‘VOICES INTERNED’
FAMILIES OF POLITICAL EX-PRISONERS REMEMBER THE PAST

The ‘Voices Interned’ project is supported by the Playhouse International Culture Arts Network (ICAN) The Playhouse ICAN project uses arts activity as a mechanism to build peace. It provides a platform to explore community relations issues and promote social inclusion through the exchange of experiences & practice amongst participants from local, national and international backgrounds.
www.icanplayhouse.com
ICAN is a three year project which has been part-financed by the European Union’s Regional Development fund through EU Programme for Peace and Reconciliation (PEACE III) managed through Special EU Programmes Body.
INTRODUCTION ‘Voices Interned’ is a project devised and delivered by Geraldine Gallagher and is supported by the Playhouse ICAN project. This project focuses on the families of political ex-prisoners in Northern Ireland, a section of the community that is hidden from view, a community of people who have been silenced. ‘Voices Interned’ enables participants to share their stories and backgrounds with their own family members, communities and people from differing communities with the aim of providing a platform to share and understand ‘the others’ perspective as well as recognising commonalities of experience. The project is designed to help families talk about the past, by passing their memories onto the third generation of children who have never experienced the Troubles. This is not a straight forward matter of storytelling, as the nominated family member (actor) steps into their grandparent / parent (director / memory holder) shoes. They have to situate themselves within a time period in which the original memory occurred. The child also has to understand their senior family member’s perspective and context in which the memory is situated. This is a two way process, the director / memory holder has to visualize and tell their story to communicate the emotion and feelings they experienced when the memory occurred. This communicative act is vital in making the experience real for the grandchild, helping them to understand and project, feelings and experiences they may not know anything about. The chain reaction is the opportunity for discussion about memories that may have been repressed or forgotten. The grandparents / parents are helping the third generation to ‘walk in their shoes’. Repressing feelings and memories is not unique to families of political ex-prisoners, other families such as families of army personnel, police personnel and prison officers learned to suffer in silence. This methodology offers an opportunity to enable families regardless of political persuasion or occupation to talk about the past in a creative and thought provoking manner. It provides an opportunity not only for the participants in the process but for the spectator, to see beyond the headlines of the past. The exhibition offers an opportunity to ‘walk in their shoes’ and experience their experiences, to encourage understanding and healing, peace and reconciliation. ‘If her past were your past, her pain your pain, her level of consciousness your level of consciousness, you would think and act exactly as she does. With this realisation comes forgiveness, compassion and peace’ (Stillness Speaks, Eckhart Toolle, 2003). Geraldine Gallagher I am a graphic designer and photographer with a particular interest in representation and storytelling in all its forms. I began my research in 2009 into possible methodologies to ‘unlock memory’ as a tool to retell and relive experiences that are personal as well as collective.
Examples of Practice
‘The List’
‘My life according to the Troubles/War’
The practice element of my research resulted in two additional pieces of art practice which contributed to this final exhibition. ‘The List’ was a collaboration between myself and Donna, the first project participant. We reenacted the making and preparation of a parcel which ruled each week of her life, since the age of 15 it was spent preparing for the next week, she served a ‘life sentence’ of parcel making. ‘My life According to the Troubles/War’, was a process which used photographs from the family album to map women’s lives throughout the period called the Troubles/War. The project contrasted the women’s personal photographs with elements of culture such as popular television programmes, news items and music of the day. This process helped the women to situate themselves within a particular timeframe, helping them to remember the past. Kuhn (1995) states that ‘memory is partial. Things get forgotten, misremembered, repressed’ (cited in Radstone, 2000, p.184). Kuhn acknowledged the painful process of remembering, ‘ordering and organising’ but also states that the rescuing of memory is cathartic, that ‘wounds of the past can be healed in the very activity of rescuing memory from the oblivion of forgetfulness and repression’ (ibid). Remembering enabled the women to tell their story from their perspective. They saw the potential of the books to pass on their legacy of the past to a generation who knew little of their context.
The memory giver/director
Donna
I am the wife of a Republican prisoner. We met when we were both 18, a few weeks before he was arrested. We got engaged in Crumlin Road Gaol, 4 months before he received a life sentence and married in 1985 in Long Kesh. My husband served almost 12 years in prison before being released on license. We have been together 34 years, now as a married couple for 27 years and we have 3 daughters.
The Workshops
I feel the workshop brought information and clarity to my daughter who portrayed my memory. Although aware of her father’s past, she had no understanding of the climate and turmoil of those days and how families struggled to maintain relationships inside and outside prison. The workshops brought back many memories including the bus journey to visits, but in particular revisiting the area I lived in. On a dark, windy day, going on a visit and how depressing it all was.
The actors
Oonagh
Although my mummy and daddy have always been open with me about my daddy’s time in gaol, I feel this experience has allowed me to get a proper insight to the struggles they faced during the Troubles; for my mummy trying to ensure my daddy always had what he needed and for my daddy being away from his family for such a long time. I feel that when reminiscing with us, the stories seemed quite played down although I have recently learned that things were much harder than they seemed both inside and outside the gaol walls.
Mark
I found it eerie sitting in the cell. It was hard to imagine what it was like for someone so young being locked up and staring at the same four walls. I felt an extraordinary sense of loneliness sitting in a cell with nothing but a bible. Knowing that your family are so close yet so far away on Christmas Day would have been unbearable. It was a unique experience to understand an individual’s circumstances and story.
Start of a long day visiting, be dark again when I get home
‘Leaving for a visit on a dark winter’s morning after a ½ mile walk, no public transport, heavy wood and I know it will be just as dark by the time I get home again’.
This is a photographic reenactment of a prison visit during the 1980’s by Oonagh, Donna’s daughter.
Christmas Day on the Boards 1978
‘Sitting alone over
Christmas wondering or fearing how he is surviving his first Christmas away from home, in solitary confinement and at an anxious time’.
(a screw had just been shot and he is at their mercy).
This is a photographic reenactment of a prison experience 1978 by Mark, a family friend.
Christmas Day alone with thoughts of you 1978
This is a photographic reenactment of a period over Christmas 1978 by Oonagh, Donna’s daughter.
The memory giver/director
Rosemary
My role was a person who visited the prison, for political prisoners that had no other visitors because of not having any family.
The Workshops
The workshop brought up so many memories. I have many memories and accounts that are etched on my mind that I find it very hard to forget. The actor
Sarah
‘It was shocking to hear personal memories of the Troubles rather than generic ones that have been retold too many times. It was complicated playing someone else, when I have no memories that were any way similar to Rosemary’s. I feel that this programme is beneficial to both the younger and older generations, as it allows the older generation to express their emotions over things that have happened in the past and allows the younger generation to learn more about their background and history’.
The Curfew ‘I was 20 years old when I took part in the march that broke the Falls Curfew. We took bread and food for the people of the Falls. There were hundreds of women with children in prams, all the way down the road, people fell in and joined the march. The soldiers were billeted in St Joseph’s primary school in Slate Street. My memory is they came rushing out to us. I had an aunt who lived on the corner; I remember thinking to myself if anything happens I will run into my aunt Mary’s house. We pushed forward and the Brits all came running out; we took them by surprise, some of them were half dressed. We were pushing, they were pushing us back. It was very very scary, they were prepared to hurt us. There was all kinds of fisticuffs going on. This soldier came out and he was obviously an officer because he restored calm. He had shaving foam on his face and he had no shirt on. A lot of people were hurt and were lying on the side of the road. It was like a battle when one line fell, another group of women pushed forward and we were pulled to our feet to keep moving forward. I had clumps of my hair pulled out. But the women forced forward and we won, we got through. That was my first introduction to protest, and that was me hooked!’ This is a photographic reenactment of the Fall’s Curfew in July 1970, by a community member and Jacqui who was a member of the workshop group.
Before the prison visit waiting for the transport
‘Waiting to get on the bus to go to Long Kesh for a visit. We are excited at the prospect of seeing our loved ones. I shared with the other women on the bus our experiences of the week, things like British army house raids at 4 a.m., problems with my children, debt, all the things we wouldn’t tell our partners in prison.’
This is a photographic reenactment of a prison visit during the 1980’s by recreated by members of the workshop group
On the mini Bus coming home after the prison visit
‘All has gone quiet on the minibus home, everybody alone with their thoughts on how the visits went’.
This is a photographic reenactment of a prison visit during the 1980’s by recreated by members of the workshop group.
The memory giver/director
Jacqui
I am the daughter of a political prisoner and IRA volunteer who died on active service 11 months after being released from Long Kesh. My dad was a cabaret singer, our whole family took part in this reenactment, even my father is present through his singing voice. My communion day was one of my happiest visits because it was a special day and he was able to see me in my communion dress which my mummy made me, I could see he was very proud.
The Workshops
I feel the workshops gives families of ex-political prisoners a voice. While working on my memories the special visit I had to visit my dad in prison on the day of my first communion was important to me. The actors
Mary
I felt really sad playing Jacqui. It was awful to think that Jacqui’s dad was in prison and if it was my dad I just could not have imagined it. I felt the whole reenacting process was really good, I got to learn about my families past.
John
I felt proud to walk in my father’s shoes. Wearing his jumper and his wedding ring made me feel very nostalgic.
The Death of Bobby
‘On the night of Bobby Sands’s death I was sixteen, sitting in my bedroom waiting on the news, it was deathly quiet on the road. I could hear Bingo Campbell shouting ‘he’s dead, he’s dead’ and then I heard the air raid siren. I immediately felt angry and panicked, I ran down stairs and lifted a pot lid and rushed outside and started banging the wall, shouting ‘everybody out Bobby Sands is dead’. I felt as if I’d lost an older brother. The road erupted, between bin lids rattling and rosaries being said, there was a feeling of immense sorrow. Eventually I looked down and realised I was in my nightie and bare feet’.
This is a photographic reenactment of the death of Bobby Sands on the 5th May 1981, recreated by Mary, Jacqui’s cousin.
First holy communion
‘Even though my daddy was in prison, the sun was shining, my mummy was looking beautiful in her big picture hat and I was so happy to be there’.
This is a photographic reenactment of a prison visit during 1973 by recreated by members of Jacqui’s family, her brother John, her cousin Mary and herself playing her mother.
Ria
The memory giver/director
I am a political prisoner’s wife, I brought my five children up on my own with the help of my family, we also lived within a very close community, where most of our neighbours had someone in prison. I am from a Republican family.
The Workshops
I feel the workshops helped to tell a bit of the story of the families of political prisoners, how they coped and just carried on. I talked to my grandchildren about ‘The Curfew’ they went to see the play that my daughter wrote, they said granny, ‘was that made up?’
Orla
It felt sad to be my mummy, I had a sense of what she was going through at the time. I myself am The actors
expecting a baby and my maternal instincts set in. I was shocked and upset that my mum could be treated that way. It showed me how strong she was.
Mary
I felt really scared, the noise of the glass breaking and the sounds made me feel confused and I didn’t know what was going on. The situation seemed so unreal, it was beyond my imagination. I couldn’t believe that this was happening in my community.
Colin
Playing a British soldier was an interesting if uncomfortable experience. I was brought up in Birmingham as Irish by my parents. My siblings and I were raised to be proud of our Irish Catholic background and I have always defined myself through that lens. Being asked to speak the lines attributed to a British soldier was a strange experience. There I am, standing in a living room in Protestant East Belfast speaking the words of a soldier when I identify more with the situation of the woman in the piece. It did make me think again of who I think I am and how I affect others around me and also how the sound of my voice, something I have little control over, might trigger all kinds of emotional responses in others.
The children’s christmas Visit
This is a photographic reenactment of a prison visit during Christmas 1975 by recreated by members of Ria’s family, her daughters Orla and Michelle, and herself playing her mother.
The Raid
‘This was the flag, beret and gloves that were drapped on my husband’s coffin. It was folded and presented to me. I got it framed as a reminder of my husband, they were gonna take him away’. This is a photographic reenactment of a house raid during 1985 by recreated by members of Ria’s family, her niece Mary, her daughter Michelle and Ria playing herself. The soldier was played by a friend of the facilitator.
The memory giver/director
Michelle
I am the daughter of a political prisoner, I am the mother of four children. I was arrested when I was sixteen and brought up to Castlereagh, it effected me badly, until I got older and realised I was not alone, it was an every day occurrence in our community.
The Workshops
The workshops brought up a lot of memories that I thought didn’t effect me. It triggered a lot of mixed feelings from happiness to sadness.
The actor
Oonagh
Sitting in the cell in almost complete darkness I felt isolated, I could imagine my daddy who wasn’t much older than me spending night after night inside the same four walls, with just a bed, which was taken out during the day. It made me feel quite upset thinking of how alone he must have felt on a daily basis but especially on birthdays and at Christmas.
Sweet sixteen
‘I was arrested and my mum went with me for support because I was under age. When we arrived at Castlereagh they arrested her too. She sang this song to me to let me know she was nearby.’
This is a photographic reenactment of an arrest in 1985 by recreated by a member of the workshop Oonagh.
Slipper arrest
‘When you were arrested prisoners had to leave their shoes outside, I was still in my slippers’.
This is a photographic reenactment of an arrest in 1985 experienced by Michelle.
Special Thanks Special thanks goes to Donna for stepping out of the ‘sea’ of male faces and changing my perspective forever. I would also like to thank Ria and Jacqui and their family who have stayed the course through out this collaboration and given me their full support. I appreciate their faith in me. Rosemary has also stuck with me despite the personal challenges she has endured since we first met, our time together recovering old memories and films is one I will never forget. Michelle was a late comer to proceedings but has been a bonus to our collaboration, turning up each week, becoming a British soldier, and a prison officer. To Mary who had to do loads of embarrassing things in the street with a pot lid in her nightie, thank you, and her friends who didn’t know that the bin lid had to be rattled on the floor and not on the wall, thank you for participating. To the professional army and police actors, thank you for putting up with all the abuse. John who turned up many times to be his father, thank you for your patience. Oonagh was a model actor who very graciously endured the rain and the wind after a long tiring day at work, thank you. Mark who got his lovely white socks dirty for the cause, thank you. Gearoidin, thank you for your haunting voice, and becoming your granny’s voice. To Orla, Ria’s daughter who brilliantly played her mother, thank you, the shock on your face said it all. My daughter Sarah stepped in to become Rosemary’s actor, making it a true family affair, it has been a pleasure to have her among us and to share in my work, thank you for saving the day! To Phil who jumped in at the last minute to do the sound recording for the Curfew, thank you. My long suffering wife Orla, also played a hand in this collaboration, she helped with the workshops, but oh so much more, listening to my endless worries, trials and tribulations throughout this long process called the Phd journey, I am forever indebted and grateful to her for her support. Tar Anall have supported me, in finding my participants for this research, but more than that, they have went beyond the pale in supplying me with a room to hold the workshops and doing over time to be there to lock up long after everyone had gone home. This research would not have been possible with out their full support, thank you. The Derry Playhouse, ICAN and Elaine Forde in particular have been a god send, when I could find no organisation to back this project, she listened, and felt it was worthwhile. This exhibition would not have been possible without their support, thank you. And last but not least Cherie Driver who has convinced, cajoled and pushed me through this process, to make it a viable Phd, thank you. Thank you to the panelists who have given their time.
ICAN is a three year project which has been part-financed by the European Union’s Regional Development fund through EU Programme for Peace and Reconciliation (PEACE III) managed through Special EU Programmes Body.