“Ar scáth a chéile, a mhaireann na daoine” is an Irish proverb directly translating to “people live in the shadow of each other,” that illustrates the interdependency between individuals. It is a call for recognition. Recognition of each other’s shared ambitions, shared struggles, and shared paths. It is particularly poignant when it comes to the relationship between Ireland and Palestine.
Our Irish ancestors were forced to live under British colonial rule for over 700 year’s, which led to economic deprivation, cultural destruction, and an imposed famine resulting in the deaths of over a million people and the emigration of another million. There is also a special sense of affinity between nationalist communities here and in Palestine given the history of discrimination and oppression in both territories.
From local community groups to mass national demonstrations, individuals from all walks of life have come together in solidarity. A recent survey commissioned by the Irish Anti-Apartheid Campaign for Palestine and conducted by Ireland Thinks found that 71% of Irish people believe that the Palestinian people live under a system of apartheid. As Ireland joined Norway and Spain in recognizing the Palestinian state on May 28, calls have been ringing louder for the Irish government to take tangible action.
This is no surprise given the term “to boycott” comes from Ireland. During the Land Wars of the late 19th century, the term was coined to describe the social ostracization of Charles Boycott, a local land agent who sought to end landlordism. This direct action resulted in Boycott losing all local labor and being forced to leave the land as a consequence.
Almost 150 years later, direct action following the principles of the Boycott, Divestment, and Sanctions (BDS) movement has been growing across the country. Students across university campuses have been particularly vocal, highlighting the support across this cohort for the Palestinian people. In May, the first BDS student-led encampment in Ireland was held in Trinity College Dublin with a blockade outside the Book of Kells, one of the most popular visitor attractions in the city.
Unlike the violent scenes which emanated from universities in the United States, this peaceful encampment was widely supported by the public and members of the college community. In a poll conducted by Trinity News, 80.44% of respondents of a sample — which was representative of the student body — approved of the encampment. It was later disbanded after an agreement was reached with university authorities meeting protesters’ demands.
Another dimension to the connection between Ireland and Palestine is evident through art. While this connection has been discussed with regard to the shared culture of poetry, music is another medium through which artists have illustrated the intersectionality between culture, common struggle, and political engagement. Irish artists have also been at the forefront, both at home and abroad, in raising their voices for Palestine. Of particular note has been the Irish group, Kneecap, who were among the main artists to boycott the South by Southwest Music Festival in March due to the sponsorship of the festival by the US army and other companies who are directly complicit in the killing of Palestinians.
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In line with lyrics from songs such as C.E.A.R.T.A (meaning Rights in English), Kneecap has little time for orders enforced by Irish state broadcaster, RTÉ. In February, the group, made up of Mo Chara, Móglaí Bap, and DJ Próvaí, wore pro-Palestine badges and clothing during a live broadcast, breaking the rules previously set in accordance with the RTÉ’s journalism and content guidelines. Emphasizing the death toll of over 30,000 Palestinians at the time of broadcast, Móglaí Bap urged the audience to attend rallies, show solidarity, and to support the BDS movement. From Galway to Glastonbury, “Free Palestine” chants resound through Kneecap’s concerts.
Art is political whether implicitly or explicitly so. As it relates to artists such as Kneecap, Shabjdeed, and Al Nather, this is particularly evident through their lyrics. Common themes of politics, media scrutiny, misunderstanding, and class are often explored in satirical fashion while also guarding the nuances that come with each artist’s own positionality. Enriching songs with colloquial language specific to their respective hometowns in Belfast and Jerusalem, these artists show the degrees to which lived experiences in both cities intersect, exploring the complexities of life through the layers present in their musicality, lyricism, and visual artistry.
This is evident through the shared sense of dark humor that is illustrated in Shabjdeed and Al Nather’s Nasheed, where war is described as art and consequently something to be loved. Kneecap’s Get Your Brits Out criticizes the Unionist leaders and the political status quo in the North in a similar way. Both groups have had to deal with fame, controversy and judgment which they address in their latest albums contending over analysis and misinterpretation with stubborn disregard in their latest albums, integrating common themes in the unique narrative arc of each work. The political contexts are directly linked to issues with regard to employment and opportunity in Kneecap’s “H.O.O.D.” and shared in “01” from Shabjdeed and Al Nather’s “SULTAN”.
Music,is of course an avenue for difficult topics to be addressed and has the power to influence and incentivize change. There is power in community and artists have a pivotal role in bringing like-minded people together in a way which should not be underestimated. In a polarized world where difference is weaponized, seeing the similarities between lived experiences while recognizing individual contexts, is valuable. It creates a sense of shared connection and a path to working together to solve issues faced by the world today. It’s also a powerful way to remember the past, discuss current struggles, and voice hope for a better future.
As shown by people demonstrating across the world for the end to injustice in Palestine and across the world, we are stronger together. Ní neart go cur le chéile. في الأتحاد قوة.
