The Boat
The curach is a type of skin boat
that has survived in different forms all along the Atlantic
seaboard of Ireland from at least Neolithic times. Keel-less,
it is made of a light wooden lattice frame that sits
snug in a canvas skin and is waterproofed with coaltar.
The particular model used for this voyage is a 26 ft
long and 4 ft wide four-hander Kerry naomhóg.
Rowed with four sets of oars it can also driven by a
small dipping lugsail with which it can reach up to
nine knots. For emergency back-up the naomhóg
is equipped with a small British Seagull engine that
can be slotted into an outboard well. Naomh Barran (Saint
Barran) was built in Co. Cavan over a two year period
by the sculptor Holger Lönze, specifically for
this journey.
The skin boat is thought to be the oldest type of boat
and its survival in Ireland testifies to its suitability
to the treacherous conditions of the Atlantic coast.
Not only did the skin boat play an instrumental role
in bringing farming to Ireland and Britain during the
Neolithic period, but curachs can still be found in
use today for small scale fishing. As the chosen vessel
for early Christian monks the curach also helped spread
Christianity to many parts of Europe from Ireland. As
Tim Severin demonstrated in his 1976/77 voyage, it is
well possible that Saint Brendan’s Navigatio was
less the substance of legend than a record of a journey
made around 800AD in a hide covered curach from the
south west of Ireland to coast of North America. Even
earlier than this St. Columcille established a route
north to the Scottish isle Iona and beyond that to Iceland,
founding monasteries in countless sites along the way.
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Route
With Columcille in mind the writer Danny Sheehy and
sculptor Holger Lönze set out from Raghley in Co.
Sligo, close to the site of Columcille’s legendary
battle over authorship of a religious manuscript, the
earliest recorded copyright contest. Via Inish Murray
the artists followed the south Donegal coastline to
Teelin, both sites also being the location of monasteries
founded by the Saint. There they were joined by writer
and photographer Anne Burke and for some days the folklorist
Críostóir Mac Cárthaigh as they
made their way to the Island of Aranmore via the historic
settlement on Rathlin O’Birne Island. Sailing
round Bloody Foreland, now joined by accordeon-player
Brendan Bigley, they stopped on the islands of Owey
and Gola on their way to Downings where Anne’s
brother David Burke joined the party. Rounding Malin
Head, the north western point of Ireland where Marconi
transmitted his first radio signal, required careful
timing. Here the tidal currents of the gulf stream and
the Irish sea meet, creating strong and unpredictable
rip tides of up to six knots. A straight forward twenty
four miles sail then brought the party, now joined by
the artist and curach maker Donal McPolin, to the town
of Portrush in Northern Ireland. From there the three
artists travelled the last 24 miles of the journey alone
to Rathlin Island, overlooked by the basalt cliffs of
the Giant’s Causeway. Again the curach navigated
seriously difficult tidal conditions with six knot tidal
streams and whirlpools. Prevailing north easterlies
throughout the journey meant that sail time was limited
and rowing had to be the main way of propulsion.
Bringing camping and art equipment including a bell
tent meant that space on the boat was limited. The added
weight, however improved the handling of the boat when
sailing with the 45 square feet dipping lug sail. Although
keel-less, the naomhóg has great directional
stability which can be further improved with the use
of leeboards. Under sail the rear set of oars double
up as rudders. The curach proved extremely sea worthy
even under force 6 conditions and in 15ft Atlantic swells.
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Voyage into Art
The experience of being exposed to the elements in such
an archaic craft contributed to the creative outcome
of all participants. From the safety of the shore, David
practised the ancient technique of fire-making using
the bow and drill method to produce a flame by friction.
Anne photographed the journey, working with both digital
and pinhole cameras and focusing particularly on the
people who came out to meet them on piers and jetties
along the way. Sketching aspects of the journey, Holger
also modelled landmarks of the ports of call onto small
wax models of early Christian monks’ bells which
he later cast in bronze using Bronze-Age charcoal furnaces
and clay moulds. Danny filled several notebooks with
anecdotes, historical legends and stories together comprising
an impressive written account that complements the visual
work. Brendan had composed a three part jig specifically
for the journey, which he played several times during
the trip both in port and out at sea. With funding from
both the Arts council of Northern Ireland and Iomert
Cholmcille the artistic outcomes of the journey will
form the content of a public exhibition once the journey
is complete.
Turas Cholmcille is part funded by
The Arts Council of Northern Ireland/Lottery Funded
and Iomert Cholmcille.
Text by Anne Burke and
Holger Lönze, November 2007
Photos Anne Burke, drawings by Holger Lönze
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