By Sara Brady, Fintan Walsh (eds.)
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Extra info for Crossroads: Performance Studies and Irish Culture
As stated above, a great many Roman Catholics see the parades and other activities as a public staking of territory and manifestation of power. A Roman Catholic friend once told me that the behavior of the participants at the August Apprentice Boys parades was not without purpose: Derry, he explained, is a majority Catholic city, and the Apprentice Boys’ attitude – and actions – are to be taken literally. They were pissing on it. One can see here the ways in which the concepts of the carnivalesque and the ritualesque come into play – the strategy of the Orangemen is to Jack Santino 19 deﬁne what they do as harmless, done for its own sake without social consequence.
20 Byrne’s recollections, as recorded by J. D. Delaney of Coimisiún Béaloideasa Éireann, also give an insight into the performance of gender by the Strawboys: Mrs. Byrne heard a man named Larry Caulﬁeld of Corrigeen, Grange, Rathnure, tell the following story about a marriage in that townland. Four people turned up at this wedding disguised as fools – four among many others, of course. The four kept together all night and did not dance very much. Larry Caulﬁeld was curious to ﬁnd out who they were.
Along the Black Pig’s Dyke (Co. Monaghan: Castleblayney Community Enterprise Ltd, 1993), 53. 20 Irish Folklore Commission, MS 1399, 81. 21 Ibid. (emphasis added). 22 This description is from the South Carlow notes of the Nationalist and Leinster Times, 2 January 1943. 23 Sean Moffatt, Theatre Ireland 13 (1987), 46. 24 Gailey, 1969, 85. 25 Seán Ó Súilleabháin, Irish Folk Custom and Belief: Nósanna agus Piseogana nGael (Dublin: The Three Candles Ltd, for the Cultural Relations Committee, 1967), 6.