Experiences of using Unicam for asynchronous video assessment of the Irish language

Video is used widely in language education as a learning tool and a production tool for students to demonstrate oral competence. In response to the Covid-19 pandemic, Irish language lecturers at Dublin City University (DCU) set asynchronous video assessment tasks for students on teacher education programmes. Tasks were completed using the web-based Unicam platform, which streamlines video creation and submission, allowing students to focus on their task and not technical affairs. Students’ and the teaching team’s Unicam experiences were evaluated through anonymous surveys drawing on the Unified Theory of Acceptance and Use of Technology. Both parties were neutral to slightly positive in their attitudes towards the Unicam tool.

A needs survey of overseas Irish language learners

The vast majority of endangered languages are expected to have vanished from community use within one to two generations (Lackaff & Moner, 2016). One such language, Irish, may die out as a vernacular within a decade in the Irish-speaking regions of Ireland (Ó Giollagáin & Charlton, 2015). However, there is growing interest in the Irish language overseas, particularly in the USA (Schwartz, 2020). In this study, a survey was conducted with 92 respondents to identify the needs of learners living outside of Ireland. The findings of this needs assessment suggest that overseas Irish learners would benefit from the provision of an online Irish language community that connects members through communicative and collaborative language activities. Positioned in the context of similar developments and innovations internationally (e.g. Henry, Carroll, Cunliffe, & Kop, 2018), this research builds on existing literature in online sociocultural language learning.

Re-Membering and Naturing my Life and Work in a Fifth Province

This paper will outline my own systemic journey of engagements and movements in and away from a more natured inclusion in my life and work. Looking back, I can see that from childhood my life was filled with sustainability practices in that I had parents who planted much of our food and never threw away anything that might be useful in the future. In my team, the Fifth Province Associates, one was a farmer’s daughter and grew up with a deep knowledge of our countryside and the other was an ecological and climate activist. How had I managed not to put all this together into a more coherent systemic roadmap before now? I thank Roger Duncan (2018) and many of my colleagues here in this issue for re-minding me of what I already knew and experienced, and how it could be recycled as it were for a possible more useful future (Simon & Salter, 2020; Palmer, 2014; Santin, 2020; Triantafillou et al., 2016; Edwards, 2020). They have facilitated me to re-member experiences around nature practices, the possibilities for love and colonisation in our practices, the co-creation of an indigenous Irish therapy practice and my experiences of a deep spiritual practice which I have seen over and over again to foster resilience and equanimity1 not only in my own life but also in the lives of clients and those in our Sangha. In the Irish language, the word for resilience, athléimneacht is interesting. Athléimneacht directly translated means jumping (across/in) a ford, an open space or a hollow between two objects. I resonate with this translation as it points to a liminal space so important in Celtic consciousness and of course a fifth province space. Maybe resilience or athléimneacht has been called forth as a need in all of us by the sudden advent, fear and stress of a world in panmorphic crisis (Simon, 2021).

'Something entirely new': A Critical History of An Béal Bocht, 1941–75

This article reconstructs an early reception of Brian Ó Nualláin’s An Béal Bocht (1941) in which the novel was hailed as a breakthrough work that advanced the Irish-language prose tradition and promised to win new readers of Irish. The story of how this initial enthusiasm hardened into a critical diminishment of Ó Nualláin’s achievement as an obscure parody involves the author’s own efforts to associate the novel with Tomás Ó Criomhthain’s An tOileánach, the dampening of the optimism which surrounded the Irish language in the 1940s, and the impact of Patrick C. Power’s translation, The Poor Mouth, on how An Béal Bocht was understood. By charting the evolution of An Béal Bocht’s reception history, this article furthers contemporary scholarship on the promise Ó Nualláin’s novel still holds for Irish-language prose.

Geographical retreat and symbolic advance?

Language policy in the Republic of Ireland has an unusual starting point: the geographical base of the Irish language is very weak and territorially dispersed, yet the constitutional status of the language is extremely strong. The article explores this paradox. It sets Irish language policy in two contexts: that of successful nationalist movements mainly in Central and Eastern Europe in the early twentieth century, and that of the struggling Celtic languages of Western Europe. It explores the evolution of the language and its weakening demographic status since the nineteenth century, noting that while its demographic weakness mirrors that of the other Celtic languages, its constitutional entrenchment resembles that of the national languages of Central and East European states. It attempts to explain this by suggesting that the language has played a marginal role in nationalist mobilisation; the language served as a symbol of a specific cultural heritage rather than as the vital lingua franca of the community. The central role of the language in nationalist ideology, however, failed to address the reality of continuing decline in the Irish-speaking districts, notwithstanding the emergence of a sizeable population of ‘new speakers’ of the language outside these districts.

Aspects of Irish-language song transmission in Munster, 1700–1850

This chapter looks at aspects of Irish-language song transmission in Munster in the eighteenth and the first half of the nineteenth century. As musical airs were ascribed to written poetry with greater and greater frequency in manuscript sources throughout the eighteenth century, the suggested airs to which this sung poetry circulated will be discussed, and reference made to the oeuvre of the most prominent of the eighteenth-century Munster poets, who often set their poetry to the popular tunes of their day. Aspects of oral and literary transmission of song will be given consideration, before focusing on two important collections of Irish song, taken from the field in the mid-nineteenth century.

‘The best English-Irish poetry before Yeats’

‘[T]he best Irish-English poetry before Yeats’: thus, in The Listener in 1970, John Holloway described a genre of exuberantly worded songs that employed complex patterns of rhyme deriving from Irish language poetry, many of which were among the nineteenth-century ballad sheet collections of Sir Frederic Madden, held in Cambridge University library. Items in this form seem to have surfaced in the mid-eighteenth century, soon after the appearance of the earliest eight-page songbook to be printed in Ireland, and probably the first anywhere in the ‘British Isles’. This essay traces the development of this genre towards, perhaps its finest manifestation, the luxuriously florid bawdry of ‘The Cuckoo’s Nest’, probably composed by the northern-born but Drogheda-based weaver poet John Sheil (c.1784–1872). Many commonly known and apparently innocuous traditional songs are found as bawdry in early collections and employ a range of sexual metaphors, well understood at that time among men but not (openly) among women or more recently. The combination of verbal flourish and double entendre together with a consummate control over the complexity of rhyme and rhythm forced John Holloway to recognize vernacular verse as, not a debased version of ‘educated’ poetry, but as a genre with its own standards, a parallel form that bears comparison at a high level.

William Carleton, Irish song, and the art of keening

William Carleton was evidently familiar with wide traditions of Irish-language song, particularly through the singing in Irish of his mother. and this experience is evident throughout his writings. In addition to the explicit citation and celebrations of song in his work are less immediately recognised ways in which Carleton absorbed traditions of Irish singing into his fiction, particularly the form of caoineadh, or laments for the dead. Relatively few examples of early caointe (keens) have survived from the province of Ulster. However, this chapter argues that the practices of early nineteenth-century keening, as performed in Ulster, can be glimpsed in the novels and short stories of William Carleton. Close comparison of an extended fictional prose description in Valentine M’Clutchy (1845) with various accounts of caointe (Caoineadh Airt Uí Laoghaire by Eibhlín Dhubh and a declamation recorded in 1828 by the County Kilkenny schoolmaster Amhlaoibh Ó Súilleabháin) indicates Carleton’s evident knowledge of Irish traditions of lament. Irish song is shown to be typified by its lyric, non-narrative form and to be marked with particular emotional intensity, elements still visible within the prose recreations in English of Carleton’s fiction.