac.uk/repo24/items/show/3580/">Episode 2 - The Aftermath</a> My Bloody Sunday, <a href="https://accounts.ulster.ac.uk/repo24/items/show/3581/">Episode 3 - The Search for Justice</a> (Photo © William L. Rukeyser) Creator An entity primarily responsible for making the resource Deirdre Brennan and Barry Connolly. Concept, audio recordings and narration by Deirdre Brennan. The recordings were edited and arranged by Barry Connolly, a sound engineer at Plexa. Subject The topic of the resource The events of Bloody Sunday (30 January 1972) in Derry, Format The file format, physical medium, or dimensions of the resource Audio Files, MP3 format Language A language of the resource English Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Events in Derry, Northern Ireland, on 30 January 1972, and the aftermath. Source A related resource from which the described resource is derived The audio recordings and information about the project were made available at Deirdre Brennan's website: <a href="https://deirdrebrennan.com/my-bloody-sunday/">https://deirdrebrennan.com/my-bloody-sunday/</a> The audio recordings and information were made available at the Plexa website: <a href="https://plexa.ie/my-bloody-sunday/">https://plexa.ie/my-bloody-sunday/</a> The audio recordings were also made available on Spotify: <a href="https://open.spotify.com/show/53j8AwUq4HfwwdGneDXHFC">https://open.spotify.com/show/53j8AwUq4HfwwdGneDXHFC</a> Date A point or period of time associated with an event in the lifecycle of the resource Interviews took place, and recordings were made, during the winter of 2021 / 2022. The project was undertaken to conincide with the 50th anniversary of Bloody Sunday. Contact Non DC - Contact person within the organisation. Deirdre Brennan: <a href="https://deirdrebrennan.com/contact/">https://deirdrebrennan.com/contact/</a> Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 60 minutes Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Audio recording (original format .WAV) Bit Rate/Frequency Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio) 192kbps 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 My Bloody Sunday, Episode 3 Description An account of the resource The search for justice. Creator An entity primarily responsible for making the resource Deirdre Brennan and Barry Connolly Subject The topic of the resource Episode 3 is entitled The Search For Justice, in which the relatives describe the 51 years they have spent fighting for justice for their families.. Date A point or period of time associated with an event in the lifecycle of the resource 2021, 2022 Format The file format, physical medium, or dimensions of the resource Audio MP3 Language A language of the resource English Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Bloody Sunday, Derry, 30 January 1972 Delayed Access Non DC - Yes/No on request for delayed access. No 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 3584 Collection ID Non DC - ID for the Collection that relates to this entry 201 Organisation ID Non DC - ID for the Organisation that relates to this entry 200 CAIN Links Non DC - Links to related information on CAIN CAIN Key Event: <a href="https://cain.ulster.ac.uk/events/bsunday/index.html">Bloody Sunday</a> My Bloody Sunday https://k8s-accounts-01.ulster.ac.uk/repo24/files/original/ecb0f870121dd25853fb1e87a2766cb9.mp3 cb3cbf6019e926857d0d45aebcb24e91 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 My Bloody Sunday (collection) Description An account of the resource “My Bloody Sunday" Derry 1972 - The Bloody Sunday families and those who tended to the dead and injured recount the events of that fateful day when 13 unarmed civil rights demonstrators were shot dead by members of the British Army's Parachute Regiment. These three episodes examine the effect it has had on their lives and their quest for justice. The three episodes are The March, in which relatives of the victims and those who attended the march, along with journalists and photographers, recount the events of that fateful day 51 years ago; The Aftermath, which explores the wakes, the funerals and the effect it had on the families and the city of Derry, while family members remember in loving detail the type of people the victims were; and The Search For Justice, in which the relatives describe the 51 years they have spent fighting for justice for their families. My Bloody Sunday, <a href="https://accounts.ulster.ac.uk/repo24/items/show/3579/">Episode 1 - The March</a> My Bloody Sunday, <a href="https://accounts.ulster.ac.uk/repo24/items/show/3580/">Episode 2 - The Aftermath</a> My Bloody Sunday, <a href="https://accounts.ulster.ac.uk/repo24/items/show/3581/">Episode 3 - The Search for Justice</a> (Photo © William L. Rukeyser) Creator An entity primarily responsible for making the resource Deirdre Brennan and Barry Connolly. Concept, audio recordings and narration by Deirdre Brennan. The recordings were edited and arranged by Barry Connolly, a sound engineer at Plexa. Subject The topic of the resource The events of Bloody Sunday (30 January 1972) in Derry, Format The file format, physical medium, or dimensions of the resource Audio Files, MP3 format Language A language of the resource English Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Events in Derry, Northern Ireland, on 30 January 1972, and the aftermath. Source A related resource from which the described resource is derived The audio recordings and information about the project were made available at Deirdre Brennan's website: <a href="https://deirdrebrennan.com/my-bloody-sunday/">https://deirdrebrennan.com/my-bloody-sunday/</a> The audio recordings and information were made available at the Plexa website: <a href="https://plexa.ie/my-bloody-sunday/">https://plexa.ie/my-bloody-sunday/</a> The audio recordings were also made available on Spotify: <a href="https://open.spotify.com/show/53j8AwUq4HfwwdGneDXHFC">https://open.spotify.com/show/53j8AwUq4HfwwdGneDXHFC</a> Date A point or period of time associated with an event in the lifecycle of the resource Interviews took place, and recordings were made, during the winter of 2021 / 2022. The project was undertaken to conincide with the 50th anniversary of Bloody Sunday. Contact Non DC - Contact person within the organisation. Deirdre Brennan: <a href="https://deirdrebrennan.com/contact/">https://deirdrebrennan.com/contact/</a> Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 57 minutes 49 seconds Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Audio recording (original format .WAV) Bit Rate/Frequency Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio) 192kbps 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 My Bloody Sunday, Episode 2 Description An account of the resource The aftermath of Bloody Sunday, 30 January 1972. Creator An entity primarily responsible for making the resource Deirdre Brennan and Barry Connolly Subject The topic of the resource The events of Bloody Sunday in Derry on 30 Jauary 1972. Episode 2 is entitled The Aftermath, which explores the wakes, the funerals, and the effect it had on the families and the city of Derry, while family members remember in loving detail the type of people the victims were. Date A point or period of time associated with an event in the lifecycle of the resource 2021, 2022 Format The file format, physical medium, or dimensions of the resource Audio MP3 Language A language of the resource English Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Bloody Sunday, Derry, 30 January 1972 Delayed Access Non DC - Yes/No on request for delayed access. No 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 3584 Collection ID Non DC - ID for the Collection that relates to this entry 201 Organisation ID Non DC - ID for the Organisation that relates to this entry 200 CAIN Links Non DC - Links to related information on CAIN CAIN Key Event: <a href="https://cain.ulster.ac.uk/events/bsunday/index.html">Bloody Sunday</a> My Bloody Sunday https://k8s-accounts-01.ulster.ac.uk/repo24/files/original/0ed220062c6dc7f2f07ae5db387631a0.mp3 0f6304a09e537f0f426e2abc44c2c489 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 My Bloody Sunday (collection) Description An account of the resource “My Bloody Sunday" Derry 1972 - The Bloody Sunday families and those who tended to the dead and injured recount the events of that fateful day when 13 unarmed civil rights demonstrators were shot dead by members of the British Army's Parachute Regiment. These three episodes examine the effect it has had on their lives and their quest for justice. The three episodes are The March, in which relatives of the victims and those who attended the march, along with journalists and photographers, recount the events of that fateful day 51 years ago; The Aftermath, which explores the wakes, the funerals and the effect it had on the families and the city of Derry, while family members remember in loving detail the type of people the victims were; and The Search For Justice, in which the relatives describe the 51 years they have spent fighting for justice for their families. My Bloody Sunday, <a href="https://accounts.ulster.ac.uk/repo24/items/show/3579/">Episode 1 - The March</a> My Bloody Sunday, <a href="https://accounts.ulster.ac.uk/repo24/items/show/3580/">Episode 2 - The Aftermath</a> My Bloody Sunday, <a href="https://accounts.ulster.ac.uk/repo24/items/show/3581/">Episode 3 - The Search for Justice</a> (Photo © William L. Rukeyser) Creator An entity primarily responsible for making the resource Deirdre Brennan and Barry Connolly. Concept, audio recordings and narration by Deirdre Brennan. The recordings were edited and arranged by Barry Connolly, a sound engineer at Plexa. Subject The topic of the resource The events of Bloody Sunday (30 January 1972) in Derry, Format The file format, physical medium, or dimensions of the resource Audio Files, MP3 format Language A language of the resource English Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Events in Derry, Northern Ireland, on 30 January 1972, and the aftermath. Source A related resource from which the described resource is derived The audio recordings and information about the project were made available at Deirdre Brennan's website: <a href="https://deirdrebrennan.com/my-bloody-sunday/">https://deirdrebrennan.com/my-bloody-sunday/</a> The audio recordings and information were made available at the Plexa website: <a href="https://plexa.ie/my-bloody-sunday/">https://plexa.ie/my-bloody-sunday/</a> The audio recordings were also made available on Spotify: <a href="https://open.spotify.com/show/53j8AwUq4HfwwdGneDXHFC">https://open.spotify.com/show/53j8AwUq4HfwwdGneDXHFC</a> Date A point or period of time associated with an event in the lifecycle of the resource Interviews took place, and recordings were made, during the winter of 2021 / 2022. The project was undertaken to conincide with the 50th anniversary of Bloody Sunday. Contact Non DC - Contact person within the organisation. Deirdre Brennan: <a href="https://deirdrebrennan.com/contact/">https://deirdrebrennan.com/contact/</a> Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 70 minutes Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Audio recording (original format .WAV) Bit Rate/Frequency Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio) 192kbps 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 My Bloody Sunday, Episode 1 Description An account of the resource The day of the Civil Rights march - 30th January 1972 Creator An entity primarily responsible for making the resource Deirdre Brennan and Barry Connolly Subject The topic of the resource The events of Bloody Sunday in Derry on 30 Jauary 1972. Episode 1 is entitled The March, in which relatives of the victims and those who attended the march, along with journalists and photographers, recount the events of that fateful day, 51 years earlier Format The file format, physical medium, or dimensions of the resource Audio MP3 Language A language of the resource English Collection ID Non DC - ID for the Collection that relates to this entry 201 Organisation ID Non DC - ID for the Organisation that relates to this entry 200 CAIN Links Non DC - Links to related information on CAIN CAIN Key Event: <a href="https://cain.ulster.ac.uk/events/bsunday/index.html">Bloody Sunday</a> 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 3584 Date A point or period of time associated with an event in the lifecycle of the resource 2021, 2022 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Bloody Sunday, Derry, 30 January 1972 Delayed Access Non DC - Yes/No on request for delayed access. No My Bloody Sunday 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 Border Roads (collection) Description An account of the resource The Border Roads to Memories and Reconciliation project compiled a collection of stories related to life on either side of the border when many of the unapproved border roads were closed during the conflict. The intention was to all people to "express their feelings in relation to the the closure of border roads and the impact it had on their lives" (from the project flyer). (The stories have been deposited with Accounts of the Conflict but they have a 'delayed access' date. However, the stories are available to view at the Border Roads website.) Creator An entity primarily responsible for making the resource Latton Social Services and Development Ltd. Subject The topic of the resource story-telling, personal accounts Source A related resource from which the described resource is derived http://www.borderroadmemories.com/ Publisher An entity responsible for making the resource available Latton Social Services and Development Ltd. Date A point or period of time associated with an event in the lifecycle of the resource 2014 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The border, and border counties, between Northern Ireland and the Republic of Ireland. Date Formed Non DC - The year in which the organisation was first formed. Project began in 2012 and ended in 2014. Organisation Non DC - Name of the organisation. Latton Social Services and Development Ltd. Contact Non DC - Contact person within the organisation. Ciara King Address Non DC - Postal address of the organisation Latton Resource Centre, Latton P.O., Castleblayney, Co. Monaghan, Republic of Ireland. Funder Non DC - Name of the funding organisation for the work on story-telling. European Union’s PEACE III Programme, managed by the Special EU Programmes Body. Stories Collected Non DC - Number of stories recorded as part of the project. 162 (on Border Roads Web site - 16 January 2015) Stories Deposited Non DC - Number of stories deposited with Accounts of the Conflict. 160 (as of 16 January 2015) Collection Permission Form Non DC - Collection permission form signed and returned. No Permission Form Scanned Non DC - Scan of permission form uploaded to archive. No Format The file format, physical medium, or dimensions of the resource The collection consists of stories recorded on video, audio (only), and written. There is also a range of complementary material in the form of photographs and scanned copies of newspaper articles. Delayed Access Non DC - Yes/No on request for delayed access. Yes Delayed Access Date Non DC - Date (month, year) given on Permission Form. January 2021 Availability Online Non DC - Availabilty Status (deposited, delayed, external, cain) external 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. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Digital video format. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:02:28 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 'Rita Keenan Co. Armagh' (story video) Description An account of the resource Video recording of one of the personal accounts from the collection 'Border Roads' that was compiled by the organisation Latton Social Services and Development Ltd. Creator An entity primarily responsible for making the resource Latton Social Services and Development Ltd. Subject The topic of the resource Life on either side of the border when many of the unapproved border roads were closed during the conflict. Format The file format, physical medium, or dimensions of the resource M4V file. 34,883KB. Language A language of the resource English Source A related resource from which the described resource is derived https://accounts.ulster.ac.uk/acc-videos/Armagh/armagh001_720p_full_edit.m4v Availability Online Non DC - Availabilty Status (deposited, delayed, external, cain) deposited Publisher An entity responsible for making the resource available Originally published by the Border Roads project. Copy now available via Accounts of the Conflict. Date A point or period of time associated with an event in the lifecycle of the resource Video recorded 30 October 2013. Link to copy of video added on 24 June 2024. Catalogue ID Non DC - ID for the Catalogue entry that relates to this entry 2473 Collection ID Non DC - ID for the Collection that relates to this entry 20 Organisation ID Non DC - ID for the Organisation that relates to this entry 24 Border Roads Latton https://k8s-accounts-01.ulster.ac.uk/repo24/files/original/ee7aa9109f11a1af65092c13ae19cccd.pdf 9ae0b8b8198a9bb41d7a87226f9c74e1 PDF Text Text 30 September 2013 Interview with: Eileen Weir, Shankill Women’s Centre, Belfast Venue: Shankill Road Women’s Centre, Shankill Road, Belfast. (Part 1) The Memory Project, Smashing Times Theatre Company Ltd File no: D60001 Q: Eileen we're just going to go over some of the things we talked about before when I came up here, maybe if we start off with where you were born? EILEEN: [01:00:31:17] I was born in Belfast; I was born on the Shankill road in the house which was the family home. So I was the youngest of 3, and I was born in the front room! So I was a home birth with the midwife all those years ago [01:00:52:17] and I was born and reared on the Shankill road. Q: And you lived all your life here? EILEEN: [01:00:58:24] I moved when the Troubles sort of weighed in, in the late 70's, my mom took me out of the road and we went to Carrickfergus to live, but I moved back, I moved back to my roots. I'm back living now about 20 years, back, not so much on the Shankill but within that Greater North Belfast area. [01:01:22:17] Q: You talked to me before about your experience of the conflict, and the kind of things that happened in the Shankill road, maybe can you tell me a little bit about that? EILEEN: [01:01:34:11] Well I was probably, the age of 15 when the conflict really started, I was still at school. I can remember I was still at school, and it was very new, very scary but �very new, it was exciting, it was something new. Ah..we…y’know at the time of the no-go areas and different things like that and a lot of the trouble what’s about which you know within my community - my community would be a protestant background - and everybody sort of like came out and looked after each other because there was a number of power strikes and there was no lights and no electric and so everybody got their camping stoves out and that’s how the dinner was made and …[01:02:19:22] all the women met in the houses and peeled the potatoes for the pots of stew, and there was a sense of community about it, although it was very serious of what was going on, but you weren't really aware of what was going on , y'know there was a number of things that you got involved in, that maybe you shouldn't have got involved in y'know and…ah…it was…. it wasn't about…I think that the propaganda at the time everybody was out fighting to protect their home because the propaganda about in them days was they're coming to burn you out, they're coming to get you [01:02:56:17] so everybody reacted on the information that was coming through. It was a very exciting time, looking back it was very exciting but with a lot of consequences that you wouldn't have thought 30 odd years on, 40 years on that that was the case. [01:03:16:22] Q: And did you get involved, were you actively involved? EILEEN: [01:03:19:10] Well actively involved, yes, in the sense that, my mom didn't know I was actively involved. She would have bit the head off me like, but the time of the no-go areas, I joined the UDA [01:03:35:14] and at that time the UDA wasn't an illegal organization. The UVF was an illegal organization but UDA wasn’t so I joined up in the UDA and I was 16 at the time, when I joined the UDA and we were to look after the elderly in a certain area where it was a no-go area where bread men couldn't get in, the milkmen couldn't get in, and the elderly generation that lived in that area, couldn't get out to the shops to get their messages so we actually were there to look after the older people, [01:04:10:12] to make sure they got their butter. It would all come to the top of the street and you had to queue up and get your butter and your bread and your milk, and make sure that the pensioners in the area actually got what they needed to help them, and it was a core sense of community. And then one of the other roles that the women, that was in the UDA at that time, was to make sure, at the time of the no-go areas, it was all the men who protected the areas - it wasn't women - we were there to make sure that the men - that the wee girls didn't chat up the men that was protecting the areas - so we were sorta way the babysitters of, make sure there was no hanky panky going on [01:04:56:09] at the no-go areas, at the barricades, so that was another wee role. There was never an inactive role as in guns running or anything like that, it was all like more of the welfare side of it and a wee bit of first aid, other than that y'know that’s what the women were used for in my community. [01:05:20:18] Q: As part of that you were talking about the women’s… what happened then after that, what happened after you left the UDA? EILEEN: [01:05:31:00] Well the thing, I mean it was a natural progress of moving out of it because when the no-go areas came down and the streets were all opened again, what we were doing within the UDA was no longer needed, because people could get out and do their �thing. Ah so really…I can't really remember it coming til an end. I can just remember changing, having a mind set change and I was very actively involved in the Trade Union which I think opened my eyes to a lot of other things. [01:06:04:05] And I remember one day, for reasons, well, they, they used to block the road, the Shankill Road at 12 O'clock every Saturday, and when they blocked the road at 12 O’clock every Saturday, nobody moved anywhere for an hour, the road was blocked and this was a protest that happened every Saturday. Now I'm going a way back into the 70's, and I remember I worked, and I was sitting outside a vegetable shop on the Shankill and this guy came over to me and asked for my car, they needed my car to block the road [01:06:42:17] and I said I wasn't going to give my car up to block no road, and they said if you don't block it up we're going to take it off you. I says you'll not be taking the car off me, in the meantime my mom's in the shop saying 'give them your car, give them your car' and I'm going no, because the way I looked at it was, I had worked very, very hard to have this wee car, now it was an auld scrap heap, but it was mine! And I wasn't going to allow anybody to take it, so they came and threatened me about taking the car off of me and I says 'where are you going to put my car'? They said we're going to put your car straight across the road for an hour, so I drove the car across the road and I sat in it for an hour and I didn't let anybody take the car. [01:07:25:21] So that was a big turning point for me, because here was a guy who never worked a day in his life, going to take my car that I had worked and earned very hard for, so I seen a change in my attitudes in that where's the cause in blocking your own road for an hour? Who were you hitting? Who were you penalizing? Who was suffering? And it was all people in my community that was suffering. [01:07:50:12] And to the degree that I was being threatened to get my car off me so that was a big, big turning point in my life. And then I became a lot more active within the Trade Union and at that time y'know, I would have said I wouldn’t have had a lot of socialist views but that all came from the Trade Union and the stuff that I was learning in the Trade Union and our committee was a women's committee within the Trade Union, and we looked at things that wasn't right for women…and it wasn't an orange and green thing and it wasn't a Protestant or Catholic thing, it was about the rights of women, low paid, strip searches, and most of those things that I would have been campaigning for, it would have been perceived to be a very Republican/Nationalist thing so I couldn't really come back into my own community and say I was doing these things, but I WAS doing these things. [01:08:47:14] And sort of way, put me down the road of equality and fairness and I think that has stuck with me right to the day, that y'know, that I've transferred a lot of the skills that I had within the Trade Union movement into my peace making role in the community, and into my work that I do at the minute. [01:09:08:18] Q: And I remember before you were telling me about, when you were working for the Trade Union, and you had to go round and tell the guys to take down flags and other offensive..? EILEEN: [01:09:20:19] No that wasn't actually in the Trade Union, I had moved, and that’s not that long ago, oh aye yes, I know what one you're talking about. I worked in a well known industry and the time of the Flags and Emblems Act came out, there used to be a tradition within the factory, that coming up to the 12th, that they had their flags on their machines, and they had a wee mini 12th around the factory, so when the Flags and Emblems Act came �in [01:09:50:23] I actually was in Ballymena working at the time so it was a very staunch…real, well it would have been a probably DUP, you know, a real staunch loyalist area. And when the flags and emblems act came in, the guy who was actually senior shop steward was from a Catholic tradition and he didn't feel that he could go round and ask the people to take down their flags, their Union Jacks and their Ulster flags so he approached me and he says 'I'm off on the sick, I'm going out on the sick, taking holidays’ and I says right, so he actually had left me with it which I understood. [01:10:32:01] I did understand, so when I was going round saying to the men, it was illegal to do it because a law had been past and the Trade Union signed up to the legislation that the Flags and Emblems Act had to be adhered to. So when I was going round the shop floor asking the guys to take down the flags, they questioned my loyalism which I'm not a loyalist, but they questioned my faith and I just sort of said to them, see when you were lying in your bed in August in 1969, while you were lying in your bed sleeping I wasn't so my credibility coming from the area that I came from . . . I didn’t need to say any more than that so the sort of way…. backfired…the flags came down. But just to make it an equality thing, I walked into the fitters shop, now in most factories where it’s a male environment they will have calendars up of nude women and different things that would offend women, but no women actually went into those rooms unless their machine was broke, so when I got all the flags down [01:11:50:22] and people not flying anything offensive, I went into all the fitters shops and electrical shops and requested all the posters to come down too because if the flags offended some people, the posters offended people too, so to change it into rather than being just one issue because the Flags and Emblems act is anything that offends - it wasn't just a flag thing. So all the nude women came down off the fitters shops too which they weren't too happy but they seen the point of it and they seen the principle, you can't apply one principle under an emblems act and not apply it in another principle so it was nude free and flag free (laugh). I don't know what’s it like now but at that time it was flag free and nude free [01:12:40:09). And in the same area, and because all the flags were took down, the Managing Director Mr Finlay, who was a lovely gentleman, sent for me to come to his office and he took me up the stairs and where his office was you could look right out on to the security gates of people coming in and he said have a look at this Eileen, and I looked out the window and they had organized red white and blue, red white and blue, red white and blue. Everybody wore a different colour jumper because they weren't allowed, because they weren’t allowed to put their flags up. They were allowed to wear jumpers, the were allowed to wear coats, so the whole line the whole way in had it so that it was red, white and blue, red white and blue and when they got into the factory they hung their cardigans over the chairs, red white and blue, red white and blue (laugh) so y’know, I know I'm laughing about it now, y’know . . .but that’s, that’s how much it really affected people. They felt that they were lossing their identity, and so that was another. . getting the red white and blue cardigans on the back of, the back of the chairs to try and sort of like calm things down y’know. [01:13:54:16] Q: When I was talking to you the last time, you talked about the...because you work for the Shankill Women’s Centre and the Falls Women’s Centre, what was the relationship between the 2 centres during the conflict? �EILEEN: [01:14:06:23] Well the relationship y’know, I think the women’s centre’s going 27 now, 28 years, and it’s the same with Falls they would have been the two…not the main ones but they were one of the earlier ones . . . and there was a bit of thing about funding at one time away back then and politicians were sort of way using the women's centres to y'know, if you do this then they're not getting the money and if they get the money then you'll not get the money and they were trying to play the both - the Falls and the Shankill off with each other. And it wasn't just the women's centres, it was money in that community and the 2 women’s centres sort of way said well if both of us are not getting it then we don't want it so keep it. [01:14:52:05] And to this day that relationship still is strong with the Shankill and the Falls because at the time of the conflict here a lot of the men were all in prison y'know, there was internment and a lot of the loyalist prisoners, republican prisoners and it was women that ran the communities. It was women who had to look for the loaf of bread, the pint of milk, y’know and, and the struggle was an awful lot more because women were the backbone of the communities at that time because a lot of the men were in prison. [01:15:29:22] So the women had to sort of way get things done and, and there was a bond because there was families involved, there was kids involved, there was education involved and the women was the head and the breadwinner of the family for many, many years. [01:15:49:14] Q: What was it like when the men came out of prison? EILEEN: [01:15:51:14] Well I mean I don't have a personal experience of it but I know that listening to a lot of men who did come out of prison and y’know talking in groups where ex combatants would be in, y’know, some of them men went in, into prison and maybe their wives or their partner was pregnant and when they came out maybe 10 years, 11 years in, they were dads and the child really didn't know their Dad so they came from being y’know a guy in a male environment to come out into the community to start being fathers and y’know there’s a big adjustment, and things… [01:16:32:19] change so quick y'know, a year makes a big difference. And y’know to resettle back in to community life again wasn't easy and still isn't easy for a lot of, of the ex combatants. Y’know, a lot of the ex-combatants are doing a very, very good job within the peace process and y’know the way I look at it, we need those people around the table as much as we need the likes of me around the table, to iron out situations that’s actually happening in the community. [01:17:06:16] Within the Protestant community, they weren't treated as hero's as much when they came out of prison, where within the Republican communities, their guys were treated as heros and there was a lot more that I would think that the republican movement done for their excombatants than what was happening within the loyalist communities. [01:17:33:01] Q: Ad what’s your vision for the future? EILEEN: [01:17:38:07] I've been saying it for the last 30 odd years, I, I firmly believe, you know, we don't have peace. OK, we have a document saying that we have a peace process and that’s all it is and we don't have peace within our communities, there’s an awful lot that needs to happen but I don't know…. Y’know I mean, there’s things that happen within �communities when you are on the ground and you're hearing something’s happening and you going well no-body came and asked me…. [01:18:10:14] Nobody asked me my opinion. And I've been working in this job for 20 odd years and I'm working on interfaces and I'm tending good relations meetings and there's a trip to Cardiff and nobody that I know is on it, who actually works on the ground 24/7 in these area. So y’know, unless the powers that be start connecting with the people who are actually working and hands on, and not bringing people along y’know because they're known for their background, I'm not saying that they don't do good work, I’m not saying that, what I'm saying is, if you bring the two extremes together, that’s what you're going to get. But if you bring people together along with those two extremes to look at other ways round things without the…. when you bring two people with something so passionate to them of course there's going to be clashes and there'll be agree to disagree. But I think you need to widen that to people who are working on the ground for peace and you need to involve that voice. [01:19:26:20] At the minute, the work that I’m doing at the minute is trying to…well not trying, I am going to set up a Greater North Belfast Women's Forum to have the women’s voice heard when there's decisions being made in communities. They NEED to be looking at the Women's point of view, I'm not saying that the woman's' point of view is always a right point of view but it’s a point of view that is not been took on board and part of my role is to try and get those women's voices heard within their communities and within the political process. So it’s down to them whether they want to get more involved in the community or more involved in the whole political situation that we have. [01:20:16:09] Q. Very good. End file File D60002 IV EILEEN WEIR (Part 2) Start TC 01:20:23:13 EILEEN: Look and see about the whole flags and things like that and I'm still trying to get through the document, and there was to be responses in for Friday past and there was no way that I was going to be able to submit anything. I don't think they make it easy for people on the ground, people in communities to, to discuss or debate certain issues, they're focusing an awful lot on…I think they are putting all their eggs in the one basket as such. Now I've played sport all my life and I would say yes, sport probably done a lot for me because you mixed with other people, y’know I mean especially team sports, my sport was hockey [01:21:10:00] and y’know we would have played down south, we would’ve played all over so y’know, I'm not saying that sport is not a good medium cos sport is. But what I'm saying is they’re putting all their eggs into sport and really a lot of the conflict and a lot of stuff that happens here on the interfaces and a lot of our young people - most of the ones that’s on �those interfaces and most of the ones that’s doing a lot of the anti-social behaviour stuff, don't play sport - and they're not going to play sport. So, y’know, I think there needs to be a lot more thought around what you are doing [01:21:48:02] and I know there is a part in it about doing summer camps which I think is a fantastic idea because here, especially within the protestant community we have a tradition, you leave school in June and you don’t, you're not allowed to really to sign on till September so from June to September you get into a rut, you don't have to get up for work in the morning, you have 3 months that you don't really have to do anything if you don't want to do anything. [01:22:20"12] And most of our training centres that take kids in for skill training all close down over the summer; they only operate term time too. And they are looking about doing summer camps and things like that which I think is a great idea but I think, y'know, what’s the point of having a lot of the training organizations and when the kids is off school, when the biggest part of a lot of the conflict and a lot of the troubles round marches and parades, all happen between June and September and there's nothing to keep our young off the street, [01:23:01:04] you know, to further their education and there's bound to be something that you could do as skill training, for 3 months that you have a skill training where maybe for 3 weeks you do Joinery, another 2 weeks you try electricity , or you try plumbing to give the youth a bit of the taste of what they could do and come September then they can pick from knowing what it was they tried over the summer yeah I like that, ‘I would like to be an electrician’. [01:23:33:10] Q: That sounds like a project. EILEEN: That does sound like a project, and it’s something that I have said, y'know, for a long, long time. [01:23:41:24] I'm not putting down the training organizations that close down over the summer, who don't have courses over the summer; I'm not knocking them. They don't get the resources to be able to do that and you know I just think it’s crazy when our schools finish, last week in June and for a lot, for a lot of the older youth who are leaving school, y’know they get through July and August and part of September before they have to sign on - there's a lot of months there. I'm not saying all youth because a lot of the youth come out and go into training schemes [01:24:25:13] but they don't start till September, so if we're trying to get the work ethic, we should have something in place that’s OK when they finish school, the second week after they finish school. They go into a training scheme to get used to getting up, to get out of their bed, to go to somewhere. Then have a fortnights holiday over the 12th and then come back, to get them into working mode. [01:24:51:11] Y’know I wasn't, if I left school my mom said to me you can leave school if you want, but you have to walk into a job, you leave school on a Friday, you'll be in employment on the Monday and if you can't do that you're not leaving school. Now it was easier in them days to get a job, you could have done that, move from one to the other, it’s a lot harder. A lot of our youth are not skilled up, and a lot of the ones who are skilled have lost their jobs and they are moving into jobs in front of the youth [01:25:20:03] and I think we should be doing skilled based training, taking them away to be friends, down on a boot camp as such, great idea but it’s not, you're not maintaining that …its temporary, you're doing it over the summer, you're doing boot camp, you're taking communities together to bring them together to have fun, we’ve been doing that for years. �Yeah it works but unless you maintain something like that, you need to have something solid where there's jobs, and not necessarily jobs that they walk into but if you can have schemes put in place over 3 months when it’s our most…. fragile situation…between June and September - if we were taking them into training schemes and working with people [01:26:19:00] and trying to learn a skill - surely that can be maintained? …. More so…. I don't think there's enough in it, you know I've been working in the woman's sector for a quare while, but the woman's sector isn't the only job I have worked in. I have worked in different community backgrounds and y’know I don't think they are putting enough money into the adults. When you look at the present protesting that’s going on – it’s all adults - there's no children - no youth at them, very, very few. It’s all adults so we need to be keeping that education going for adults [01:27:01:02] as well as the youth cos you can take the youth away, you can y’know give them courses, you can learn them to respect each others’ culture, you can learn them to do manys a thing, but then they go home to their parents, and if their parents says told them 'it’s a lot of auld nonsense’, so it has to be from the top down in the family as well as the bottom up, y’know we can't just. . The youth is our future but we have 3 or 4 generation's that’s going to be there for a fair while so we can't put everything, all our eggs into one basket and say right we have to get our youth sorted. [01:27:43:21] You just can't get one section of the community sorted and forget about the rest of it so I think, as again, I’ve only read part of this report but it’s not made easy and everybody's meeting. Richard Haas and the political representatives are meeting, and different organizations are meeting him and they are meeting community organizations. I'm going to a meeting in another couple of weeks time in the CRC, I just wonder how many people they have met out of the CRC who do this fire fight 24/7, 365 days a year. [01:28:25:03]: Q: OK, thank you very much Eileen. End file 01:28:36:11 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 (collection) 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 Eileen Weir Publication Title Full title of publication, as it appears on item. Transcript of interview with Eileen Weir Publisher Location Place of publication: city / town Dublin Publisher Smashing Times Theatre Company Ltd. Publication Type Report, Book, Manual etc. Transcript Publication Status Published, in Press, Unpublished, etc. Published on-line Number of Pages 8 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 Untitled Story, by Eileen Weir (story transcript) Creator An entity primarily responsible for making the resource 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 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 3464 Memory Project Smashing Times https://k8s-accounts-01.ulster.ac.uk/repo24/files/original/1869f3f1cb0512cef797b7cfbd0da083.pdf c47519a0159ddaa74d626caa44034d8c PDF Text Text 29 September 2013 Interview with: Andrew Redican Retired Secondary School Teacher Venue: Abbey Arts Centre, Ballyshannon The Memory Project, Smashing Times Theatre Company Ltd File no: D50010 TC Start: 06:13:21:15 Q: So Andy, you have been teaching in this area….near here for a while so tell me about that? ANDY: *06:13:34:00+ I taught in Drumkeeran, that’s in County Leitrim, it’s at the Northern tip of Lough Allen, I taught there from 1967 until 2002, so I'm nearly 11 years retired, and I lived there, I raised a family there, so I know the area pretty well, we're …. Drumkeeran is 17 miles from the border at Belcoo, and I was thinking back on…. life and thinking about Troubles in Ireland, I'm always…. I always feel that the old history syllabus that I learned at school, that was the one… we went…. we started off with St Patrick and we come up to……we came to the Treaty time, but there was never any further, I think that was a brilliant move on the Department, because of the Civil War and everything like that [06:14:32:08] but the way history was taught that time, it turned, nearly all of us into, in our own mind, we were republicans in one way or another, because, it was phenomenal …… well especially with my teacher, it was phenomenal the way he got….. he, he made history come alive…. we shared some triumphs - very few now…. but we shared a lot of….. losses and sadness….. and the way he made it attractive was, when we were doing, we’d say….the, the battle…. Clontarf [06:15:07:18] and Brian Boru and the defeat of the Danes at Clontarf - we learned the poem: Stand ye now, for Erin's glory, Stand ye now for Erin's cause �Long ye’ve grown beneath the rigors of the Northman's savage laws We learned poems like that, we went on then to, we’ll say…. when we were doing the CROPPY BOY, when we were doing the Fenian's and… we, the Fenian was killed…. there was an Irish Poem ‘Sínte ar thaobh an t-sléibhe, do chonaic me an Croppy bocht, bhí an drúcht go trom ar a éadan, agus bhí piléar tríd a h-ucht’. So we could see, we could feel, get that feeling of the…. the sadness, and we could nearly feel that Croppy out in the, out there, so all aspects of history was taught that way, and when we came away, we were… in ourselves.. y’know like, we were sort of, nearly republicans in our mind, we may not be joined republican movements or anything *06:16:05:07+ and that’s when I, in 1955, I remember the first campaign, it started - the one that I remember anyway, in my time, it started in Northern Ireland - that would be the time that Seán South from Garryowen was killed, and young O'Hanlon and you had the songs there, the songs to go with it, there was a group of ones on the run and they were very close to our home, as a matter of fact they got, probably ….. got milk and things like that - I remember them getting things…. *06:16:32:02+ But nobody would ever dare… talk about them or spill on them y'know…. even thought they were suspected as that - because ….. I suppose it would be a bit like … the Playboy of the Western World, y’know, there was a sort of that disrespect for authority y'know, like in the Playboy…. and the guy that did wrong we'd say in the Playboy of the Western World, he was a hero because he killed his Dad y'know…. so that period there that’s what I'm talking about that we…. but when I started teaching then, I started in '67, I remember we brought, in May '68, we, we brought School children on an outing, from the school we were in, to Belfast [06:17:18:13] and the Troubles were just starting then, now in no way would you have brought anyone then Northern, to Northern Ireland after that, you would never bring children when the Troubles started, and I found that my……. wife had a sister living in County Down, now we would go the longest way round to try and not go thru Northern Ireland, we were afraid, we were afraid because ….well I suppose … we were Catholic… you'd never know what would happen, and on top of that, I remember my wife telling Finian - Finian, one of our boys, he was a bit of a smart aleck, y’know [06:17:58:07] - I'll give you an example of him, he was celiac and he was in at the Doctor and the Doctor said to him are you sticking to your diet? He said no, I've no glue….so when were coming up to the checkpoint in Crossmaglen we were…. my wife was shivering - I can still see her, I was quite tense myself and she said now make sure… make sure you don't say any smart things to the…. to the police or the soldiers - make sure…. so it had a huge effect on us for years there, we went a way round to Northern Ireland there *06:18:32:24+ … Q: Getting back to the education, looking back do you feel that there was no coverage if you like … or you weren't taught anything about the other side of the divide in Northern Ireland? ANDY: [06:18:51:12] …. we weren't because it was totally ignored y’know…… everything stopped at … at the Treaty, around that time and that… because Civil War and all that, �because….. they kept, the syllabus kept away from that completely y'know….and….. when I started teaching, I never, I never once… I don't think the students ever knew where my political allegiances lay because …. Well I didn't really have any anyway y'know…. like I'd be one of those that would change governments at the next election, I wasn't tied to a party now - me father was very much tied to Fine Gael [06:19:29:21] so he was and, me older brother might be more pro Sinn Féin at the time y'know… but definitely, that was one thing I made my policy when I went to school, I never discussed politics or conflict as such. [06:19:46:16] Q: So the Troubles broke out in 1969 with the start of civil rights….and then, working as a teacher, that obviously made you conscious of, if you were sensitive to the fact that you say you were brought up as a republican whether you liked it or not… did you tailor your history teaching as the troubles developed in the North? ANDY: [06:20:11:21] Yeah, well you see the Troubles in the North …. I think what happened was… in the area that I was teaching in, that community, the area there…. the Hunger Strikes - that changed a lot of peoples’ attitudes at the time….it was…. and a lot of people joined Sinn Féin at that time, so you’d be very reluctant to discuss much about Northern Ireland at all because… just in case, y'know like, you never know whose what – d’you understand that? But it did leave its mark and …. after …. We’d say after the, the Hunger strikes, the Sinn Féin party got much stronger in our area, so they did [06:21:01:08] which I don't think is too bad I think at the moment because they are now going for elected, y’know like democratic politics and things like that so [06:21:12:14] Q: You’re dealing with young children, so in the same way as your teachers had an influence on you, you therefore, could exert some sort of influence over them in very subtle ways? Did you sense from the kids some of the influence of their own parents? ANDY: [06:21:33:15] ….oh yeah…..you'd get that… you'd get that coming across that, there at times and …. you'd notice as well maybe ….maybe attitude, maybe from one child to another, maybe indirectly related to politics but you try to, talk y'know like, you try to steer them away from politics altogether, that was my way of dealing with things….. one of the best things I did, reluctantly I hadn't done it when I was teaching, was I … followed a course in … a certificate in drama, community drama with Smashing Times Theatre, and it was all ….. done… the course was done in Northern Ireland, and it was Catholic/Protestant, and I think that was one of the best things ever I experienced in my life *06:22:24:09+ we never discussed… I never knew exactly…. who was exactly a protestant or who was a catholic, yet you had a sense about it y'know….and I remember having a…. we had to swap a story, I don't know if … you mightn’t know anything about this, one the things we were asked was, as part of a theatre exercise was, you give a… tell a story to someone else about a very important item you have y'know, and I was a student in Cork, in the University in Cork, wouldn't have been all that diligent as a student, and I suppose coming onto the exams I felt the pressure anyway, but my mother, god rest her *06:23:06:24+ she sent me a … picture of the Sacred Heart and �would you believe it I still have great faith in the Sacred Heart, but anyway that little thing that she sent me, a little picture that size y'know, she sent it to me and I prayed to it, definitely, prayed to the Sacred Heart and took it out and looked at it, but we did the exams y'know and myself and another guy - he was from Belfast, he was a student down there, he had been a cleric…… a clerical student, Kiltegan had a house there at the time, and … *)6:23:44:19+ after the exams there was a party one night, so we went to the party and we lasted about till about 3 o'clock I think it was, and we had I think it Smithwicks… twas Time at the time…or Phoenix I think it was the bottles at the time, so we came out with the tops off and one in each pocket, and we proceeded for home and we were passing the Church of the Sacred Heart in the Mardyke in Cork, and twas the feast of the Sacred Heart, and there was an all night vigil in the church…so I said Pete, we'll go in and say a prayer, so the two of us went in… you could imagine now the two of us coming in at 3 o’clock in the morning, a bottle in each pocket and a thumb stuck down in it, anyway, we went in and we knelt down, and you could….. you could sense people looking at us, but I didn't care, we said a prayer anyway so [06:24:36:02] we came out and I said to Pete…. what did you pray for? And he said I prayed to get fags! He said what did you pray for? That I get the exam and get out of this bloody place, I said to him, and we walked on and we were coming up the road and we met this guy we knew as well, he used to drink in the, in the pub there, and he said oh the Shinners he called us the Shinners, we were with Northern Accents because down in Cork I'd have a Northern accent, and Pete from Belfast had a Northern accent, now the Shinners, and Pete said have you fags? And he took out a packet of cigarettes - there was 10, you know the 10 ones, and he handed it to us and we went over and we sat on the wall and we smoked them till …. till they were gone *06:25:20:02+ now I told that… that was the story that I gave at that…. and when I came out I realized I gave the story to a protestant girl, it was only after that I gave it, but she had to take my story, and it had to become hers, that sacred heart picture was hers so she had to go along and tell it to someone else. Now I didn't do that intentionally y'know like, it just was accidental but there it was, we were swapping across Catholic and Protestant, and I felt that was one of the best things we did up there was. [06:25:53:10] And the drama. On the course, each of you brought a story and then we picked 4 stories or 3 stories at the end and they were developed and professionally directed. And I acted the leader in the Short Strand area a republican - based on a true story by Pat Mc Cullough - he gave us his true story, and I played his father… but one of my children …. one of my children was church, was protestant y'know, so we were mingling out, and we worked out, so, to me I think that the future, if we are to work really towards the future, it’ll be exchanging stories, you know like catholic, protestant [06:26:43:22] recognizing that everybody has … entitled to their traditions and culture, swapping them over, and seeing them, that they’re very much part of Ireland now. There have been part of Ireland, they are now and that’s it, and go on from there. [06:26:57:19] Q: So do you think that, you’ve said that like it or not you were educated as a republican or brought up in some sense, do you think that’s getting more and more diluted now �and people really now are less concerned with those things and are they more concerned with economic matters? ANDY: [06:27:21:03] At the moment its all, economic matters are very, so, so there… lot… there's a very…. depressed… oppression does that feeling in this country at the moment - so much so there’s is a lot of negative thinking, you know what I mean, negative thinking in…..nobody realizes, nobody was wondering where the money will come from, yet everybody wants to get as much of it as they can, be it social welfare, be it any old way at all and there is a great opposition to any form of, y'know like taxation that might get us out of this here…. *06:28:00:00+ Now I know people, there are a lot of people in terrible straits y'know they have families, they have houses bought, they have to try and pay for it, but it is, it is permeated through society …. I find…. I find….. that there is a gloominess [06:28:16:23] Q: But that economic gloom permeates all society, both sides, so in a way it might actually serve to bring people together? ANDY: [06:28:31:08]…. yeah… I do… I know what you mean…. Q: Getting back to your point about the stories, this is what this project is about, this is what we’re trying to explore, is by telling those stories of the past that you help them to exorcise them? Have you had experience of that from the other side? You told your story at that workshop, what did you hear from other people that caught your attention? ANDY: [06:29:02:12] ….. would you believe it……. not…. not….. Q: I don't mean specific stories….. ANDY: The stories they told me were, y'know like from the other side, weren't directly y'know like, you wouldn't know… they were children's stories about sparkling and things like that, y’know like things like…. they wouldn't ….. I never got, from the other side, I never got a story saying about themselves y'know that type of a way…. That, you know like their families and things…. the only time…. that I got it was… we had ones coming in about y'know like peace building and peace reconciliation and all that type of thing, there was one chap but the name of Declan Bowers, he was … he was a protestant, and he was telling about the joy of his y'know like the 12th of July marches and all that type of thing, and his father handed that down to him y’know [06:30:06:17] and you could get from him, y'know like that he was a real….. But he was striving, and getting across, to recognize that, we’d say people would celebrate 1916 or St Patrick’s Day or anything y'know like things like that were nationalist, you could get that, and this was the idea that I got from quite a lot from them up North was, if we only could share our culture… our shared culture - and it is a shared culture only we stereotype - we have done that all the year.. [06:30:44:04] because, I remember, my mother was a bone setter, and she set �this woman, and when they were finished anyway they made tea and there… this was in Leitrim now… and I'm talking now about a way back in the 1950's, and there wasn't any trouble at that time, I think it was before that … before the Troubles started again - and …. she got tea and when she drank it she forgot where she was and she says Oh Jesus Christ this would scald a protestant! (laugh) twas that hot and the other one launched into her - quite rightly so y'know… so we stereotype y'know like? [06:31:23:09] and that has been built down though the years y'know….we, we got the feeling…. when we were young as Catholics, we got the feeling that a protestant wouldn't go to heaven! y'know?…..and sure the way we were taught was …. who is my neighbour? My neighbour is all mankind of every distinction, even those who injure us or differ from us in religion y'know like?….. *06:31:43:18+ even though - EVEN though - you see the two words….differ from us in religion….so we grew up with different mentalities and that’s base now at the moment… of course the problem now in Northern Ireland at the moment, I' d say a lot of the problem, where you have the violence now that you see there that with the flags and all that - they're … they're youngsters that are unemployed I'd say, they're in poverty, they're there - they've nothing… they've no work and they're y'know like - anything for a bit of craic and that’s … that’s a lot of violence I'd say at the moment in Northern Ireland….[06:32:18:18] but then there are people behind that, I would say, who is stirring that up, you know like stirring that up because there's money in it [06:32:27:22] Q: But it only appears to one side - on the unionist side? ANDY: [06:32:33:05] Well it appears that way at the moment but … you have at the moment …… you have what they call the Real IRA or the Continuity IRA, I don't know what they're doing but there is a an underlying something there, I'm not… I don't know …y’know you only pick up things there, you see the laundering of …. cross border laundering and all that stuff - they're building up monies for something or else it’s for personal gain or something like that y'know…*06:33:00:04+ Q: And living in the border region…. you would have been more exposed to day to day issues of the troubles than we would say in Dublin? ANDY: [06:33:16:19] Oh well I remember well driving down, and getting involved - they cratered the roads between Fermanagh and Leitrim, they cratered - they cratered them up at Kiltyclougher Q: Who did? ANDY: the British Army… at the time, they cratered them - they were unapproved roads, so they cratered them - blew up them so - I remember a whole gang down filling up the craters because that was resentment y'know like…. the isolation, you were being cut off from your neighbour… or your neighbours on one side and the other side, that I suppose gained support for . . . the IRA side or whatever it was at the time y’know - I �remember it well, we were down there, driving down there myself, and my wife and family down there in it there and watching them being filled - I didn't actually take part but I would if I'd say if I was let I would get out…. *06:34:10:02+ and do it myself as well y'know… Q: AND did you have any exposure to any of the violence? ANDY: No never, never [06:34:20:10] I was never exposed to any violence, no…. that was … the only exposure was…. with me was the … we stopped going Northern Ireland y'know ….. we were going freely over and back to Enniskillen where you did some shopping and things like that, and especially you could go up and down freely after … you know like the European the EEC y'know …..like the borders…. there was no customs there…but we didn't go up there…. but I remember clearly, after the peace process was initiated, myself and my wife went for 4 or 5 days all up to the glens of Antrim and the Antrim coast, and we weren't worried what type of a house we were in for bed and breakfast, because the Peace process was there and it was a great thing… we had never [06:35:12:24] done that before though - we had gone round as I told you to, we’d say to her sister’s place in Annalong in County Down - we would have gone through the bad roads in Monaghan and cross that short distance through Crossmaglen and all that, of course we were going through one of the hot spots at the time… but it was the great feeling that we could go up that time, up there to the North because my wife, she did her training - she was a nurse, and she did her training in Newtownards … and she says… she tells me that at the beginning they used to love to go to Dr. Paisleys speeches - they were sort of a carnival type of a thing, but then everything started to polarize - you had the civil rights marches, and they turned into… I suppose they hijacked y'know…. and that type of way so…. *06:36:09:16+ ……. (noise in B/G) Q : Maybe pick it up from your wife used to enjoy going to Paisley's…. ANDY: [06:36:25:14] She enjoyed going to Dr Paisleys speeches at first y'know like, and I suppose they weren't all that bitter until the civil rights got on the go… then… and then there was infiltration of them and of course Dr Paisley's out bursts were more…. Were I suppose vitriolic maybe against the papacy and all this type of stuff and that took the craic out of it y’know… but…. she loved …. She loved her years in Newtownards and every 3 or 4 years they all meet and they go and they stay in a hotel over a weekend and renew friendships and ….. most of them are protestant….so they are…..there are some Catholics as well but most of them are protestant and they are great friends of my wife and cards come every Christmas - so you see … life is *06:37:19:20+ a funny mixture isn't it? When you look at it that way, that those people are still there and that the Troubles that happened in the period of time, y'know didn't, didn’t break the bond of friendship y'know….there is that …..acceptance and …. maybe …. respect I suppose, and acceptance for another way of people's way of life and thinking and all that…. *06:37:43:14+….ok very good…. END IV �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 (collection) 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 Andrew Redican Publication Title Full title of publication, as it appears on item. Transcript of interview with Publisher Location Place of publication: city / town Dublin Publisher Smashing Times Theatre Company Ltd. Publication Type Report, Book, Manual etc. Transcript Publication Status Published, in Press, Unpublished, etc. Published on-line Number of Pages 8 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 Untitled Story, by Andrew Redican (story transcript) Creator An entity primarily responsible for making the resource Smashing Times Theatre Company Ltd. 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 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 3463 Memory Project Smashing Times https://k8s-accounts-01.ulster.ac.uk/repo24/files/original/b4daeb1251bd787d4b1929274b677b47.pdf 5bab54e1ff85df4d05b9733841482baf PDF Text Text 26 October 2013 Interview with: Olivia O’Hagan Venue: The Mac, Metropolitan Arts Centre, Belfast The Memory Project, Smashing Times Theatre Company Ltd File D90008 TC Start: 01:53:00:12 Q: OK Olivia maybe you could start by telling me where you were born, grew up, the kind of family life you had? OLIVIA: [01:53:19:18] Well I was born outside Portadown, 1953 and I'm one of 10 in the family and I'm the youngest of 10 so basically I was reared more or less by my sisters and brothers, and I was the youngest, and we had a very colourful and happy childhood, great parents and… they all were very keen for us to get educated and do well and be part of the bigger life, and also to travel. They also encouraged us to travel, so we did a lot of that and (01:53:59:17] then, then my parents died, my mother was 20 years younger than my father and… she died before him of course, and then my father died. My father died whenever I was about 19, no my mother died, my mother died whenever I was 19 but my father whenever I was about 28, 29, yeah. [01:54:28:05] Q: And where did you travel as a family outside? OLIVIA: [01:54:31:00] No, no, we never went on holidays, my father was a farmer and his season, for...the busy season for him would have been March until October, and we grew a lot of berried fruits as well as… he went into mushrooms but very little dairy farming but basically he was a person who grew a lot of stuff and he was the first person to grow strawberries in and around the Portadown area. [01:55:02:05] And the first person to grow roses for Sam McGredy and you have the black rose that he introduced �and my father worked very strongly with him in partnership and that’s, that was the environment I grew up in so it was lots of…. fresh fruit and vegetables daily, and lovely fresh bread and fresh butter, we made our own butter and we slaughtered our own pigs and we used the bladder of the pig as a football and we had good, we had a great. . very happy memories of our childhood. [01:55:38:11] Very happy. Q: And did all the children go to university? OLIVIA: [01:55:42:11] And all of us went to university bar my 3 brothers. My, my two brothers did not go to university, 1 brother was told to go to university and he refused point blank, he said I'm staying on the farm and that was it. But the rest, all the girls, were all sent to boarding school and all sent to university, and if, if we didn't want to return then that was it, that was fine, it was no problem, just travel, get, get a life for yourselves and make more out of your life than just sitting around home, so. [01:56:16:08] Q: Where did you move to after university? OLIVIA: [01:56:21:03] So after university I went to work in...Chester, in the Health Service in Chester, so I worked there for 10 years and then I came home and, I came home about…. it was just after mommy died or while mommy was dead I was studying at university in Manchester and then I just stayed over there, after mommy died I just stayed over there. And whenever my sister wrote to me and told me to come home because Daddy was living on his own and that everybody else was married, I decided then that I would come home [01:57:01:01] and instead of Daddy dying, she died, at 43 years of age. [01:57:06:14] Very suddenly. Q: Was it difficult to make the decision to come home considering the kinds of things that were happening in Northern Ireland? OLIVIA: [01:57:15:20] Well it was it was... there was a lot, a lot, a lot of things that affected our family in a way, a number of people. . mistaken identities, they were shot dead for…. first cousins shot dead, and my sister, the one who died at 43, she was abducted and held at the Blackwater, until her husband drove a bomb to a pub that served soldiers. She was abducted by the IRA, [01:57:50:11] so she was held at gunpoint at the Blackwater river, and her husband was made drive a bomb to the pub and… whenever he got out of the car he shouted bomb and pushed it down the hill, and the bomb exploded, there was just a wheel left. And as soon as it was radioed through that the bomb had been safely left outside the pub, my sister was thrown into the Blackwater [01:58:20:00] but she didn't die, she managed to hold onto some weeds and then she got herself out of the Blackwater and her husband was lifted by the police and my sister was lifted by the police and they were held in the police station for 4 days. [01:58:41:16] And they were accusing them of deliberately planting the bomb even �though they hadn't planted it. But it was as a result of that, that I came home, and then my sister died. It was the traumatic experience that had on her because y’know they kept saying had they masks on? Y’know, did you know the identity of these people? Y'know the fear and the terror of driving that bomb which was 150…a 150lb bomb over 4 major ramps [01:59:16:06] past a police station, as well, but not going to the police station, going to a pub where - which had served British soldiers - that was the target and it didn't… it didn't go…it went off, but it went off down the street, nobody was hurt. But it was only shortly before she died, you know she used to have terrible nightmares, and they basically were held at gunpoint and somebody came into the room and said 'shoot them, [01:59:45:01] that’s the easiest way to get rid of them, just shoot them’ and they were, they’re guilty’. And another detective stood in and said ‘no they are not to be shot, they are innocent, you know these people have just come and hijacked them, they lived in an isolated area and they've just been hijacked and they're innocent and we're going to let them go’. [02:00:05:04] But her life was tortured after that, she had to move house, they took the battery out of the car at night, every night, in case somebody would do it again, they didn't put headlights into their car in case somebody wanted to drive the car and would push them to putting in the battery but they had taken the headlights out, their life was just a sheer and utter misery. [02:00:27:18] Total misery. Q: And were they targeted simply because of where they lived? OLIVIA: [02:00:34:00] They were very, very, it was very easy and very convenient for them to nip across the border, they, they were only a stone's throw from the border, and there was a bridge and that, it was a footbridge and they could run over the footbridge and my sister was held at gunpoint until the bomb was detonated and then they left her lying there and off they went across the bridge. [02:00:59:12] Q: And at that time there would have been no social services or no posttraumatic services? OLIVIA: [02:01:06:04] Oh no there was absolutely nothing, except to say that y’know they, they were always fearful that the men would come back and shoot them because they didn't know what they had told in the police station. They were held there for 3 days in separate rooms and interrogated, y’know they weren't allowed to sleep or anything, so they were terrified of the men coming back to shoot them in case they had told any stories. [02:01:31:22] So, one hand you had the pull from the police to say ‘yes you are guilty and you are definitely guilty’, and you had the other pull, ‘these men could come back and shoot us’, so it was a terrible situation, in that they were in, and 3 years later my sister died with a brain haemorrhage. She just could not cope with the...strain of it and he equally couldn't. I mean he didn’t, his life just turned around, he just sat, he just stopped farming and he just sat in the house and did nothing and he was, he was a young man. I mean they were only in their 40's [02:02:09:09] and they �had no family, they were just in their 40's, they were just the prime of their life and it was just... taken away from them y'know, just the aftermath of it was horrendous. [02:02:20:15] SOUND: Could I get that point again, the 3 years later comment? OLIVIA: [02:02:41:24] So it was, it was shortly after that, it was 3 years later actually that my sister passed away, she had a brain haemorrhage. She was with me that day, I was very fond of her, she was the second oldest in the family so she would have bought me my first suit for my interview, and y’know she was like, with mommy dead, she was like my second mother and, she was down with me that day and we were having fun and y'know trying to get our lives back to as normal as it could be [02:03:12:11] and she went back to her house that night - of course you have to remember they had to move house, so they went across the border to a house they had across the border which wasn't far from the other house but you had to walk across the bridge to it and she filled her hot water bottle, she wasn't feeling all that well, she took headaches and she went to bed and died with a brain haemorrhage. So it was, y’know it was very traumatic for all of us, all of us, so. [02:03:41:08] Q: Did they ever find the guys that did it? OLIVIA: [02:03:46:19] Apparently from what I could gather, they blew themselves up maybe 8 or 9 years, I suppose if truth be told, they did know who they were because they didn't have masks on and whenever they were interviewed by the police they said they had masks on because they did not want to say who they were because then they would have brought them through another. y'know …. Y’know identity programme so they didn't want to. So apparently, from what I could gather, the men blew themselves up in a bomb that they were doing another mission with. . about . . I think it was about 10 years later. [02:04:26:03] So yeah…. Q: As a family were you ever asked, other than that situation, were you ever asked to be involved? OLIVIA: [02:04:35:01] No we weren't, we were never asked to be involved and we weren't really very strongly minded, we, we were reared in a very cross community environment so none of those issues would have ever been, ever have come up, and we were never pushed to do anything, even though. . Like if you had bought a farm of land and you might have got shots through your window for buying it from a Protestant and you now owned it. [02:05:07:05] And even though you may have got your window's shot through. . you, you sort of thought well, it doesn't really affect . . we were, we were very hard working and I suppose my father was a businessman and he didn't see the need to y'know bias, to give us any biases because he really, heavily depended on the Protestant community to sell his strawberries and his soft fruits and his fresh fruits �and his cabbages and all of that, to that section of the community because they were a lot wealthier and they had a lot more money than us, or that’s what we perceived y'know. So, we were never encouraged to do anything like that, and then with us all going to boarding school, most of our good years [02:05:52:22] were in boarding school, and then you came out and then you were, go and get educated, so the only ones then that were at home really to run the farm were my 3 brothers and they. . they never, never got involved. [02:06:07:00] We didn’t had a real reason to get involved except for we just knew, we just knew that it wasn't right to, we just felt it wasn't our job to do that, it wasn't. But living in that area, it was tricky because y'know, you would see the people that would have been helping you with the hay during the day, maybe with a shotgun that night, maybe planning to shoot you. [02:06:35:15] You know my brother woke up one night and his next door neighbour had a gun and he was about to shoot him, and he saw him, and he ran off, just because of something maybe that happened in the area, y'know like we might have bought land and we might have y’know maybe. . There was one other occasion [02:06:58:02] where my father bought a house and he was told not to, not to buy it and then that night there were shots put through the window, y'know. Or these men stopping you along the road and saying we know who you are and we're going to get you, but it was, it was very difficult, it was very difficult times and you didn't know who to trust so you just, you just kept yourself to yourself and didn't, didn't bother. . didn't…. and y'know ….. you didn't get angry whenever you heard of all the people being shot dead, you just thought when is this ever going to end? [02:07:34:04]Will we be next? We are going to be next. Cos you did feel very vulnerable, even if you were in a car at night and you were driving along a lonely road, they could jump out. And they did jump out 'where are you going, who, who are you??’. You knew exactly, whenever you would say the name, they would say ' and where are you going now? And who are you? And where are you from? And who’s your mother? And who’s your father? And they would just go on and on and on and you were standing there totally, totally at their mercy [02:08:06:16] and you knew, and the gun wasn't far from you, that they could have shot you. [02:08:14:03] Q: Would you have felt protected by the British Army when they came? OLIVIA: [02:08:54:09] Right, so when the British Army came, I didn't feel any more protected, you just did not feel protected at all in any manner of means because you were a very vulnerable person, you were as vulnerable walking down the street where a bomb could've gone off as you would have been in a car at night. And where we lived, very lonely roads, y'know, high hedges and you could see them, you could see the Army and the military moving around the area and your heart just stopped whenever you were stopped in the car, and you know it would have happened very, very often, you were continually stopped, [02:09:41:01] searched, get out of the car, where are you going, who are you with? Y'know, who’s , who are your . . your back . . who are your passengers in the back? Get out, do the search of the back car, the boot, do the engine, go underneath the car, everything, and that was routine. And then you sort of got into �the swing of it and into the way of it and you just, you just, you just felt yourself very vulnerable. [02:10:08:09] As opposed to being protected. Q. Now, how have things changed? OLIVIA: [02:10:16:08] So things have changed, probably things have changed for the better in that you don't have the searching, you don't have all the army searches, you don't feel as vulnerable on the road, you don't, you're not scared of. . in the car on your own at night, you're not scared of a car driving behind you and maybe following you for the guts of your journey y'know, and even, so you feel much more at ease... and less vulnerable. [02:10:58:15] Q: Would you have gone to the 12th celebrations? OLIVIA: [02:11:25:08] I would never have gone to the 12th celebrations, never, simply because I wouldn’t, well first of all, fear, because your own side would not support you, and also if the, if the Orangemen had a known you were a catholic you don't know what they would have done with you, it wasn't worth the risk. You wouldn't even watch it on the television, and they used to walk past your house, your door y'know. They used to walk down the road and you just closed the door and you never looked out you just didn't want any interaction with them whatsoever. [02:12:05:15] So that it would not put you in any jeopardy or any fear of them coming around for retaliation, that was definitely a no. [02:12:14:13] Q: What do you think the future is going to hold for Northern Ireland? OLIVIA: [02:13:32:18] The future for Northern Ireland is... not going to change in my lifetime, very much . . but it’s a very, very . . we're going at a snail's pace and that's the way it will go and I think that's the only way it can go because, y’know, you just can't turn it around overnight. Cos there has been so much that has gone on and every now and again whenever it raises its head you sort of say to yourself, you know what, we're not really all that far, far on but we're going at a snail's pace and that snail's pace is for the better and for the future and it’s much more positive than it has been. I mean there's a lot of good things have happened and yes, but it’ll be at a snail's pace and it won't be in my lifetime. [02:14:28:06] Like for example a united Ireland won’t be in my lifetime. [02:14:32:12] Q: Would you like to see a United Ireland? OLIVIA: [02:14:34:00] I don't see what advantages there going, there would be, to me, a United Ireland, I probably would say maybe, y’know you’re maybe stronger as a country going together but we are only such a small piece of that island, I don't, I don’t really see any…. I just see we are so small, does it really make a difference whether you are a �united Ireland or not? [02:15:03:12] I don't, don't see any benefit, I don't see any benefit that we would gain from it. [02:15:09:15] Q; Can you talk a little about the arts and how being involved in drama involved in cross border, cross community stuff? OLIVIA: [02:15:19:23] Well the drama and the cross community stuff, was a great outlet, for myself who had just come back from working in Chester and, to me it was a great opportunity to get into different communities and to be accepted by ALL communities because once certain people hear your name or know who you are or where you're from, then they make the assumptions oh they’re. . they box you….they box you off but being in a, by being in the drama facilitation, it sort of releases all those tensions, releases the tensions from the people, the cross community that you're working with. And you all realize, after a while, we're all on the same level, we're all on the same playing field [02:16:14:09] and nobody really wants to upset anybody and everybody has a story to tell. So it has been a great release of, your thinking, it has really helped in your creativity and looking at, at different ways and also not to be as judgmental y'know. You could have been very judgmental if you have been in single, but now that you’re sort of working across all disciplines and all nationalities and all. . taking all . . everybody on board, to me it has given a great sense of balance to your own perception of people and makes you less opinionated and gives you a better judge . . less judgmental. [02:17:03:14] End file [02:17:12:23] 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 (collection) 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 Olivia O’Hagan Publisher Location Place of publication: city / town Dublin Publisher Smashing Times Theatre Company Ltd. Publication Title Full title of publication, as it appears on item. Transcript of interview with Olivia O'Hagan Publication Type Report, Book, Manual etc. Transcript Publication Status Published, in Press, Unpublished, etc. Published on-line Number of Pages 7 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 Untitled Story, by Olivia O’Hagan (story transcript) Creator An entity primarily responsible for making the resource Smashing Times Theatre Company Ltd. 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 PDV 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 3462 Memory Project Smashing Times