Only a few minutes’ walk from the quays, tucked in behind Tara Street DART station, a small revolution is taking place. Home Sweet Home was the brainchild of Ballymun man Quintin Sheridan.
Exactly one hundred years ago today the Edinburgh born Saighdiúir na hÉireann was murdered by the British military administration in Dublin. Connolly was not the first to be felled by the invaders bullet, and nor would he be the last.
It never became the Workers Republic that existed in full flower for a single week in Dublin in 1916, but that is not to say that it cannot be born again. What I saw at the GPO tonight only informed me of the urgency of the need for its rebirth.
Discussing this less ideological aspect of the rising might be thought by some as a sort of treason; tarnishing the memory of the deeds many in Ireland consider martyrs. Personally, I refuse to believe that violence ever makes martyrs.
The policy, which is as clear as day to see, is one of co-opting the totality of the right to remember the Rising in order to do such an appalling job of it so that no one in Ireland will ever want to go through it again.
Let’s cut to the chase; the 1916 Rising was never their history. It has always been the story of an incomplete revolution, a revolution that even today threatens to turn their incomplete and failed state upon its head.
A century later, in Austerity Ireland, the image of the surrender has been adopted as a symbol of the struggle against a new type of national oppression – corporate imperialism. At some point over the past week a piece of Banksy-'esque' street art tagged to suggest it was the work of Banksy (which the real Banksy has denied), featuring Pearse surrendering to property developers, appeared on Moore Street.
Rebellion is a symptom of something else that’s going on. As spectacle it is working hard to replicate the icon of Irish revolutionary memory, and the poor dialogue is not without its genius. Few of the conversations in the programme are geared towards deepening the viewer's understanding of the persons involved, but it is retelling (or revising) the history.