At orientation, we prompt students to consider the myriad differences between encountering a new country as a traveler, versus as a tourist: cultivating receptivity to new experiences, respecting in-country customary practices, minding their often overstuffed backpacks on narrow city sidewalks, etc. Both of our workshop groups found that museum-going presents a perfect opportunity to stage this distinction: how can we “work” the museum to inspire our writing and bring us closer to the city at hand?
Patrick’s posse hit up the National Leprechaun Museum to explore the limits and potential of this still potent national cliché (it was also just fun).
We contain multitudes.
They’re naturals.
Patrick’s posse.
Veronica’s squad started at the National Gallery, where students were encouraged to observe a fellow museum goer and build a poem or scene around a secret that person might have. We also got to look at a sweet restored Caravaggio.
Student writers at the gallery café.
Later this afternoon, based on a hot tip from two observant students, we checked out a dual exhibit at Trinity College’s Douglas Hyde Gallery: Sam Keogh’s powerful treatise on mortality, Four Fold, and an exhibition of curated small found objects, Wooden Ships.
Four Fold.
A compelling departure from the classical works of the National Gallery.
These specks are really, really old things, including an amulet made of meteorite.
To power through our screening of Orson Welles’ Touch of Evil (1958) at the Irish Film Institute, we needed fuel. Luckily, the Queen of Tarts still reigns supreme.
Queen of Tarts!
It was a super full day–complete with a raucous family-style Nepalese dinner in Temple Bar–but no day is too full for reconnecting at community meeting.
Post-journaling, we hear students share their daily highs and #nolows.
More soon,
Veronica & Patrick