The governing body of Trinity College Dublin wrote in 1895 about the unmanageable nature of allowing females through their gates, showing an apprehensive stand to the admission of female scholars. In stark contrast to this, scores of women, donning togas, assemble in the university’s museum building on a rainy Saturday morning in a century filled with progress. The gathering was for a female-only reenactment of Raphael’s 16th-century fresco, The School of Athens.
Raphael’s original painting based in the Vatican features 50 male intellectuals from philosophy, mathematics, and scientific fields. The modern revival spearheaded by the art group Na Cailleacha, named the School of Hibernia project, accommodates a diverse group of females. Representing the fields of law, sports, social justice, disability rights, climate change, genetics, and the arts among others, these women portray their achievements, unity, and persistence. The collaborative endeavour, photographed by Ros Kavanagh, is staged in coordination with Trinity’s history of art and architecture department, and the participation of Medb Lambert, a theatre director, and Cindy Cummings, a choreographer.
The first female provost of Trinity College Dublin, Linda Doyle, shared her views on the project, applauding its contribution to showcasing women’s representation and acknowledgement in the visual field. The atmosphere of the gathering, according to her, reeked of dynamism rising from the coming together of diverse females. She applauded the aspiration of the project and the seemingly effortless achievement of its goals. However, she pointed out that the world continues to be a place where intentional steps are required to bring about change, as was the case when the first-ever female sculptures were introduced in the Old Library at Trinity College in 2023 on St Brigid’s Day.
Another participant, Catherine Marshall, is from the art collective Na Cailleacha.
In the past, serving as an art history professor at Trinity, I was acutely aware that the examples we offered students predominantly portrayed women, if featured at all, as passive nudes or as sacrificial maidens. I believed we could playfully reinterpret the art history canon by drastically reimagining one of its key images, incorporating women into its framework. Yet, the concept evolved into a celebration of living women, given that the original piece was centered around education. We questioned how women’s breakthroughs in education and knowledge have subsequently reshaped our way of life. This is an important narrative about Irish women and it needs to be shared globally.
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Rita Fagan, a Community housing activist, expressed that “Females from my societal standing have remained unseen unless they put pen to paper. I appreciated the proposal of essentially erasing the canvas and filling it with meaningful women. Those who have experienced life, used their voice, strength and boldness to voice their opinions or smash the glass ceiling. Women who dared to challenge the status quo. It will be interesting to see if this piece of art will shock the institutions into action and motivate them to revolutionise their setting. The least they could do would be to share their wall space with their equals.”
Susan McKay, writer and Press Ombudsman
In the words of poet Rita Ann Higgins, ‘Ireland is transforming, Mother.’ A sentiment echoed by a collective of influential women who are spearheading a transformative wave across the nation. Their dynamic ideas, leadership prowess, consistent triumphs, visionary approach, shrewd insight, and unflagging drive contribute towards a rapidly changing societal landscape in Ireland. It’s thrilling to observe these women, most of whom have had to grapple with countless obstacles to attain their current status, laying the groundwork for future female leaders. Moreover, the potential exists for numerous other women to join this tableau. However, the still prevalent “manels” – panels dominated by men – cast a shadow on this celebratory movement. There is a certain dissident undertone in the transition from old men to contemporary women. Admirably, the artistic team behind this move are politically engaged, not to mention adept at managing an enthusiastic, clamorous and passionate group of women.
Mary E Daly, the pioneering woman President of the Royal Irish Academy, relates that often due to their multiple responsibilities, professional women find their interactions cut short. However, when they do converse, the discussions are engaging and varied. While it can be argued that these women are substantially challenging patriarchal norms in Irish society, many, including Daly, tend to do this more consequentially, by making significant achievements rather than through empty talk. These women adopt varying strategies– some are activists, while others, like Daly, aim to show what women can achieve in their professional lives.
Sarah McCormack, the Professor of sustainable energy at Trinity College Dublin, highlights the lamentable infrequency of opportunities for women from a wide array of disciplines to collaborate. This situation makes this transformational project even more crucial as it eliminates those barriers and initiates an exceptional interdisciplinary dialogue emphasising our shared experiences of adversity and victory as women.
Philippa Ryder, a stalwart advocate for LGBTQ+ rights, feminist, and chair of Dublin Pride emphasises the project’s importance in illustrating the collective effort towards triumph in a diverse group of women’s endeavours.
Having the opportunity to mingle with such incredible and motivational women was a truly distinct experience. Their combined wisdom and vitality filled the room, and every discussion offered fresh thoughts and experiences. The multiple instances for dialogue, particularly during lunchtime, opened up a realm of new networks and friendships.
Melatu Uche Okorie
Writer and Arts Council Member
The event offered a splendid platform to reconnect with those I’ve not seen in a while, and to meet new faces. It could be debated that individuals meet all the time – on streets, in cafes, at school pickup points, at places of worship. Nonetheless, this context was expressly arranged for professionals of varied backgrounds, multi-generational innovators in their domains, to come together. I loved it when a woman started singing and others joined in – it was quite enjoyable and brought a smile to my face.
Amel Yacef
Community Campaigner
Typically, whenever I attend an event, I quickly realise that my invitation was tokenistic due to my Muslim and migrant identities. But at The School of Hibernia, I felt an authentic acknowledgement and a sincere invitation extended with immense openness. I was asked to define my own terms of engagement, and upon arrival, I discovered I wasn’t alone in my uniqueness – every woman there was a beautiful mix of identities that form Irish women today. It was an outstanding experience.
Rachel Moss
History of Art Associate Professor, Trinity College Dublin
The acknowledgement and celebration of the female contribution to academics and broader society is gradually gaining momentum, especially visible in public artwork, which tends to commemorate the deceased. This initiative offered a way to honour the substantial contributions living women have and continue to make to Irish society. Can there be a better inspiration for our extensive community of female staff and students? Our student volunteers benefitted by encountering some wonderful mentors and role models.
Caitríona Lally
Professor of Biomedical Engineering, Trinity College Dublin’s School of Engineering
While in his engineering role, Jack Leitch contributes significantly to the creation of medical tools, he acknowledges that his interaction with the fine arts is limited. Hence, having the opportunity to see and be part of the process of turning artistic ideas into reality is fascinating for him. He values learning from elder women with more experience and wisdom. Yet he also appreciates the viewpoints of younger, emerging females who are set to become our future frontrunners.
Jack, a theatre and drama studies student volunteering backstage, hopes that the captured image may serve as a guide for future generations to challenge prevailing narrow-minded attitudes and regulations in our society. He believes that simply observing the women in the photograph can be motivational.
The original text includes the following list of individuals: 1. Mary Robinson, the inaugural female president of Ireland and the first female chancellor of Trinity College Dublin. 2. The inaugural female provost of Trinity College Dublin, Linda Doyle. 3. Rita Fagan, an activist for community housing. 4. Press ombudsman and author, Susan McKay. 5. Mary E Daly, the first female to serve as the president of the Royal Irish Academy. 6. Sindy Joyce, a lecturer in Traveller culture at the University of Limerick. 7. Emily Logan, who was the first children’s ombudsman and served as a commissioner at the Garda Síochána Ombudsman Commission. 8. Ailbhe Smyth, former academic, LGBTQ activist and feminist. 9. Professor of neurology Orla Hardiman who also works as a consultant neurologist at Trinity College Dublin. 10. Jennifer Okeke is an anti-trafficking co-ordinator and part of the European Network of Migrant Women. 11. Na Cailleacha, an art collective. 12. Former rugby international and Donegal footballer, Nora Stapleton, now at Sport Ireland. 13. Sarah McCormack, a professor of sustainable energy at Trinity College Dublin. 14. Frances Ruane, academic and economist, former director of the Economic and Social Research Institute, and chair of Abbey Theatre. 15. Aoife Gowen, a professor based at University College Dublin school of biosystems and food engineering. 16. Emma Teeling, a full professor of zoology at University College Dublin. 17. Philippa Ryder, feminist, LGBTQ+ activist and Dublin Pride chairperson. 18. Hannah Quinn Mulligan, a farmer and journalist. 19. Caitríona Lally, professor of biomedical engineering at Trinity College Dublin’s school of engineering. 20. Professor of palaeontology at University College Cork, Maria McNamara. 21. Clara Fischer, the vice-chancellor’s Illuminate fellow at Queen’s University Belfast in the school of history, anthropology, philosophy and politics. 22. Chair of evolutionary genetics at Trinity College Dublin, Aoife McLysaght. 23. Climate-justice activist and youth adviser to the United Nations Secretary-General, Saoirse Exton. 24. Community activist, Amel Yacef. 25. Rachel Moss, an associate professor specialising in the history of art at Trinity College Dublin. 26. Sinéad Burke, founder and CEO of Tilting the Lens. 27. Gráinne Mulvey, a composer and the head of composition at Conservatoire TUD.
Cindy Cummings, recognised for being the inaugural female choreographer of Aosdána, forged a path for women. Gráinne Humphreys, as the Executive Director of the Dublin International Film Festival, also made her mark. Eiléan Ní Chuilleanáin, known as a poet and a fellow emerita of Trinity College Dublin, shared her literary talents. Catherine Rose, the original primary executive officer of Age and Opportunity, paved the way for age inclusivity and also established Arlen House. Caroline Campbell etched her name in history as the National Gallery of Ireland’s premiere female director. Melatu Uche Okorie, an author and member of the Arts Council, added her unique voice to the arts scene. Moreover, the sudden death of Helen Comerford — one of the founding figures of Na Cailleacha and the artisan of two fabric-sculpted goddesses displayed in the backdrop of The School of Hibernia — occurred on 24th March.