On an 1880 trip through the Colony of Victoria, Gibney is traveling by train between Benalla and Albury when at Glenrowan, he disembarks to offer assistance during the Siege of Glenrowan. Ned Kelly and his gang have been cornered by the police in a local hotel, which the police set afire in order to draw out the remaining bushrangers. Gibney enters the burning building in an attempt to rescue anyone inside, and finds the bodies of gang members Joe Byrne, Dan Kelly and Steve Hart, as well as the mortally wounded hostage Martin Cherry, who he helps retrieve and to whom he gives the last rites. He also tends to the injured Ned Kelly following his capture, hears his confession and gives him the last rites.
In January 1887, Gibney is consecrated as Bishop of Perth. His episcopate is marked by a number of poor investment decisions as the diocese purchases shops, offices, houses, and a hotel in Perth as well as a newspaper, exerting editorial influence by banning the publication of horse racing information, which leads to the paper’s eventual demise. As the diocese’s debts mount, he is forced to resign in May 1910. During his episcopate he is closely involved with the founding of the Beagle BayAboriginal community north of Broome, along with what eventually becomes St. John of God Health Care.
During restoration work in the cathedral from 2003 to 2006, the brick and plaster crypt containing the coffins of Gibney and Bishop Martin Griver are discovered by archaeologists under the floorboards of the cathedral.
Murphy is born on June 19, 1914, at Lisheen, Gneeveguilla, County Kerry, part of an area in west Munster known as Sliabh Luachra. Her father Bill plays flute, fife and fiddle, and has a fife and drum band. Both she and her brother Denis Murphy, also a musician, are taught the fiddle by the noted traveling fiddler and fiddle teacher from the same area, Padraig O’Keeffe.
Clifford, her brother, O’Keeffe, and other musicians from the Sliabh Luachra area are regarded as a significant influence on Irish traditional music and have given rise to the term Sliabh Luachra style.
In the late 1930s Murphy emigrates to Scotland and then to London where she works as a hotel maid before marrying John Clifford in 1941. He is an accordion player, also from Kerry, and they had two sons, John and Billy. In the 1940s they play the Irish dance halls in London. In the 1950s they return to Ireland for a time, living in Newcastle West in County Limerick. They perform in the Star of Munster Ceili Band with which they make radio recordings.
Back in London, Clifford enjoys greater popularity with the onset of the 1960s folk boom. In 1968, Claddagh Records records her and brother Denis on an album of Kerry music, The Star Above the Garter.
Rediscovered by the British folk club scene of the 1970s, Topic Records in 1977 issues an earlier recording of Clifford with her brother and Padraig O’Keeffe, Kerry Fiddles (Music from Sliabh Luachra). This is followed by two LPs featuring a range of music from various periods played by her, her husband and her son Billy, a flute player.
The wider appreciation of the music of Sliabh Luachra – particularly its Kerry slides and polkas – come late in life for Clifford. The Cliffords live in a small council flat in Hackney in East London before being rehoused in Thetford, Norfolk in the late 1970s.
In the 1980s and 1990s Clifford’s reputation grows, being invited to perform at folk clubs and festivals. She performs on trips back to Ireland and is introduced to television audiences. She also visits the United States. Many young players who seek her out to learn tunes and styles from her Kerry repertoire find her generous and encouraging.
Clifford’s husband John dies in 1981. She dies on June 18, 1997, one day before her 84th birthday, and is buried in Norfolk.
As part of the 2008 Cork Midsummer Festival, 1,100 volunteers gather on the grounds of Blarney Castle in the early hours of Tuesday, June 17, 2008, and strip naked to have their picture taken at the famous location.
The occasion is the first shoot in Ireland by the American photographic artist Spencer Tunick, who has already made quite a name for himself shooting large groups of naked people in public spaces in New York City, Montreal, London and Amsterdam.
Like many of Tunick’s projects, the event in Cork comes about by invitation. “It was Mary McCarthy, the art curator at Dublin Docklands, who contacted me first,” says Tunick, via Zoom from his office in New York, of the organiser who is director of the Crawford Art Gallery in Cork. “Mary thought to make it a two-city project, in Cork and Dublin, and brought Cork Midsummer Festival on board. People think I can choose where I want to work, but it’s not as if I can get up and say, ‘hmm, I want to photograph 1,000 people in a volcanic crater in Hawaii.’ In reality, I need a team on the other side, helping me. And it was Mary who established that team in Ireland.”
McCarthy’s crew works with Tunick on selecting locations for his shoots. Blarney Castle appeals to Tunick. “When you think of a castle, you think of swords, you think of dreams, you think of battle and war,” he says. “But you might also think of the rose. I tried to combine a lot of different ideas or fantasies about the castle and connect them to the body. But there were also a lot of grounds around the castle, so I could have different set-ups and positions to shoot in.”
When Cork Midsummer Festival puts out a call for volunteers, it is inundated with applications. Those chosen are of all ages, and from all walks of life. “I think sometimes people associate my live works with young people. But there’s often a lot of people over 50, and into their 80s, at this great unifying event that touches on the idea of group photo gatherings from the 1920s. When you see a big haul of people lined up, undressed of course, it combines group portraiture with abstraction and the naked body.”
At Blarney Castle, beginning around 5:30 a.m., he shoots the crowd in a variety of poses on the castle lawns, facing toward and away from the camera, then lying on their backs as they each held a single rose aloft (pictured above), red for the women and white for the men. He then photographs a small number on their knees in the river that runs through the grounds, and a smaller number again kissing the Blarney Stone. Some participants see the photo shoot as an opportunity to challenge the general disapproval of nakedness that prevails in the Ireland of their youth. Others see it as a way to make peace with their body image.
Later that morning, Tunick photographs about 50 naked volunteers covered in foam at White Street Carpark in Cork city centre. “As a kid, I was always fascinated by the bubble scene in Willie Wonka and the Chocolate Factory, the film,” says Tunick. “So, I wanted, in a whimsical and surreal way, to amplify my memories of that. But I also wanted to work with the history of the area, so I infused Murphy’s beer into four bubble machines and created a snow globe effect with the nudes. That was beautiful.”
Looking back on the photographs, one is struck by how most of the bodies are white. If it is true that Cork has become far more ethnically diverse city since that day in 2008, one must also wonder if Tunick’s call for volunteers appealed to a certain demographic. “I always ask the organisers to do community outreach in different areas, so we can get more colour and ethnicities into the work,” he says. “But sometimes it doesn’t really resonate, and sometimes the population is not there, you know. And often, where that population exists, it might not be connected to the body in contemporary art. But I’ve always tried, and now I insist that the organisers make an extra effort.”
Tunick’s shoots at Blarney Castle and White Street attract lavish coverage in the media, a reflection perhaps on how they coincide with a change in the public perception of nudity. The project would almost certainly have caused an uproar even twenty years previously. Participants describe a sense of joy and liberation. “This was definitely pre-Instagram, right? And now when we’re on Instagram, we think the whole world is accepting of nudity in public, but back then, there was not that same outlet for my images. But there was that documentation by the press, and through that, I think people realised that something had happened that went against the grain in a positive way.”
Four days later, Tunick photographs 2,500 naked volunteers on the South Wall in Dublin. Again, the event attracts headlines, but already, it seems, the culture has moved on, and there is not quite that same element of surprise and delight as there had been in Cork.
Tunick has done many projects since. Some of his favourites include those in Kingston upon Hull in 2016 and on the Dead Sea in 2011 and again in 2021. “I like working with props. In Cork, I used roses and beer foam. But now I like working with body paint. In Hull, we covered around 4,000 people in four shades of blue. The blues were those of the water I saw in a number of paintings in the Maritime Museum in the city. I asked Pantone to replicate the colours, and those were the blues we used. Not many people know that.”
“My projects in the Dead Sea were partly about showing how the salt in the water could elevate the body. That created a very interesting, otherworldly effect in the photographs. But they also aimed to raise awareness of how the Dead Sea is disappearing because of irrigation to serve the need for drinking water by adjoining countries such as Israel and Jordan. It’s a very difficult situation.”
Many photographers find their work curtailed by pandemic restrictions of the early 2020s. Tunick too is forced to postpone photographing groups of people on location, but he does find a way to go on creating. “An art collective called Studio 333 in Mexico asked me if I wanted to do group works on video chats, and offered to manage it technically. So we started making group works with people from all walks of life, all around the world. We had someone in Saudi Arabia posing with someone in Israel. We had people in Australia, people in Europe, people all over the world. I think the only place we weren’t able to work with was Antarctica, but who knows? Maybe that’s in the future.” The resulting images are published online, on Tunick and Studio 333’s websites and social media accounts, under the collective title ”Stay Apart Together.”
As for the future, Tunick would love to work in Ireland again, he says. “It’s always been my dream to do a work in Northern Ireland, maybe with 100 or 200 people on the Giant’s Causeway? I can’t have too many, because then you wouldn’t see the rocks. Northern Ireland, the Giant’s Causeway… that project’s been on my mind for a long time, so hopefully some museum or curator will invite me to do it.”
(From: “Cork in 50 Artworks, No 49: Spencer Tunick’s nude installation at Blarney Castle” by Marc O’Sullivan, Irish Examiner, http://www.irishexaminer.com, April 11, 2022 | Pictured: Blarney Castle with the crowd assembled by Spencer Tunick)
Downey’s tenure sees the construction and dedication of the crypt of Liverpool Metropolitan Cathedral, built to a design by Sir Edwin Lutyens, although the Cathedral itself is never completed as he had envisaged. A picture of Lutyens proposed cathedral is printed on postcards sold to raise funds.
In 1929, before the actual construction begins, Downey states, “Hitherto all cathedrals have been dedicated to saints. I hope this one will be dedicated to Christ himself with a great figure surmounted on the cathedral, visible for many a mile out at sea.” He also declares that while the Cathedral will not be medieval and Gothic, neither will it be as modern as the works of Jacob Epstein, a statement somewhat at odds with the design that is finally realised after his death.
Downey dies in Liverpool at the age of 72 on June 16, 1953, having served as Liverpool’s archbishop for twenty-four years. His remains are interred in a crypt at Liverpool Metropolitan Cathedral, Liverpool.
McNamara and Newman are particularly outspoken on the issue of a proposed anti-abortion amendment to the Constitution of Ireland. While other bishops advocate people vote with their conscience in the referendum on the issue, McNamara and Newman instruct Catholics that they have a duty to “vote yes” to the referendum.
In 1984, the Archdiocese of Dublin becomes vacant when Archbishop Ryan is given a senior appointment in the Roman Curia. Ryan is expected to be made a cardinal as a result of the appointment but dies suddenly in office before a consistory can be held. McNamara’s selection to replace the more liberal Ryan in Dublin creates media reports linking his appointment to the ongoing tensions between the papal nuncio in Ireland, Archbishop Gaetano Alibrandi, and the liberal Fine Gael–Labour Partycoalition under Garret FitzGerald. Relations between Alibrandi and the coalition break down, with the government requesting that Alibrandi be removed because of his suspected closeness to Irish republicans in Sinn Féin and to the opposition Fianna Fáil party and in particular its leader, Charles Haughey. Critics accused Alibrandi of engineering McNamara’s appointment in the belief that the outspoken McNamara can help derail the coalition’s liberal policies on divorce and contraception.
McNamara, as expected, takes a far more outspoken stance of issues than had Ryan previously. While the coalition succeeds in liberalising the law on contraception, its efforts to amend the constitution on divorce are defeated.
McNamara’s service in Dublin is short-lived. Already suffering from what proves to be terminal cancer, he dies on April 8, 1987 after a three year battle with the disease, months after the Fine Gael minority government is defeated in the 1987 Irish general election. He is succeeded as archbishop by a university lecturer, Desmond Connell.
In the early 2000s, amid growing scandals within the Catholic Church in Ireland about clerical sex abuse, it is revealed that as archbishop McNamara had sought legal advice as to the Church’s liability arising from such abuse.
Maude is born on May 22, 1941, in Casla, County Galway, and reared in the Irish language. Her mother, Máire Nic an Iomaire, is a school teacher, and she receives her primary education from her on a small island off the coast of Rosmuc. Her father, John Maude, is from Cill Bhriocáin township near Rosmuc. She attends secondary school at Coláiste Chroí Mhuire, Spiddal, an all-Irish language school in County Galway. She later credits one of her Irish language teachers there, Sister Ailbhe, as an early influence in cultivating her writing confidence.
Maude begins writing modern literature in Irish in secondary school and develops a rhythm of poetry closely attuned to the rhythms of the Conamara Theas dialect of Connacht Irish, spoken in her native district. Though not conventionally religious, she admits in an interview that she has a deep interest in spirituality and that this has left its mark on her poetry. She is noted as a highly effective reciter of her own verse. Géibheann is the best-known of her poems, and is studied at Leaving Certificate Higher Level Irish in the Republic of Ireland. A posthumous collected edition, Caitlín Maude, Dánta, is published in 1984, Caitlín Maude: file in 1985 in Ireland and Italy, and Coiscéim in 1985.
Maude is widely known as an actress. She acts at the university, at An Taibhdhearc in Galway and the Damer Theatre in Dublin, and is particularly successful in a production of An Triail by Máiréad Ní Ghráda at the Damer Theatre in 1964. She plays the protagonist, Máire Ní Chathasaigh, an unmarried mother who experiences family rejection, a stay in a Magdalene laundry, and ultimately murders her infant child followed by suicide. In 2017, Former Irish Minister For JusticeMáire Geoghegan-Quinn cites this performance as “pathbreaking”: “Caitlín Maude played the role, when nobody talked about the issue and when, as we know, women were still devalued, still caricatured, still incarcerated and disenfranchised if they became mothers out of wedlock.” Maude herself is a playwright and co-authors An Lasair Choille with poet Michael Hartnett.
Maude is very active in the Celtic Revival. She founds An Bonnán Buí, an Irish-speaking social club in the 1970s in Dublin. As a member of the Dublin Metropolitan Gaelgeoir community, she is active in many direct action campaigns by the language revival organization Gluaiseacht Chearta Sibhialta na Gaeltachta, including the campaign that forces the Irish State to establish a Gaelscoil (Irish-medium primary school) Scoil Santain in the suburb of Tallaght, County Dublin. A second Irish language school, Scoil Chaitlin Maude, opens in Tallaght in 1985 shortly after her death. It begins as a two-room school with 35 children and has grown to a 16 room new building serving 345 children as of 2023.
Maude is also a distinguished sean-nós singer. She makes one album in this genre, Caitlín, released in 1975 on Gael Linn Records and now available as a CD. It contains both traditional songs and a selection of readings of her poetry.
Maude marries Cathal Ó Luain in 1969. They have one child Caomhán, their son.
Maude dies of complications from cancer on June 6, 1982, at the age of 41. She is buried in Bohernabreena graveyard, which overlooks the city from the Wicklow Mountains.
In 2001, a new writers’ centre in Galway is named after her: Ionad Scríbhneoirí Chaitlín Maude, Gaillimh.
Since Maude’s death, critics in several languages have continued to study her literary works. Irish writer and The Irish Times columnist Michael Harding cites her as one of a few examples of groundbreaking women to “spin the hurt and wound of their oppression, and weave new loves songs and laments.” Irish Studies professor Sarah McKibben notes that Maude’s innovation in the poem represents an instance of recent Irish writers transgressing “literary, nationalistic, sociolinguistic and gender norms to craft new ways of writing in Irish.”
According to Louis de Paor, “Although no collection of her work was published during her lifetime, Caitlín Maude had a considerable influence on Irish language poetry and poets, including Máirtín Ó Direáin, Micheál Ó hAirtnéide, Tomás Mac Síomóin, and Nuala Ní Dhomhnaill. That influence is a measure of the dramatic force of her personality, her exemplary ingenuity and commitment to the language, and her ability as a singer to embody the emotional disturbance at the heart of a song. Her collected poems are relatively slight, including incomplete drafts and fragments, but reveal a poetic voice confident of its own authority, drawing on the spoken language of the Connemara Gaeltacht but rarely on its conventions of oral composition or, indeed, on precedents in Irish poetry in either language. The best of her work is closer to the American poetry of the 1960s in its use of looser forms that follow the rhythms of the spoken word and the sense of the poem as direct utterance without artifice, a technique requiring a high degree of linguistic precision and formal control.”
Maude’s work has also been translated into English and Spanish. Spanish language critic Pura Coloma notes that Maude’s work played a role in preserving Connemaran culture, as she “utilizes her own style to replicate the deep rhythms and tonalities of the regional voice.”
The Tribunal of Inquiry into the Beef Processing Industry, also known as the Beef Tribunal, is established on May 31, 1991, chaired by Justice Liam Hamilton. It is set up to inquire into malpractice in the Irish beef processing industry, mainly centred on Goodman International, owned and controlled by Larry Goodman. It also examines accusations of special dispensations given by the then Minister for Industry and Commerce, Albert Reynolds, to Goodman.
The Tribunal begins hearings on June 21, 1991, and it reports its conclusions in July 1994, at the time Ireland’s longest-running inquiry.
The Tribunal is tasked with “inquiring into the following definite matters of urgent public importance: (i) allegations regarding illegal activities, fraud and malpractice in and in connection with the beef processing industry made or referred to:– (a) in Dáil Éireann, and (b) on a television programme transmitted by ITV on May 13, 1991; (ii) any matters connected with or relevant to the matters aforesaid which the Tribunal considers it necessary to investigate in connection with its inquiries into the matters mentioned at (i) above; and 2. making such recommendations (if any) as the Tribunal, having regard to its findings, thinks proper.”
The Tribunal comes weeks after the broadcast of a World in Action programme. The allegations made in Dáil Éireann cover many of the allegations made in the television programme and included the following:
Abuses of the system under which subsidies are paid by the European Economic Community (EEC) to those engaged in the beef processing industry
Failure of regulatory authorities and allegations of political influence in relation to alleged abuses of the system
Tax evasion and Political influence in regard thereto
The Beef Tribunal concludes that tax evasion occurred at Goodman International and shined a light on widespread improper relationships between the beef industry, particularly Goodman, and the government. However, no criminal charges are brought, aside from the journalistSusan O’Keeffe who is charged and acquitted for not revealing sources.
Though not directly charged with wrongdoing, Albert Reynolds’s government is ultimately brought down by the fallout of the Beef Tribunal.
Ten years later, Fintan O’Toole comments that while a “shocking set of scandals” were uncovered (including the aforementioned tax evasion, fraud, and theft), “virtually nothing happened,” eroding public trust in the system.
(Pictured: Larry Goodman, founder and Executive Chairman of Goodman International, which is now ABP Food Group)
Synge is born on June 1, 1890, in south Dublin, to Edward Synge and Ellen Frances Price. He is familiarly known as “Hutchie.” He is the nephew of playwrightJohn Millington Synge and the older brother of distinguished mathematician and theoretical physicist John Lighton Synge who edits the collected works of Sir William Rowan Hamilton at Synge’s urging. He and brother John are great-great-great-grandsons of Irish bishopHugh Hamilton. He is also the uncle of the mathematician Cathleen Synge Morawetz. Throughout his life he is very physically active, pursuing walking, cycling, swimming and sailing. In his later life, he takes up painting and is quite good at it.
In 1908, Synge enters Trinity College Dublin (TCD) to study Mathematics and Old Irish. For three years he is a brilliant student and wins several prizes and a Foundation Scholarship in mathematics in 1910. At the end of his third year, he comes into an inheritance from his uncle John Millington Synge, and in 1913 he drops out of university.
Starting in 1928, with encouragement from Albert Einstein, Synge launches on a period of intense productivity during which he lays the foundation for new kinds of microscopes and telescopes. Nobody, including his famous brother John, appreciates his achievements at the time. His work is overlooked for decades, but is now better-known thanks to the book The Life and Works of Edward Hutchinson Synge published by Living Edition in 2012.
On April 22, 1928, Synge writes to Einstein about an idea he has for a new microscopic imaging method in which an optical field scattered from a tiny gold particle can be used as a radically new light source. Einstein replies that although Synge’s method appears essentially unworkable, the basic ideas seem correct and he should publish his research.
There follows a remarkable period from 1928 to 1932 in which Synge produces all of his key works which he publishes in the Dublin Philosophical Magazine and Journal of Science. Remarkably, he does all of this work alone, without a laboratory, and while living at his home in Dundrum in the suburbs of Dublin. By 1932 he has laid out the theory of the near-field microscope and his description is incredibly accurate.
The idea is ahead of its time. In 1956, a similar theory is developed by John A. O’Keefe and in 1972, Eric Ash gives the first experimental demonstration of the technique using electromagnetic radiation. It is not until Synge’s original papers re-emerge in the 1980s that his priority is finally recognised.
Synge proposes a design for very large astronomical telescopes, based on multiple mirrors, an idea realised much later in Tucson, Arizona, and elsewhere. He also invents a new kind of remote sensing technique using searchlights. Today this is known as Lidar and uses pulsed lasers.
According to the people who know him best, Synge suffers from what today would be called Asperger syndrome. Becoming increasingly socially isolated, he drops out of university in 1913 and works alone without any support from the academic community until all work stops in 1932. In 1936, he has a mental breakdown and is committed to a Dublin nursing home where he remains until his death on May 26, 1957. He is buried with his parents in Dublin’s Mount Jerome Cemetery, with only a few relatives attending. It is much later that his niece, Cathleen Synge Morawetz, arranges to have “Scientist and Inventor” inscribed on the gravestone.
Gannon is born on August 1, 1910, in Harold’s Cross, Dublin, into a craftsmen family of carpenters, many of whom worked in the famous Guinness Brewery. His education, in two local schools, is rudimentary and at the age of fifteen he starts working as an apprentice carpenter in the Guinness Brewery. His apprenticeship involves learning to make office furniture and attending evening classes in nearby colleges, where he is able to improve his education in a more congenial atmosphere. A love of music and the arts had been encouraged by two maiden aunts. His parents subsequently purchase an upright piano and he learns to play it at the Read Pianoforte School. When his apprenticeship is completed and he is on the dole for some years, he spends much of his spare time buying pictures, books, antiques and old clocks and watches in the various auction rooms and antique shops in Dublin.
While reading a series of articles about Tibet in a magazine, Gannon stumbles across an article, which, he believes, is by Violet Gordon-Woodhouse, a British harpsichordist and clavichord player of the period. The article is about the revival of the harpsichord, which interests him. He asks permission to examine the harpsichords on display in the National Museum of Ireland, Dublin, but is given no encouragement by the staff. He is finally allowed to see the instruments when he is in his early twenties. Dismayed, he concludes that they are too expensive to buy and too complicated to make.
In London with Margaret, who is visiting her parents, Gannon goes to the Benton Fletcher collection of keyboard instruments, which is then in Chelsea, and measures a harpsichord by Jacob and Abraham Kirckman. Back home, he makes a copy of the instrument in a tiny conservatory at the back of his house in the Dublin suburb of Rialto. The harpsichord is played by John S. Beckett for the first time in public in 1959 as the continuo for Johann Sebastian Bach‘s St. Matthew Passion and is praised in the national press. Beckett subsequently persuades the authorities in the Guinness Brewery to provide Gannon with a special workshop, in which he makes five harpsichords and restores several antique pianos. The first harpsichord made in the Brewery is donated to the Royal Irish Academy of Music in Dublin. The second is sold to Harrods of London, and the third is sold to Ireland’s national radio and television station RTÉ. This third instrument is used regularly by the RTÉ Symphony and Concert orchestras and also by the well-known composer and performer of Irish traditional music, Seán Ó Riada.
Gannon continues to make many more harpsichords and restore more pianos during the years to come. In all, he completes twenty harpsichords during his lifetime – the final four are completed by a friend, Patrick Horsley, in England. One of the harpsichords made by Gannon-Horsley returns to Ireland and is presented to NUI Maynooth. A piano of note that he restores is a Broadwood square piano owned by the poet and composer, Thomas Moore, which belonged to Lord and Lady Elveden (later Iveagh).
Gannon is the subject of several RTÉ radio programmes, three RTÉ television programmes (including The Late Late Show) and a television programme, Gallery, made by BBC Northern Ireland. He befriends a great many people, including the artist, writer and conservationist Peter Pearson, and regular musical evenings are held at the family home in Bryan Guinness‘s grounds in the suburbs of Dublin. Because of his interest in antique clocks and watches, he becomes a member of the Irish branch of the Antiquarian Horological Society, founded by his friend William Stuart.
In 1978, Trinity College Dublin (TCD) gives Gannon an honorary MA degree for his contribution to the authentic performance of early music in Ireland. Two years later, he is invited to travel with the New Irish Chamber Orchestra to China, where he tunes and maintains one of his harpsichords and celebrates his seventieth birthday. In 1989, a second honorary MA is given to him, this time by NUI Maynooth.
Following Gannon’s 80th birthday, which is attended by fifty people, he finally settles down to retirement. A series of minor strokes follow, which eventually lead to dementia and ultimately to his death, aged 88, on May 23, 1999.
The Cathal Gannon Early Music Room is opened in the Royal Irish Academy of Music in May 2003. It contains a harpsichord and clavichord made by Gannon, a Broadwood grand piano restored by him, and a square piano.
Part of a transmitted RTÉ programme, Nationwide (January 17, 2007), features archive footage of Gannon and his instruments. Three RTÉ radio programmes, Bowman: Sunday Morning, broadcast in November 2006, feature a 1983 interview with Gannon.
Madigan is a qualified solicitor, who practises in family law for twenty years, prior to her election to Dáil Éireann. She is also certified as a mediator by the Mediators’ Institute of Ireland (MII) and is a previous Council member of the MII. She is a former Specialist Liaison Officer for Family Mediation in the MII.
Madigan is the author of the first book in Ireland on mediation: Appropriate Dispute Resolution in Ireland, a handbook for family lawyers and their clients (Jordan Publishing, 2012). She has also self-published a novel called Negligent Behaviour.
Madigan issues a leaflet in 2014 claiming that providing accommodation for Travellers in her constituency would be “a waste of valuable resources.” When asked about this later, she claims, “Some people won’t want to live beside people in halting sites […] there might be more crime, that there might be anti-social behaviour.”
Madigan is elected to the 32nd Dáil at the 2016 Irish general election as a Fine Gael TD for the Dublin Rathdown constituency, defeating sitting Fine Gael TD Alan Shatter by nearly 1,000 votes. She is appointed Chair of the Committee on Budgetary Oversight in July 2017. She is a member of the Public Accounts Committee. She introduces a private member’s bill to reduce the waiting time for divorce in Ireland from four years to two, which is passed by the Dáil.
On November 30, 2017, Madigan is appointed to the cabinet as Minister for Culture, Heritage and the Gaeltacht, in a reshuffle following the resignation of the TánaisteFrances Fitzgerald.
In 2019, Madigan receives widespread coverage for her role in the personal injury legal claim of Fine Gael politician, Maria Bailey. It is alleged that her law practice, Madigan Solicitors, advised Bailey on her claim, however, Madigan refuses to make any comments on this citing client-solicitor confidentiality. In July 2019, an internal unpublished Fine Gael probe into the affair clears Madigan of any wrongdoing in regard to the claim. In late July 2019, the Irish Independent reports that “it is now known that she advised Ms. Bailey in the early stages of the claim.” It is also reported that her firm would earn €11,500 in fees if the Maria Bailey case were successful.
Madigan is re-elected at the 2020 Irish general election, taking the third seat behind Green Party Deputy Leader Catherine Martin and party colleague Neale Richmond. On July 1, 2020, she is appointed by the new government as Minister of State at the Department of Education with special responsibility for special education and inclusion. On January 14, 2021, she comes under fire for describing children without additional needs as “normal” while speaking in the Dáil. “We all know that even for normal children remote teaching is difficult but for children who have additional needs it is particularly difficult,” she says. Later that day on Twitter, she says she “sincerely apologises for the language she used. It is absolutely not what I meant to say.”
On January 20, 2021, speaking on RTÉ‘s Today with Claire Byrne, Madigan compares children with additional needs not attending school to the mother and baby homes. “We’ve spent the last week talking about mother and baby homes, where our most vulnerable were left to their own devices in less than satisfactory conditions and we’re now allowing further anxiety and upset to be placed on the shoulders of parents whose children desperately need to go back to school.” The Final Report of the Commission of Investigation into Mother and Baby Homes and Related Matters is published the week prior to her comments. She later apologises in a statement: “I am, as are all involved in supporting these children [children with additional needs], passionate about vindicating their rights and in reaching for an analogy I chose poorly. I apologise fully.”
Shortly after the first report of the Creeslough explosion on October 7, 2022, Madigan tweets that she hopes “they find the culprits” and, after being criticised as irresponsible and insensitive, she quickly deletes the tweet.
On March 22, 2024, Madigan announces that she will resign as Minister of State and will not contest the next general election.
seamus dubhghaill 