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The Model achieves Heritage Council accreditation for its outstanding collection care and public engagement

The Model achieves Heritage Council accreditation for its outstanding collection care and public engagement

MSPI is an accreditation programme that supports museums and cultural heritage collections across Ireland to achieve and maintain the highest standards in how they are managed, how they care for their collections, and how they engage with the public.
It supports both large and small institutions – from volunteer-run local museums to national cultural institutions – to build strong foundations in governance, collection care, exhibitions, education and visitor services.
Of particular note is The Model - Home of The Niland Collection, which has achieved Full Accreditation for the first time – the highest level of recognition available through the programme.
The museum has demonstrated diligence for its outstanding collection care and public engagement, especially in how it brings important Irish art to life for both local and national audiences.
Since it began in 2006 with just a handful of participants, MSPI has grown into a nationwide programme supporting nearly 70 museum sites. Museums work over a number of years to meet 32 professional standards and are assessed through a rigorous, independent process.
This year, 11 museums are being recognised for achieving accreditation through the MSPI programme. Their hard work and dedication highlight the importance of protecting and sharing Ireland's rich heritage. Each museum has undergone a detailed assessment to show how they meet the required standards and how they serve their communities, visitors, and collections.
Launching the ceremony in Kilkenny Castle, Minister of State for Nature, Heritage and Biodiversity, Christopher O Sullivan TD, said:
'It is an honour for me to open today's Museum Standards Programme for Ireland accreditation awards ceremony and to celebrate the incredible impact that our museums, galleries and historic objects and places make across the country.
"The diligent care and attention demonstrated by the 11 accredited museums to protect our heritage, and the interpretation they have curated to enable our heritage to be better and more easily understood, is commendable. The achievements of these museums prove that we can hold our heads high with the best in the world, confident that we are professional, thorough, knowledgeable and ambitious for our cultural heritage institutions.'
Addressing the accredited museums today Chair of the Heritage Council, Martina Moloney, said: 'Museums and cultural heritage collections play a profound role in our national conversation. Cultural heritage collections and the audiences they serve are a fundamental focus of MSPI and professional standards are a vehicle through which we can insure these values.
"The work done by our accredited museums is invaluable in upholding these standards. The Heritage Council will continue to do everything it can to create the conditions for cultural heritage collections, museums, galleries and heritage sites to evolve and thrive.'
Meanwhile, CEO of the Heritage Council, Virginia Teehan, added: 'I would like to commend all the accredited museums in 2025 for the focus they demonstrate, day in and day out, on engaging communities with societal issues, both contemporary and historical, via their collections and organisations. We appreciate the work that these museums do and the profound capacity for impact that our museums and cultural heritage organisations represent. On behalf of the Heritage Council, I want to congratulate to all 11 organisations receiving their accreditation today.'
Looking ahead, the Heritage Council is committed to ensuring that MSPI continues to meet the evolving needs of the museum sector. Over the next 12 months, the programme will undergo a series of improvements, including updating the standards to reflect contemporary best practices, modernising the programme's operations to improve communication and support, and streamlining the application process to allow even more museums across Ireland to benefit from the programme.
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Delivered by lamplight in old rural Donegal
Delivered by lamplight in old rural Donegal

Irish Post

time4 hours ago

  • Irish Post

Delivered by lamplight in old rural Donegal

IN the shadow of empire and economic hardship, one Irish childhood spans the transition from thatched cottages to postwar council flats—and all the ghosts in between. James Harvey's memoir Grappling With Ghosts captures the strangeness and struggle of a lost world. Below is an extract from the book... THE world on both sides of the Irish Sea is so utterly changed today from what it was when I entered it eight decades ago, that it's hard to recapture it now. But recreating the strange and remote realities of that world is what I set out to do in the memoir of my childhood, Grappling With Ghosts, published earlier this year. Ireland, just 30 years removed from 700 years of British domination, had scarcely emerged from the 19th century. It remained a 'priest-ridden, God-forsaken race,' in James Joyce's acerbic description. London, meanwhile, shrouded in fog and greasy coal soot was the epicentre of an exhausted debtor nation, still clinging to an image of British exceptionalism. A young Queen Elizabeth took the throne, Winston Churchill took his second bite at the prime ministerial apple, and the Empire circled the drain. As my mother's contractions began on the day she delivered me, back in the 1940s, the only way to get her to Donegal hospital about ten miles away was by horse and cart. There were few cars in Donegal at the time. There was no taxi stand to turn to. Even if there had been, there were no telephones. For that matter, there was no electricity. The horse-drawn cart was the only option, its boxy body without springs sitting on an unforgiving cast-iron axle and large 4-foot-high wooden wheels, shod in steel. They never made it to the hospital. As the horse plodded along on Donegal's rough roads, my mother realized they had better stop at her parents' thatched cottage. My grandmother got busy preparing to deliver the baby. In due course I arrived, and my grandmother made a startling discovery. 'There's another one in there,' she declared to my mother's shock. Before they knew it, my twin brother Frank, made his appearance. And the two of us became the fourth and fifth children in the family. Frank earned the only crib in the cottage. I was unceremoniously dumped in a kitchen drawer. James Harvey's mother pictured at the Neeld Arms in Paddington, London Pregnant women and their families at the time had so little agency that professionals didn't think they needed to know that twins were on the way. Meanwhile, London, to which we moved three years later, was still marked by the destruction of World War II. Everywhere you turned you found armless and legless men in wheelchairs or on crutches. There were bombed sites all over the city—buildings that had been flattened during World War II. One of them was located right beside our home in St. John's Wood. Another was across Cirencester Street from the primary school I later attended in Paddington. The overwhelming sense of London in the early 1950s was of a grim and dark environment. Thousands of chimneys belched black coal smoke that congealed greasily on everything it touched—and in every lung it entered. Bronchial catarrh was a sort of universal affliction among London adults. After men hopped off busses, many of them performed a routine pantomime of coughing, hawking, and spitting to get rid of the discharge. Life was tough for working people. Work was hard. Wages tight. Spousal abuse was taken for granted. Newsagents sold cigarettes in packs of five, and even one or two at a time. And toughs known as Teddy Boys dressed in Edwardian clothes and terrorized some streets. Teddy Boys in 1950s London But shafts of light penetrated this gloom. Queen Elizabeth II was crowned. A British expedition scaled Everest. And Roger Bannister, an Oxford medical student, broke the legendary four-minute mile barrier. Locally, pubs provided a break from the tedium. The Neeld Arms in Paddington, where my mother worked as a barmaid, served as a social centre for the Irish community in and around Harrow Road. Life was a challenging struggle for the working-class Irish, whether farming in Donegal or living as labourers or domestics in London. But the bleakness and financial stress of those days could be relieved by the love and affection of close-knit families. The book is available now James Harvey's memoir, Grappling With Ghosts: Childhood Memories from Postwar Ireland and London, 2025 is available now. See More: Grappling With Ghoses, James Harvey, Memoir

Mystery of vanishing old Irish street signs sparks concern in Dún Laoghaire
Mystery of vanishing old Irish street signs sparks concern in Dún Laoghaire

Irish Independent

time8 hours ago

  • Irish Independent

Mystery of vanishing old Irish street signs sparks concern in Dún Laoghaire

Today at 07:59 A series of bilingual street signs, with distinctive Gaelic typefaces, have gone missing from streets around Dún Laoghaire. Fine Gael councillor Lorraine Hall was contacted by two separate residents' associations in recent weeks about the sudden disappearance of three of the distinctive green-and-white signs. All three were located within close proximity of each other, on Silchester Road, Royal Terrace East, and Woodlawn Park. 'These lovely, very old green signs with the Irish Gaelic script on them have gone missing in recent weeks,' councillor Hall said. 'They're really beautiful. People really appreciate these signs. They have emotional and sentimental importance, and there's a strong heritage value to them too.' Dún Laoghaire-Rathdown County Council has confirmed it was not responsible for their removal, raising suspicions that the signs may have been taken, or stolen, without authorisation. 'We suspect they are being taken because they're quite attractive,' Cllr Hall said. 'They look very nice in pubs or private collections. But they belong to the community.' The signs, often featuring cló Gaelach, a stylised Irish-language typeface historically associated with cultural resistance, date back to around the 1950s and 60s and are now considered rare. While some are protected in architectural conservation areas, most are not, and there is currently no statutory provision under the Official Languages Act for the preservation of these original designs. 'These signs can't really be replicated today,' Cllr Hall said. 'They're not just practical markers. They represent something deeper – our shared identity and history.' Cllr Hall has issued a public appeal, asking residents across the county to check if similar signs have vanished in their areas. The issue comes as researchers at Trinity College Dublin document the capital's remaining examples of the bilingual signage. As part of a digital humanities initiative called the CLÓSCAPE project, members of the public are being asked to submit photos of old green street signs to help build a digital archive before more are lost. This script, once considered a form of 'silent rebellion' against British rule, is used in Irish manuscripts, on shop and pub fronts, and on our distinctive old street signs. When the Irish state was founded, there was 'huge pressure' to use Gaelic in educational materials, on street signs, and in books as a symbol of reinforcing Irish identity. Little is known about the roll-out or distribution of these signs, and the project aims to collect photographic evidence, both past and present, to reconstruct the historic placement of Irish typeface signs and preserve them for future generations. Many signs are subsequently replaced by modern blue-and-white signs with Roman fonts, with no provision for the use of cló gaelach in the current Official Languages Act.

Diary of a Gen Z Student: Yeah, no... I'm grand, I will yeah — and other quirks of Hiberno-English
Diary of a Gen Z Student: Yeah, no... I'm grand, I will yeah — and other quirks of Hiberno-English

Irish Examiner

time20 hours ago

  • Irish Examiner

Diary of a Gen Z Student: Yeah, no... I'm grand, I will yeah — and other quirks of Hiberno-English

Some people say there is no such thing as direct translation. Because it's not possible to wholly reproduce a language, region, dialect, historical epoch, culture, atmosphere and so on. For example, there's no word for 'yes' or 'no' in Irish. But the language functions perfectly fine without them. This is all information I know and understand. Despite that, I often forget that speaking my version of English to people who have grown up with their own version will cause some difficulty. This has been brought into focus for me lately as I am visiting my sisters in Australia. Further to that dilemma, I have an incessant desire to fit in with locals whenever I travel abroad. That requires a serious amount of Google and ChatGPT searches before my flight touches down. I want to be ready for anything. Of course, it never really works. My pitiful attempts at another language just ooze tourist. Bookending 'Can I have a cappuccino?' with 'bonjour' and 'merci' isn't going to convince anyone, I have learned. I thought I would get away without any miscommunication in Australia. Sure it's an English-speaking country. We speak the same language. However, in practice, I am coming to understand just how much a language barrier exists between English speakers around the world. Not that it's a major issue, but I have found myself having to repeat and rephrase some of my Irish-isms whenever I'm conversing with an Australian. It's fair enough, if you ask me. A lot of our phrasing doesn't make a whole lot of sense, if you've not heard it before. Hibernian English is what we call it, but speaking gibberish is what everyone else seems to hear. This language barrier first became apparent to me in an airport in Melbourne. A little dishevelled, needing sleep but settling for caffeine, I walked up to a bar and said: 'You don't do coffee?'. A simple enough question, to my mind. But to the poor Australian man behind the counter, I had just greeted him with a statement, telling him that he does not serve coffee. The confused look on his face as he said 'Would you like coffee?' told me that maybe my question hadn't been as clear as I thought. In fairness to the guy, I hadn't asked a question, but merely given the impression of an inquiry. So I tried to summon some standard grammar: 'Yes… do you serve coffee here?' And we were golden. Soon enough, I was sipping an oat milk cappuccino and waiting to board my next flight. Another confusing habit Irish people tend to have is our apparent inability to directly answer a question. It's rare that you'll get a clean cut 'yes' or 'no' from me. Of course, in Ireland, the lack of coherence is grand. We understand how nuts we are. I can greet a magpie and everyone will know that I'm just warding off death. Obviously. We also know that when someone says 'no yeah', we mean 'yes'. And when someone says 'yeah no', we mean 'no'. Also, if someone says 'I will yeah', what they're really saying is 'not a chance'. I could go on, but you know what I'm getting at. It's all pretty intuitive for us. We go off vibes. And that does us perfectly well. It only becomes a problem when you're trying to communicate with someone who's never heard of In a restaurant in Melbourne, I was told that they had run out of the flavoured coffee I ordered. Not a problem. They asked if I would like to try an alternative flavour. Again, thinking I had mastered Aussie-ness, I said 'no yeah, that's perfect.' The waitress staring blankly in response, illuminated the havoc I was wreaking on this nice woman. Rephrasing to 'yes, I'll try that' got things straightened out. But it is only as I continually confuse other English speakers with my Hibernian English habits, that I'm realising just how odd our phrasing can be. Fluent English speakers look at me with confusion when I think I couldn't be clearer. Basically, until I work out how to translate our terribly confusing turns-of-phrase, my chances of appearing local in Australia are not looking good. I've been trying my best, seriously. But there's only so much I can ask ChatGPT before my laptop combusts. Maybe this just is 'a me problem with a Duolingo solution'. Who knows anymore. And if you need this column translated, let me know. I won't be able to help, but I'm interested, all the same.

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