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Siobhán Doyle

National Museum of Ireland, Decorative, Arts and History, Curator

Dublin Institute of Technology, Graduate School of Creative Arts and Media, Graduate Student

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I am Curator of Glass, Ceramics and Asian Collections in the National Museum of Ireland. My first book A History of the GAA in 100 Objects was published by Merrion Press in October 2022 and offers a new perspective on the Gaelic Athletic Association (GAA) by assembling a range of objects to present a chronological history of the GAA. I am a regular contributor to RTÉ Brainstorm where I discuss ideas, opinions and analysis on sport, history, design and tourism through articles, podcasts and videos.

I successfully completed 4 years of PhD research at the Graduate School of Creative Arts and Media (GradCAM) in the School of Creative Arts at Technological University Dublin (TU Dublin) and received the Dean of the College of Arts & Tourism scholarship award in March 2016. My doctoral research concerned the material and visual culture of modern Ireland with particular focus upon the role of exhibition display in death, commemoration and collective memory.

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Papers by Siobhán Doyle

Rethinking Commemorative Narratives through Exhibition: The Contact Relics of Michael Collins

Éire-Ireland

$Research paper thumbnail of James Connolly\u27s Bloodstained Vest: Mediating Death and Violence in Commemorative Exhibitions$

James Connolly\u27s Bloodstained Vest: Mediating Death and Violence in Commemorative Exhibitions

The actions surrounding the display of images and artefacts in museums – collection, conservation... more The actions surrounding the display of images and artefacts in museums – collection, conservation, research and exhibition – are bound up with how the past is presented and remembered. These conditions and decisions relating to exhibitions are largely invisible to viewers who are confronted with the apparent completeness of an exhibition display. By conducting a historical and visual analysis of the bloodstained vest of political leader James Connolly, this article uncovers how this artefact has become a relic of historical violence due to the way in which particular aspects of its configuration, form and trajectory have been manipulated in order to elicit powerful emotional responses from the exhibition’s viewers

Historical Narratives on Display: The Bullet in the Brick, National Museum of Ireland

1916 and the Challenges of Commemorative Exhibitions in Ireland

This paper examines how National Cultural Institutions in Ireland have demonstrated significant r... more This paper examines how National Cultural Institutions in Ireland have demonstrated significant responses in facilitating collective, reflection, celebration and engagement with the 100 year anniversary of the 1916 Rising by discussing some of the broad tensions and issues facing three exhibition case studies at the National Museum of Ireland and National Gallery of Ireland in Dublin and at the Crawford Art Gallery in Cork City.

The Bullet in the Brick: Mediating Death in the Museum

The Importance of Sporting Imagery in Representing National Identity

Why Commemorating The Enemy Is So Contentious

The government\u27s announcement of a ceremony at Dublin Castle on January 17th to commemorate th... more

Funerary Traditions and Commemorative Practices in Glasnevin Cemetery and Museum

The space of commemoration is a busy space and with Ireland in the middle of the ‘Decade of Cente... more The space of commemoration is a busy space and with Ireland in the middle of the ‘Decade of Centenaries’marking key historic events such as the centenary of the 1913 Dublin Lockout and 1916 Easter Risingthe practice of commemoration is transpiring on a regular basis as many sites, communities and collectives endeavour to mark these anniversaries in their own distinctive, yet appropriating way. In recent years, there have been many shifts in commemoration within Glasnevin Cemetery such as the exhuming of the bodies of ‘The Forgotten Ten’ from unconsecrated ground in Mountjoy Prison to a State funeral and repatriation in 2001, and the relocation of the Sigerson Memoriala sculpture honouring the rebel dead of 1916to a more prominent place in the cemetery. A significant factor in making the practice of commemoration more conspicuous and accessible to the public has been the establishment of a museum within the grounds of the cemetery in 2010. This has allowed for the commemoration of th...

The Visual and Material Culture of Death in Commemorative Exhibitions in National Cultural Institutions in Ireland

Why Spontaneous Shrines Do More Than Remember The Dead

Spontaneous shrines are temporary memorials that people construct, at their own motivation, to ma... more Spontaneous shrines are temporary memorials that people construct, at their own motivation, to mark the sites of untimely deaths. They have a variety of forms such as floral tributes, crosses, photographs and artworks, and can be associated with particular individuals or a number of deceased individuals. These shrines are not part of an official directive, but gain widespread attention which ensure that death does not pass unnoticed.

Why Do We Keep Resurrecting The Dead In Popular Culture

Death can be an excellent career move. Even more so in an age where the combination of mortality ... more Death can be an excellent career move. Even more so in an age where the combination of mortality and technology has led to the opening up of new frontiers in the exploitation of the dead. When the original ceases to exist, yet can be seen to live on in popular culture, the possibility of an extended immortality can be implicitly evoked. There are many examples of digital manipulations through which the deceased personality appears to us in new contexts, as though they are still alive today

The Commodification of the Cemetery: Burial Sites as Multi Disciplinary Spaces

Unsere Zeit ist einer gewissen Art von Worten offenbar besonders zugetan, deren wesentlichste Eig... more Unsere Zeit ist einer gewissen Art von Worten offenbar besonders zugetan, deren wesentlichste Eigenschaften ihre eingängige Konturenlosigkeit und ihre erstaunliche Fähigkeit sind, Wünsche und Abneigungen, Zustimmungen und Verweigerungen wie ein Schwamm in sich aufzusaugen. Ein typisches Beispiel dafür ist das gegenwärtig in der öffentlichen Diskussion augenscheinlich so hoch favorisierte Wort »Medien«, vor allem, wenn es, versehen mit dem erwartungsgesättigten Zusatz >>neue« auftritt. Jeder, der etwas auf sich hält, vor allem jeder, der in dem Bereich mitreden will, der früher schlicht mit >>Rundfunk« bezeichnet wurde, hat diese Modevokabellängst selbstverständlich, ja meist unreflektiert in seinen Wortschatz übernommen; dabei könnte ihn ein kurzer Blick in Duden's Fremdwörterbuch schnell belehren, daß »Medium« nichts anderes als >>Mittel, Mittelglied, vermittelndes Element« heißt und damit ein recht ungenauer, fast immer präzisierender Erläuterung bedürftiger Begriff ist. Zumindest dort, wo die Diskussion um den Rundfunk kreist, empfiehlt es sich daher, auf dieses neumodische Accessoire der deutschen Sprache zu verzichten, weil man anderenfalls ohne den Ariadnefaden ständiger Definitionen kaum noch aus dem Labyrinth der meist kunstvoll verflochtenen Argumente und Gegenargumente herausfindet. So soll in den nachfolgenden Darlegungen-wo immer möglich-nicht von Medien, sondern stets von Rundfunk gesprochen werden.

1916 Easter Rising and the Reconceptualization of Memory

h i g h l i g h t s • A causal model linking software properties to sustainability conditions is ... more

James Connolly's Bloodstained Vest: Mediating Death and Violence in Commemorative Exhibitions

The actions surrounding the display of images and artefacts in museums – collection, conservation... more The actions surrounding the display of images and artefacts in museums – collection, conservation, research and exhibition – are bound up with how the past is presented and remembered. These conditions and decisions relating to exhibitions are largely invisible to viewers who are confronted with the apparent completeness of an exhibition display. By conducting a historical and visual analysis of the bloodstained vest of political leader James Connolly, this article uncovers how this artefact has become a relic of historical violence due to the way in which particular aspects of its configuration, form and trajectory have been manipulated in order to elicit powerful emotional responses from the exhibition’s viewers.

The Visual and Material Culture of 1916 Commemorative Exhibitions

The Many Commemorative Rituals of Glasnevin Cemetary

People do not simply remember, they remember because someone is constantly reminding them. This c... more People do not simply remember, they remember because someone is constantly reminding them. This constant reminding is the basis for commemorations and doing so in public spaces allows for the celebration and presentation of heritage and the remembrance of those lost, but it can also re- enact traditional divisions.

No more Davy Fitz: should the GAA bring in silent sidelines?

Managers, coaches, mentors and supporters all play an invaluable role in the GAA and sporting exp... more

A Short History of Shemozzles In The GAA

A shemozzle is a state of confusion, chaos and uproar. It might simply be a muddle, or it could b... more

See yiz in Coppers': How To Make A Memorable GAA Victory Speech

Some tips for iconic Hogan Stand speeches for the Dublin and Kerry captains ahead of next weekend... more

Commodification of Cemeteries: Burial Grounds as Multi-Disciplinary Spaces

Rethinking Commemorative Narratives through Exhibition: The Contact Relics of Michael Collins

Éire-Ireland

$Research paper thumbnail of James Connolly\u27s Bloodstained Vest: Mediating Death and Violence in Commemorative Exhibitions$

James Connolly\u27s Bloodstained Vest: Mediating Death and Violence in Commemorative Exhibitions

The actions surrounding the display of images and artefacts in museums – collection, conservation... more The actions surrounding the display of images and artefacts in museums – collection, conservation, research and exhibition – are bound up with how the past is presented and remembered. These conditions and decisions relating to exhibitions are largely invisible to viewers who are confronted with the apparent completeness of an exhibition display. By conducting a historical and visual analysis of the bloodstained vest of political leader James Connolly, this article uncovers how this artefact has become a relic of historical violence due to the way in which particular aspects of its configuration, form and trajectory have been manipulated in order to elicit powerful emotional responses from the exhibition’s viewers

Historical Narratives on Display: The Bullet in the Brick, National Museum of Ireland

1916 and the Challenges of Commemorative Exhibitions in Ireland

This paper examines how National Cultural Institutions in Ireland have demonstrated significant r... more This paper examines how National Cultural Institutions in Ireland have demonstrated significant responses in facilitating collective, reflection, celebration and engagement with the 100 year anniversary of the 1916 Rising by discussing some of the broad tensions and issues facing three exhibition case studies at the National Museum of Ireland and National Gallery of Ireland in Dublin and at the Crawford Art Gallery in Cork City.

The Bullet in the Brick: Mediating Death in the Museum

The Importance of Sporting Imagery in Representing National Identity

Why Commemorating The Enemy Is So Contentious

The government\u27s announcement of a ceremony at Dublin Castle on January 17th to commemorate th... more

Funerary Traditions and Commemorative Practices in Glasnevin Cemetery and Museum

The space of commemoration is a busy space and with Ireland in the middle of the ‘Decade of Cente... more The space of commemoration is a busy space and with Ireland in the middle of the ‘Decade of Centenaries’marking key historic events such as the centenary of the 1913 Dublin Lockout and 1916 Easter Risingthe practice of commemoration is transpiring on a regular basis as many sites, communities and collectives endeavour to mark these anniversaries in their own distinctive, yet appropriating way. In recent years, there have been many shifts in commemoration within Glasnevin Cemetery such as the exhuming of the bodies of ‘The Forgotten Ten’ from unconsecrated ground in Mountjoy Prison to a State funeral and repatriation in 2001, and the relocation of the Sigerson Memoriala sculpture honouring the rebel dead of 1916to a more prominent place in the cemetery. A significant factor in making the practice of commemoration more conspicuous and accessible to the public has been the establishment of a museum within the grounds of the cemetery in 2010. This has allowed for the commemoration of th...

The Visual and Material Culture of Death in Commemorative Exhibitions in National Cultural Institutions in Ireland

Why Spontaneous Shrines Do More Than Remember The Dead

Spontaneous shrines are temporary memorials that people construct, at their own motivation, to ma... more Spontaneous shrines are temporary memorials that people construct, at their own motivation, to mark the sites of untimely deaths. They have a variety of forms such as floral tributes, crosses, photographs and artworks, and can be associated with particular individuals or a number of deceased individuals. These shrines are not part of an official directive, but gain widespread attention which ensure that death does not pass unnoticed.

Why Do We Keep Resurrecting The Dead In Popular Culture

Death can be an excellent career move. Even more so in an age where the combination of mortality ... more Death can be an excellent career move. Even more so in an age where the combination of mortality and technology has led to the opening up of new frontiers in the exploitation of the dead. When the original ceases to exist, yet can be seen to live on in popular culture, the possibility of an extended immortality can be implicitly evoked. There are many examples of digital manipulations through which the deceased personality appears to us in new contexts, as though they are still alive today

The Commodification of the Cemetery: Burial Sites as Multi Disciplinary Spaces

Unsere Zeit ist einer gewissen Art von Worten offenbar besonders zugetan, deren wesentlichste Eig... more Unsere Zeit ist einer gewissen Art von Worten offenbar besonders zugetan, deren wesentlichste Eigenschaften ihre eingängige Konturenlosigkeit und ihre erstaunliche Fähigkeit sind, Wünsche und Abneigungen, Zustimmungen und Verweigerungen wie ein Schwamm in sich aufzusaugen. Ein typisches Beispiel dafür ist das gegenwärtig in der öffentlichen Diskussion augenscheinlich so hoch favorisierte Wort »Medien«, vor allem, wenn es, versehen mit dem erwartungsgesättigten Zusatz >>neue« auftritt. Jeder, der etwas auf sich hält, vor allem jeder, der in dem Bereich mitreden will, der früher schlicht mit >>Rundfunk« bezeichnet wurde, hat diese Modevokabellängst selbstverständlich, ja meist unreflektiert in seinen Wortschatz übernommen; dabei könnte ihn ein kurzer Blick in Duden's Fremdwörterbuch schnell belehren, daß »Medium« nichts anderes als >>Mittel, Mittelglied, vermittelndes Element« heißt und damit ein recht ungenauer, fast immer präzisierender Erläuterung bedürftiger Begriff ist. Zumindest dort, wo die Diskussion um den Rundfunk kreist, empfiehlt es sich daher, auf dieses neumodische Accessoire der deutschen Sprache zu verzichten, weil man anderenfalls ohne den Ariadnefaden ständiger Definitionen kaum noch aus dem Labyrinth der meist kunstvoll verflochtenen Argumente und Gegenargumente herausfindet. So soll in den nachfolgenden Darlegungen-wo immer möglich-nicht von Medien, sondern stets von Rundfunk gesprochen werden.

1916 Easter Rising and the Reconceptualization of Memory

h i g h l i g h t s • A causal model linking software properties to sustainability conditions is ... more

James Connolly's Bloodstained Vest: Mediating Death and Violence in Commemorative Exhibitions

The actions surrounding the display of images and artefacts in museums – collection, conservation... more The actions surrounding the display of images and artefacts in museums – collection, conservation, research and exhibition – are bound up with how the past is presented and remembered. These conditions and decisions relating to exhibitions are largely invisible to viewers who are confronted with the apparent completeness of an exhibition display. By conducting a historical and visual analysis of the bloodstained vest of political leader James Connolly, this article uncovers how this artefact has become a relic of historical violence due to the way in which particular aspects of its configuration, form and trajectory have been manipulated in order to elicit powerful emotional responses from the exhibition’s viewers.

The Visual and Material Culture of 1916 Commemorative Exhibitions

The Many Commemorative Rituals of Glasnevin Cemetary

People do not simply remember, they remember because someone is constantly reminding them. This c... more People do not simply remember, they remember because someone is constantly reminding them. This constant reminding is the basis for commemorations and doing so in public spaces allows for the celebration and presentation of heritage and the remembrance of those lost, but it can also re- enact traditional divisions.

No more Davy Fitz: should the GAA bring in silent sidelines?

Managers, coaches, mentors and supporters all play an invaluable role in the GAA and sporting exp... more

A Short History of Shemozzles In The GAA

A shemozzle is a state of confusion, chaos and uproar. It might simply be a muddle, or it could b... more

See yiz in Coppers': How To Make A Memorable GAA Victory Speech

Some tips for iconic Hogan Stand speeches for the Dublin and Kerry captains ahead of next weekend... more

Commodification of Cemeteries: Burial Grounds as Multi-Disciplinary Spaces

A History of the GAA in 100 Objects

A History of the GAA in 100 Objects, 2022

The Gaelic Athletic Association is a huge part of the Irish consciousness and plays an influentia... more The Gaelic Athletic Association is a huge part of the Irish consciousness and plays an influential role in Irish society that extends far beyond the sports. In popular imagination and experience, the GAA is often evoked in terms of its objects: medals passed down from generation to generation, jerseys worn in All-Ireland finals, Michael Cusack’s blackthorn stick, a pair of glasses damaged during the events of Bloody Sunday.

This fascinating book offers a new perspective on the GAA by assembling a range of objects from every county in Ireland, as well as overseas, to present a chronological history of the GAA that also functions as a social history of the people who have been involved in it. From a fifteenth-century horsehair sliotar to a tweed camogie dress, Trevor Giles’s sleeveless jersey and Brian Cody’s baseball cap, all corners of the GAA world, personal and official, are explored and celebrated in A History of the GAA in 100 Objects.

Funerary traditions and commemorative practices in Glasnevin Cemetery and Museum

The space of commemoration is a busy space and with Ireland in the middle of the 'Decade of Cente... more The space of commemoration is a busy space and with Ireland in the middle of the 'Decade of Centenaries'-marking key historic events such as the centenary of the 1913 Dublin Lockout and 1916 Easter Rising-the practice of commemoration is transpiring on a regular basis as many sites, communities and collectives endeavour to mark these anniversaries in their own distinctive, yet appropriating way. In recent years, there have been many shifts in commemoration within Glasnevin Cemetery such as the exhuming of the bodies of 'The Forgotten Ten' from unconsecrated ground in Mountjoy Prison to a State funeral and repatriation in 2001, and the relocation of the Sigerson Memorial-a sculpture honouring the rebel dead of 1916-to a more prominent place in the cemetery. A significant factor in making the practice of commemoration more conspicuous and accessible to the public has been the establishment of a museum within the grounds of the cemetery in 2010. This has allowed for the commemoration of those interred within Glasnevin to become both visually engaging and educational whilst ensuring that the stories of those who rest in Glasnevin Cemetery transcends generations. Funerary traditions also contribute to the commemorative process in Glasnevin as the events of the funerals are celebrated as well as the people themselves. This opens up the site of Glasnevin Cemetery and Museum to having a distinct, intimate and sincere hold over constructing a national identity through commemorative practices.