Friday, 27 March 2026

 The Peaceful Snake: How a Community Created a Living Artwork for St. Patrick’s Day 2026 in Skibbereen.

 



Every year, St. Patrick’s Day transforms towns and villages across Ireland into a kaleidoscope of green, gold, music, and laughter. Streets are filled with fiddles, parades, and the occasional rogue leprechaun. But this year, Uillinn: West Cork Arts Centre and the local community decided to up the ante. They asked themselves: what if, instead of just watching the parade, the town became part of it?

That project became The Peaceful Snake, a large-scale community art installation that brought together people of different ages, cultures, and creative backgrounds. By the time St. Patrick’s Day arrived, the snake had become far more than a sculpture—it had become a symbol of diversity, inclusion, and the powerful connections that emerge when a community creates something together.

The Vision Behind the Peaceful Snake

The question that started it all was deceptively simple: “What kind of artwork could truly represent a community?”

The answer: something that moves, something that transforms, and something that might make you laugh if it suddenly flopped over mid-parade. Inspired by traditional Chinese ceremonial snake dances—but with an Irish twist—the snake was envisioned as a contemporary, community-powered marvel.

In many cultures, snakes symbolise transformation, resilience, renewal, and balance. Here, the snake shed its stereotypical slimy and scary image and became a peaceful emblem of harmony and collective strength.

Unlike a single artist’s art piece, this snake had many hands behind it, each adding its own quirks and colours. It would not just hang around in a gallery—it would move, ripple, and interact with the streets and people, alive in every sense.

A Project Rooted in Diversity, Inclusion, and Laughter

At its heart, The Peaceful Snake was about community. Workshops welcomed participants of all ages, languages, and artistic skill levels. Some people had never touched paintbrushes since primary school; others had perfected the art of abstract finger painting at home. Everyone was encouraged to bring curiosity, humour, and a willingness to embrace PVA glue sticky fingers.

The workshops became spaces of collaboration, conversation, and laughter. One moment, a 10-year-old was painting a scale; the next, he was arguing passionately that snakes have souls and deserve our handprints. The result? A patchwork of creativity, colour, and community spirit.

I never thought I’d be part of a giant snake parade, laughed Elisabeth, a parent, who recently relocate to West Cork from Belgium I came to Art Centre to check it out, and now, I’m basically a snake expert.

 Creative Journey

The project officially started in January. Meetings were held, materials were gathered, and word spread like wildfire—or at least like a well-timed Facebook and Instagram post. Everyone was invited to join. The goal was simple: if you wanted to be part of a living artwork, you could. No strings attached.

The creation of The Peaceful Snake unfolded gradually over two months, transforming from an idea into a vibrant reality.

Design Workshops

In the early creative sessions, participants explored the snake’s symbolism: peace, unity, cultural diversity, and how many shades of green can we actually fit on one segment? Large sheets of paper became a riot of sketches, doodles, and surprisingly convincing technical drawings.

I suggested a segment with realistic scales all over it, and someone else suggested painted scales in the shape of hearts, and another one suggested adding googly eyes, giggled one of the adult participants. Somehow, it all worked. The snake has personality now, she added.

Colours were chosen collectively: bright greens, deep blues, occasional yellow splashes and glitter (because why not?), and every segment had its own identity while contributing to the snake’s overall flow.

Creation Workshops

Once designs were finalised, the real magic—and glue—began. Newspaper, glue, paint, chicken wire and cardboard structures filled tables as participants built the snake, segment by segment. Some focused on strength and stability (so the snake wouldn’t collapse mid-parade). Others painted intricate patterns or created wearable snake headpieces.

The atmosphere was lively and collaborative.

Every time when I’m passing through the workspace I can feel and hear fantastic energy, recalled Jackie from Front of House.

By early March, the snake had grown into a vibrant, multi-sectioned artwork filled with colour, movement, and unmistakable community spirit.

Preparing for the Parade

As St. Patrick’s Day approached, rehearsals began. Carrying a giant snake in a coordinated way is harder than it sounds. (especially when we had to bring the snake downstairs from the workspace on level 2) There were trips, slips, and the occasional snake collapse, but mostly, there was laughter.

 It felt like dancing with a very large, very flexible friend, said Sylwia, the Leading artist. And no one judged my questionable coordination.

Oh, Lodrie -how we get that monster down the
stairs,
laughed Mark, a visual artist.

The Day the Snake Came to Life - Dancing Through the Drizzle.

 Parade day arrived.  Skibbereen didn’t let a bit of drizzle dampen the St. Patrick’s Day spirit; if anything, the soft rain only made the colours brighter and the smiles bigger.

 Streets were lined with banners, music, and green everywhere. And then… The Peaceful Snake appeared.

The colourful sculpture slithered through the parade route. Children with headpieces jingled bells and chanted along, while adults guided the snake’s flowing segments. The audience didn’t just see an artwork—they witnessed a living symbol of collective effort, creativity, and good-natured chaos.

Despite the weather, the group which created the snake showed up with joy and determination, carrying the giant creature through the streets with pride. The crowd reaction, the cheers, the claps, the laughter, and the delighted pointing from children made every drop of rain worth it.

I felt like a tiny part of something enormous, said the parent of a child participant, and it was magical… and slightly terrifying because the snake is heavy, but magical mostly.

Why the Project Mattered

Beyond its visual impact, The Peaceful Snake created a shared experience, was visually striking, but its deeper value lay in the experience it created.

By drawing inspiration from multiple cultural traditions, the project demonstrated how art can bridge cultures and celebrate shared creativity.

For many participants—especially young people—contributing to a public artwork fostered confidence and pride. Seeing their work in the parade made them feel recognised and valued.

It reminded everyone that art can be messy, funny, and joyful – and that’s exactly how it should be!

Perhaps most importantly, the project created new relationships. People who might never have met discovered common ground through creativity, and Art became a language everyone could share.

“ It’s funny; it is sticky (PVA glue). It's fabulous," said Ruthann, a volunteer from The Leap Scarecrow Festival Team.

The Team Behind the Project

The project was led by artist Sylwia Migdal, who worked as both Lead Artist and Project Assistant. From the beginning, her vision was to create something open and welcoming — a space where people of all ages could come together, share ideas, and take part in making something exciting as a community.

The project grew thanks to the support of Uillinn’s team.

 Justine Foster, Programme Manager, and Ann Davoren encouraged Sylwia to bring her idea to life and share it with the local community. Stephen Canty generously opened the doors to his technical room, allowing us to borrow tools and materials to help build the snake.

During the parade, Louise Forshyt made sure everyone stayed safe and cared for, keeping spirits high with water, encouragement, and plenty of positive energy. The Front of House team - Colin, Jackie, and Charlie - also played an important role, warmly guiding parents and children to the workshop space so they could join in the creative process.

Sylwia was joined by a wonderful group of volunteers and collaborators who helped shape the workshops: visual artist Mark Beatty, Maeve and Ruadh Bancroft from West Cork Campus – Cork College of FET, Ana Marie McCarthy, Uillinn’s Art Project Assistant, Elena Baranova, Uillinn’s Art Project Assistant, Ruthann Sheahan and Maureen O’Neill from The Leap Scarecrow Festival Team.

Most importantly, the project came alive through the participation of families, Skibbereen Community School students, and young people who brought their creativity, curiosity, and energy to the workshops. Together, what began as a simple idea slowly grew into a shared artistic journey — one built by many hands and filled with imagination, collaboration, and community spirit.

A Living Symbol of Community

By the end of the Parade, the Peaceful Snake had already achieved something extraordinary. It had reminded everyone that art doesn’t need a single creator. Sometimes, the most powerful creations emerge when many hands, minds, and laughs come together.

The snake may have slithered off the streets, but it left a lasting impression: when a community comes together, differences become strengths, diversity becomes beauty, and laughter becomes part of the artwork.

Massive thanks to everyone who built, carried, and cheered for our giant snake. Days like this remind us why community matters. We turned a grey March afternoon into something bright, bold and unforgettable.

Honestly, said Sylwia I didn’t just join a parade—I joined a giant, collaborative adventure. And I survived. That’s a St. Patrick’s Day win.

Here’s to more moments like this where creativity leads the way and the whole community gets to celebrate it – said Ana Marie, Uillinn Art Project Assistant

HAPPY ST. PATRICK’S DAY!

 

Tuesday, 28 October 2025

Jeanette Keane speaks to Alexandre Iseli about Replicas

Jeanette Keane spoke to Alexandre Iseli of Tipperary Dance about Replicas, which opens Uillinn Dance Season 2025.  


What sparked the idea for Replicas? Was there a specific moment or question that started it?

I don’t usually pick a topic to illustrate. In my work I follow the contours of my intuition, and the works evolves as a response to my close environment… and to the larger political, cultural environment we live in.

If I had to summarize, the project took a few detours for a number of practical reasons. And the starting point of this last version is the idea to put together people whose way to move, perform, think and interact I like and find interesting. Murielle as co-director of the project, Thomas who was initially going to compose the music but is now playing live as a full protagonist, and Eleni who was in my last work Tempo Rubato.

The starting point is that the work is based on listening, responding and process. This is a criteria of value, which brings us to the topic, and the components of the work.


The title Replicas suggests duplication or imitation,  what does it mean in the context of this piece?

Yes, don’t forget that I am natively a French speaker. So I give myself some license to cross the boundary of language a little bit creatively.

In English it suggest duplication, which it is more an open question, almost an irony, because there is nothing duplicative about this work.

In French, the same word Réplique means slightly different things. It means ‘a strong answer’, a ‘strong reaction’. It is also a scientific word in plate tectonics: une réplique, is the aftershock, triggered by an earthquake.

So essentially a response. This work is a felt response to the current ambience of hyper-restriction, hyperpolarization, hyper-rationalisation that seems to be settling all over the world.


Musician on stage; how did this collaborative process begin? Thomas has been an active part - when did you start working together?

I met him in a Laboratory in France. Following an improvisation, he commented about my performance, speaking about space and verticality, which is a very usual language for a dancer, but very unusual coming from a musician. I immediately knew we had common ground.

We started working together when he created the music for my last piece Tempo RubatoHe doesn’t make music as an object, he is very sensitive to sound, mix, the present moment, in many ways he is elusive, like dance is, but he is also an extremely experienced professional, so we know we can rely.


And your dancers; how do they shape, even influence your work?

They entirely shape it, and they don’t at the same time. I chose a dancer because I love their presence, their physicality, the way they move, how they interact in the team. So this sets the colour. The moment they are onstage, they ARE the work.

Then most of my work is trying to find ways for them to build the confidence to be exactly who they are, to be transparent to themselves. For me a performer is not really a centre of expression. A dancer is translating the world into their own language, their own way to be. They give their own colour to ‘say’ – a movement, or a form. And what I am interested in is not the form itself, but the colour it takes when the dancer is performing it.

So Eleni and Thomas have full responsibility of the work when they perform, they make it. It’s theirs. I’d say, Replica as a work defines my view, but the content of the performance, in a way, it’s theirs.


In the creation of this piece, were there any unexpected shifts during development?

Yes and no. Shifts are what I want so I can’t really say they are unexpected. From the original project, we did have shifts in the cast. Initially it was going to be a dance duet with accompanying music. Now it has become a duet between a dancer and a drummer.

It’s interesting that you mention this word shifts. It is one of the things I loved with Eleni during our first project together: she was doing these physical, brutal shifts in space. Like she was allowing herself to instantly change lane, or change idea, in the middle of her movement. And that is one of the main topics of the work. The fact that we are not constant, we’re not consistent, rational, beings, we shift constantly, in non-rational ways.

This actually expresses our true nature, and I wanted this to be present in the work. I jokingly said that I wanted to name this work ‘a piece of shifts’.


How does the gallery space at Uillinn influence the way Replicas is experienced?

The gallery really suits the work, because the work is not a piece per se. In the sense that it is not produced, with specific lighting. It is made to be shared in proximity, and I am not specifically attached to ensure that spectators have very specific conditions or viewing angles. I am not applying such control over the interaction between the performance and the audience. The audience is also responsible for the experience they are seeking here. I am not here to deliver a quality-controlled product.


How do you think Replicas speaks to our current cultural moment?

It is a direct response to the type of work infrastructure that we have in Ireland. And it is a response to the cultural, social and political environment we live in. Our environment is about extracting value, exploiting resources, optimising time, maintaining consistency at any cost, order and hierarchy to keep things going. Replica is the opposite of all this.

Replicas in many ways, is a forbidden, child-like, irrational, non-productive game.


Any additions: what’s next?

Going one step further, with a project named Tremors. I a going back to performing myself, which is something I lost in recent years. We are doing a duet, with Murielle. Murielle and me onstage. Similar values, but I would say more radical in the sense that we are going to be straight in the heart of it. I think I have transferred too much of the responsibility on dancers to carry the work, and I want to try and dive into the waters again.

Tremors is another geological word. A tremor can announce an earthquake. I love to look at things from this very earthy, tectonic point of view.


Find out more about Uillinn Dance Season 2025 here - https://westcorkartscentre.com/event/uillinn-dance-season-2025/

Thursday, 25 September 2025

Uillinn Dance season 2025: Nóra Ní Anluain Fay from NAF Dance

 

Please Break my Heart, NAF Dance

What role does place play in your work?
I feel like place and environment has no choice but to seep into the artistic decisions that you make. Being from Ireland I haven’t been able to escape the humor that charges through our culture and it’s inevitably made its way to become one of the leading factors of my work. As I trained in the Netherlands our distinctive Irish nature was quickly highlighted to me as they have a very different tonal landscape. We have such a unique approach, lightness and charm that I adore weaving into my work. It adds this camp flavor to dance which can often be foreign to dance and contemporary dance in particular. Working in Ireland has not only shaped me but also the work I continue to create.

Who or what are your biggest influences as an artist?
I’m always observing my surroundings and ideas form from such mundane places. People watching and eavesdropping are endless sources for me. Any moment that gives an accidental insight into people is where my ideas truly spark from. Once I have that moment of raw excitement I’m struck with a clear vision of the piece. This has led me to creating work around growing up, what royalty do when they think no one is looking, deranged housebound identical twins, reality television and wanting to be Cinderella. I simply adore Dolly Alderton, Phoebe Waller Bridge, John William Watson, Michael Keegan Dolan, Claudia Winkleman, Rose Matafeo and so many more. I want to pick the brain of anyone who can make me laugh and cry.

How do you approach collaboration in your practice?
I used to shy away from collaboration as I was afraid that I would lose my voice within the work or lose the permission to be able to call it my work. I always marveled at people who felt settled enough to have a vast team of collaborators. It wasn’t until my first full length production ‘Ham Sandwiches and Discipline,’ where I really felt the benefit of having incredible collaborators. I worked with Kitty O’Brien and Jack Pierce for costumes, and it was mesmerising to see how I could have a wacky brief, and they were able to find ways of making it come to life. Tien Le as the sound designer elevated everything they touched and Ben Sullivan as my co-performer constantly brings new ideas to the table. This allows me to be a better maker and choreographer as I don’t have to half being doing all the jobs and makes the work as a whole a million times better. It really makes me determined to find ways and resources to be able to continue these invaluable collaborations.

What’s a place or moment that has shaped who you are today?
In my third year of college, I spent two months on exchange at the Centre National Danse Contemporaine in Angers, France. Simply put I had a ball. It was during my time there that I was introduced to so many new artists and ways of moving and thinking and after getting into such a rut during covid, I was reinvigorated with a desire to create. I read Dolly Alderton’s ‘Everything I Know About Love,’ which has become my choreographing bible and is littered with notes. I watched ‘Fleabag,’ for the first time which thrilled me and so many more. These all came together and led me to create a solo work called ‘A Piece for Seven People,’ which was pivotal for myself in understanding how I want to work. It paved the way for me to be able to create my new work ‘Please Break my Heart.’

Can you describe what you’re working on during your time in the studio
I’m developing my next piece 'Please Break my Heart.’ An interdisciplinary solo work fusing dance, text, theatre and film. This love story focuses on the quest for true love purely for the sake of wanting to discover how it feels to have your heart truly and utterly broken. Based on the fact that all the classic films, books, plays and songs are all about love and heartbreak - trying to actively get my heart broken in order to have content for a piece. After all, aren’t all the best works of art centred around love and heartbreak? Saturated with drama, comedy and chaos. Giddily marching towards a broken heart to understand what is this endless pit of inspiration for makers called heartbreak?

From Pride and Prejudice to Bridget Jones, Casablanca to Notting Hill, Bridgerton to The Way
We Were, it dives into the romantic troupes that mold how we see and experience romance. 'My New Year's resolutions for 2023 were to watch more daytime TV and to get my heartbroken...' - the opening line of the work sums it all up. Finding a way to balance the mundane and the supposed universal transformative experience of being heartbroken. As with each NAF Dance piece it walks the line between comedy and tragedy and allows the audience to open up to the heartache through laughter. Creating a piece that anyone can enjoy while maintaining a high artistic quality. It captures the fundamental pillars of my work by being daring and dynamic in both form and content. It captures dance in its utmost theatricality and fuses it with projections, text and music.

To book Please Break My Heart Uillinn Dance Season 2025



Blog by UL Coop Contemporary Dance Student Hetty Gazzaniga 

Uillinn Dance Season 2025: Monica Munoz


 Four, UL BA3, Photographer Maurice Gunning

What role does place play in your work?
My work doesn't focus on a specific geographical ‘place’ but rather on the internal spaces of human experience and the body-space relationship within the performance setting  

Who or what are your biggest influences as an artist?
Pina Bausch, was and still is probably the most influential artist to me, I believe like her that : “Dance is something other than technique. We forget where the movements come from. They are born from life…”

How do you approach collaboration in your practice?
In my work, everything belongs to everything else - the music, the set, the movement and whatever is said, so we are all working together to bring something alive.

What’s a place or moment that has shaped who you are today?
I think my parents had a big impact on who I am… I’m just obsessed with the body, and I’m obsessed with the way the body can convey meaning and carry emotions. I am a workaholic and I have inherited this from my parents, they had a very strong work ethic, they moved from rural Spain to Barcelona to work, work, work… I am a working class working artist…

Can you describe what you’re working on during your time in the studio?
In very different ways and depending on who I am working with the process could be very different but I am always trying to show that there are other ways of looking at the world. I want to feel connection, and to bring people closer through dance.

To book Four Uillinn Dance Season 2025



Blog by UL Coop Contemporary Dance Student Hetty Gazzaniga 

Uillinn Dance Season 2025: Tara Brandel

Missing, Tara Brandel. Photograph by Emma Jervis

What role does place play in your work? 
Generally, 'place' plays a big role in my work but for this particular solo it is much more about time looking at global parallels between the 1930s and now as the rise of the far right eradicate queer and trans rights and liberties. 

Who or what are your biggest influences as an artist?
I have always been very influenced by gender expressions, experiences and by burlesque, drag, and cabaret especially within queer culture. In Missing, I use drag and burlesque to explore the pivotal queer women that have been erased from history that I am exploring in this solo show- especially Bronislava Nijinska and Margaret Skinnider.

How do you approach collaboration in your practice?
My most recent show Change has enormous amounts of collaboration between the dancers, scientists and creative collaborators. But for this solo show Missing, I am really enjoying being in the studio by myself, and the kind of focus that can emerge through that solo isolation.

Can you describe what you’re working on during your time in the studio?
I am working on a new interdisciplinary dance theatre solo called Missing, which looks at the pivotal queer women who have been erased from history such as seminal choreographer Bronislava Nijinska (sister of Nijinsky), and Glasgow born Margaret Skinnider who led a battalion of men in the 1916 Uprising in Dublin.

Uillinn Dance Season 2025: Justine Cooper

 


 Necromancer, Ian Wilson + Justine Cooper


What role does place play in your work?
PLACE ~ architecture, history, memory, character, shelter, embrace. Place and body meeting feels like a duet.  As the two things meet the exchange will always shimmy alive a third thing~ newness, surprise & creative treasure that might not otherwise emerge.

I most enjoy when the creation process has time to come into being within the space that it will be performed as each place has a particular character/ energy signature and when you have time to know a a place intimately it shapes the work so the space is invited to become visible, not just as host but as companion.

Who or what are your biggest influences as an artist?
Punk Methodology, Sculpture, Knee High Theatre, Collage, Robert lepage, Ritual, Deborah Hay, Da Da Absurdity, Pina Bausch, Myth, David Lynch, Operatic Minimalism and light.

How do you approach collaboration in your practice?
I see collaboration as ritual – a process of listening, exchanging, and transforming. Finding the way to allow process to be a map of possibilities whilst being open and brave enough to allow adaption & new findings through the moment to moment unfolding exchange.
 
What’s a place or moment that has shaped who you are today?
As a lover of the art form of collage I always find narrowing the question to a single moment tricky. Instead, I think of every place, moment & person along the way like water shaping rock.  Specific places like Japan, NZ, Eastern Europe seem to have coloured a kind of theatricality that I lean into but probably working with Meryl Tankards Australian Dance Theatre as a young dance artist was one of the deep formative influences.  I was introduced to Yoga, which became a companion of support through the next twenty-five years and because Meryl Tankard worked as a soloist with Pina Bausch the creativity of the work had a European dance theatre feeling and each work so incredibly different. I think this influence inspired my interest in working with other art forms as a way of reinventing and continually keeping interested in my own field of movement.

Can you describe what you’re working on during your time in the studio?
I’m involved in NECROMANCER in the role of movement director. It’s a new sound work composed by Ian Wilson and is a sonic exorcism inspired by a series of photographs by Akihiko OKAMURA around Northern Ireland’s the Troubles.

At the moment I’m creating five masks from foraged nature and found object as a starting point for the visual feeling of the piece. The studio time will be focused on creating a movement score for the 4 musicians based on tribal patterning, repeated motives, gesture & ritual.  Anchors of intention are clearing,  metaphorphosis and primal re-enchantment.  I'm looking forward to the great experiment of finding a way that can allow the musicians to play, read musical score whilst holding the embodiment as a parallel communication network.

To book Necromancer For Uillinn Dance Season 2025



Blog by UL Coop Contemporary Dance Student Hetty Gazzaniga 

Uillinn Dance Season 2025: Square head productions




Variation of a Stickman, Squarehead Productions 

Who or what are your biggest influences as an artist?
These days I don’t find one genre more interesting than another. Instead, I’m drawn to people with interesting processes. Lately, I’ve found the thought processes of (mostly independent) game designers the most thought provoking. I think it’s because they are often less focused on self-expression, as many artists are, and more concerned with creating experiences. I believe art should always be experiential.

How do you approach collaboration in your practice?
I see collaboration happening on two essential levels. The first is in the process of making a work. I have a few trusted people I regularly invite to see my work and discuss it with me. I also actively collaborate with artists who are part of projects I’m creating. On the other hand, I often support other artists as a dramaturg or outside eye. I never perform in other people’s work.

The second level is broader: I see performance, and art in general, as a fundamentally collaborative act. For an artwork to speak, it needs someone to speak to. Recently, I’ve been fixated on art as an expression of “us” rather than “I.” If someone is moved by something I’ve made, then in a sense it also represents their expression too.

What’s a place or moment that has shaped who you are today?
The deaths of loved ones. These moments grounded me in the reality of life quite early on. I will always try and make the most of this beautiful tragedy we are all a part of.  

Can you describe what you’re working on during your time in the studio?
Since I would define myself as a conceptual artist these days, I tend to work loosely on several projects at once. When I'm not on tour performing, I spend my time following what interests me, allowing ideas to emerge in their own time. After a decade and a half of training for around six hours a day, I’m now more focused on making work and following what excites me. You’ll often find me in the studio playing music, drawing, reading, or studying chess....that is when I’m not bogged down with production work.

For more information on Variations of a Stickman at Uillinn Dance Season 2025




Blog by UL Coop Contemporary Dance Student Hetty Gazzaniga