Women Impressionists GUIDE
Eavan O'Keeffe explores the female artists being brought out of the 'dusty shadows' into the clarifying light at the National Gallery's 150th anniversary of the impressionist movement.
Dublin Fringe Festival Magic Mike
Who needs a brochure when Dublin newcomers have Aoife Bennett to guide them through the Fringe Festival? page 4»
What does a sanitised sex film bring to light about our current crisis in masculinity? Eve Smith argues quite a lot. page 10»
Our pick of Dublin’s society, art, life and culture events.
Literature
International Dublin Writers Festival
Academy Plaza Hotel
September 20-22
Since 2015, the International Dublin Writers Festival has welcomed writers of all ages and skill levels to connect with one another and improve their craft. Whether that craft is non-fiction, fiction, or poetry, the Festival hosts a range of guest speakers and experts. From writing workshops to publishing seminars, there is something for each and every writer. It’s an excellent opportunity to connect with fellow writers and learn about upcoming writing events. The Festival begins on September 20 and continues through the weekend to September 22. Tickets are available for a single day or the entire weekend.
Fashion
Clothes Swap Pop Up & Talk
DLR Lexicon, Haigh Terrace, Dún Laoghaire
Saturday 28th September, 10am-1pm
Ready to refresh your wardrobe sustainably? Join the movement for fresh, eco-friendly fashion at the Clothes Swap & Talk hosted by DLR Lexicon and the Sustainable Life School during the UN Sustainable Goals Week. This event begins with an insightful 30- minute talk on the future of fashion, before a fun clothes swap. Short for time? Simply donate up to three good-quality clothing items and exchange them for tokens to refresh your wardrobe sustainably!
Le Zeitgeist Flea Market
Dive head first into rails upon rails of vintage and small local designer garments, endless buckets of preloved and handmade accessories, sprawling tables of trinkets and boxes-as-big-as-you of vinyls.
Le Zeitgeist Flea Market offers all of this and more, with food, music and an energetic crowd, all to make for one of Dublin’s most superb days out. This Aladdin’s cave takes place on one Sunday every month in one of Dublin’s most vibrant and trendy neighbourhoods, Phibsborough, Dublin 7. Stay tuned on their Instagram @lezeitgeistfleamarket where the date of the next Sunday market will be announced!
Screening of Interstellar Light House Cinema
21 Sep 20:30, 26 Sep 14:30
Christopher Nolan’s 2014 film Interstellar returns to the big screen for its 10th anniversary. The recipient of an Academy Award for Best
Visual Effects, Interstellar is, like most of Nolan’s films, best enjoyed in a theatre. Set in a future where humans face extinction, the film follows Joseph Cooper, played by Matthew McConaughey, as NASA singles him out to save the human population. Watching Interstellar in a theatre ensures you experience it as it was intended. The Light House Cinema offers a student discount for all films at € 12.
Screening of Paul McCartney and Wings One Hand Clapping Light House Cinema
26 Sep 19:00, 29 Sep 15:00 For a limited time, the Light House Cinema screens the highly anticipated rockumentary Paul McCartney and Wings. Filmed over four days in 1974, the documentary follows Paul McCartney and his band ‘Wings’ as they record sessions together for a live album. This is the first time the documentary is released in theatres, and it will be accompanied by a recorded introduction by McCartney himself. The Light House Cinema advises pre-booking on their website. Student tickets are € 12.
IFI Documentary Festival 2024
Irish Film Institute
25-29 Sep
Mildred Anne Butler was one of Ireland’s first professional women artists whose paintings sold widely, and for good reason. Her enchantingly evocative way of rendering nature strikes new perspective into the viewer. Walking away from her paintings the world does not look so ordinary. She reminds us to look for the magic in the mundane, like transforming crows sitting in a tree at dusk into an image that seems to blur the lines between this world and the Otherworld. This exhibition will be running from the 14th of September to the 5th of January during the hours the National Gallery is open.
Art & Design Sundays at Noon in the Hugh Lane Gallery Hugh Lane Gallery, Every Sunday, Noon
The Hugh Lane Gallery is now hosting classical concerts in its Sculpture Hall throughout Sep-
Theatre
Lourdes! The Musical Project Arts Centre, 4th October 1pm
A free, but ticketed, production from Dublin Theatre Festival! The sixty minute musical is a queer coming-of-age production that suggests pop music is the answer to it all. The musical is written by Xnthony and Ódú, award-winning writers of Oliver Cromwell is Really Very Sorry, and follows the story of ‘young, gay culchie’ Matthew and other Roscommon pilgrims on their trip to Lourdes. You can book tickets via the Dublin Theatre Festival website.
Grania
The Abbey Theatre
21st September to 26th October
The first ever production of Lady Gregory’s 1912 play Grania at the Abbey Theatre! Director Caitríona McLaughlin is reimagining the story of Finn, Diarmuid and Grania (an Anglicised version of Gráinne) for 2024. Lady Gregory founded the Abbey and her works and activities set the scene for Irish theatre in the 20th century. Grania, seeped in folklore and richly lyrical, is a production not to be missed.
might be an ideal opener for attending Brian Friel’s masterpiece. Agreement
Gate Theatre, 27th September-27th October
Following a sellout run at the Lyric Theatre Belfast, Owen McCafferty’s Agreement will run for a month as part of this year’s Dublin Theatre Festival. The political drama revisits the days leading up to the signing of the Good Friday Agreement with the actors brilliantly embodying key players including John Hume, Mo Mowlam and Gerry Adams. First produced as part of the 25th anniversary of the Good Friday Agreement, this new play went on to win three Broadway World Ireland Awards. Tickets are available from €16 via Dublin Theatre Festival.
Dublin’s Older Theatre History Tour: A Walking Tour
1st-8th October
DEPUTY EDITOR Molly Wetsch
The seagulls are squawking, the sun is (sometimes) shining, the queue to enter the Pav extends as far as the formerly-known-as Berkeley… have we ever been more back?
As we enter the new academic year, we are also catapulted into a new year of Radius There’s a lot to catch up on in the bustling world of arts and culture: the Dublin Fringe is back and better than ever, sports (and threesomes) are in at the cinemas and I’m nearly 100%
certain that a certain sect of arts block students will be wearing actual underwear to college before the year is done.
Though you may be missing the dog days of now-deceased brat summer, it is unfortunately September, which means hitting the books; though not quite yet. We still have a long and filthy Freshers Week ahead of us.
Never mind all that, though. It’s time to start looking forward to what Radius has for the year ahead. We have a fantastic, shiny new masthead ready to report on all things arts, culture, and life. If you ask me, it’s going to be our best year yet.
I’m so proud of how this first issue has
come together: we have some great stories from Theatre Editor Aoife Bennett on the Fringe, Fashion Editor Clara Potts in conversation with Amie Egan, and contributing writer Eavan O’Keeffe on the Women Impressionists exhibit at the National Gallery… and more! Get excited, and if you want to read more about those threesomes, turn to page ten.
Your Week Ahead
Our Pick of Events Around Trinity This Week
TUESDAY
"BOJAGI" Korean Wrapping Art, FSTEM Conference Room, 1st Floor, Hamilton Building, September 17, 18:30-19:30
Trinity Fashion in the Movies
“TThe Irish Film Institute is putting on its annual documentary festival this September, screening a number of Irish and international documentaries. Featured documentaries include Us, Our Pets and the War, directed by Anton Ptushkin, which documents the efforts of Ukrainians to rescue animals left behind as a result of Russia’s invasion, and No Other Land, which follows Palestinian activist Basel Adra and Israeli journalist Yuval, who observe Israel’s occupation of the West Bank through different lenses. Many documentaries will be accompanied by Q&As afterwards. A full schedule can be found on the IFI website. A bundle of five documentary screenings can be purchased for € 55.
Art & Design
Mildred Anne Butler:
tember. On September 22nd Macdara Ó Seireadáin and Gintaras Januševičius will perform on the clarinet and piano respectively. They have composed a beautiful arrangement of pieces, some of which will pay homage to their homelands. Within the Sculpture Hall’s pillars, the audience are sure to find themselves profoundly moved. Tickets are available starting Monday the 16th of September and are free, though it is important to book.
Art & Design Paint with Coffee
This Must Be The Place, 25th September, 6:30pm
This Must Be The Place regularly hosts interesting and fun events, and this one will be no different. Tickets are about 22 euros and tea and biscuits will be included. For those who attend they will be given step by step instructions for how to paint a picture using coffee, which is sure to result in something very interesting, though the process will likely be very fun. It's a chance to explore a unique medium for art and maybe even discover something you like doing at home. Attendees are told to expect chill music, and the event will run for two hours.
Culture Night: Behind the Scenes at the Gate
The Gate, 20th September
Culture Night 2024, an annual, all-island public event, is taking place this year on Friday, September 20th, with a range of events celebrating the arts taking place all over Dublin. For theatre lovers, the Gate is giving a tour behind the scenes throughout the afternoon, where attendees can meet members of the technical, production and front-of-house teams. With the penultimate performance of Dancing at Lughnasa taking place on the stage that evening, the tour
As part of this year’s Dublin Theatre Festival they will be holding a guided, morning walking tour through Dublin to explore the history of theatre throughout the city and the key role it has played in the politics of the past. Stopping at sites such as Dublin Castle and Smock Alley Theatre the tour is estimated to last 1hr 45mins. Tickets for students are available from €14.
his year in Trinity is going to be like a movie,” said a mate of mine recently. As we approach the commencement of yet another academic year, this got me thinking of the many souls who, rightly so, meander across Front Square, feeling like they’re the main character in their own movie, with Trinity as the movie’s setting. (Yes, I am indeed talking to you, don’t even try to deny it.) think everyone is guilty of this feeling at times; I’ll admit at least that I am (only on very rare occasion, of course.) It’s somewhat of a guilty pleasure. And can you blame us for thinking we’re the main characters in our own rom-coms? Hardly, when you look at the beautiful architecture and green spaces which make up Trinity’s breathtaking campus. So it is therefore no wonder that through the years, Trinity has proved time and time again to be such a popular set, being used to film many renowned movie classics. So bearing all of this in mind, I felt it only right that as we, the Trinity divas, live out our main character movie plots on our stunning campus, we might also take a moment to reflect on how the fictional on screen main characters of these movies are seen to do much of the same. How do they, like us, strut across campus? Or, more poignantly, what exactly do they strut in?
Let us take a journey through cinema, fashion and time, starting at the very beginning, a very good place to start; Circle of Friends. Although released in 1995, the movie is set in 1950s Ireland. For anyone not familiar with this movie, please do yourself a favour and get familiar. Minnie Driver plays the adorable Bennie, who appears throughout the movie in equally as adorable clothing.Think big jumpers and woollen coats; both pieces which aren’t unseen on campus today. Her glamorous friend Nan is seen to wear elegant pieces such as her staple lilac chiffon shirt; you just know she would’ve been the resident Arts Block head-turner.
interest, the heartthrob medical student Jack Foley goes a step further, dressing to strut to the Hamilton building in a shirt, tie and trench coat which make him look more suited to actually be exiting through the nearest gate, off campus and into a
And can you blame us for thinking we’re the main characters in our own romcoms? Hardly, when you look at the beautiful architecture and green spaces which make up Trinity’s breathtaking campus.
surrounding office. Admittedly this is a look not so often found in Trinity today, although saying that, I was once at a house party and noticed an individual, who I assume was a fellow Trinity student, wearing much of the same attire as Jack. Only, this individual actually went a step further again, topping it all off with what I like to call ‘James Joyce glasses’ and of course, a smoking pipe. It is worth noting that this party didn’t even take place on Bloomsday either. So Trinity. Now let us continue on our journey, on to the fashion seen on campus in the 1970s, specifically as seen through
the brilliant ‘Educating Rita’. Here, one suddenly notices colour beginning to pop out of the screen. Think campus filled with bright green trousers and pink tops; much like it still is today. Though the attire which really struck me specifically in this movie was, in fact, the footwear. The movie’s leading lady, Rita herself, made it her mission to strut across Front Square in an even more sassy manner than us divas could ever even dream of doing, and more impressively yet; in heels. Yes, admittedly, when watching the movie, it is quite obvious that she is struggling in her pursuit as she falls and stumbles over the cobblestones. Yet one must ask oneself, is she really struggling any more than the many romper-stomper enthusiasts we see who scatter themselves in every corner throughout campus today? In saying this, am of course referring to campus’s many Doc Martens fans. (No offence implied here, please don’t squash me with your leather weapons, I beg!)
With that I‘d best run on, and so I shall leave you with my best wishes for the upcoming academic year; may your days be as bright as your sambas and your spirits as high as your heels. Whatever your footwear of choice and whatever the year ahead may bring, remember always to just keep on strutting your stuff.
A special culture night welcomes all Trinity students and staff to celebrate the spirit of Chuseok, Korea's harvest festival. Traditional Bojagi is the art of fabric wrapping and symbolises gratitude and good fortune. Chuseok, also embodies both of these values, as it is a time for families to come together, celebrate the abundant harvest, and give thanks to their ancestors. In this event, participants will learn the art of Bojagi and its connection to Chuseok through storytelling.
WEDNESDAY
Free Yoga Morning,
Lawn outside the GMB, September 18, 10:00
Join the Yoga Soc and Phil Maidens to take a mindful break from the stressful return to classes with a free yoga class. Everyone is welcome to take part in this special yoga led by Yoga Soc’s Astrid. Be sure to sign up via the FIXR link in their Instagram bio ahead of time. Lastly, no mat is required, but if you’d prefer to bring your own that’s entirely welcome too. Enjoy a bit of the September sun and take a breather during the back to college season.
THURSDAY
The Phil & DU Players host “This House Would Wait for Marriage,” GMB, 19th September The Philosophical Society is collaborating with DU Players for a highly-anticipated debate of the claim “This House Would Wait for Marriage.” The event will take place in the GMB in the traditional style of a Phil debate, but with guest speakers from DU Players to add a fresh perspective. Any and all members of both the Phil and DU Players societies can step in to watch the timely social discussion.
NEXT WEEK
European Researcher’s Night, TCD Campus September 23-27
Trinity will be hosting part of the European Researcher’s Night, which brings together the public and researchers in a unique way, allowing for an interactive environment that supports critical thinking and engaging debates. In partnership with ADAPT and RCSI, Trinity will host a multitude of events across campus to spark conversations about research and its place in our daily lives. Right as students enter campus, the Research Village will be front and centre. From 2pm to 8pm each weekday, there will be tents in Front Square with different hands-on activities about everything from microbiome research to historical manuscripts. In the Long Room Hub, the The Trinity Arts and Humanities Research Festival will also be taking place all week. The week culminates on Friday, September 27 with the official European Researcher’s Night.
Eloise Sherrard
Bennie’s love
EDUCATING RITA, LEWIS GILBERT, 1983
A Guide to Dublin Fringe Festival
All you need to know about this years Fringe from the people that make it happen.
This year’s Dublin Fringe Festival is celebrating 30 years of showcasing live theatre, music, and dance across Dublin city. With an impressive 75 shows across 29 venues ready to take to the stage, it can be hard to know where to start. I chatted with members of this year’s Fringe Team to get their advice on how to get the most out of this year’s Fringe festival and found out what shows you mustn’t miss!
Executive Director, Elissavet Chatzinota, who first got involved with the Fringe as a volunteer back in 2015, now works closely with the Festival Director on steering the organisation. Chatzinota explains she “works to ensure artists have the support they need to create and engage with the audiences and that the audiences have access to the innovative work being made by the artists.” From her experience with the Fringe, she offers two top tips to help you get the most out of this year’s festival: Firstly, “Fringe is not just a festival, it’s a community, a family. Choose your shows and get to the venue or meeting point. Even if you book a single ticket, you will never be alone. Talk to our volunteers (they love that!), talk to your fellow audience members, talk to the artists themselves, talk to our team. Performing art is made to be consumed by a group. Be part of the group. Be part of the experience. Find out where people are going next, get to the next show with them, grab a pint, talk to a stranger in the foyer. Don’t be shy! We are all there to be part of it.” Secondly, she advises, “Get your hands on our brochure. never go anywhere without my brochure! Grab one (you can find them at the venues, around the city and in our HQ since the launch), get a glass of wine, make your itinerary, book your tickets and then put it in your bag. It serves as an ice breaker, friend maker, companion finder, ticket holder, cheat sheet, notebook, phonebook and of course your personal agenda for the days of the festival. And you never know, you might finish that work meeting a bit earlier and actually be able to squeeze another show in! It would be a pity not to have all the info in
Scannan Kneecap
Assistant Box Office Manager, Jack Quinn, fell in love with the Fringe in 2022 on a study abroad trip. Originally from Philadelphia, Jack moved to Dublin after he graduated just in time to work in the box office for the 2023 festival. With 29 venues at this year’s Fringe, Jack revealed the Smock Alley Theatre, both the main space and boys school, come out on top for him as “gorgeous and intimate places to see any show.”
“ Fringe is not just a festival, it's a community, a family. "
Jack, when asked about what people may not know about the Fringe gave us some helpful advice: “Just because shows are listed as sold out, doesn’t mean more tickets won’t become available later! If you email the box office with your name and phone number we can add you to the waiting list. Most of the time more tickets become available the day before the show so don’t be scared to add your name to the waitlist if a show you really want
to see is sold out!”
Finally, I spoke with David Francis Moore, the Festival Director. Moore first got involved in the Fringe when he was creating work using the Fringe Lab, the festival’s year-round art support and development hub for artists to create and rehearse work. Moore then formally joined the Fringe last May as Festival Director. Moore explains his role as Festival Director as being, “responsible both for the artistic policy and the strategic development of the organisation.” When asked what he was most looking forward to at this year’s Fringe Moore noted that “the thing about Dublin Fringe Festival is that it’s so vast and epic” and they’ve “a really exciting line-up of shows across comedy, theatre, dance, music.” Moore singled out some performances he was particularly excited for that I’ll leave you with:
Illness as Metaphor, Dead Centre
7th-14th @ Project Arts Centre - Space Upstairs
A piece based on the book by Susan Sontag of the same name. The work merges Susan Sontag’s writing on illness and how we as a society think of illness with personal testimonies from both performers and non-performers.
Television, SexyTadgh 6-13th September @ Project Arts Centre Cube
With Moore describing Tadgh as “the rising star of music and cabaret” their show looks at how Television culture has influenced who we are as a society. A live cab-
aret that Moore promises to be an “absolute banger of a show”.
A night with Wee Daniel, Aoife Sweeney O’Connor 18th- 21st September @ Bewley’s Café Theatre
One of Dublin Fringe’s resident artists and co-founder of Egg Cabaret, their show is an absurdist autobiographical cabaret that looks at the lived queer experience of growing up in rural Ireland, and their unironic obsession with Daniel O’Donnell.
Trouble Denim, Shane Daniel Byrne 12th-14th September @ Dublin CastleChapel Royal
Award winning comedian Shane Daniel Byrne is back after his sold out debut run at last year’s Dublin Fringe for a new comedy show about Jeans, Jackets and Jesus Christ.
Rosin El Cherif 17th September @ Project Arts Centre - Cube
An Irish Palestinian artist from Galway, creating a multidisciplinary work for the Project Cube. The show brings together El Cherif’s music with spoken word, poetry, and film examining her shared Irish and Palestinian Heritage and how they come together. The event is presented in aid of the Palestinian Children Relief Fund.
From Dublin to Venice’s Biennale: Behind the Brilliance of Irish Designer Amie Egan
Clara Potts
Nuair a smaoiníonn
tú faoi na meáin nó ábhair as Gaeilge, cad a thagann chun cuimhne?
Smaoineodh beagnach gach duine ar na dánta, leabhair, nó gearrscannáin a rinne siad staidéar orthu don Ardteist nó don Teastas Sóisearach. Na príomhthéamaí ag fórmhór na bpíosaí seo ná téamaí ar nós grá, nó nádúr, agus ní minic a phléitear téamaí cosúil le drugaí, ógmheiscúilacht, nó caidreamh collaí. Bhfuel, sin go díreach na téamaí a phléitear sa scannán nua Gaelach ‘Kneecap’.
Achoimre Ghearr
Tá an scannán, stiúrtha ag Rich Peppiatt, lonnaithe mBéal Feirste, agus insítear scéal an bhanna ceoil chonspóidigh ‘Kneecap’ agus a n-ardú chun cinn. Déannan an scannán plé ar shaincheisteanna agus topaicí tromchúiseacha cosúil leis ‘na Triobólidí’, cóilíneachas, foréigean agus teannas polaitiúil, ach pléitear iad mbealach gairsiúil agus dána. Is poblachtánaigh bhródúla iad baill an bhanna, agus is iad frith-chóilíneachas agus frith riail na Breataine príomhthéamaí formhór na h-amhrán. Ni haingil iad baill an bhanna, ‘Móglaí Bap’, ‘Mo Chara’, agus ‘DJ Próvaí’ agus is minic a feictear iad ag baint úsáide as substaintí mídleathacha ar stáitse, agus bíonn a gcuid amhrán lán le teanga gharbh agus liricí foréigneacha, ag spioca as na Breatanaigh. Bealach Éagsúil an Ghaeilge a Chur Chun Cinn
Mar a luadh cheana, is scannán Gaelach é ‘Kneecap’, ach is a mhalairt go hiomlán é ó na meáin thraidisúinta Ghaelacha. Sa scannán, úsáidtear an stíl beathaisnéise ceoil, stíl atá le braith i scannán ar nós ‘8 Mile’ nó ‘Straight Outta Compton’. Ciallaíonn sé sin go n-úsáidtear an ceol chun iniúchadh a dhéanamh ar théamaí éirí amach agus réabhlóide.
Chun an teanga a chur chun cinn, caithfidh muid smaoineamh faoin nGaeilge mar theanga labhartha, agus ní mar ábhar scoile. Cén maitheas é teanga mura bpléitear ach gnáth-téamaí
a bhfuil leagtha amach ar churaclam scoile, gan plé a dhéanamh ar théamaí conspóideacha, topaiciúla, nó fiú dána agus mí-oiriúnacha?
Gan amhras, is bealach éagsúil agus éifeachtach é an scannán seo chun an Ghaeilge a chur chun cinn. Is léir nach raibh aon eagla ar na scríbhneoirí an Ghaeilge a úsáid chun na topaicí agus téamaí teibí atá ann a léiriú, téamaí a phléitear as Béarla go minic scannáin cosúil le ‘8 Mile’ nó ‘Straight Outta Compton’, mar a luadh cheanna. Léiríonn an scánnán seo an deis atá ag na meáin chun a bheith misniúl lena n-ábhair trí Ghaeilge –chun scaradh ón sean-scéal Gaelach agus breathnú ar scéalta an lae inniu, scéalta atá casta, achrannacha agus pearsanta. Léarmheas agus Moladh Molaim an scannán seo go h-ard na spéire, ní hamháin do Ghaelgeoirí, ach d’aon duine atá suim acu i gcultúr agus stair na hÉireann, nó sa scannánaíocht go ginearálta. Bhí gach rud, ón aisteoireacht go dtí tairgeadh an scannáin ar feabhas. Tá sé lán le greann, íoróin agus dráma (agus roinnt teanga gharbh agus radharcanna mí-óiriúnacha ar ndóigh!). Ní hamháin gur líon an scannán seo mé le bród do mo theanga, ach bhí mé freisin ag briseadh mo chroí ag gáireadh. Ceapaim gur coischéim thábhachtach an scannán seo, i dtreo meoin dhifriúil faoin nGaeilge. Tá mé ag súil leis an todhchaí, ina mbeidh neart scannáin eile ann as Gaeilge, a gcaithfidh súil iontu ar topaicí agus téamaí reatha eile a bhfuil, coinspóideach agus i mbéal an phobail.
Amie Egan, Irish fashion and costume designer, has left her mark in the creative hubs of Dublin, London, and New York after recently partnering with creatives such as Isadora Epstein, Frank Sweeney, Eimear Walshe, and Sonia Shiel.
Her signature? A fusion of visual art and fashion. Renowned for her handcrafted outerwear that captures the shifting rhythms of Irish nature and weather, Egan’s pieces have recently graced the shelves of prestigious stores such as Brown Thomas and Fabiani Boutique, establishing their place in a new home that allows them to captivate and inspire.
Having recently designed costumes for Eimear Walshe and Sarag Greavu’s Installation, ‘Romantic Ireland’ at Venice Biennale this summer, how do you view the relationship between costume design and fashion design? Are there specific elements from costume design that influence your pieces?
In my work pursue two distinct avenues - my fashion brand, AMIE EGAN, and my costume design practice, where create costumes for visual art performances. Fashion design and costume design serve different purposes, they exist in different contexts and hold different values. The intentions and expectations of a customer buying a fashion garment are not the same as those of a client commissioning a bespoke costume for an art perfor-
mance. It is important to me to maintain boundaries between the two disciplines in order to preserve the integrity of each. Though approach the two disciplines separately, they naturally inform one another. My background in design and my interest in contemporary fashion continue to influence my taste and concept development. When working on a costume brief, may unconsciously approach the development process through a fashion design lens. tend to think in terms of garments, for example as did when creating a Grasshopper costume for a performance in Club Hybrid, Austria. Rather than trying to replicate the insect's features literally which could result in a laboured design - I chose to interpret the features of the grasshopper through clothing items. By creating a waistcoat, shirt, and breeches which captured the essence of the insect through colour, texture, and shape, I evoked a sense of otherworldliness that felt harmonious rather than contrived. Having said that, in some cases, the awkwardness of a costume can enhance the strangeness and humour that is required to bring the performance to life.
Researching costume projects has deepened my knowledge of historical clothing. visit museums and art galleries, which enriches my understanding of garment construction, design aesthetics, and visual culture, ultimately influencing my fashion design work.
Ireland has a rich history in theatre and performance art. [How] does this cultural backdrop influence your approach to blending costume design with contemporary fashion?
blend costume design with contemporary fashion, for example by incorporating a current shoe or makeup trend. see contemporary fashion in Ireland evolving, becoming more expressive and diverse. Today’s fashion is an eclectic blend, drawing inspiration from our cultural landscape - from traditional literature and theatre to contemporary music, film, and art. Notably, it is heavily influenced by what we see on our screens. I believe the lines are becoming increasingly blurred with the rising use of social media.
As for my own clothing brand, I aim to create something distinct from both my costume work and contemporary fashion. don’t feel the need to merge these worlds. My brand’s ethos is not theatrical; instead, focus on designing practical, functional, and relaxed clothing, drawing inspiration from traditional workwear and outerwear. I’m not heavily influenced by fleeting fashion trends; my priority is staying true to my own vision and being part of the ‘slow fashion’ movement. However, occasionally my approach to costume design influences my fashion design approach when envision a character or lifestyle for the wearer - such as the Hunter Coat or the Artist’s Smock - infusing the design with a subtle narrative.
Can you describe a project where you had to merge elements of costume design with mainstream fashion? What challenges did you encounter, and how did you overcome them?
When it comes to costume projects, I focus on interpreting the brief and artistic vision of my collaborators. The budget and time limitations of a project really influence how I approach the work. I often source materials, garments and accessories from mainstream retail stores and charity shops.
For example, the project ‘The Sun & Only’, by Isadora Epstein shown at Cork Midsummer Festival this year required colourful 80’s inspired outfits. For this sourced vintage garments which then altered to fit the cast and modified to tell the story. Items from fabric and charity shops are typically non-refundable, which can become challenging when a project evolves and the initial materials chosen no longer suit the new direction.
Costume design often requires creating garments for specific characters or narratives. How do you incorporate storytelling into your fashion pieces, and do you see your fashion designs as part of a larger narrative?
Creating a fashion collection might entail developing a theme, concept, character or narrative. The colour and fabric story, the lifestyle and environment of a wearer all contribute to the story. Where the fabric is sourced and who makes the clothes are part of the larger narrative. In today's
chaotic world, often find myself questioning whether it is still relevant and sustainable to continue creating fashion collections. believe in sourcing locally crafted materials and embrace local manufacturing. I encourage customers to support local artisans and creatives.
Do you think there is a growing trend of incorporating costume-like elements into mainstream fashion? If so, what do you believe is driving the trend?
I believe that the media and entertainment we consume through our screens have blurred the boundaries between costume and fashion, as well as between stage and reality. Platforms like TikTok, Instagram, and Pinterest significantly influence how we dress, for example the corsetry and ballet-core trends have their roots in historical dress and costume.
Social media also democratises fashion, allowing anyone to become a trendsetter and share their unique personal style with a global audience. notice people are becoming increasingly open to expressing creativity, individuality, and inclusivity through dress.
Lastly, looking forward, how do you envision the future of fashion and costume design evolving together? What innovations or changes are you most excited about?
I am interested in observing and exploring how both fashion and costume can evolve
within the circular economy. It's well-known that the fashion industry contributes significantly to overconsumption and waste.
Many fast fashion garments and costumes have a very short lifespan —they are often made from low-quality materials and are not designed with end-of-life disposal in mind, ultimately ending up in landfills. Initiatives like Circular Costume Ireland and The Abbey Theatre Costume Hire are working to address this waste within the costume industry in Ireland.
hand.”
LEAS-EAGARTHÓIR GAEILGE
Gerard Loscher FASHION EDITOR
PHOTO COURTESY OF DUBLIIN FRINGE
KNEECAP, RICH PEPPIATT, 2024
PHOTO COURTESY OF AMIE EGAN
Dancing at Lughnasa Review: How the Brilliance of Friel
Translated to Gate's Recent Revival
1930's Irish life is recreated thoughtfully in director Caroline Byrne’s emotive production.
John Garvey
When attending Gate’s production of Dancing at Lughnasa it is not hard to see why the play translated so well to English and American audiences after its opening in 1990. It was playwright Brian Friel’s most successful play, for which he earned his only Tony and Olivier awards. Though arguably Ireland’s most acclaimed playwright, some of Friel’s plays flopped when they opened overseas. For example, Faith Healer’s experimental form and The Freedom of the City’s political content were resolutely condemned by critics in America and England. Dancing at Lughnasa is less directly political and far more conventional in terms of its form, and therefore more widely accessible than some of Friel’s other works. It is a domestic drama with comic flourishes and sudden outbursts of music and dance. This production, however, does not let the play’s deeper poignancy out of its sight in its moments of humour and spectacle. The play follows five unmarried sisters over the month of August in 1936. It explores the sisters' dynamic within the household and the way that the pressures of the period affect them. Each of the sisters are brought to life brilliantly by the actors. Their apparent familiarity with one another and the accuracy of their accents make them really believable as a group of sisters. Ruth MacNeill deserves particular praise for allowing us past the
hardened exterior of Kate, the eldest, to her deeper motivations despite having limited opportunities to do so given the size of the ensemble. The play is narrated by the son of one of the sisters, Michael, who as an adult recalls these events from his childhood. The sparsely decorated stage and warm lighting gives the sense of a hazy childhood memory from which important details are irretrievable. Michael’s childhood self is an invisible presence on the stage which other actors mime with while adult Michael speaks his lines. This absence serves to constantly remind us of the fact that the play is being told through Michael’s memory rather than directly. There is a tender, nostalgic sense to the play which is strongest when Michael speaks directly to us. This
production is keenly aware of this and clearly works to give added potency to these emotions. Michael’s narrations are accompanied by traditional Irish airs that heighten our sense of his yearning for the past. Lighting works in tandem with this to remind us of the subjective quality of the narrator’s perspective. The lighting creates an orange glow on the stage that softens the scenes that occur during the past. This orange moves abruptly to a sobering blue when Michael returns us to the present. This lighting cue demonstrates the intentionality of the deployment of nostalgia as a feeling in the play.
Friel’s play feels aware of the controversy that has been stirred by depictions of the Irish countryside in the 20th century. Many Irish
writers have been accused of exaggerating the bleakness of life in the countryside, while politicians of the period tried to romanticise rural life to obscure their own failings. Despite the sense of nostalgia in the play, Dancing at Lughnasa does not romanticise Irish country life in the 1930s. The sentimentality felt in the play is for the women in Michael’s family, rather than the way of life that was had at that time. Dancing at Lughnasa straddles this line between bleak and nostalgic because there is much joy in the relationship these sisters have, not because Friel is not engaging with the darker issues which plagued women in rural Ireland at the time. Throughout the play Friel remains staunchly critical of various systems of belief and power which affected the lives of
the women in this period. The brilliance of Dancing at Lughnasa is how Friel manages to convey the bleakness and limitations of Irish life in the early 20th century for women while simultaneously portraying these women as vibrant, individual and funny. The play criticises the way Ireland’s religiously patriarchal culture limited women’s self expression. But it does not do this by staging dark scenes of women’s oppression like many other Irish works. Instead, we see characters hindered by societal pressures strive and fail to truly express themselves. The character’s are not reduced to simply being victims of oppressive systems. Instead we see through their characterization how they are oppressed, as they reach for fuller, more confident expression but are prevented by social norms. Nowhere is this more effective than in the dance sequence, from which the director Caroline Byrne and movement director Sue Mythen have mined all possible meaning. The sisters lose control to a pounding reel in a mad, uninhibited, savage dance. A moving eruption that is followed by a quiet moment of collective embarrassment once the wireless dies.
Dancing at Lughnasa runs until Saturday 21st September at the Gate Theatre, Dublin.
Weathering A New Era
In Conversation with Aoife Cronin and Lucy Bracken of Aimsir Theatre.
Earlier this year, Trinity alumnae Aoife Cronin and Lucy Bracken announced the founding of Aimsir Theatre, a new theatre company emerging from Trinity’s Drama and Theatre Studies course. They will perform their play Uncanny Valley in the Edinburgh Fringe at the end of the month, from the 19th to the 26th of August. Before the preview of Uncanny Valley in the Players Theatre on August 8th, I sat down with the founders and co-directors to talk about the play, and the opportunity that The Edinburgh Fringe provides up-and-coming creatives. So, first of all, what is Aimsir Theatre?
Lucy Bracken:
Basically, myself and Aoife decided to work together for our final year project. It was part of our grade to put on a production, so we had a lot of discussions about general dramatic things that we were interested in and we decided that we'd co-direct. Outside of directing, we both have different special interests. Aoife is a very, very good writer, and I'm interested in design, so we figured that, between the two of us, because it's a really big undertaking that we could, as well as directing together, tackle different aspects of the production so that we could hopefully make it better and easier for ourselves for any big production.
Aoife Cronin:
Radius Recommends: Top Five Culture Night Events
Dublin Culture Night 2024, happening on Friday the 20th of September, promises to be a great one. Packed to the brim with amazing events – tours, shows, classes, interactive multidisciplinary experiences, and so much more. Here are just five of these promising events picked by Radius for their originality, or just how eager we are to experience them, however, they are just a few of the very many Culture Night activities Dublin has to offer, so feel free to visit the night’s website to see more!
5. Dublin Riots – What Happened? – Show at the Lab Gallery, 19:00 20:30
Whether you’re local, inter
national, a student or not, last November’s riots in the city centre affected us all. This monumental event in contemporary Irish history led a group of playwrights called I Nua to create and perform a series of stories which aim to capture the experiences and reflections of the night of the riot. Through theatrical performances such as monologues, duologues, poetry and short plays, the group creates a reflection of today’s Irish societal landscape, and what led – as well as what came out of – the Dublin Riots. Booking required.
4. ‘The Charm’: Storytelling and Songs – The National Leprechaun Museum, 18:30 - 21:30
One of Ireland’s biggest charms is the country’s folklore tradition. The Emerald Isles’ myths and legends are renowned worldwide and retold as bestselling fantasy stories. This Culture Night, seize the opportunity to hear captivating Irish stories inspired by Peadar Ó Ceannabháin's Amhrán An Frag at the National Leprechaun Museum. Come for the lore, stay for the songs in this 1520 minute whimsical production by Sarah McKenna Dunne. Booking required.
3. Care & Carelessness – a Feminist Economics Walking Tour of the IFSC – James Connolly Memorial, 17:00 19:30 Do you ever think about the political and economic state of the world, or rather, how
we ended up where we are today? This unique tour explores this exact question, as it takes you through the streets in which business and economic decisions that affect us all are made. The tour, facilitated by Financial Justice Ireland in collaboration with CATU and trade and climate union speakers, asks “Who benefits from the care at the foundation of our societies?”, taking you through not only a physical tour of the city’s economic hotspots, but a historical one as well, exploring how the Irish economy and economic justice were shaped by the country’s history from the War of Independence to today.
Booking required.
2. Chat & Tasting at The Bretzel Bakery – The Bretzel Bakery, 16:00 17:00 We at Radius love food, and what better way to experience food than through a tasting event at one of Portobello’s most iconic bakeries, Bretzel Bakery? In this tasting event, participants will have the opportunity to not only find out more about the bakery and its rich history in Dublin’s culinary landscape but also taste an array of freshly baked artisanal breads and pastries, while also getting to know the local community over food and chats, and the lovely background of Portobello, one of Dublin’s most iconic neighbourhoods. No booking required (however we would recommend showing up on time for the pastries).
als for this production yet, but we were definitely like, okay, where would this work? Where would this fit in? So we were definitely over there looking at how we could make it work. It's a big international stage to be debuting at, which is really exciting, and, particularly the company that we're with have a lot of international artists and they specialise in new work. We definitely feel like we've found the right venue over there to house this. We're really excited to interact with different international companies, to talk to them about their experiences. No better place than Edinburgh. Also, it's where a lot of people are going to start out, so it's really cool to engage with other artists that are in the same boat, on the same stage.
Why did you settle on Uncanny Valley as your flagship piece for Aimsir?
Cronin:
1. Alternative Fashion Showcase at GalleryX – GalleryX, 17:00-23:00
Have you ever wanted to be a supermodel? You’re in luck, as this interactive alternative fashion show offers just that: the opportunity to catwalk in clothes by young, creative, bold local clothing and accessory designers from various backgrounds, all sharing their love for alternative apparel. If you wish to model in any of these creations, just drop in early to try the garments on! Booking required.
Yeah, I think we knew we wanted to have a company going forward out of college because if you want to make lead creative decisions, it's the only way to do it. won't say it's easy to go out and get work on a production, but yeah, if you want to be a lead creative, especially as a director, you have to do your own stuff.
For those who would be less familiar, what does the opportunity of performing at something like the Edinburgh Fringe Festival actually mean to a new com
pany starting out?
Bracken:
It's really exciting. It's a really fun place to start. We were there last year just as audience members. We didn't fully realise the scale that it's on, and the amount of international companies that are there. There's just stuff going on everywhere all the time. We had this show in development, and we hadn't really started rehears-
I think it was a starting point for us, which explains itself, but it's where we knew we wanted to start. As in, it very much feels like it's been a baseline for us, and any of the shows that we've talked about making in the future seem to be sprouting on from that. And for us, at least with this show, it's very clear to see that we thought, 'Oh, and here's this thing we learned at this point in the degree,' or 'this thing we learned from this person.' And now, think, even just in the rehearsal process, as we're finding our own voices a bit more, we're able to shoot off from this.
Bracken: And think in terms of the Edinburgh Fringe, even a lot of the feedback we got from our first preview last night was everyone saying, 'God, it's so like inherently Irish'. Gavin Kostick, who teaches playwriting here, came back and was like, ‘yeah, this has got a real, like, Irish feel’. He thought that is why it'll work well at the Fringe, because you're coming over as an Irish company and people want that. This particular show has a lot of religion in it. A lot of that came from us talking about our own experiences from when we were in
primary school. This show was performed with Players during Michaelmas last year. How has your approach to the show changed from then to now, considering the backdrop of Edinburgh?
Cronin:
It's actually a completely different show, in the sense that we've got a new script. completely rewrote it. The sentiments are the same. If you'd seen the two versions, you'd think, 'Oh, see how they started here, and ended up there’’. I think we just learned a lot the first time around. I think for such an intensive rehearsal process, when you look at something so closely, you can see where those changes need to be made and maybe can't make them when the show is in a week, but when you have six months to go away and work on it, it's possible.
Cronin: When we come back from Edinburgh, we're going into talks about another festival that'll be on early next year. It's quite hard in Dublin, because again, there's no one calling out being like, 'come and put your shows on'. It's about carving out a bit of a space. It's about developing all these little ideas that are just a bullet point at the minute and running with those.
All in all, considering the success of Uncanny Valley’s previews, we’ll certainly be keeping an eye on Aimsir Theatre. We wish the Trinity alumnae the best of luck in Edinburgh.
Bracken: Especially in an educational context, you are quite a bit more sheltered. It was on in the Beckett [Theatre] where you would have complete reign, whereas that's not the case when you're going to a different venue. You have to reformat it and rethink the way that it looks. What does the future hold for Aimsir, beyond Edinburgh?
DEPUTY THEATRE EDITOR
Gavin Jennings
Are you DTF? Dublin Theatre Festival Returns for Another Season
Ellen Duggan writes about what to expect from this year’s festival.
September is a busy month for Dublin’s theatre-goers. Dublin Fringe runs from September 7th to 22nd and is almost immediately followed by Dublin Theatre Festival (DTF), which is running from September 26th to October 13th. For approximately six weeks, attendees can indulge in Dublin’s drama scene to their heart’s content. The eclecticism and avant-garde of the Fringe is succeeded by DTF, which showcases a range of exemplary stagecraft from all over the world. The shows of playwrights both budding and long-revered are taken to the stage, and shows both traditional and contemporary are platformed.
DTF is Europe’s oldest specialised
theatre festival, founded in 1957 by Brendan Smith. It has promoted native Irish theatrical efforts and showcased world theatre upon Dublin’s stages, to both applause and outcry from audiences. Its first two years of existence brought its most notable controversies.The opening production of the inaugural festival, Tennessee Williams’ The Rose Tattoo, resulted in visits to the Pike Theatre by Gardaí concerned about “objectionable passages.” Alan Simpson, the Pike’s founder, was arrested and incarcerated for a night in Bridewell. In 1958, censorship demands for plays shown at the festival (spearheaded by free speech’s greatest champion, Archbishop John Charles McQuaid) led to dropping of or withdrawal of works by giants of Irish literature James Joyce, Sean O’Casey and Samuel Beckett in 1958. The absence of these works and failure to procure substitute performances led to the cancellation of the festival that year. It has run smoothly since, interruption by Covid notwithstanding.
This year’s festival programme was announced on July 24th, with longtime artistic director Willie White announcing two days later that he was stepping down after 11
years at the festival’s helm. The program boasts the world premieres of a number of works, productions from theatre heavy-hitters such as Enda Walsh and ensembles showcasing the talents of some of Ireland’s most renowned actors. Particularly exciting is the ‘Festival+’ program, which is a series of ticketed events, such as discussions, interviews and viewings of works in progress. I personally would sell a kidney (there’s two of them, it’s fine) to get a ticket to Lourdes! The Musical! through Festival+, so if anyone hears of one going, hit me up. The handy thing about going to college in Trinity is that everything is within walking distance, even when it isn’t. This is especially true regarding DTF. Seven venues, including the Abbey, the Gaiety and Smock Alley are virtually on College Green’s doorstep. The Samuel Beckett theatre is on campus itself. If you find yourself tempted to take off to the theatre rather than face an evening session in the Lecky, it will likely come at a reasonable price too. DTF’s stated commitment to making theatre as accessible as possible is realised in their 10 for 10 initiative, through which 10% of tickets for all shows in the
festival are available for €10 to under 30s, unwaged, freelance artist and freelance art workers. Disability access is also prioritised. The Access Pass Scheme enables those with mobility restrictions to access seats otherwise available for online booking. Those in need of captioning, ISL interpretations and audio described performances are facilitated and various Relaxed Performances will take place across the festival, aiming to create a more welcoming and relaxed performance space for those with sensory and communication disorders, learning disabilities or an Autism Spectrum condition. For people phased by the vastness of choice in amazing shows they’re faced by, and are stuck on what to attend (on a college timetable and a student budget, there’s only so much theatregoing a girl can commit to), there are a few that I’m particularly excited to see, particularly shows which aim to blend mediums of storytelling. Grania will be taking place in the Abbey Theatre from 26th of September to 12th October, in what is the first production of Lady Gregory’s play to take place in the theatre she founded. 0800 CUPID, a ‘genre-defying queer countercultural opus’ is
Ten Books for Back to College Season
showing in the Project Arts Centre from September 26th to October 5th, and is probably the production I’m most excited about in the festival. And Starjazzer, inspired by Sean O’Casey’s short story of the same name, is showing at the Royal Society of Antiquaries Ireland from September 26th to October 19th. If none of these sound to your taste, there’s far more to be seen, alongside a variety of other forms of theatre-related activities, discourse and entertainment. Dublin Theatre Festival is aiming to provide something for everyone to see in 2024, and to ensure everyone has the means to see it.
The Body as a Canvas Saskia Mc Donogh Mooney asks if tattoos can ever be art.
Saskia McDonogh Mooney
ART & DESIGN EDITOR
It’s almost seven in the evening on a Monday, the sun is streaming into the kitchen gilding the counters and the back of my family’s heads, we are shovelling fast food into our mouths, when my brainstorming out loud turns into an argument between my sibling and my father.
The root of the issue was over whether or not tattooing is an art form. My father sarcastically, but rather genuinely, called tattooing “an abomination” while my sibling indignantly proclaimed they would become a tattoo artist and cover themselves in tattoos.
My father’s attitude is the remnant of older generations and a man who has always wished for there to be some sort of projection technology with which you could change or remove your tattoos at will. The permanence of the tattoo is often what provokes so much uncertainty, but the desire for one’s body to be a canvas, to become art, is one that transcends time and space.
There is evidence that the practice of tattooing dates back at least 5000 years old since the discovery of “Otzi the Iceman” on the Italian-Austrian border in the nineties. The Iceman has around sixty tattoos which archaeologists theorise were placed to relieve joint pain. In an article from Smithsonian Magazine, they describe that
Ancient Siberian nomads, Indigenous Polynesians, Nubians, Native South Americans and Greeks all had tattooing traditions “for a variety of reasons: to protect from evil; declare love; signify status or religious beliefs; as adornments and even forms of punishment.”
In modern times the decision behind acquiring a tattoo can be the same, though in many cases it transcends these reasons. An article from the World Journal of Psychology holds evidence that the acquisition of a tattoo is linked to higher self esteem, as well as being a way of expressing agency and feeling closer and more connected to one’s body. It’s a window into a person’s psychology
It is beautiful that humans have found a way to become the art they cherish to make self-expression eternal, to find control in an utterly chaotic world.
as the tattoos across one’s life tell the story of them. Whether it's a picture of Hello Kitty, a testament to a traumatic experience, a mark of bereavement, or an overused saying, it means something to the
individual. This remains true even if that meaning is derived from the lack of significance. It makes sense that tattooing has become popularised in certain parts of the world which formerly held prejudices as the past decades have marked a reclamation of personal identity and the body, and the untangling of social restrictions placed upon people. That and the invention of Pinterest.
Whether one is researching modern iterations or ancient and culturally significant traditions, as an art form tattooing is incredibly fascinating and personal. The permanence of it is a testament to the permanent parts of our selves. Even if time and circumstance cause that self to be tucked deep within, the tattoo holds the memory. It’s a binding, to yourself, to your body, to loved ones or life. In this, tattoos and tattooing must be respected, as they are often willfully misunderstood as rash and foolish decisions. The fact that people do want to remove them sometimes is more a testament to the desire to unbind themselves from what the tattoo represents, rather than the purported idiocy of the decision.
Tattooing often inspires fear, which I feel is often the fear of having a part of one’s self exposed in a certain way. People are afraid they
will regret their choice, but more deeply means disliking who they once were, or feeling cut off from the person they were at the time.
It’s a fear of change and the unknown: fears that are intrinsically human. In a way, getting a tattoo is a decision to accept that part of yourself across your lifetime, and not everyone can make that promise to themself. Which is ok, because to be tattooed or not to be tattooed is a decision that requires knowing oneself and no other art form provokes that degree of reflection everytime it is interacted with.
It is beautiful that humans have
found a way to become the art they cherish, to make self expression eternal, to find control in an utterly chaotic world. Your body is yours, and your being is yours to express at will. In this, and for so many reasons, tattooing deserves a much greater degree of respect in academic circles, everyday discussions, and the broader art community. I hope that as its popularity increases further that more interesting discussions are provoked and that the art form is studied in a way which transcends defensive stances and becomes a true analysis of the art.
Contributing writer Amelia Sikora recommends ten books to start the term off strong, reading wise.
Deciding which books to include in this list was a greater challenge than expected.
You see, solely recommending campus novels felt awfully ingenuine as preparing for college goes far beyond setting and aesthetics. Hence, this list includes a varied assortment of books that will not only get you in the college mood, but will also serve as your own personal pharmacy during the emotional whirlwind that is the Michaelmas term. Happy reading!
1. ‘The Lonely City’ by Olivia
Laing
Everyone will experience college differently; however, we can all acknowledge that it can be extremely lonely at times. This book isn’t so much an antidote, but rather an exploration. Laing examines the sources of loneliness in a lyrical manner, and follows the art that flourishes in isolation.
2. ’Stoner’ by John Williams
The first campus novel on this list is one that should be considered essential reading. It recounts the life of Stoner, a farmer’s son whose entire life path gets knocked out of orbit when he decides to take a class outside of his discipline. We become witness to a flawed character trying to simultaneously navigate relationships and the academic world.
3. ‘Hagstone’ by Sinéad Gleeson
The anxiety of having new classes, assignments and the dread of seeing yet another year pass is more than enough to throw anyone’s sense of inspiration out of kilter. For people who perceive art as a lifeline this book could serve as a means of pre-emptively combatting this hurdle. Gleeson explores the inherent interdependence of art and nature whilst simultaneously delivering a compelling story steeped in Irish folklore. It is the epitome of inspiration and will simply urge you to create.
4. ‘The Unconsoled’ by Kazuo Ishiguro
Lectures don’t make sense; people don’t make sense and this book definitely does not make any sense.
A pianist finds himself in a place that he does not recorgnise, set to play a concert that he knows nothing about. Ishiguro simulates a kind of ‘fever-dream’, a perfect way to mentally prepare yourself for the arts block on any weekday afternoon.
5. ‘Letters to a Young Poet’ by Rainer Rilke
If you haven’t read this yet, now is the perfect time to do so. Originally written in German, this thin book contains the letters sent between Rilke and Kappus on the topic of writing, creativity and life. This penetrating dialogue is filled with wisdom that is sure to change your perspective on difficult moments that may arise over the year.
6. ‘To the Lighthouse’ by Virginia Woolf
A book in which seemingly nothing happens, but in reality, everything happens. The entire universe is spurred into movement. In a similar vein to Hagstone, this recommendation aims to keep that flame of creativity burning through those first few weeks of term.
7. ‘Hangsaman’ by Shirley Jackson Think “17-year-old girl having an identity crisis at an elite college and turning to writing in order to cope”. In this lesser-known campus novel, we follow the slow deterioration of Natalie’s mental health as she grapples with adolescence, academics and obsession.
8. ‘A Single Man’ by Christopher Isherwood
This novel follows a grieving professor attempting to rediscover his love for life after the death of his partner. A tale of strength and resilience that mimics a breath
of fresh air and will remedy any qualms you may have entering the new semester.
9. ‘If on a Winter’s Night a Traveller’ by Italo Calvino This one is unlike any other you’ve read before - it triggers an entirely new way of thinking. It’s a messy novel about messy lives and the love of messy books the perfect sketch of a successful college student.
10. ‘All’s Well’ by Mona Awad Similar to the previous novel, All’s Well is a masterclass in surrealist literature. The novel follows a theatre professor in a small liberal arts college trying to stage a production of Shakespeare’s All's Well That Ends Well whilst suffering from chronic pain. Awad presents us with a haunting tale that is infused with a thirst for knowledge that is bound to inspire your academic pursuits.
Classic Novel Recommendation: Mary Shelley’s Frankenstein
It is a truth universally acknowledged that the classic canon can be intimidating. This sentiment is shared by casual readers and English Literature students alike. It is most palpable at the start of semesters when reading lists are inevitably stacked with the classics week after week. While some may be excited to dive into the critically acclaimed works of Joyce, Melville, or Woolf, others might approach them with a sense of dread.
However, some of these novels rightfully live up to the hype of being a literary classic while also being readable, relevant and, most importantly, actually fun to discuss. Mary Shelley's Frankenstein: Or the Modern Prometheus is one of those works. This article explores why it is the perfect back-tocollege book and deserves a spot on your autumn “to be read” list. Frankenstein was written around the same time as the works of Austen and Brontë (1818), yet many readers find Shelley’s writing style
less daunting and more accessible for casual reading than her contemporaries. The novel’s framing narrative begins with Captain Robert Walton’s letters to his sister, easing the reader into the novel. These letters are written in first person, and since they are addressed to a close relative, they are quite casual in tone. Walton is relatable and passionate, expressing his desire to be as renowned a writer as Homer or Shakespeare. This engages the reader from the onset. The letters introduce the key theme of unchecked ambition and its effects before diving into Victor Frankenstein's story. Since Victor tells Walton the events that comprise the rest of the novel, the transition between the two narratives is seamless and retains the readability. The book's first-person narrative isn't a stream of consciousness designed to confuse; instead, it offers an informative perspective that immerses the reader in Victor's internal and external worlds. Many readers shy away from classics because they feel that every-
thing to be said about a novel has already been said countless times by centuries of academics. However, reading novels like Frankenstein should be about more than just regurgitating academic analyses. It's a fun novel to talk about. As you read, consider the following: What are your impressions of Victor's behaviour? Is beauty inherently valuable? Why does the Creature identify as male and assume a heterosexual orientation? These kinds of questions can usher in the modern relevance of the book.
One exceptionally modern issue in the novel is creation and its effects on the creator and the created. The relevance of this can be seen in the current conversation surrounding AI. Just as Victor Frankenstein assembles the Creature from disparate parts, AI is created by piecing together vast amounts of information from various sources. Both raise questions about the ethics and consequences of creation— are there similarities between generative AI and the Creature? Which is closer to emulating humanity, if at
all? What are the ethics of creating such things? Should they even exist in the first place? The book alone may not provide all the answers, but it certainly will be food for thought.
Another issue the classic dabbles in is the value of education, which is topical for returning college students. Should we focus on the sciences and pursue knowledge for power and renown because of ambition like Victor? Or should we appreciate the arts and humanities and seek knowledge for its joy and pleasure like Henry does? Or is the Creature's approach, one of learning from classics and treating them as the foundation of our understanding of humanity, the most meaningful? Does the fate of each character suggest a particular path we should follow in our own pursuit of knowledge?
Hopefully, these varied questions strike enough curiosity in you to pick up Frankenstein and read it. The novel's most significant strength to students is its interdisciplinary appeal, covering literature, philosophy, history, science, sociology, and many more. It is simply the perfect back-to-college classic!
Kasia Rojowska
Ellen Duggan
Reads
This Is How You Remember It
Catherine Prafiska
Canongate Books
Catherine Prasifka’s second novel shines a mirror to our relationship with technology, most particularly, the internet.
This Is How You Remember It follows “you” as you come of age surrounded by ever-evolving modern technologies. From the emergence of digital cameras to AI, Prasifka explores what our unlimited access to information technology, especially in our formative years, does to us and our self-image through heartfelt, genuine storytelling that is bound to be not only relatable but also considers the impact of entire generations growing up with access to all information, and what should and should not be normalised in its wake.
Blue Sisters
Coco Mellors
Penguin
Three sisters, Avery, Bonnie and Lucky Blue, reunite all facing rough waters in their personal and professional lives one year after the death of their fourth beloved sister, Nicky. Each of the sisters has to confront their past and the darkness that lurks in it to be able to free themselves from their demons and move forward through their grief.
Coco Mellors’ second novel is a stunning piece about love, addiction and pain, told through larger-than-life characters that retain their humanity, and all the imperfections that come with it. Blue Sisters is an utterly exquisite exploration of sibling relationships and the battles we each must fight within ourselves.
Open Windows, Open Doors: Women Impressionists at the National Gallery
Magic Masculinity: What Magic Mike Can Teach Us About the Importance of Mutual Aid
Eve Smith
FILM AND TV EDITOR
Impressionism was born in Paris in the spring of 1874, and as Marie Bracquemond declared, it was ‘as though all at once a window opens and the sun and air enter your house in torrents.’ This summer, the National Gallery’s Women Impressionists exhibition, curated by Janet McLean and Dorthe Vangsgaard Nielsen, offers a rebirth on the movement’s 150th birthday. The exhibition refines and foregrounds the vibrant, intimate, and complex lives of Berthe Morisot, Mary Cassatt, Eva Gonzalès and Marie Bracquemond, four women artists at the heart of the Impressionist movement.
James
Percival Everett
Doubleday
James is a retelling of Mark Twain’s The Adventures of Huckleberry Finn through the perspective of Jim, an escaped slave who joins Huck on his adventure up the Mississippi River in Twain’s book. The compulsively readable story subverts Jim’s character by imagining his inner world.
It discusses ideas of slavery, ownership, social politeness and what makes man civilised, all with an engaging and, at times, satirical tone. It is a novel guaranteed to keep you engaged and reflecting upon societal conventions. With James, Everett masterly makes his case for why retellings of classics are still relevant and very much needed today.
Ambitious and experimental, Berthe Morisot, the only woman to exhibit at the 1874 show, thrived in the epicentre of Impressionism. Monet and Renoir were part of her artistic circle, and her husband Eugène Manet was an acclaimed painter in his own right as well as a steadfast supporter of Morisot’s creative endeavours. Marriage and motherhood did little to stifle her artistic career, as she explored the lives of modern women and the intimacies of her own family life through the canvas. Mother, husband and child were often depicted in meadows and gardens, a lush Edenic outdoors imbued with domesticity. Lively brushstrokes illuminate vivid scenes, and in many paintings Morisot leaves areas of the canvas's borders unpainted, capturing the transience of fleeting landscapes and the complexity of human characters, forever blurry at the edges. Despite her artistic prowess, Morisot found no relief in her work. Her great-grandson, Jean-Marie Rouart, wrote that Morisot was 'a suffering, wounded soul that no compliment nor degree of success could reassure.' Mary Cassatt, the second artist to make an appearance in Women Impressionists, strikes a great contrast. Indomitably self-assured, Cassatt was born in Pennsylvania to an upper-middle class family and travelled widely in Europe, absorbing its
art, music, and languages. She settled in Paris and earned an invitation by Edgar Degas to exhibit with the Impressionists in 1879. Capturing the lives of women in a modern world, in particular her sister Lydia, became her artistic motive. Cassatt’s work is refreshing and spirited, truthfully and joyously depicting women as they existed and thrived in a new modernity.
An inventive and innovative artist, she produced monochrome prints depicting Parisian women in the style of the Japanese ukiyo-e tradition after witnessing an exhibition of Japanese woodblock prints at the Beaux Arts. Wealthy and unmarried, she enjoyed tremendous commercial success, finding great joy in her artistic career; 'Oh, I am independent! can live alone, and I love to work.'
While Morisot and Cassatt dominate Women Impressionists, Eva Gonzalès plays a supporting role with much fewer of her works on display. An artist who resided on the outskirts of the movement, she never exhibited with the Impressionists even though she had been the pupil of Édouard Manet. Her death at only 33, giving birth to her son, tragically cut short a budding career.
“ ....a perpetual contest between an expansive creative potential and the stark reality of the dreary limitations facing artistic women at the dawn of Impressionism.
Our final artist, Marie Bracquemond, seems quite at risk of becoming a footnote to this exhibition. Only five of her works are on display, though her oeuvre is relatively small–a consequence of her time-consuming, meticulous painting process. Her modest upbringing, even more, stands in opposition to the affluent lives of these other women. Hemmed in by a world resistant to women artists, her tutor Jean-Auguste-Dominique Ingres ‘doubted the courage and perseverance of a woman in the field of painting’ and her father consistently undermined her artistic ambitions. Bracquemond abandoned art later in life. Women Impressionists excellently opposes the vivacity and immediacy of these artworks against a wall painted dull grey–a perpetual contest between an expansive creative potential and the stark reality of the dreary limitations facing artistic women at the dawn of Impressionism. Morisot’s final words to her daughter perhaps captured this struggle best: ‘You have looks and money. Use them well.’
The exhibition is as much a portrayal of absence as it is a celebration of these four artists. Who isn’t on these walls?
What artworks may have filled the empty grey spaces on these walls, if the life of an artist was not endowed only to women with status and support? ‘I don’t think there has ever been a man who treated a woman as an equal and that’s all I would have asked for,’ Morisot pleaded, ‘for I know I’m worth as much as they’. Women Impressionists offers a poignant commemoration of these women’s artistic worth, taking them out of the dusty shadows and into a colourful, clarifying light.
‘Women Impressionists’ runs until October 6th. Tickets from €5, or free on Wednesday mornings.
Acrisis of masculinity is brewing, they say. But even though opportunists, like the candidate for United States vice president JD Vance, rag on cat ladies and call for men to go to war, what’s pegged as a masculinity problem is really the symptom of a society plagued by loneliness. Magic Mike (Steven Soderbergh, 2012), a sanitised-sex film supposedly made for women of a certain age to enjoy after a certain amount of margaritas, might not immediately come to mind as providing a solution. But twelve years later, it is clear that nestled within this sleazy classic of impossibly jacked men and the perils of quick money, is a story about what we gain when care is reciprocated.
Most of the film takes place at night, but nineteen-year-old Adam (Alex Pettyfer) drifts into Mike’s (Channing Tatum) life in the daylight. Having recently been kicked out of college and sofa-surfing at his sister Brooke’s (Cody Horn), he scores a job at a roofing company by lying on Craigslist. Powerless in Brooke’s domestic dynamic with her horrible boyfriend, Adam strikes out into the night. On the yellow-lit strip he stumbles across fellow roofer Mike, who gets him into the club, persuades him to peel his hoodie off on stage, and just like that, Adam has broken his dancing ‘virginity’.
Becoming part of this world offers the directionless and isolated Adam an enticing way out. His
life explodes with new opportunities. He kisses a pretty girl, gets a flashy new car and believes the sleazy club owner’s promise that the dancers will be given equity in the new club in Miami. After staying up together until sunrise, Mike backflips off a bridge and Adam scrambles over the edge after him. Their heads pop out of the water. Adam says “You’re going to be my new best friend”. Money, girls and a good time, Mike tries to persuade Adam’s sister. What’s not to like?
But the film, cast in the exoticist yellow colour grading of Western films set in faraway countries, also hints at the imminent threat that the exciting world Mike inhabits must turn sour. Stripping for Mike is not where fulfilment lies. It was a means to save enough money to start his own furniture design business. So he squeezes into a tight
suit, and applies for a loan. But even though his looks do fluster the bank teller, the cultural capital he trades in (sex appeal), is not strong enough outside his world to win her over. His life-long cashin-hand job has tanked his credit rate, and the woman turns his application down. He is now at the back-end of his thirties realising his dancing years will soon be over, and he will have nothing to show for himself on the other side of it.
The slightly too-long dance cuts allow the viewer to feel the monotony and entrapment Mike feels kicking in. As he begins to doubt the likelihood that they will ever be given equity, Adam gets only further caught up in the illusion that this lifestyle will eventually pay off. After the club owner threatens to cut Mike loose, Mike makes his exit, and Adam takes Mike’s place on stage. Smiling under the lights, he is no longer the cowering virgin. He is confident, buoyed by the belief that he will be uniquely special enough to avoid Mike’s fate. But it is lonely under the spotlight, and as long as he is on stage he will only ever be performing connection, never truly feeling it. The cycle will continue and the dream of Miami, and the satisfaction it promises, will never come.
Conas a bheith gnóthach ag déanamh faic?
Fachtna Mac Conghail EAGARTHOIRÍ GAEILGE
Tá géarchéam buailte linn le tamall sa domhan déistineach seo – Tá gach éinne ró-ghnóthach. Tá féith na spaisteoireachta, na crochadh timpeall, agus féith faic a dhéanamh caillte ag formhór againn. Sa choláiste fiú, idir aistí, scrúdáithe agus an saol dialmhar sóisialta, ní minic go mbíonn am againn chun buntáiste a bhaint as an leadrán. Mar sin, tá dhá bhliain anois caite agam I gColáiste na Tríonóide, fé leithscéal mo bhunchéim, ag déanamh dian-staidear agus machnamh ar conas mo shaol a mhoilliú síos. Tá cúpla ceacht anois leagaithe síos agam ó mo chuid saothar gur mhaith liom a roinnt.
An bhfuil mé chun rith ó Halla Goldsmith go Bloc na hEalaíona go léacht leamh, leadránach? Gan amhras, níl! Tá an-iomarca machnamh le déanamh agam ar an tslí sall, agus seans, fiú, gur gá dom suí síos chun an dian-mhacnamh seo a dhéanamh, taobh leis an bpáirc cruicéad, sa Zón Ma Léinn nó lasmuigh den ‘Perch’. Is cuma más smaointí fé m’obair, mo thrioblóidí ná m’fhilíocht atá ann, mar is cinnte go bhfuil siad níos tábhachtachtaí ná rang polaitíochta gur féidir liom a chur ar leath-cheal. Pé scéal é, is cinnte freisin go mbeadh mo léachtóir sásta a chloisint go bhfuil machnamh fós ag tarlú i measc an t-aos óg, rud atá annamh sa lá inniu ann. Tá an t-ádh linn i gColáiste na Tríonóide go bhfuil fuíollach radharcanna áille againn ar campas agus fuíollach eile binsí le cur
leis na racharcanna seo. Is ceist ana-chasta é, áfach, an láthair ná radharc ceart a aimsiú duit fhéin agus, corruair, ní bhíonn fiú an rogha tugtha duitse in aon chor! Is minic, ambaiste, gur a mhalairt a tharlaíonn agus gur an bínse, stól ná cúinne dorcha sa leabharlann a roghnaíonn tusa!
“A chroí, suigh anseo liom…”, a chuala mise go ciúin, agus mé ag breathnú ar bhinse
In the end, Mike gets to trade performing a version of himself and being pawed at with damp one-dollar bills for mutual care and getting to be truly known. Brooke gets to be appreciated. And while it would be easy to dismiss this aspect of the film as relief porn for the women in the audience who can only imagine catching a break from the disproportionate burden of care that they bare, it’s also a powerful example that in societal structures that place such emphasis on individual economic growth, caring for each other is the only way out.
Adam, like many young men today, is looking for a guiding light, vulnerable to be exploited and sold a self-centred dream. But unlike Mike, he has to learn that life is where the people are. Magic Mike highlights that the magic of masculinity lies not in the traditional role of waiting for care to come to you, as cynical agitators would have you believe, but in choosing to actively show up with care for the people you love. And it concludes that maybe, with any luck, they might just do the same for you.
After leaving the club, Mike heads straight for Adam’s sister Brooke’s door, and it becomes clear that this is not a film about either of these men. It’s about care, and this becomes synonymous with her. For most of it, we watch her try in vain to appease her selfish boyfriend and veer through the morning streets to get her kid brother out of his drugged-up stupor. The film practically never lets her leave the home. But in her conversations with Mike, we see she is likeable and funny, and the chemistry between the two is undeniable. Towards the end of the film, she finds out Mike has put out yet another of Adam’s fires in a way that, let’s say, would put Mr. Darcy to shame. It’s obvious: Brooke’s no-nonsense big heart brings out the best in him.
CONTRIBUTING WRITER
Eavan O'Keeffe
'MAGIC MIKE', STEVEN SODERBERGH, 2012
PHOTO COURTESY OF EAVAN O'KEEFFE
PHOTO
folamh lasmuigh de Bhloc na hEalaíona. Anois, b’fhéidir gur mise amháin a gcloiseann an guth seo agus, mar sin, mholfainn freisin do chuid plé a dhéanamh leis an ‘Trinity Bench Society’ chun an suíochán ceart a fháil dod’ mhacnamh. Anois, ní mhairfá ró-fhada ag suí d’aonar, ar an ndrochuair, sara dtabharfá fé n-aire go bhfuil tú a labhairt leat fhéin, nó, níos measa fós, go bhfuil daoine ag breathnú ort ag labhairt leat fhéin. Caithfidh tú, mar sin, compánach a lorg le bheith i do theannta i ndian-chuimneamh ná caint. Bhí an t-ádh liomsa cladhaire breá d’fhear a fháil mar mo chomhluadar, ach tá daoine eile feicthe agam le cait, le faoileáin ná le francaigh (na cinn l’eireabaill) – Tá do rogha fhéin agat! Bí cúramach, áfach, go bhfuil do chara chomh cumasach leat fhéin ó thaobh leisce de – Is iomaí compánach agamsa ar thréig ár gcomhrá chun dul go léacht, agus
chun mise a fhágáint ar lagmhisneach i m’aonar! Ochón ó!
Ceart go leor, mar sin, tá tú ag suí le cibé liúdramán atá roghnaithe agat mar chomhluadar, ach níl críoch le do cheacht fós! Cad a ndéanfaidh tú le do ghéaga? Ní féidir bheith ansin suite go rian agus an dá lámh ag luí ar an dhá ghlúin agat cosúil le robot éigin!
An ceacht is tabhachtaí atá agam duit ná chun cineál ríogacht a bheith fút fhéin agus tú ar do sháimhín só. Mholfainn do chosa a thrasnú ar a chéile agus uillinn amháin a shíneadh ar chúl an bhinse chun tacú led’ mheáchan.
Tá do dharna lámh ansin ríthábhachtach – Caithfidh
tú rud éigin a bheith agat sa
lámh sin chun tú a choiméad gnóthach. Tá trí rogha agat anseo, i ndáiríre, idir toitín, caifé nó piúnt, agus tá búntáistí agus mí-bhuntáistí ag baint
Foclóir beag do léitheoirí
Ag bheith díomhaoin - Idling
Ag spaisteoireacht thart- Sauntering about Ag crochadh timpeall - Hanging around
Ag déanamh faic Doing sweet-fuck-all Oiread agus atáimse: as much as am
leo go léir. Mar shampla, níl na toitíní thar a bheith sláintiúl, ach tá said cool ar fad.
Freisin, tá piúnt ana-bhlasta, cinnte, ach bheadh droch-cuma ort suite ag ól don lá, fiú dá bhfanfá ciallmhar an t-am ar fad. Mar sin, tá mé fhéin socruithe ar caifé a ól agus mé ag crochadh thart, ag déanamh faic, ach ní fhéadfainn droch-fhocal a rá fé toitín ná piúnt ach an oiread!
Samhlaigh pictiúr anois duit fhéin ag suí ar do sháimhín só ag caint an lá ar fad - quell vie nach ea? Fiú amháin más uair sa tseachtain a scaoileann tú leat fhéin do shaol a mhoilliú síos agus roinnt crochadh thart agus caint a dhéanamh idir, nó
in ionad, léachtaí, bí cinnte an deis sin a thógaint dod’ mhaitheas fhéin. Ní hamháin gur roinnt leisce riachtanach a gheobhaidh tú ón am seo, ach, muise, beidh cuma ana-chliste ar fad ort agus tú ag spaisteoireacht, ag bheith díomhaoin, agus ag déanamh faic. Theip ormsa sa chéad bhliain dá bharr, ach, a chara, bhí an taithí sin ag teastáil uaim agus mé ag iarraidh mo chuid taighde ar leisce a leagan amach, agus leanfaidh sé ar aghaidh amach anseo.
From West Belfast to the World Stage - Kneecap's rise to
Who are Kneecap? This question has been circling the internet ever since the release of their first single C.E.A.R.T.A back in 2017. They have appeared on our radios, TVs and now, on our cinema screens, while billboards and posters portray their rise to fame. Kneecap have been reigniting the Irish language for the past few years and it has recently come to the forefront.
Main Character Energy: The Theatricality of Sport and its Summer On-Screen
Emma Egan
Demanding the performance of a lifetime from its players, sport is performative in nature and theatrical at its very essence. From the Euros in Germany to the Paris Olympic Games, summer 2024 saw sports content flood screens across the globe. Testifying to the tremendous appetite for athletics, audiences couldn’t get enough; the cinematic spectacle of competition was just too enthralling. Film has always taken advantage of the theatricality of sports performances, with sports films such as Rocky (Avildsen, 1976) boasting highly emotive and melodramatic storylines often to widespread acclaim.
In recent times, as the sports film enjoys its so-called “renaissance” on the big screen, a growing number of them have emerged with a shift in focus. Films like 2010’s Black Swan (Aronofsky, 2010), 2018’s I, Tonya (Gillespie, 2018) and last year’s Iron Claw (Durkin, 2023) have committed their narratives to exploring the social dynamics between athletes in an attempt to dive into their inner psyche.
With an elevated emphasis on character, many modern sports films owe their success to their
earnest, and, at times, brutal portrayal of the individuals who serve as compelling subjects. One such film was this summer’s hit Challengers (Guadagnino, 2024), which spoiled the viewer with its thorough analysis of a trio of such contenders.
Challengers follows a trio of tennis players, Tashi (Zendaya), Art (Mike Faist) and Patrick (Josh O’Connor), as they navigate the contention generated by their mutual desire for each other. A constant, yet natural, transition between timelines demands the actors play both teenagers and adults in what serves as a showcase for their range as performers, who can convincingly portray either, as they assume an almost giddy energy in flashbacks, and a rather somber and defeatist tone in the present.
Paramount to Challengers’ success was its creation of three authentic personalities capable of capturing and maintaining the audience’s intrigue. Sports dramas have consistently produced strong and compelling lead characters, with Will Smith winning a Best Actor Oscar for his portrayal of the Williams sisters’ father in King Richard (Green, 2021) as recently as two years ago. With an endless number of Olympians going viral this summer for the so-called “main character energy” they exuded, from an unconventional breakdancer to a bespectacled gymnast, the ease at which they assumed the titular role in a nar-
rative so monumental showcased the natural potential of the athlete-type character to captivate. From their promising beginnings at an amateur tennis tournament to their not-so-elegant, but nonetheless exhilarating, ending participating at a low-level ‘Challenger’ event, the film captures both the glamour and grit of competitive sport. Dejected moments in which we observe Tashi being pushed out of the court, Patrick’s income as a tennis player being incapable of maintaining a roof over his head, and Art falling out of love with a sport which has consumed his marriage, offer a raw glimpse into the reality and struggles of a real-life athlete outside of the arena.
Above anything else, Challengers
sets out to explore the dynamics between these individuals in its construction of three athletes distinctly dissimilar in terms of skill and mindset, yet all unquestionably interconnected through their collective disposition to compete. Tashi represents the driven, single-minded and composed athlete, one who dominates over her fellow competitors with ease and is committed to a plan which will ensure her the highest level of success in the long-term. Patrick, who possesses an evident talent but neglects investing in its development, instead seeks a constant flow of small-scale successes to feed his own, far more impatient and shortsighted, hunger for glory. Art, on the other hand, while lacking passion and the flair his
peers enjoy for the sport, is capable of dissociating from the all-consuming world of competitive sport and far more concerned with finding the same meaning and value off the court in his personal life.
In charting the journeys of three very different athletes, Challengers effectively exhibits the different types of people sport, and more importantly, competition molds, providing us with a trio of multifaceted opposites varyingly consumed by their commitment to the game. The use of a love triangle is a fitting and, also, entertaining means through which their dual identities, as both individuals and competitors, can confront each other. The fundamental question the film poses is whether these opposing facets of one’s nature can ever be separated, and through its explosive conclusion, it resolves to provide a conclusive answer.
After a summer where the theatrics of sport and its array of personalities conquered the screen, it is rather fitting that one of its greatest box office triumphs was a film exploring just that. If this summer of sport on-screen managed to prove anything, it was not only the astounding capabilities of the athletes but the equally momentous potential of their cinematic caricatures.
They are an Irish rap band from Belfast, consisting of trio; Mo Chara, Móglaí Bap and DJ Provaí. The band's use of the Irish language is one of their unique points when it comes to promoting their music and their film, making them stand out from other artists of this generation. They take these opportunities to reintroduce the language and to gain popularity among newer and older audiences. The use of Irish in their stage names is electrifying and memorable, ‘Mo Chara’, meaning ‘My Friend’, Móglaí Bap, originating from his childhood where he wasnicknamed after Mowgli from The Jungle Book and lastly DJ Próvaí. DJ Próvaí comes from the Provisional IRA’s name, the Provisionals, where shortened becomes, the Provos. These unique names incorporate the Irish language into the band’s image, which encourages it to be spoken among newer generations.
Their decision to speak Irish in their biopic ‘Kneecap’, 2024, shone a worldwide light on Ireland and our native language, something that is often unknown elsewhere.
There has been an outpour of love around their film and it is now Ireland’s official Oscar 2025 entry! The band have now expanded globally, following their debut on ‘The Tonight Show Starring Jimmy Fallon’, their latest album and their film which is in cinemas now. Opinions on the band have altered and significantly changed over the years, since their debut single in 2017. C.E.A.R.T.A, an all-Irish song which discusses themes such as drug-use, sex and violence, a theme across their work. The song was banned by RTÉ’s Raidió na Gaeltachta following its release. The radio station removed the song from their programme’s playlist due to the song’s “drug references and cursing,” says the Belfast Telegraph, something that left over 700 fans furious, and a petition was signed to bring it back on air. It was evident that the song was intended as a satirical observation of life in West Belfast which either RTÉ misunderstood, or perceived as too low-brow for airing. However, their controversies have actually bolstered their popularity over the years, perhaps it was the non-Irish speakers who were unhappy with the song, even though Móglaí Bap has claimed the language is for everyone! The group's lyricism and image is humorous, outweighing this controversy. As of August 2024, the band has 200k Instagram followers, over 40k TikTok followers and 30k YouTube subscribers, so there have been evident changes since 2017. There has been an outpour of love on their most recent
album, titled ‘Fine Art,’ where audiences have been seen chanting their lyrics at sold out concerts and festivals.
The Belfast-born band have become renowned world-wide, espe cially now following the release of their movie titled ‘Kneecap’ which hit Irish screens this August. Previews for the movie have been
shown at local cinemas for the past few weeks in preparation for the anticipated release. The film which manages to merge the Irish and English language into one was shown at the annual Cannes showcase of UK films last May, bringing this extraordinary movie to life. ‘Kneecap’ has resonated with people across Ireland due to the new light it has brought to the Irish language. Kneecap are proud to have spoken Irish in their film and that pride is seen within the community too. They made their film with love for their language, their country and for the community. While it has recently revived Irish speak-
ers around the country, it has also sparked an interest in people abroad to learn the language. Michael Fassbender, who rose to fame for portraying the Irish political activist, Bobby Sands in the 2008 film, Hunger. ‘Kneecap’ has received 96% on Rotten Tomatoes so far, while Variety says that “the feature film... is billed as a raucous anti-establishment comedy”.
In March of this year, Kneecap appeared on ‘The Tonight Show starring Jimmy Fallon,’ performing their new single ‘Sick in the Head.’
The performance was their US TV debut and as of August, the video has 175k views on YouTube. This debut introduced the band to US audiences, while articles by RTÉ, Irish Star and Irish Mirror were written about the group following this but. However, Kneecap are not shy to talk shows here in Ireland, they appeared on Ireland’s ‘The Late Late Show’ back in February, Caroline Frost from Deadline says, “that they wore Pro-Palestine badges after initially agreeing not to.” They agreed to not wear the badges prior to the show, however, Móglaí Bap informed the late show host that
the band wants to “use this platform to appeal to Irish people, to attend rallies and protests... to show solidarity to Palestine.” The trio aim to raise awareness on liberal issues, which was clear here on live TV. There is a certain fearlessness about them amidst a media cycle which has been quite avoidant of the issue. This passion that they have for using their platform to speak on political problems like they did on ‘The Late Late Show’ is a huge contributor to Irish people’s love for the band. Groups have gathered behind the trio in support of their opinions, standing in solidarity with Palestine, amidst this catastrophe. 2024 has been an outstanding year for Kneecap, we watched as the group from West Belfast quickly rose to fame. Kneecap have shifted opinions of the Irish language, where its popularity has also risen. They have surpassed expectations with the making of their biopic, selling out concerts and headlining at festivals across the world. The band have reinvigorated the Irish language to the younger generations with their film and these headlining concerts. It’s interesting to see how their music holds this extent of influence, with their continuous aim to integrate the Irish language into today’s media. We know that this is just the beginning of their rise to fame.
The fashion culture at Trinity, although somewhat well-renowned, can be utterly bizarre to those tourists and students entering the college for the first time. To untrained eyes, the myriad of peculiar outfits, bold (and oftentimes clashing) colour choices and Doc Martens everywhere you look can be quite bewildering. However when broken down, the different clubs and societies within Trinity lend a helping hand in understanding the origins from which many of these curious style choices have stemmed:
Law Soc vs Pol Soc
Words like networking and nepotism get thrown around a lot these days- the latter more often than not in a negative light- but that does little deter the members of Trinity College’s Law Soc from sporting their maroon quarter zips around campus. After all, nothing screams “just finished my summer internship at
mummy’s office” quite like Polo Ralph Lauren, only ever half zipped up as they don’t want you confusing them with UCD.
On the other hand, Pol Soc members would tend to pair their polos with chinos, finishing off the look with a pair of black loafers, in what they think is a more “subtle” nod to quiet luxury than the more professional attire of Law Soc- they’re probably right Those who are observant will also notice the Law Soc member’s fervour to wear a suit at any occasion that has even the slightest hint of corporate, but it's not the suits so much that it is the toe cap oxfords that truly underpin this beguiling look.
GAA Club:
Before the release of Lenny Abrahamson’s ‘Normal People’, the standard ensemble of a GAA jersey and skinny jeans would have been a shockingly far cry from anything state-of-the-art. In recent years however, the commercial success
of the BBC production has catapulted this conventional style into “global fashion trend” status. With this development, the members of Trinity College’s GAA Club, who were once able to live their lives in peace, have become the reluctant fashion icons of every American tourist’s latest infatuation: Paul Mescall in GAA shorts.
DUHAC:
Unlike GAA Club, the members of Trinity Athletics aren’t as readily recognisable by their campus style alone. You may see them walking around campus with their gear bags before training, and on the rare occasion rocking their new pair of Lulu Lemons (if Fashion Soc haven’t chased them off campus for wearing leggings on Trinity grounds). However a fashion renaissance could be in the works for this society this year as there’s a rumour going around that they’ll soon be sporting matching team merch…
Germanic Soc:
With the many different states and cultures within Germany, one would think that the members of Germanic Soc have an abundance of influences to draw from, yet each and every time the bundesliga jersey comes out in a transparent attempt to appear niche-we know you don’t know where San Pauli is, just be honest and admit that you’ve only ever been to Berlin.
Med Soc:
Fashion Soc:
Funnily enough there is no set style for the members of Trinity Colleges Fashion Soc, but that’s not to say you wouldn’t know immediately if one of them was standing right in front of you. In fact, their main objective is to intimidate you with the unpredictability of their positively idiosyncratic outfits, the bolder the better. And despite the fact that deep down they’re actually well aware that there’s only so much je nesais quoi that the confinements of the arts block can afford them, they also know that it just wouldn’t beTrinity without them, so we should probably just let them at it.
It’s no secret that for some time now, Fashion Soc have been turning a blind eye to Med Soc “couture”. They walk around campus in fleeces and sweatpants and only ever interact with their own kind, discussing their monthly rewatch of Grey’s Anatomy (the prom episode always gets a suspiciously long debrief). According to inside sources, they can continue this antisocial demonstration in perpetuity, as long as they keep a minimum distance of 100 feet from the arts block at all times. This agreement has managed to avoid what would be a most disquieting clash between the polar aesthetics of these two groups, the reason for this unlikely harmony being the majority of med students have no idea where the arts block even is.
'CHALLENGERS', LUCA GUADAGNINO 2024
How to Embody “Trinners for Winners” Through Your
CONTRIBUTING WRITER
Erin Trought
CONTRIBUTING WRITER
Lily Scanlan
KNEECAP, RICH PEPPIATT, 2024
Guinness, Tourism, and the Unspoken Costs of Irish Soft Power
I’m going to do something fairly uncool and talk about my dislike of drinking. This distaste stems from a particular pilgrimage that many tourists make when they arrive in Dublin, one that sits at the heart of Ireland’s cultural and economic narrative: the Guinness Storehouse. It’s where I recently found myself; chaperoning a distant American cousin who had eagerly awaited this visit. For him, it was a chance to experience the essence of ‘Irishness’ For me, the experience was tinged with a discomfort that grew as we wandered through the polished halls of this temple to beer. Guinness is more than just a drink in Ireland; it’s a cultural staple. Its harp-shaped logo is so deeply intertwined with the Irish identity that it’s hard to imagine one without the other. The brewery looms over an industrial housing area in the Liberties where it was founded in 1759, with the Storehouse’s tourism section jutting upwards. Guinness has been instrumental in shaping how Ireland is perceived by the world. It’s become a powerful symbol of Irish soft power, a liquid ambassador that has long outgrown its Dublin origins. The Guinness Storehouse itself is a masterclass in branding, deftly weaving the history of the stout with the history of Ireland. As you ascend the factory floors, you’re reminded of the Guinness family’s contributions to Dublin’s development, from housing projects to public spaces. Within these walls is a pride Guinness seems keen to manufacture, that their product is something to be celebrated.
I trailed my cousin through the museum, passing statistics pasted to the walls about the millions of pints consumed at home every year.
Ireland’s relationship with alcohol is complicated. It’s a relationship that has been romanticised and mythologised, but beneath the surface lies the reality:alcohol is a drug, and like any drug, it can be addictive. Ireland’s relationship with binge drinking is well documented and the latest HRB study suggests that despite a 30% drop in consumption over the last two decades, 1 in 10 people are still alcohol dependent. Statistics, however, are hardly needed to illustrate our own experiences; drink is everywhere, and when the issue is raised it’s often dismissed with a laugh and a shrug. If history doesn’t support My cousin doesn’t recognise this, and I wouldn’t expect him to.
Thanks to tourism and successful advertising he can view Guinness through rose tinted glasses, with its warm, convivial atmosphere, as a cornerstone of Irish culture.
The pub has been the subject of
glamorisation, a vital element of the public sphere during sustained periods of abject poverty. For many emigrants, the pub became a symbol of home and comfort in foreign lands. In New York City during the antebellum period marked by famine-induced immigration, every Irish American politician was at some point a saloonkeeper. 150 years later, perspectives of Ireland are largely swayed and controlled by the larger, broader, more economically fortunate diaspora, whose consumption of tourism has a greater influence on the perception of Irish people than Irish people can exert on themselves.
Consequently, the deep-rooted connection to alcohol has also led to a reliance on it, not just socially, but as an economic driver of how we are perceived. However, this reliance on alcohol for cultural identity and economic gain comes with consequences.
The dominance of beer, particularly Guinness, in Ireland’s cultural landscape has reinforced certain stereotypes. Tourists arrive in Ireland, eager to indulge in what they perceive as the quintessential Irish experience:
a night of drinking in a pub, perhaps with some traditional music playing in the background. It’s an experience that can reinforce a narrow and at times damaging perception of Irish culture.
Having dropped this cousin off and sent him on his way to find himself in the aisles of the downstairs gift shop, was reminded of a recent advertisement in the city from the EPIC museum, showing an AI generated image of what the average Irish person looked like. The result? A flushed, drunken figure, fist clenched with a pint glass in hand. Pictures like these are a callback to anti-Irish propaganda that was
rife in Britain during the 19th and 20th centuries. It’s a jarring image, not because it’s obviously at odds with the modern country we have grown up in, but because there is no clear way in which depictions like this can be by Irish people. tourism has galvanised and glamorised the alcohol industry in our society, we cannot hope for others to know us as we know ourselves without the tint of nostalgia, or glamour of beer as shown on a glossy poster.
I watched my cousin take in the view of the city from the Storehouse’s top floor, his eyes wide, gladly accepting the complementary pint handed to him for ascending the seven floors. He was enjoying the experience, revelling in his strengthened connection to his own heritage, but was left wondering about the cost of this bond. Guinness, and by extension alcohol, has become so deeply embedded in the Irish identity that it’s hard to disentangle one from the other. But even as alcohol consumption declines, and Gen-Z increasingly rejects drinking at a
How to Dress to Impress at The Arts Block
greater rate, this perception remains hard to pull away from. I would be foolish to ask this cousin to pour away his pint and pick up a play by Brendan Behan. The path to define oneself to others is rarely found in the micro-niche, and if anything, I have to credit the Storehouse for keeping my cousin entertained for a few hours. Yet, when left to tourism boards and merchandise shops, Irish culture and identity more broadly is susceptible to commoditization and overshadowed by a pint of stout. If we want to take control of how we are perceived, both at home and abroad, we need to reconsider the role that alcohol plays in our national identity. Guinness may be a symbol of Irish culture, but it shouldn’t define it. As I left the Storehouse that day, I couldn’t help but wonder if it’s time for Ireland to tell a different story—one that celebrates all our rich traditions, not just those that come in a glass.
The first time I stepped into Trinity College’s Arts Block, I may as well have stepped into the middle of Soho in New York City.
I recall seeing outfits after outfits resembling something that a micro-influencer from London would wear; the globally renowned Bella Hadid herself could be in this crowd. Not a single person was wearing a bad outfit.
I can confidently say that since that day, have made it my mission to be on Trinity Fashion Society’s Instagram for Campus Couture. Two years on have had one failed attempt of making it on (still rooting
for a chance this year!). If you are like what I was two years ago, completely blindsided by how people younger than me were more fitted up than I ever have been, then fear not for I have come to write this article to help you become one of the best dressed students at Trinity College Dublin. mean, who can I can’t think of a better way to start the year off than to plan every outfit for the semester? So with this in mind, I’ve written some Do’s and Don’ts of Trinity Arts Block…
Fashion Do’s of Trinity Arts Block Most, if not all, of your clothes should come from Loot. While you
may see your bank balance go down, can confirm that the glances from impressed South Dubliners will go up. You absolutely must wear branded shoes that look like a unicorn vomited on them.
I’m talking about yellow Onitsuka tigers or purple Sambas. Bonus points if it's a shade of green.
If you decide to go down a more sinister route, wear black military boots. Doc Martens, Steve Madden Moto Boots or even cowboy boots from ASOS will do the trick. You’ll feel like your feet will fall off by the end of the day but promise you it's worth it. It can get cold in the winter. Instead of wearing a puffer coat to keep you warm, you’ll have to wear a vintage
jackets as if you’re going to your nan’s funeral, are all often spotted within the arts block. You’ll find that if you squint for long enough, you’ll think you’re in an amish neighbourhood in the Midwest of America.
Fashion Don’ts:
Do NOT spend less than 45 minutes getting ready for school every morning. You’ll want to establish a getting ready routine similar to Cassie’s in Euphoria. Get that hair straightener out, buy that expensive lipstick, iron your button-up. Do
“ I highly recommend wearing outfits that you'd wear for Sunday School. Yes, that's right- every day is Sunday in the Arts Block.
Leather Jacket that your grandfather probably wore in 1960. The bigger the jacket, the better. If you don’t have a leather jacket that’s black or brown, you’ll be at the bottom of the barrel within Trinity’s Arts Block. As summer fades away, you’ll find most people in the arts block dressed as if they’re going to church. I highly recommend wear ing outfits that you’d wear for Sunday School. Yes, that’s right-every day is Sunday in the Arts Block. Long flowing skirts, tie to go with a button-up shirt, and even formal
whatever it takes to look like you’re about to hop on the runway (even though you’re actually about to hop on the Luas for your nine a.m. instead).
Absolutely do not wear skinny jeans. While y2k trends are very much in style, this trend absolutely is not. You’ll get concerned looks from peers if your pants are not as baggy as something Billie Eilish would wear.
Same goes for sweatpants and leggings. You’ll get texts from friends asking saying “u ok?” after you’ve pulled up to a tutorial wearing
something that a sorority girl from Arkansas would wear. Naturally we all decided that focusing on fashion trends is more important than focusing on our studies. A huge no-no in the Arts block is wearing a backpack. You think you come to school for school? You’ll want to wear a crossbody bag or tote bag instead. Bonus points if it's leather. It is crucial to look like a newspaper boy from 1920, not an actual student going to class. Lastly, do not come to the Arts block with zero accessories. What are you, a mannequin? Instead, come with enough earrings, clips and rings,to make Captain Jack Sparrow grin. Even scarves and tops from football teams you’ve never heard of are also highly valued arts block items. You may look like a dancer from Dance Moms, and your necklaces will make loud noises during class, but this is all part of the accessories magic. hope these tips help you out as we approach the incoming school year. College is not easy, so why not make it harder for all of us by making an extra effort to look glamorous every single day? know Bella Hadid would be proud.
RACHEL
Lily
