Paula Hynes: A weekend of wins, heifers and hard graft
Mark has a wealth of knowledge and formerly managed the Clandeboye Estate herd prior to his retirement last year, and has always been a phenomenal supporter of the younger generation and breeders, offering great words of encouragement.
With a packed schedule ahead for the year, it was very fitting to have the president down judging the very best of cows in Cork.
With all our young heifers at home, Daniel and Eimer Curtin kindly provided showmanship heifers, as Becky had clipped for them during the week. Georgie stood top of the line in the junior showmanship and Becky claimed the red rosette in the senior showmanship.
Our Jersey cows were next to show and Kali won what was a very competitive Jersey heifer in milk class. Kasey was the youngest cow in the senior Jersey class. She has really developed this year and won the class before claiming her third Jersey championship of the year from three outings.
Acclaim was entered in the Kerry Dairy Ireland All-Ireland junior cow class, which was the biggest class of the day for Holstein cows. She finished second to Paul Murphy's cow, and Mark truly liked the pair, as Paul went on to take the Holstein championship, with Acclaim taking honourable mention.
A very successful outing for us, and it was all hands-on-deck when we arrived home as Pauric and Becky began clipping some of the heifers for the Cork YMA calf show. With 10 heifers entered, Sunday was spent clipping as well.
Unfortunately, Aurora had some swelling on her hock and while she was clipped, we decided to leave her at home, but we were still happy with the show team, as eight out of the nine were homebred heifers carrying the Rathard prefix.
The Cork YMA calf show is a qualifier for the YMA National Finals in Kilkenny in late July.
With over 70 heifers entered, it was going to be a highly competitive show. Jane Steel travelled over from the UK to officiate as the judge — a highly accomplished judge, who will judge the colourbreed showmanship classes at the All Breeds All Britain calf show this year. She also photographs the very best of cows both on farm and at shows.
The evening kicked off with both Georgie and Becky qualifying in their showmanship classes. Moving on to the heifer classes, months of work have been put in to ensuring the heifers look their very best.
Our Jerseys were first into the ring with Khaleesi and Kalani standing first and second in the colourbreed class. They are full sisters sired by Avonlea Chocochip. This completed a successful weekend for Kasey, as she is the dam of both heifers.
Aisling Murphy finished fourth in the class with Kaira, which was a super result for her first time in the showring. Becky was kept busy for the evening and led our November-born Sidekick Acclaim to win the intermediate calf class before taking the top spot again in the senior calf class with our Sidekick Jagerbomb heifer and completed a hat-trick, winning the summer calf class with our red and white Holstein heifer named Rouge, with Emilie claiming second place with our Bullseye Alanna heifer.
Alanna had a super season last year, winning her qualifier and standing second at both Nationals and the Winter Fair.
The highlight of the night had to be the fancy dress class. A huge effort was made by club members of all ages — from Yellowstone theme, Alice in Dairyland, Where is Wally — and huge credit to Conor Lehane, who seemed to be a mixture of gym tutu and '80s disco, and went the extra mile by completing the whole class on his knees and received an honourable mention from the judge.
Georgie won the fancy dress with her Willy Wonka theme, and her calf dressed up as the Kalani Bar.
The showmanship championship saw Sarah Shannon being tapped out as champion handler, with Becky taking reserve and Georgie tapped out as honourable mention. The heifer championship was hotly contested, with Gordon and Jennifer Kingston's Bullseye heifer selected as champion, Jagerbomb claiming reserve and the Kirbys' January calf as honourable mention.
A great finish to a top-class weekend of showing, where we also scooped the premier exhibitor award and the premier breeder award at the calf show. Pauric Colman has been working with us at the bigger shows since December last year at the RUAS Winter Fair.
He did an outstanding job of turning out all the animals with Becky. Competing at that level takes a huge team effort, so it is always very rewarding for the entire team when the animals are successful. Pauric takes great care of them, and the job is only ever complete when every animal arrives home safely. There is a job to do at the shows — everyone works together, sharing advice on each animal — and we have some great laughs to keep the spirits up when people start getting tired.
A hectic show life makes for a hectic farm life, as there is always work to catch up on. Deasys mowed haylage for us on Tuesday morning, and they were out in force with the balers and trailers to ensure we have another 200 bales of Wrap-It-Pink haylage stacked in the yard.
We plan to mow more surplus bales over the next few days, and second-cut silage is also on our minds as we try to fit that into the schedule later in the month, one eye on the weather forecast and the other eye on the show diary.
The show whites are washed and ready for Dunmanway Show on Sunday, as we take a few young heifers, and I am looking forward to having a more relaxed show where I have more time to chat to people.
I can honestly say I am humbled by all the people who read my column and take the time to call up and say hi at the shows. It is lovely to introduce the show team to you all in person, and with many adventures over the next month, I am looking forward to keeping you all updated.
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Irish Times
3 hours ago
- Irish Times
FeliSpeaks: Life as a ‘black, Irish, queer culchie'
Over the past decade, Felicia Olusanya , who performs as FeliSpeaks, has written themselves into the contemporary Irish cultural canon. Growing up in Longford town, having moved to Ireland from Nigeria (via France) at the age of eight, there have been multiple landmarks along their creative journey to becoming a compelling and well-recognised performer on Dublin's spoken word scene. Yet early on, they imbued their poetry with its own specific cadence, intonations, a musicality that can move like waves, often becoming an enveloping experience for audiences. A moment that felt especially important was in 2017, at a fundraiser for the Repeal the 8th campaign in the Olympia Theatre. Olusanya's capacity to both quieten and command the room was potent. What emerged was a poem written at their desk in the credit union where they worked: READ MORE And who will march for us? For girls who are fattened, bred and fed for men whose appetites fill like basket water, Devoured by never enough. For girls who can point out pain in the alphabet but cannot spell out their own name. For girls, whose identities are buried under the smoke of a kitchen stove, High on the opportunity to serve, at least. They were nominated for Best Performer at Dublin Fringe Festival in 2018 for Boy Child, co-written with Dagogo Hart , and then won the award in 2022 , for their performance in thisispopbaby 's production, WAKE . Their poem, For Our Mothers, was included on the English Leaving Certificate curriculum in 2023. Olusanya has spent the past two years living in Brussels, returning to Dublin in early July. They arrive in Temple Bar on a sunny weekday morning, finishing up a deli pastry. In the Project Arts Centre , we sit at the back of the empty auditorium upstairs, the airy silence interrupted only by a lone technician clearing lights from the stage floor. At this year's Dublin Fringe Festival, this stage will be Olusanya's. Octopus Children, presented by thisispopbaby, is written by Olusanya, who also performs in the piece. Olusanya describes it as a 'choreopoem', using the term coined by the American playwright and poet Ntozake Shange, where multiple disciplines including poetry, music, and dance combine. 'Octopus Children,' Olusanya explains, 'is this idea that we're all connected by water. We all come from the water, the birth canal, we drink water to survive, we're 70 per cent water. I think water is integral to how we live, and one of the things we waste the most. That's the underbelly of the piece. The overbelly, if I can say that, is just trying to figure out where you fit as a person.' These are the tentacles. 'There are many layers people can see themselves in. But being black, and then being black-Irish, and then being black, Irish and queer in a religious setting, in a Nigerian setting, in Ireland, is very specific.' And beyond that, Olusanya deadpans, 'being a culchie'. The idea for Octopus Children arrived in 2021. Olusanya felt the poems landing as songs. 'I could hear a sonic world with them.' They began hanging out with some producers in a garage in Blackrock in Dublin – 'very sweet boys' – working on a concept for an EP. The first piece completed in 2022, Tough Meat, was a video poem directed by Bobby Zithelo . 'Putting that out into the world, I was hoping to leverage that in some capacity – somebody will see it! Somebody will think it's brilliant!' WAKE: Felicia Olusanya captivated audiences in thisispopbaby's hit show, journeying from Dublin Fringe Festival to London's West End and Manchester's Aviva Studio. Photograph: Ruth Medjber In the meantime, Olusanya captivated audiences in WAKE. That show was a hit, journeying from Dublin Fringe Festival to a standalone sold-out run at the National Stadium in Dublin, and then to London's West End, and Manchester's Aviva Studios. The show holds many things simultaneously: chaotically fun cabaret; aerial artistry; breathtaking pole-dancing; club anthems; dance; poetry; Irish traditional music – all combining to become a moving funeral rite and a great night out. In WAKE, Olusanya is a central character – part ringmaster, part preacher, part spirit, part healer, an anchor tethering the audience to the spiritual essence of the show. In rehearsals, Olusanya says that before developing the character, the thisispopbaby team 'really developed my talent and stretched it a bit'. Olusanya relishes a challenge. 'If you've ever grown up in a choir and a Nigerian auntie has been your choir master, girl, you take challenges real well! Nothing can faze you.' [ Thisispopbaby's magic sauce: 'Take Irish traditional culture, add some mirror balls, throw some glitter on it' Opens in new window ] Olusanya recalls telling Jennifer Jennings, WAKE's co-director and co-creator, that the character felt like an offering for the audience. Amid the neon and glitter, WAKE is also about expressing and diffusing grief. 'Grief is so traumatic, and if you're going to address it, you need to bring balm. I feel like that was what I was tasked with,' Olusanya says. At one performance in the West End, they recall 'coming off the stage and I wasn't even thinking about the words, I was being the words ... I vacuum cleaned the grief in the room. There's something so difficult about that, feeling the intensity of people's grief. Take it off their hands, and then offering balm. Oftentimes I'll get offstage and my body is wracked. Hyperventilating. I can't breathe.' An audience in the midst of releasing their emotion – joy or pain – doesn't often consider where that energy goes when those on stage are opening up those channels. 'Energy cannot be destroyed or created,' Olusanya says. 'It can only be passed from one to the next. So if you're releasing and you feel great, I'm determined to swallow it all up. I'll bring it before my chi and my god and release it that way.' They pause to consider that process and experience. 'I felt powerful enough to be able to do that. I've been thinking about power a lot. Once you're aware of your magnitude or power, for me, awareness of my power meant service. You can't be powerful and useless – come on! The more aware of my power I am, the more I submit to the service of other people via my art. That's what I'm here for.' 'For all the weight and darker elements of the work ... Feli also brings a real lightness, humour, and an irony,' says Octopus Children director Oonagh Murphy of Felicia Olusanya. Photograph: Dara Mac Dónaill After the second run of WAKE in Dublin, Olusanya says thisispopbaby asked, 'What do you want to create? What do you have in mind?' Olusanya answered: Octopus Children. 'I made them a little PowerPoint with all the ideas and thoughts, the sounds, the music I had already created. They were like, 'What in the hell? Here's a director. Go sort that out.' They were interested, they were curious. I really appreciated that they wanted to see my perspective on life.' That director is Oonagh Murphy. Murphy says Olusanya is 'a counter voice to what we're familiar with in the Irish cultural imagination. But also the craft of their work is incredible. When you think about how prolific their output is, there is a real discipline ... And there's a deep playfulness there too. For all the weight and darker elements of the work – which need to be given space – Feli also brings a real lightness, humour, and an irony.' [ Sabotage review: Joyously chaotic festival opener has all the fun of the circus Opens in new window ] Working on Octopus Children, Murphy says, 'has felt quite spiritual, magical'. Early on in our conversation, Olusanya refers to 'being the rebel in your family unit'. What does that rebellion look like? Their upbringing, community and family in Longford runs deep. As a youngster, Olusanya was 'a good girl, because I liked the things that I was supposed to like'. They loved school, 'which, if you know anything about immigrant families, this is the one thing '. They loved church, 'because I was very aware of my spiritual nature from when I was very young, and I didn't have any other outlet for it'. They loved going to choir, and being part of a youth group. 'The rebellion started when I hit 15 or 16. I started wrestling with my gender identity without knowing what it was. I didn't even know what those terms were until I hit maybe 21, 22 ... I wore the wrong clothing. I 'girled' differently to how I should have. So my mum was quite worried about that. I also wanted to explore kissing boys and girls, but it was like: that's not something you do. And I was very aware of that.' Around the age of 17, Olusanya recalls taking their younger brothers to the barber shop. 'I came home with a haircut too. My mother said, 'What is the matter?' She was so concerned because I cut my hair.' The rebellion 'ramped up' in college in Maynooth, where they were studying English and sociology, 'because I decided to leave Christianity'. Then, there was coming out as queer. 'I came out by accident. I didn't know I was coming out, I was just talking about being queer on Instagram.' I want black Irish girls, or non-binary people, or gays, to be like, 'Ahh! That's a bit of me!' — Felicia Olusanya on Octopus Children Olusanya had attended Dublin Pride, alone, 'so excited, just taking it in, like wow ... I came back from my first Pride parade, and I made a whole Instagram post – as you do when you're 23 and stupid. I was so excited, saying all my thoughts, and I forgot church people followed me. My mum followed me, obviously. She commented, 'Mum's got your back always.' It was really beautiful in that moment. However, some tricky conversations in the community in Longford followed. 'You know in the movies where they want to pray the gay away? They're really serious about that, you know… I was like: I like my gay. I'm not giving up my gay… That in itself was a rebellion.' On the hurt this induced, Olusanya says they 'would rather that pain, than the pain of hiding'. Tears pooling in Olusanya's eyes, they express empathy and understanding for the context. 'That in itself is complicated and confusing, and requires all the emotional intelligence in the world to navigate. But yeah,' they say, brushing the tears away, 'that's also in Octopus Children.' Olusanya flips the atmosphere into a moment of unexpected lightness, 'Do you know what? The Laya Healthcare ad helped!' Laughter fills the empty theatre. 'Do you know how cool it is when you're on billboards? They get over the gay stuff quick!' In late 2021, Olusanya appeared in a campaign for the health insurance company, bringing their image and words on to television screens and billboards across Ireland. I suggest that this feels like a quintessentially Irish experience, but perhaps one more associated with another time. Olusanya nods, connecting the social attitudes of older generation white Irish people to first generation Nigerian-Irish. 'I don't like saying this, but that's how far away we are in terms of where we should be. I'm not saying white Irish Ireland has it all figured out, but in terms of the queer thing? It just feels like the story is a 1980s Irish experience. It feels like a time-travelling experience. [ Taylor Tomlinson at 3Arena review: more personal, more vulnerable but few surprises Opens in new window ] 'When immigrant black people come here and they make black Irish children, they're not expecting the assimilation that we experience. My parents and their peers came purely out of survival – 'at least you're going to have a fighting chance'. When people come from a survival mentality and you're trying to operate from a thriving mentality, they're terrified. Because even though they do want you to thrive, they don't know what that looks like. And so there is this push and pull between: 'I want you to be better and that's why I brought you here,' versus, 'What better looks like is really confusing and alienating for me as the mother or father or family that brought you here.'' This can cause, Olusanya believes, a 'disconnect' between some black youth in Ireland, and their parents and older relatives. 'It's either thrive and evolve, or we just end up replicating our parents. So that 1980s connection is so interesting. There's half of us who are like, 'F**k it, I'm going to take this opportunity to thrive beyond the economic.' Because, no word of a lie, black Irish people my age? Disgustingly equipped and educated. They have masters degrees for no reason, bruv! What, to work in a Centra? Relax!' The Centra line is obviously a joke. 'They're taking over Google! What's going on?! Educated to s**t. Lawyers, medical doctors. We're not playing it small, because we're not allowed to. We're not allowed to play it small, because survival involves going all the way up here,' Olusanya raises their hand. 'But that's economic survival.' The social and spiritual aspect, they say, is another thing. Felicia Olusanya describes Octopus Children as a 'choreopoem', in which multiple artistic disciplines combine. Photograph: Dara Mac Dónaill I wonder whether the reaction Olusanya experienced to them being queer was also about a fear of another layer of oppression to contend with in a racist society. The conversations Olusanya had with family and others, they say, were 'not about hate, it's about fear. They were terrified, because they've built these communities and structures that incubate them safely. When you pop out of it for work, to socialise, you can still come back home. Even if I get racist experiences at work, there's a whole community that have my back I can come back to, so that is a temporary experience. That's how I think the older generation view it. Whereas if you're then gay, it's not the thing that's going to break you out 'there' in the white Irish world, but it will,' - or may - 'in the home that we've all built that's supposed to support you no matter what.' 'I want us to be able to have our communities, grow our communities, and not be caged by our communities, because that's also what's happening when people come from a space of survival, psychologically. I can't wait for a couple of generations where our people feel completely safe, that there isn't a demarcation. Sociologically and psychologically we all do this: you're drawn to people who are more like you, that's normal, so you'll always have those type of communities anyway. I'm not saying we need to dismantle our safety in our community in order to integrate. That's not what I'm asking for. But what I am saying, is to free ourselves from the limitations that the survival of our communities has brought. And one of those limitations,' Olusanya says, is a feeling 'that you can't be queer. Especially not out loud.' They have just returned from two years in Brussels, a place Olusanya went to out of a sense of adventure and 'safety, because it felt like the country held me well - I visited several parts of of Belgium before settling in Brussels - and I didn't want to go to London especially, very Dublin 2.0 vibes.' Living there, they were exposed to 'a type of freedom and blackness that I had never seen before or experienced', as well as new forms of dance and jazz. Now, Olusanya is ready for the next phase. They hope what Octopus Children does is make people 'one, feel visible in multiple ways, per tentacle. But two, that it frees us from the limitation of our own community – seeing a 'me'. I've come to accept – and no ego s**t – you just end up being a pioneer. You don't want to be a public figure, you don't want to be the person people look up to. But if you're going to do something different, you're going to end up being that ... With this show, I want to show my community – black Irish people – and the white Irish community, that this weird layered person-being can be visible, and it's completely okay. Visible and celebrated. I want black Irish girls, or non-binary people, or gays, to be like, 'Ahh! That's a bit of me!' and not feel like there's no representation. I hate the word representation, but it's so f***ing important. But I don't want to be the only one. I want to be able to make Octopus Children so octopus children can find it, so there can be a community of us, so we're very visible, very loud.'
Irish Independent
3 hours ago
- Irish Independent
The six ages of David Clifford – a mixture of Kerry greats that strikes fear into defenders across the land
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Irish Times
4 hours ago
- Irish Times
The Guide: Billie Eilish, Mogwai, All Together Now and other events to see, shows to book and ones to catch before they end
Event of the week Billie Eilish Saturday, July 26th/Sunday, July 27th, 3Arena, 5.30pm, (sold out), After six years and three immensely successful albums (the latest of which, Hit Me Hard and Soft , lends its title to her current world tour), Billie Eilish is as much an activist as a pop star, often fusing political and socio-sexual issues within her songs. From 2019's All the Good Girls Go to Hell (which addresses climate change) and 2021's Your Power (which highlights the sexual harassment of young women) to 2024's Lunch (which explores same-sex attraction), she has never concealed her opinions to gain favour. The show and the music? In a review of Eilish's July 10th 24-song set at London's O2 Arena, UK newspaper The Independent said : 'The night unfolds like a series of magic tricks … She wields as much power in her stillness as she does in her hyperactivity.' Consider yourself lucky if you have a ticket. Gigs Mogwai Saturday, July 26th/Sunday, July 27th, Vicar Street, Dublin, 7pm, €51.40; Tuesday, July 29th, Mandela Hall, Belfast, 7pm, £43.95, This year celebrates Mogwai's 30th anniversary as one of the best post-rock bands out there. It took a while for Mogwai's often bruising sound to develop, and it wasn't until their 2003 album, Happy Songs for Happy People, and the 2004 follow-up album, Mr Beast, that they began to gain commercial momentum. Soundtrack work followed, most notably for the 2006 documentary, Zidane: A 21st Century Portrait, and latterly for the 2022 Apple TV+ series Black Bird. Mogwai's most recent album, The Bad Fire, smartly continues with their quiet-loud-quiet style morphing into what The Quietus describes as a series of 'pneumatic crescendos'. Special guests are Glasgow sibling duo Cloth. READ MORE Don't Touch My Knob Friday, August 1st, Elizabeth Fort, Cork, 8.30pm, €20, Áine Duffy Gender diversity is a regular problematic issue when it comes to event line-ups (and, of course, radio play ), so much so that Cork musician Áine Duffy devised a one-day mini-festival featuring an exclusively all-female programme. Alongside Duffy performing, other acts include DJ Natalie Mac (co-founder of the Electronic Music Council), multi-instrumentalist Ria Rua, and comedian Sinéad Quinlan. 'This isn't just a gig, it's a statement,' says Duffy. Women, she adds, 'are taking back the stage'. Festival All Together Now From Thursday, July 31st until Sunday, August 3rd, Curraghmore Estate, Co Waterford, (sold out), John Grant More compact than Electric Picnic but with similar levels of creative oomph, All Together Now features a ridiculously eclectic range of artists, along with the kind of sidebar strands and events that are expertly devised and operated. From top to bottom, the line-up is superb. Headliners include Fontaines DC, London Grammar, CMAT, and Wet Leg, while further down the bill there are numerous must-see acts, including John Grant, Baxter Dury, 49th & Main, English Teacher, A Lazarus Soul, Landless and the perennial festival favourite – Many More Across All Stages. Partnered with music offerings are in-conversation events, visual arts, theatre, food and panel discussions. Film GAZE Film Festival From Tuesday, July 29th until Monday, August 4th, Lighthouse Cinema/IFI, Dublin, Plainclothes The 33rd edition of GAZE features Irish, European and world premieres of international features, animation, shorts, and Irish-language film. Compelling highlights include Plainclothes, starring Russell Tovey as a 1990s New York undercover police officer tasked with entrapping gay men; Drive Back Home, featuring Alan Cumming; Norwegian film-maker Dag Johan Haugerud's award-winning Oslo Stories Trilogy: Dreams; the documentary Strange Journey: The Story of Rocky Horror; and the rare 1990s lesbian classic, High Art, starring Ally Sheedy and Patricia Clarkson. Sidebar events include post-screening discussions with visiting filmmakers. Stage The Lunch Punch Power Hour in Conference Room 4 From Thursday, July 31st until Saturday, September 6th, Peacock Stage, Abbey Theatre, Dublin, 8pm, €32.50/€20, During lunch hour in a locked office, three ostensibly diligent employees decide how best to spend their company's annual Corporate Social Responsibility budget. Such a task might seem feasible, but without management peering over their shoulders the workers launch into awkward, farcical disputes that expose uneasy disclosures and power plays. Caitríona Daly writes, Raymond Keane directs. Literature John Hewitt International Summer School From Monday, July 28th until Saturday, August 2nd, Market Place Theatre, Armagh, Co Armagh, Inspired by Belfast-born John Hewitt's enduring legacy as a poet/historian/activist, this annual summer school and arts festival investigates significant, diverse societal issues of the day through the voices of artists, authors, and thinkers. Events include In Conversation sessions (David Park, Monday, July 28th, 1.30pm, £12; Ian Rankin and Jane Casey, Tuesday, July 29th, 8.30pm, £16; Donal Ryan, Wednesday, July 30th, 1.30pm, £12; Wendy Erskine, Thursday, July 31st, 1.30pm, £12), poetry readings (Hannah Copley and Gustav Parker Hibbert, Thursday, July 31st, 11.15am, £12), and public interviews (Sally Hayden, with Malachi O'Doherty, Friday, August 1st, 9.45am, £10). Visual art Reveal/Conceal Until Saturday, August 16th, The Cowshed Gallery, Farmleigh, Phoenix Park, Dublin, admission free, Orla Barry, All Bow to Badger Bringing together 25 multidisciplinary artists from the Louth Craftmark Designers Network, Reveal/Conceal features work covering sculpture, print, textiles, glass, jewellery, ceramics and painting. Featured artists include painter Orla Barry, fused-glass artist Aoife Burke, ceramicist Maureen Finn, textile artist Mel Bradley, Suzanne Carroll, whose work explores ecological loss through painting, and Rachel Tinniswood, whose blending of fabric, thread, wax resist, and hand/machine-embroidery explores environmental frailty and nature's tougher textures. Still running WTAF!? Until Wednesday, July 30th, various venues/times/prices, Galway, Moss Russell, WTAF!? WTAF!? (aka Westend Theatre & Arts Festival) is a newcomer that welcomes 'DIY dramatists, rogue musicians, chaotic creators and anyone who's ever felt like they don't fit the mould'. Included in the inaugural event are theatre (Night in Nighthawks, Massimo Bar), jazz fusion (Karl Clews Trio, Monday, July 28th, The Blue Note Bar, 6pm), and circus (Eye of the Storm, Róisín Dubh, Wednesday, July 30th, 8pm). Book it this week Hard Skin, Bellobar, Dublin, October 18th, Pillow Queens, NCH, Dublin, October 21st, Deftones, 3Arena, Dublin, February 16th, Vittorio Angelone, Vicar Street, Dublin, April 26th/27th,
