The stranger, the foreigner and the pilgrim are all familiar figures in literature, philosophy, theology and mythology. This figure - travelling the world in search of refuge and sanctuary – is one which has had a particular resonance for many millions of Irish people in recent centuries. This book is a window on a new aspect of the Irish experience that is the “strainséir” or pilgrim. It is one man’s story of exile and renewal in a world where the concepts of home, place and diaspora are all changing at frightening speed. Jean “Ryan” Hakizimana’s story is the story of an artist, the colours of whose palette reflect the multicultural tapestry that is Irish society today. It is a narrative that involves a journey halfway across the globe, a portrait of the “modern” world incorporating exile, starvation, and genocide before the final “liberation” that is the healing process of painting. Traumatised from the horrific childhood experiences he witnessed during the genocides of Burundi and Rwanda in the mid-1990s it was almost a decade later and at a distance of many thousands of miles that African artist Jean Ryan once again found the will to paint. This book sheds light on the diaspora experience of the “new” Irish, the refugees and asylum-seekers who are changing the face of many of Ireland’s villages and towns that until recently had been emptied by widespread emigration. The economic “miracle” that has transformed Ireland in the past decade has been accompanied by much rhetoric regarding multiculturalism, integration and dialogue with the newer peoples and cultures that now live in Ireland. As of yet, however, there has been few attempts to chronicle or engage in dialogue with the many different aspects of the diaspora experience that define these “new” Irish, the young Irish who will carry a renewed and exciting new Irish identity into the future. One of the greatest challenges facing Irish society and the indeed the Irish educational sector is how best to harness the benefits of the wide range of cultural experiences, values and peoples that are now part of the Irish cultural fabric. This book is one of the first attempts at such a new an exciting intercultural dialogue in Ireland. It is only through such a process of dialogue that we may uncover a “new politics of truth” (Foucault, 1977), a new discourse and a more productive understanding of the relationship that now exists between the various strands of Ireland’s multicultural society.
The stranger, the foreigner and the pilgrim are all familiar figures in literature, philosophy, theology and mythology. This figure - travelling the world in search of refuge and sanctuary – is one which has had a particular resonance for many millions of Irish people in recent centuries. This book is a window on a new aspect of the Irish experience that is the “strainséir” or pilgrim. It is one man’s story of exile and renewal in a world where the concepts of home, place and diaspora are all changing at frightening speed. Jean “Ryan” Hakizimana’s story is the story of an artist, the colours of whose palette reflect the multicultural tapestry that is Irish society today. It is a narrative that involves a journey halfway across the globe, a portrait of the “modern” world incorporating exile, starvation, and genocide before the final “liberation” that is the healing process of painting. Traumatised from the horrific childhood experiences he witnessed during the genocides of Burundi and Rwanda in the mid-1990s it was almost a decade later and at a distance of many thousands of miles that African artist Jean Ryan once again found the will to paint. This book sheds light on the diaspora experience of the “new” Irish, the refugees and asylum-seekers who are changing the face of many of Ireland’s villages and towns that until recently had been emptied by widespread emigration. The economic “miracle” that has transformed Ireland in the past decade has been accompanied by much rhetoric regarding multiculturalism, integration and dialogue with the newer peoples and cultures that now live in Ireland. As of yet, however, there has been few attempts to chronicle or engage in dialogue with the many different aspects of the diaspora experience that define these “new” Irish, the young Irish who will carry a renewed and exciting new Irish identity into the future. One of the greatest challenges facing Irish society and the indeed the Irish educational sector is how best to harness the benefits of the wide range of cultural experiences, values and peoples that are now part of the Irish cultural fabric. This book is one of the first attempts at such a new an exciting intercultural dialogue in Ireland. It is only through such a process of dialogue that we may uncover a “new politics of truth” (Foucault, 1977), a new discourse and a more productive understanding of the relationship that now exists between the various strands of Ireland’s multicultural society.
The postcolonial experience, as explored by the authors of this volume, focuses on the complex set of cultural and ethnographic processes and strategies of resistance that are the diasporic or migrant Irish experience. As a minority inhabiting the margins of society, Irish Travellers frequently found themselves excluded to the periphery of those unitary constructions of Irishness that accompanied the early decades of Irish independence. Straddling the Traveller/Settled divide, Johnny Doran, whose career reached its zenith in the 1940s, was one of the foremost Irish Traveller artists to have influenced the development of the Irish cultural and musical tradition. As a primarily non-literate group, Irish Travellers, have, in the postcolonial era at least, had very little input into the way in which they have been constructed or represented in the Irish cultural imaginary. This book is a small attempt to redress this imbalance. In exploring the Traveller historical experience through the musical oeuvre of one man, it outlines the importance of human agency, cultural hybridity and cross-cultural borrowing and appropriation within the context of the shifting power relations and images that defined postcolonial Ireland.
The Irish Travellers are one of Ireland's oldest minorities, a minority who have frequently lived on the margins of the "majority" or settled community. This volume explores linguistic change amongst this cultural group with a particular focus on the influence of the educational system. This book analyses whether increased attendance by young Traveller women in secondary education is influencing long-term change in linguistic usage and speech patterns. The tendency for convergence/non-convergence to the settled community's speech patterns is analysed as is the question of whether such speech variations are a strategy for "survival" in the school environment. This study is based on an analysis of both naturally-occurring conversation and speech as explored within an informal interview setting.
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