For the play by Yeats and Gregory, see Cathleen Ní Houlihan

Scene From Yeats and Gregory's play, Cathleen Ní Houlihan, circa 1912 production

Kathleen Ni Houlihan (Irish: Caitlín Ní Uallacháin, literally, "Kathleen, daughter of Houlihan") is a mythical symbol and emblem of Irish nationalism found in literature and art, sometimes representing Ireland as a personified woman. The figure of Kathleen Ni Houlihan has also been invoked in nationalist Irish politics. Kathleen Ni Houlihan is sometimes spelled as Cathleen Ni Houlihan, and the figure is also sometimes referred to as the Sean-Bhean Bhocht (pron. Shan Van Vukt), the Poor Old Woman, and similar appellations. Kathleen Ni Houlihan is generally depicted as an old woman who needs the help of young Irish men willing to fight and die to free Ireland from colonial rule, usually resulting in the young men becoming martyrs for this cause. In the days before the Anglo-Irish War, the "colonial" power was the United Kingdom of Great Britain and Ireland. After the Anglo-Irish War, Kathleen Ni Houlihan was a figure more associated with the Irish Republican Army in Northern Ireland, especially during the Troubles.

As a literary figure, Kathleen Ni Houlihan was perhaps most famously used by William Butler Yeats and Lady Augusta Gregory in their play Cathleen Ní Houlihan. Other authors that have used Kathleen Ni Houlihan in some way include Seán O'Casey (especially in The Shadow of the Gunman) and James Joyce who introduces characters named Kathleen and Mr Holohan in his story "A Mother" (in Dubliners) to illustrate the ideological shallowness of an Irish revival festival.

General features and Yeats and Gregory's treatment[link]

Kathleen Ni Houlihan is generally portrayed as an old woman without a home. Frequently it is hinted that this is because she has been dispossessed of her home which comprised a farmhouse and "four green fields" (symbolising the four provinces of Ireland). In Yeats and Gregory's Cathleen Ní Houlihan (1902), she arrives at an Irish family's home as they are making preparations for the marriage of their oldest son. In Yeats and Gregory's play, Kathleen Ni Houlihan tells the family her sad tale, interspersed with songs about famous Irish heroes that had given their life for her. She ultimately lures the young groom away to join in the failed Irish Rebellion of 1798 against the British during the French Revolutionary Wars. After the groom makes his decision and leaves, one character notes that the old woman has become a beautiful young woman with the walk of a queen. Yeats and Gregory's treatment of Kathleen Ni Houlihan is fairly typical of this myth. The groom's choice — and eventual death in the failed rebellion — rejuvenates Kathleen Ni Houlihan to some degree.

Sacrificial aspects of the myth[link]

Richard Kearney (1988, p. 218) suggests that the Kathleen Ni Houlihan myth represents the view that the blood sacrifice of heroes is needed to free and redeem Ireland. At the same time, these heroic sacrificial martyrs are rewarded by being "remembered for ever" (Kearney, p. 218). This nationalist sacrificial mythology can be tied to pagan concepts of "seasonal rejuvenation" and the sacrificial aspects of Christianity in the Crucifixion and tradition of martyrdom (Kearney, p. 220). This use of sacrificial martyrdom can also be seen in various hunger strike used by Irish Republican Army prisoners in the 1980s and other periods (Kearney, ch. 11).

Selected literary treatments of the myth[link]

The figure of Kathleen Ni Houlihan has appeared in several folk songs and poems. Ethna Carbery's "The Passing of the Gael" (1906), which was a sentimental treatment of the Irish diaspora during the 19th century (partly because of the Irish Potato Famine), suggested that Irish emigrants longed for their homeland. Carbery refers to Kathleen Ni Houlihan by name as the personification of Ireland that the emigrants miss.

Seán O'Casey's The Shadow of the Gunman (1923) quotes the last line of Carbery's "The Passing of the Gael," as the character Seumas Shields complains about various aspects of Irish culture. O'Casey's treatment of the myth is generally viewed as ironic or sardonic.

Irish poet Seamus Heaney has suggested that the character of Sarah in Brian Friel's Translations (1980) can be seen as a Kathleen Ni Houlihan-like figure desperately trying to regain her voice and identity.

See Tommy Makem's Celtic/folk song, "Four Green Fields."

In James Joyce's Dubliners the selection "A Mother" contains the character Kathleen whose mother "determined to take advantage of her daughter's name" during the Celtic Revival.

See also[link]

• Irish folklore
• Irish literature
• List of Ireland-related topics

References[link]

• William Butler Yeats and Lady Augusta Gregory, Cathleen Ni Houlihan (1902).
• Richard Kearney, Transitions: Narratives in Modern Irish Culture (Manchester, UK: Manchester University Press, 1988). ISBN 0-7190-1926-5
• Brian Friel, Translations (London: Faber, 1980). ISBN 0-571-11742-2
• Seamus Heaney, "Review of Translations," Times Literary Supplement (1981).
• Ethna Carbery, “The Passing of the Gael,” The Four Winds of Eirinn: Poems by Ethna Carbery, 1906, A Celebration of Women Writers, ed. Seumas MacManus and Mary Mark Ockerbloom, 2003, University of Pennsylvania, 21 March 2005.
• Seán O'Casey, The Shadow of the Gunman: A Tragedy in Two Acts, Three Dublin Plays: The Shadow of the Gunman, Juno and the Paycock, The Plough and the Stars (1923; London: Faber, 1998) 1-62. ISBN 0-571-19552-0

Maud Gonne
Maud Gonne ca. 1900
Born	(1866-12-21)21 December 1866 Tongham, England
Died	27 April 1953(1953-04-27) (aged 86) Clonskeagh, Ireland
Occupation	activist
Spouse	John MacBride
Children	Seán MacBride and Iseult Gonne
Parents	Thomas Gonne and Edith Frith Gonne (née Cook)

Maud Gonne MacBride (Irish: Maud Nic Ghoinn Bean Mhic Giolla Bhríde, 21 December 1866 – 27 April 1953) was an English-born Irish revolutionary, feminist and actress, best remembered for her turbulent relationship with William Butler Yeats. Of Anglo-Irish stock and birth, she was won over to Irish nationalism by the plight of evicted people in the Land Wars. She was also active in Home Rule activities.

Early life[link]

She was born at Tongham^[1] near Farnham, Surrey, as Edith Maud Gonne, the eldest daughter of Captain Thomas Gonne (1835–1886) of the 17th Lancers, whose ancestors hailed from Caithness in Scotland, and his wife, Edith Frith Gonne, born Cook (1844–1871). After her mother died while Maud was still a child, her father sent her to a boarding school in France to be educated.

Political activity[link]

Maud Gonne McBride, no date. Library of Congress.

In 1882 her father, an army officer, was posted to Dublin. She accompanied him and remained with him until his death. She returned to France after a bout of tuberculosis and fell in love with a right wing politician, Lucien Millevoye. They agreed to fight for Irish freedom and to regain Alsace-Lorraine for France. She returned to Ireland and worked tirelessly for the release of Irish political prisoners from jail. In 1889, she first met William Butler Yeats, who fell in love with her.

In 1890 she returned to France where she once again met Millevoye. In 1891, she briefly joined the Hermetic Order of the Golden Dawn, a magical organization with which Yeats had involved himself.^[2] Between 1893 and 1895, she and Millevoye had two children together named Georges and Iseult. Only the second, a girl named Iseult Gonne, born 1894, survived. (At age 23, Iseult was proposed to by then-52-year-old William Butler Yeats, and she had a brief affair with Ezra Pound. At age 26, Iseult married the Irish-Australian novelist, Francis Stuart, who was then 18 years old.)

During the 1890s, Gonne travelled extensively throughout England, Wales, Scotland and the United States campaigning for the nationalist cause. In 1899 her relationship with Millevoye ended.

Gonne, in opposition to the attempts of the British to gain the loyalty of the young Irish during the early 1900s, was known to hold special receptions for children. She, along with other volunteers, fought to preserve the Irish culture during the period of Britain's colonization.

Acting[link]

In 1897, along with Yeats and Arthur Griffith, she organized protests against Queen Victoria's Diamond Jubilee. On Easter 1900, she founded Inghinidhe na hÉireann ("Daughters of Ireland"), a revolutionary women's society, to provide a home for Irish nationalist women who, like herself, were considered unwelcome in male-dominated nationalist societies. In April 1902, she took a leading role in Yeats's play Cathleen Ní Houlihan. She portrayed Cathleen, the "old woman of Ireland", who mourns for her four provinces, lost to the English colonizers.

In the same year, she joined the Roman Catholic Church. She refused many marriage proposals from Yeats because she viewed him as insufficiently nationalist and because of his unwillingness to convert to Catholicism.^{[citation needed]}

Marriage[link]

After having turned down at least four marriage proposals from Yeats between 1891 and 1901, Maud married Major John MacBride in Paris in 1903. The following year, their son, Seán MacBride, was born. However, after the marriage ended, Gonne made allegations of domestic violence, including the molestation of her then 11-year-old daughter Iseult Gonne,^[4] her husband returned to Ireland. Gonne and her husband agreed on the need for an end to their marriage but could not agree on the future of their baby boy. She demanded sole custody and the right to educate and bring him up, threatening MacBride that if he did not agree to this she would take a case against him for divorce. MacBride stood firm and a divorce case began in Paris. The only charge against MacBride that was substantiated in court was that he was drunk on one occasion during the marriage. A divorce was not given and MacBride got visiting rights to see his son twice a week at his wife's home. He exercised these rights briefly but decided to return to Ireland and never saw his baby boy again. Gonne raised the boy in Paris until her husband was executed in 1916. Then she felt that she could safely return to live permanently in Ireland.^{[5][page needed]} John Waters has described this episode as an example of 'parent alienation syndrome'.^{[6][page needed]}

John MacBride was a veteran who had led the Irish Transvaal Brigade against the British in the Second Boer War. MacBride was executed in May 1916 along with James Connolly and other leaders of the Easter Rising. Yeats proposed to her once again in 1916, and she once again turned him down. She remained in Paris until 1917.

Maud Gonne (far right) with relief agency members in Dublin in July 1922

In 1918 she was arrested in Dublin and imprisoned in England for six months. During the War of Independence she worked with the Irish White Cross for the relief of victims of violence. In 1921 she opposed the Treaty and advocated the Republican side. She settled in Dublin in 1922.

Yeats's muse[link]

Why should I blame her that she filled my days/ With misery, or that she would of late
Have taught to ignorant men most violent ways/ Or hurled the little streets upon the great.

(from No second Troy, 1916)

Many of Yeats's poems are inspired by her, or mention her, such as "This, This Rude Knocking." He wrote the plays The Countess Cathleen and Cathleen Ní Houlihan for her. His poem Aedh wishes for the Cloths of Heaven ends with a reference to her:

I have spread my dreams under your feet; Tread softly because you tread on my dreams.

Few poets have celebrated a woman's beauty to the extent Yeats did in his lyric verse about Gonne. From his second book to Last Poems, she became the Rose, Helen of Troy (in No second Troy), the Ledaean Body (Leda and the Swan and Among School Children), Cathleen Ní Houlihan, Pallas Athene and Deirdre.

Autobiography[link]

Maud Gonne MacBride published her autobiography in 1938, titled A Servant of the Queen, a reference to a both a vision she had of the Irish queen of old, Cathleen (or Caitlin) Ní Houlihan and an ironic title considering Gonne's Irish Nationalism and rejection of the British Queen.

Her son, Seán MacBride, was active in politics in Ireland and in the United Nations. He was awarded the Nobel Peace Prize in 1974.

She died in Clonskeagh, aged 86 and is buried in Glasnevin Cemetery, Dublin.

References[link]

External links[link]

• The National Library of Ireland's exhibition, Yeats: The Life and Works of William Butler Yeats

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Karen O
Karen O at All Tomorrow's Parties festival, December 2009
Background information
Birth name	Karen Lee Orzolek
Born	(1978-11-22) November 22, 1978 (age 33)[1] South Korea
Origin	New Jersey, United States
Genres	Indie rock,[2] art punk, alternative rock
Instruments	Vocals, piano
Years active	Since 2000
Labels	Interscope
Associated acts	Yeah Yeah Yeahs Native Korean Rock

Karen Lee Orzolek (born November 22, 1978), better known by her stage name Karen O, is the vocalist for New York rock band Yeah Yeah Yeahs.

Early life[link]

Karen O was born in November 1978^[1] in South Korea to a Korean mother and a Polish father.^[3][4][5] She eventually moved to the United States, where she grew up in Englewood, New Jersey.^[6] She has commented on her childhood: "It's almost embarrassing how well-behaved I was, which is probably why I do things like spit water on myself onstage as an adult."^[7] She attended Oberlin College, but transferred to New York University's Tisch School of the Arts. She is now based in Los Angeles.

Career[link]

Karen O is best known as the frontwoman for the band Yeah Yeah Yeahs. She has also been noted for her sense of fashion, wearing ostentatious outfits made by her friend, fashion designer Christian Joy. In the early days of the band, she became well known for her outrageous antics during live shows.^[4]

Playboy made an offer for her to pose on their cover. Karen O said on the subject, "I was approached but I said no. Who knows though? Maybe I'll do it in the future, but now doesn't seem to be the right time."^[8] Since then, however, Karen stated in an interview with Associated Press magazine that she has changed her mind and would never do Playboy because of the audience that Playboy magazine attracts.^[9]

During a tour for the 2003 Livid Festival in Australia, at a sideshow at The Metro in Sydney, she accidentally danced off the stage and was reluctantly taken to a hospital. A few days later at the Sydney leg of the Livid Festival, she appeared in a wheelchair pushed by Angus Andrew.^[10]

Karen O won Spin Magazine's Sex Goddess Award in both 2004 and 2005. In 2006, she was named one of rock's hottest women by Blender.^[11] In 2007, Karen O placed #3 on Spinner.com's Women Who Rock Right Now.^[12] In February 2010, she won a Shockwaves NME Award for the Hottest Woman.^[13]

She began working on a small side project called Native Korean Rock and the Fishnets with fellow NYC musicians in 2008.^[14]

In 2009, she contributed backing vocals, screaming animal sounds and noises to the songs "Gemini Syringes", "I Can Be A Frog", and "Watching the Planets" on The Flaming Lips album Embryonic.

In 2011, she contributed vocals on the song "Pinky's Dream" on the David Lynch debut album Crazy Clown Time.

On the collaboration project with N.A.S.A. on The Spirit of Apollo, she appears on the track "Strange Enough", together with Ol' Dirty Bastard and Fatlip.

O's vocal approach has been described as "ethereal",^[15] sometimes compared to indie folk artist Quinn Marston,^[16] and has been described as "yelping" at times.^[17] She described her approach:

We still have to grab people by the collar … We put out a record every three years now; we could easily be forgotten. If you look at a lot of our peers that we came up with, a lot of them have disappeared.

—Karen O in the Los Angeles Times, 2009^[17]

Soundtrack work[link]

O was featured in the track "Cut Me Up" by Har Mar Superstar for the soundtrack to the 2005 horror film House of Wax. For the movie Jackass 2, Karen O collaborated with electronic artist Peaches and Johnny Knoxville to record a track entitled "Backass"; for Jackass 3D, she covered the Roger Alan Wade's "If You're Gonna Be Dumb" under the alternative title of "If You're Gonna Be Dumb, You Gotta Be Tough". In 2007, she also contributed vocals to a version of Bob Dylan's "Highway 61 Revisited" for the I'm Not There movie soundtrack.^[18] At the end of episode 409, "Brothers Cinco", of the Tim and Eric Awesome Show, Great Job! she performed a short song.

In May 2011, it was reported that Karen O had collaborated with Trent Reznor on a cover version of Led Zeppelin's "Immigrant Song" for the soundtrack to the English-language version of the film The Girl with the Dragon Tattoo, for which Reznor composed the score.^[19] In December 2011 it was announced that the song would open the soundtrack album, be released as the opening single, and be available free to all who pre-ordered before the official release date (December 9).^[20]

[edit] Where the Wild Things Are

Karen O composed all of the songs on the soundtrack of Where the Wild Things Are (with the exception of a cover of the Daniel Johnston song,"Worried Shoes") in collaboration with Carter Burwell. The film was directed by her former boyfriend Spike Jonze. She is listed on the soundtrack as "Karen O and the Kids".^[21] Karen O and her Yeah Yeah Yeahs bandmate Nick Zinner co-wrote "All is Love", which was nominated for the "Grammy Award for Best Song Written for a Motion Picture, Television or Other Visual Media", a songwriter's award, at the 2010 Grammy Awards.^[22]

Karen O at Bumbershoot 2009.

Video work[link]

In 2004 Karen O, using the moniker Marshmellow, directed the music video for "We Fenced Other Gardens with the Bones of Our Own" by the Liars, fronted by her then boyfriend Angus Andrew.^[23][24] The following year she directed the "Blessed Evening" video for Foetus with her then boyfriend Spike Jonze working as cinematographer.^[25] In 2006 she directed the Yeah Yeah Yeahs' video "Cheated Hearts".^[26][27]

Under the moniker Kids With Canes, Karen O and her boyfriend Barney Clay directed the music video for the Tiny Masters of Today song "Hologram World", released on February 8, 2008. Karen also contributed vocals to the song, served as choreographer of the video, in which she appears along with Yeah Yeah Yeahs bandmates Nick Zinner and Brian Chase as well as Mike D from the Beastie Boys, Gibby Haynes from the Butthole Surfers, Russell Simins from the Blues Explosion and Sam James from The Mooney Suzuki.^[28]

[edit] The KO At Home demo leak

On December 10, 2006, a home-recorded album titled KO at Home was leaked via an invite-only BitTorrent tracking site. The album, originally a personal gift to Dave Sitek of the NYC band TV on the Radio, was discovered inside a suitcase Sitek left behind in a New York City apartment. The disc's 14 tracks and scan of the cover – a photograph of Karen O, with a poem written by Oscar Wilde on the back side of the photo – quickly spread. The music news site stereogum.com broke the story of the leak^[29] the following morning and continued their coverage^[30] when Sitek lashed out at the fan who leaked the demos.^[31] Eventually Sitek followed up his comments with an apology letter.^[32] Karen O's response to the leak was "shit happens" and although she was somewhat "grossed out," she offered advice on which of the songs she liked the most,^[33] namely the tracks "Pumpkin" and "Snakes and Worms".

Personal life[link]

In 2011, Karen O married longtime boyfriend Barnaby Clay.^[34]

References[link]

External links[link]

Wikimedia Commons has media related to: Karen O

• Yeah Yeah Yeahs official website
• Yeah Yeah Yeahs on Myspace
• 2010 interview with Karen O

Pádraigín Ní Uallacháin (Irish pronunciation: [ˈpad̺.ɾɪɡ-in nʲiː u.a.l̺aˠɔxiːnə]) (born 23 August 1950) is an Irish singer, song-writer, academic and former newsreader from south-east Ulster.^[1]

Early life[link]

Pádraigín was born in an Irish-speaking household to Pádraig and Eithne Ó hUallacháin. Her father, a teacher, writer and song collector published older songs from the Oriel area in local publications, and encouraged Pádraigín and her siblings to sing.^[2] They would take part in national Oireachtas competitions, Pádraigín winning multiple awards for her sean-nós singing.

Pádraigín attended school at St Louis, County Monaghan before beginning a course at the University of Ulster, studying Irish Song and Culture.^[1]

Career[link]

1976–1980: RTÉ and Teaching[link]

In August 1976, Pádraigín became a television newsreader at RTÉ, Ireland's national broadcaster. She also researched and presented numerous radio programmes in English and in Irish for RTÉ Radio.^[1]

Pádraigín left RTÉ in 1980 to become a primary school teacher in Athlone, County Westmeath.^[1]

1999–2004: Recording[link]

In 1994, Pádraigín recorded her first full-length album with Garry Ó Briain. A Stór is a Stóirín was released on the acclaimed Gael Linn label and featured 36 songs for all ages, with an emphasis on songs suitable for primary school children.^[3]

Britain's Channel 4 commissioned music videos for a number of songs on the album, featuring dramatizations of the lyrics as well as performances from Pádraigín. The videos later became regular features on TnaG (Ireland's newly-launched Irish language television channel) between 1996 and 1998. That same year, she also featured on the television programme Light, Darkness and Colour.^[4]

With the album's popularity growing, Pádraigín began the recording of her second album, again with Gael Linn. In 1995, Ní Uallacháin released An Dara Craiceann: Beanath the Surface. It featured unaccompanied sean-nós songs and songs set to music, including the works of Irish poet Nuala Ní Dhomhnaill.^[5]

Pádraigín's third album, When I Was Young, was a collaboration between Garry Ó Briain (with whom she had collaborated on her first album), and her husband, folk singer Len Graham, and was released on the Gael Linn label in 1999. Two years later, Pádraigín released fourth album, An Irish Lullaby: Suantraí, under the Shanachie label in the United States. The recording featured collaborations with Len Graham, Garry Ó Briain, Máire Breatnach, harpist Helen Davies, fiddler Nollaig Casey and Uilleann piper Ronan Browne.^[6]

Pádraigín left teaching in the Summer of 1999 to become a full time musician and composer and began her doctorate at the University of Ulster.^[1]

2002–2010: A Hidden Ulster[link]

Pádraigín released her fifth album, An Dealg Óir: The Golden Thorn in 2002. The track-list consisted mainly of songs from southeast Ulster, Oriel in particular. At the time, Pádraigín was studying the traditions, songs and people of the area. The album was again released on the Gael Linn label and features influential Irish musicians and singers, including Steve Cooney, Liam O'Flynn, Liam Ó Maonlaí and Máire Breatnach.

The following year, Ní Uallacháin's book, A Hidden Ulster: People, songs and traditions of Oriel was published with Four Courts Press, featuring 540 pages of rare songs, their histories, biographies of authors, collectors and scribes and documentation of folk traditions in Oriel from the 17th century onwards.^[7] Television and radio programmes and series were produced, based on 'A Hidden Ulster' and featuring Ní Uallacháin on RTÉ Radio 1, TG4, RTÉ1 and on BBC radio.^[8][9] A Hidden Ulster was met with critical acclaim and featured in the Times Literary Supplement as a Book of the Year, and Irish Times Books of the Year list.^[10] After the book's publication in 2003, Pádraigín was awarded Gradam Shean-Nós Cois Life in 2003 for her contribution to the Irish song tradition, and became the first traditional artist to be awarded a Major Arts Award from the Arts Council of Northern Ireland.^[11]

In 2005, A Hidden Ulster was shortlisted for the 2005 Michaelis-Jena Ratcliff Prize in Folklore and Folklife. That same year, Pádraigín was named Traditional Singer in Residence at the Seamus Heaney Centre for Poetry at Queen's University Belfast.

Pádraigín released her sixth album, Áilleacht: Beauty in 2005. It is a collection of newly-written and composed songs in Irish. Áilleacht garnered positive reviews and praise from both press and academics, with poet Louis de Paor stating:

This is a deceptively sophisticated composition in which a profound emotional disturbance is articulated apparently without artifice, impressing itself on the listener as though it were actual and direct speech. It is a fitting conclusion to a substantial and deeply satisfying piece of work.

—Louis de Paor, The Journal of Music,^[12] January 2006 edition

Pádraigín performed songs from the album on BBC NI and RTÉ, alongside other performers to celebrate the publication of An Leabhar Mór: The Great Book of Gaelic, which was launched in Ireland and Scotland over a period of months in the countries various cities. Pádraigín also contributed a song to the album that accompanied the book.^[13]

2011–Present: Songs of the Scribe[link]

In November 2011, Pádraigín released her first album on the Ceoltaí Éireann label, Songs of the Scribe. As Traditional Singer in Residence at the Seamus Heaney Centre she collaborated with poets Ciaran Carson and Seamus Heaney on editing and translating song-poems from ancient Irish manuscripts, written by Irish scribes and scribe-poets. To record the album, Pádraigín travelled to St. Gallen, Switzerland to read the Irish manuscripts that had been removed from the country for safe-keeping in the event of Viking attack. Songs of the Scribe features all new compositions for poems and marginalia in Old Irish and in English. It is innovative and contemporary, although rooted in the ancient past, and has been highly acclaimed. Pádraigín is currently working on her next creative album, and a written publication of songs from the Irish Bréifne]].^[14]

Collaborations: Padraigín has collaborated on her many recordings with Helen Davies, Garry Ó Briain, Steve Cooney, Máire Breatnach and Palle Mikkelborg. She is currently in studio with producer/musician Dónal O'Connor and performs at festivals with accompaniment from Dónal (fiddle, viola) and Macdara Ó hUallacháin Graham (fiddle,Viola d'amore, drones)

Personal life[link]

Pádraigín is married to folk singer Len Graham. They live in Glendesha, County Armagh and have two songs, Macdara, a blacksmith and musician, and Eoghan. Ní Uallacháin's is a sister of the late Eithne Ní Uallacháin, and aunt to her son Dónal O'Connor, a producer and member of Irish traditional group At First Light.

Discography[link]

Bibliography[link]

• 2003 – Ní Uallacháin, Pádraigín, A Hidden Ulster: People, songs and traditions of Oriel, Four Courts Press

External links[link]

• Official website
• Official Facebook page
• Official MySpace page
• Official Twitter page

Footnotes[link]