Author Spotlight: Joan Dean

Joan FitzPatrick Dean is Curators Professor of English at the University of Missouri, Kansas City. She is the author of Riot and Great Anger: Stage Censorship in Twentieth-Century Ireland.

How and where did you get the inspiration for All Dressed Up?

My mother-in-law was a city-dweller. She lived all of her life in Newark, New Jersey. In her forties, after the death of her husband, she took up square dancing, an activity closely associated with rural America. On July 4, 1976, she appeared on national television in an elaborate square dancing costume on the deck of an aircraft carrier as part of the festivities that celebrated the bicentennial of the founding of America. Along with millions of others, I watched. I was even able to catch a glimpse of her. She was delighted to perform and her family and friends were thrilled to see her, but the possible irony of an often-chauvinistic urban-dweller appearing as a country girl wasn’t lost on me. When people get all dressed up they can do surprising things.

Like most people, I experienced pageantry from a young age.   Like many, I first became aware of pageantry when I participated in it. I participated in First Communion processions, parades, and Christmas pageants. I have home movies of these events where I can see myself in my First Communion dress, my Brownie beanie and uniform, and my Tin Soldier costume. I distinctly recall watching my blond, blue-eyed younger sister as the child selected to place a floral crown on a larger-than-life-sized statue of the Blessed Virgin Mary on May 1, 1957 before the assembled parishionners of St. Mary’s Church.   That remains my earliest and most vivid memory of envy.

In the broadest sense of the term, pageantry involves a display of an identity or affiliation. Pageantry is typically a public, open-air event, often free or at modest price, in which large numbers of participants hope to attract even larger numbers of viewers. Participants wear special, usually symbolic, clothing on select dates that are connected with holidays, annual observances, or anniversaries.

In my research there was another impetus to explore pageantry when I was working through the financial records for the Theatre of Ireland, which ended up in the P. S. O’Hegarty Collection at the University of Kansas. I knew how few people were attending some of these performances and began to ask myself if there wasn’t another way in which ordinary Irish people experienced “theatre.” Was there something like a Cirque du Soliel, a very popular, accessible theatrical genre, early in the twentieth century? And the answer was yes: pageantry.

For readers who might not be familiar with the Irish culture, what can you tell them about the Irish aesthetic standards?

Early in the twentieth century Irish historical pageantry shares with other visual idioms an impulse to draw on an older, sometimes ancient or pre-historic, but most important non-British, aesthetic.

It’s important to appreciate that the vogue of historical pageantry was not confined to Ireland. The 1939 World’s Fair in New York had a pageant, so did St. Louis for its centennial and hundreds of other towns and cities. In the early decades of the twentieth century, not least because of the expansion of the franchise, pageants hope to educate and inspire patriotism in the US and in Britain as well as in Ireland.

If you could tell us something surprisingly interesting about Irish pageantry and its history, what would it be?

The number of visual artists who, especially early in the twentieth century, were deeply involved pageant making and promotion: Austin Molloy, John P. Campbell, Micheál macLíammóir, Jack Morrow, and to a lesser extent people like Paul Henry, Harry Kernoff, Art O’Murnaghan, William Conor, Mabel Annesley, and a score of others. Ireland has produced more than its fair share of writers, but the visual artists are certainly less widely recognized.

In All Dressed Up, the notion of popularity is heavily embedded in your research? How does that concept of popularity compare with our contemporary understanding of it?

The cliché tells us that everyone loves a parade. As a kid I certainly did, particularly drum and bugle corps, although they carry a very different resonance in Ireland than they did in a small town in upstate New York. The operative aesthetic that cuts across time and place can be summarized in one word: epic. Think about the opening ceremonies of the Olympic Games. In 2008, China celebrated four great inventions: paper, movable type, gunpowder, and the compass. Four years later, Danny Boyle (who directed Slumdog Millionaire) developed an extravaganza of British history, Isles of Wonder, in London for the Games; both aspired to stage a nation’s past and remain memorable for their epic scale. Several of the pageants I discuss drew enormous audiences, audiences that dwarf those drawn by many of the plays central to the canon of Irish drama; some were revived and even toured.

Tell us about the images you’ve chosen to use for the book – why did they stand out for you and what do they entail?

These images stood out because I could obtain permission to use them. Many of the images are exquisite, some are hilarious. I have a hundred more. Any chance we could discuss this on the phone? I have free long distance and can call at your convenience. I can’t type fast enough to do this question justice.

Can you tell us about the process of weaving in mythical elements and cultural references into a history book?

I’m not a historian, but All Dressed Up aspires to be theatre history. I hope the book also suggests how the Irish came to create and to understand their history in the twentieth century. Early in the twentieth century, the recourse was to mythical figures like Cuchulainn and Fionn. By the 1940s, the time frame of the Irish historical pageants had become a moving wall pressing toward the present: while in 1927 the pageants reached back to an ancient past and proscribed everything after 1800, those in the 1940s began in 1867 and moved right up to the present. By the 1990s, the story of Cuchulainn in the Tain as staged by Macnas is the story of Irish people killing other Irish people that resonates with the Troubles in Northern Ireland.

Plus, the relationship between myth and history moves in both directions in pageants: In the 1920s, myth could be historicized as when Fionn mac Cumhaill was described as “an undoubtedly historical personage,” but throughout the century, historical events, such as the Easter Rising, were mythologized in pageants.

How did your own Irish heritage contribute to the writing of this book?

Not at all or perhaps barely. I’m fourth generation and grew up in a place without a strong Irish tradition. There is a geographical connection is to SUP through western NY, where I grew up, and coincidentally between Syracuse and Penn Yan both in the Finger Lakes where my ancestors, the Finnegans and FitzPatricks, settled. I’m very conscious that mine is an Irish-American rather than an Irish heritage. My father never denied that an Irishman, Patrick Boyle, was his great-grandfather, but he only identified as German-American rather than Irish-American. My mother, a FitzPatrick from home (as they say), strongly identified as Irish-American. They both picked and chose; we all do. So did these pageants: they were always selective in constructing their sense of the Irish past.

I did see one of the pageants I discuss in detail in 1992 while on a Fulbright in Galway: the Macnas Tain. I went back the next night with my kids; it was the first “dramatic performance” that I took my daughters to see. I have wanted to write about it ever since. It just took me twenty-two years and 248 pages to really get to it.

What was the most enjoyable part about writing this book?

The research, especially discovering of connections with the visual arts—Irish Arts and Crafts in particular. I had a Fulbright lectureship Nancy, France in 1982-83 and have been fascinated by Art Nouveau, especially l’école de Nancy, ever since. I confess I didn’t see this connection when I started the project but slowly and very clearly it emerged in the programs, posters, photographs, and costume designs buried in the archives in Dublin, Galway, Belfast, Lawrence, Kansas, and Evanston, Illinois. The other pleasure was in seeing the parallels and analogues that surface in different visual cultures and theatrical idioms in France, Ireland, the US, etc. at about the same time. These pageants offered people the opportunity to perform their identities, the role as citizens. Often it’s the newest citizens who are most eager. I saw two St. Patrick’s Day parades in Galway, first in 1993 and then in 2012. The difference between the two was that in the second, a number of immigrant groups—the Poles, the Slovenians, the Brazilians, and so on—were there in number to display their affiliation with Ireland. It’s that festive, celebratory spirit that infused most of the pageants I discuss.

Beyond that, I thoroughly enjoyed working with archivists and librarians, who were unfailingly generous. I can’t overstated how helpful many of these archivists were in bringing an overlooked item to my attention or just by engaging with the material I was looking at.

What was the hardest part about writing this book?

Copyright permissions. The final one came from Katy O’Kennedy in Winston-Salem, North Carolina whom I located only because she has a presence (as “Chief Stink Buster” see http://www.linkedin.com/in/silveredgegear) on the web for Silver Edge Gear, the technology she developed that uses silver to prevent odors in athletic gear. In 1945 her father, Niel O’Kennedy, drew a cartoon about the Military Tattoo for the humor magazine Dublin Opinion that appears in the book. I’m delighted I found her and that she so generously gave me permission to include the image.

What are you working on now?

I have co-edited, with Jose Lanters, a collection of essays on non-realistic Irish theatre called Beyond Realism that will be available early in 2015. I have an essay on the performance pieces of Pat Kinevane coming out soon. One longer-range project returns to the Theatre of Ireland, the renegade company that competed with the Abbey between 1906 and 1913, and in particular at Maire nic Shiubhlaigh (Mary Walker).