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                    <text>If the stones could sleep cover</text>
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                  <text>If the Stones Could Speak: More Stories of Cork’s Built Heritage (2015)</text>
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                  <text>9 interviews with 8 people    &lt;br /&gt;&lt;br /&gt;This film project created the sequel to the 2013 CFP film ‘If the Walls Could Talk’.  9 audio interviews were carried out with 8 people, and 3 video interviews with 3 people. The Cork Folklore Project was commissioned by Cork City Council as part of Cork Heritage Open Day to create a film exploring the relationship between some of Cork's most historic buildings and the people who use them. &lt;br /&gt;&lt;br /&gt;The project carried out a series of interviews with local historians, people associated with the buildings, and Cork residents (the interviews in this collection were carried out by Mark Wilkins), and drew on existing audio and video interviews. &lt;br /&gt;&lt;br /&gt;Interviews in this collection featured in the DVD discuss St Anne’s Shandon, Collins Barracks, Heineken Murphy’s Brewery, the Everyman Palace Theatre, Cork City Hall, the Imperial Hotel, Cork Synagogue, the Crawford Art Gallery, the Unitarian Church, the Quaker Meeting House, the Lifetime Lab at Old Cork Waterworks, and Fota House and Gardens. An interview on Cork City Opera House, carried out for the project If the Walls Could Talk, also features in the film.    &lt;br /&gt;&lt;br /&gt;&lt;a href="http://corkfolklore.org/films/" target="_blank" rel="noreferrer noopener"&gt;The film is available on the Cork Folklore website&lt;/a&gt;   &lt;br /&gt;&lt;br /&gt;The DVD by Mark Wilkins was edited by Tim McCarthy, and featured music by Mark Wilkins and photography by Gráinne McGee. &lt;br /&gt;&lt;br /&gt;The project was co-ordinated by CFP Project Manager Mary O’Driscoll.    &lt;br /&gt;&lt;br /&gt;Support: This project was part-funded by Cork City Council.</text>
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                  <text>&lt;strong&gt;Interviewees:&lt;/strong&gt; Patrick Walsh; Geraldine Healy; Maud Cotter; Roger "Ronnie" Herlihy;Fritz Spengeman; Sean Moraghan; Aisling Byron; Denise Gabuzda; Michael Lenihan:</text>
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                  <text>&lt;strong&gt;Interviewers:&lt;/strong&gt; Mark Wilkins (9); Annmarie McIntyre (3):</text>
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                  <text>CFP_SR00509_walsh_2014; CFP_SR00510_healy_2014; CFP_SR00511_cotter_2014; CFP_SR00512_herlihy_2014; CFP_SR00514_spengeman_2014; CFP_SR00523_healy_2014; CFP_SR00525_moraghan_2014 ;CFP_SR00526_byron_2014 CFP_SR00527_gabuzda_2014; CFP_VR00540_herlihy_2015; CFP_VR00541_lenihan_2015; CFP_VR00542_healy_2015&#13;
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                  <text>Cork: Ireland: 1700s-2010s:</text>
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                  <text>If the Walls Could Talk: Stories of Cork's Built Heritage (2013) &lt;br /&gt;&lt;br /&gt;Links to:&lt;br /&gt;&lt;a href="http://corkfolklore.org/archivecatalolgue/collections/show/1" target="_blank" rel="noreferrer noopener"&gt;Catalogue Collection&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;a href="http://corkfolklore.org/films/" target="_blank" rel="noreferrer noopener"&gt;Film&lt;/a&gt;</text>
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              <text>&lt;p&gt;&lt;strong&gt;The following is a short extract from the interview transcript, copyright of the Cork Folklore Project. If you wish to access further archival material please contact CFP, folklorearchive@gmail.com&lt;br /&gt;&lt;/strong&gt;&lt;/p&gt;
&lt;p&gt;The womens prison which is in Sundays Well and to the west of the Good Sheppard Convent, em, again very, very clear childhood memories of walking there from Ballyphehane, walking as far as Jail Cross and ironically passing the old county jail which is the building at the western side of UCC campus now or the Jail Cross side of it, em, always fascinated by the fact that it was closed and while one could go up the steps to the two storey building eh in the centre of the wall at the front and been able to look in and see so far into the yard and yet been aware of so much space behind it and the building itself never really getting I don’t remember getting a clear view of the building.  But my mother had great devotion to a little girl who died very young known as little Nellie of Holy God and she would part of our visits over into that direction, our walks over would be to pray at her grave, em, I was always drawn by the high walls of the prison and wondering what was in there or how would I get in.  Years later a chance came in my teens when myself and a friend happened to be walking up that way during the summer holidays from school.  Now to the left of the steps up to the main building at the centre of the front wall eh there was an archway and two metal gates, now I had known for instance that 2RN which was the Cork Broadcasting Radio Eireann back in I think started in the late 1920s called RTE or 2RN as it was called broadcast locally from there for a couple of years and the PNT were using the front section of the yard as a depo as well, but the gates were open and this was my first time been able to see in and there was a truck entering so curiosity getting the better of us, the truck drove in, we hesitated a few seconds and then ran in to have a quick look around but thinking we had a bit of time to spare we went in around the yard and went in a good distance from the gate when the next thing we heard one of the gates closing, turning around and between the urge to get out and not be seen we froze for a moment, totally undecided on what to do but thankfully the men that were after parking the truck had to go back into an office and we legged it out of there like sprinters.  Em the building as far as I know, the design of the building is similar to I think what would have been built in the famous Dartmoor prison in England at the time, and its interesting because I was on holidays in Devon last year and there’s a big debate because I think its going to close as a prison and there is a big debate in Devon as to what, could even be a national debate really, as to what to do with the building but to the best of my knowledge there was a kind of a standard blueprint for prisons built I think, I think that was opened in 1820 around the same time as the old county jail over at Jail Cross at UCC.  Em and I’m not sure about that one because it is demolished now but I think the building in, in the Cork Prison, or the old women’s prison would be a similar design to the one at Dartmoor.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt; &lt;/strong&gt;&lt;/p&gt;</text>
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                <text>Patrick talks about the history of some of the buildings of Cork and about the personal memories associated with them.&#13;
He talks about Cork waterworks and being awed as a child by its workings, and about Cork Prison, which he and his parents visited but nearly got locked into by accident. He and the interviewer discuss Cork’s cinemas and the interviewer shares a funny story about the official opening of a cinema. Pat talks about City Hall and seeing Rory Gallagher at the concert hall.&#13;
He says that the Crawford Gallery occupies the site of what was once the Abbot brewery.&#13;
Note: this interview was recorded for the DVD If The Stones Could Speak.&#13;
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                  <text>9 interviews with 8 people    &lt;br /&gt;&lt;br /&gt;This film project created the sequel to the 2013 CFP film ‘If the Walls Could Talk’.  9 audio interviews were carried out with 8 people, and 3 video interviews with 3 people. The Cork Folklore Project was commissioned by Cork City Council as part of Cork Heritage Open Day to create a film exploring the relationship between some of Cork's most historic buildings and the people who use them. &lt;br /&gt;&lt;br /&gt;The project carried out a series of interviews with local historians, people associated with the buildings, and Cork residents (the interviews in this collection were carried out by Mark Wilkins), and drew on existing audio and video interviews. &lt;br /&gt;&lt;br /&gt;Interviews in this collection featured in the DVD discuss St Anne’s Shandon, Collins Barracks, Heineken Murphy’s Brewery, the Everyman Palace Theatre, Cork City Hall, the Imperial Hotel, Cork Synagogue, the Crawford Art Gallery, the Unitarian Church, the Quaker Meeting House, the Lifetime Lab at Old Cork Waterworks, and Fota House and Gardens. An interview on Cork City Opera House, carried out for the project If the Walls Could Talk, also features in the film.    &lt;br /&gt;&lt;br /&gt;&lt;a href="http://corkfolklore.org/films/" target="_blank" rel="noreferrer noopener"&gt;The film is available on the Cork Folklore website&lt;/a&gt;   &lt;br /&gt;&lt;br /&gt;The DVD by Mark Wilkins was edited by Tim McCarthy, and featured music by Mark Wilkins and photography by Gráinne McGee. &lt;br /&gt;&lt;br /&gt;The project was co-ordinated by CFP Project Manager Mary O’Driscoll.    &lt;br /&gt;&lt;br /&gt;Support: This project was part-funded by Cork City Council.</text>
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                  <text>&lt;strong&gt;Interviewees:&lt;/strong&gt; Patrick Walsh; Geraldine Healy; Maud Cotter; Roger "Ronnie" Herlihy;Fritz Spengeman; Sean Moraghan; Aisling Byron; Denise Gabuzda; Michael Lenihan:</text>
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              <text>&lt;strong&gt;&lt;strong&gt;The following is a short extract from the interview transcript, copyright of the Cork Folklore Project. If you wish to access further archival material please contact CFP, folklorearchive@gmail.com&lt;br /&gt;&lt;/strong&gt;&lt;/strong&gt;
&lt;p&gt;I want to talk about Collins Barracks which is very close to the top of Patrick’s Hill and opposite the entrance to Collins Barracks is the entrance into the camp field of the, of the Barracks and the, this was a great amenity for the local people around Audley Place, Richmond Hill place, Suttons buildings and places and you know the army kindly allowed people over the decades to go in there and walk there animals and use them as a local private park nearly, and within the grounds of Collins Barracks of the camp field as it was known, there was a big green area there, I used to do three runs of it at one stage with a lovely big collie who is no longer with us now, but he was a bit, he was a wonderful dog and he, he loved his chase like sometimes he you know if anybody was moving he would love to run after them a little bit, oh he wouldn’t do anything to anybody but he was a wonderful, but it was a wonderful place to let him loose like, and the army kindly allowed all the locals and there was nearly a confraternity of people that knew one another, all bringing there animals at different times up there, and of course then there was a tennis club, club up there in earlier years and the pitch and putt club is still active and then the officers houses but it was, were within the camp field, and like all you had do was to wave over to the whoever was in duty at the front of Collins Barracks and they’ll allow you in like, there you know. So the army provided a great amenity for the local people, you know.&lt;/p&gt;
&lt;p&gt;&lt;span&gt; &lt;/span&gt;&lt;/p&gt;</text>
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                <text>Geraldine Healy recounts her personal memories of going to the Everyman Palace Theatre in the late 60s, early 70s. She gives brief accounts of changes to the UCC campus from the mid 70s and early 80s. She mentions brief facts about Collins Barracks, Fitzgerald’s Park Museum, Murphy’s Brewery and City Hall. </text>
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                <text>As Interviewee:&lt;br /&gt;&lt;a href="http://corkfolklore.org/archivecatalolgue/document/103" target="_blank" rel="noreferrer noopener"&gt;CFP_SR00389_healy_2010&lt;/a&gt;;&lt;br /&gt;&lt;a href="http://corkfolklore.org/archivecatalolgue/document/15" target="_blank" rel="noreferrer noopener"&gt;CFP_SR00505_healy_2013&lt;/a&gt;;&lt;br /&gt;&lt;a href="http://corkfolklore.org/archivecatalolgue/items/show/189" target="_blank" rel="noreferrer noopener"&gt;CFP_VR00542_healy_2015&lt;/a&gt;;&lt;br /&gt;&lt;a href="http://corkfolklore.org/archivecatalolgue/items/show/174" target="_blank" rel="noreferrer noopener"&gt;CFP_SR00523_healy_2014&lt;/a&gt;;&lt;br /&gt;CFP_SR00700_healy_2019;&lt;br /&gt;CFP_SR00701_healy_2019;&lt;br /&gt;CFP_SR00709_healy_2019;&lt;br /&gt;CFP_SR00710_healy_2019:&lt;br /&gt;&lt;br /&gt;As Interviewer:&lt;br /&gt;CFP_SR00387_Sheehan_; CFP_SR00395_Speight; CFP_SR00421_Cronin.</text>
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                  <text>9 interviews with 8 people    &lt;br /&gt;&lt;br /&gt;This film project created the sequel to the 2013 CFP film ‘If the Walls Could Talk’.  9 audio interviews were carried out with 8 people, and 3 video interviews with 3 people. The Cork Folklore Project was commissioned by Cork City Council as part of Cork Heritage Open Day to create a film exploring the relationship between some of Cork's most historic buildings and the people who use them. &lt;br /&gt;&lt;br /&gt;The project carried out a series of interviews with local historians, people associated with the buildings, and Cork residents (the interviews in this collection were carried out by Mark Wilkins), and drew on existing audio and video interviews. &lt;br /&gt;&lt;br /&gt;Interviews in this collection featured in the DVD discuss St Anne’s Shandon, Collins Barracks, Heineken Murphy’s Brewery, the Everyman Palace Theatre, Cork City Hall, the Imperial Hotel, Cork Synagogue, the Crawford Art Gallery, the Unitarian Church, the Quaker Meeting House, the Lifetime Lab at Old Cork Waterworks, and Fota House and Gardens. An interview on Cork City Opera House, carried out for the project If the Walls Could Talk, also features in the film.    &lt;br /&gt;&lt;br /&gt;&lt;a href="http://corkfolklore.org/films/" target="_blank" rel="noreferrer noopener"&gt;The film is available on the Cork Folklore website&lt;/a&gt;   &lt;br /&gt;&lt;br /&gt;The DVD by Mark Wilkins was edited by Tim McCarthy, and featured music by Mark Wilkins and photography by Gráinne McGee. &lt;br /&gt;&lt;br /&gt;The project was co-ordinated by CFP Project Manager Mary O’Driscoll.    &lt;br /&gt;&lt;br /&gt;Support: This project was part-funded by Cork City Council.</text>
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                  <text>&lt;strong&gt;Interviewees:&lt;/strong&gt; Patrick Walsh; Geraldine Healy; Maud Cotter; Roger "Ronnie" Herlihy;Fritz Spengeman; Sean Moraghan; Aisling Byron; Denise Gabuzda; Michael Lenihan:</text>
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              <text>&lt;strong&gt;The following is a short extract from the interview transcript, copyright of the Cork Folklore Project. If you wish to access further archival material please contact CFP, folklorearchive@gmail.com&lt;/strong&gt; &lt;br /&gt;&lt;br /&gt;Well, when I joined the college, we were told, that we could, this was a completely different system now, it was the ATHC, there are about fourteen different exams you had to do, we were told as part of our initiation, you know as students, that we could go into any class at any level, so the classes were being run on first year, second year, third year, fourth year level, and we could go into any class we wanted to go into, [pause] I went out in the first group because my name is ‘C’, and when I was out there I just said, I am not going back to my own class actually I am just going to stay out here and advance life drawing and all this sort of stuff, I said they will come and get me and give out to me [cough], you know, and I will just wait for that to happen but they actually never did. That’s the kind of place it was like, it was amazing. But my very first lesson, was antique drawing, and the college then, see the school, as it existed then, was really a 19th Century structure in all its aspects practically, in terms of the structure of teaching, well that’s not, that’s not fair on my extraordinary tutors actually, but the kind of educational structure that was there, was kind of 19th Century.</text>
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                <text>Maud explains how she came to study at Crawford School of Art in 1972. She praises her tutors but notes that many of them were fired when a new teaching regime was brought in to support a new Diploma qualification. She says the college had an air of freedom and informality, where the boundaries between art school and gallery, and between professional artists and students were blurred. She talks about rooms in the gallery that attracted her and returns to the topic of her teachers.&#13;
Note: Part of Heritage DVD ‘If the stones could speak’&#13;
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                  <text>If the Stones Could Speak: More Stories of Cork’s Built Heritage (2015)</text>
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                  <text>9 interviews with 8 people    &lt;br /&gt;&lt;br /&gt;This film project created the sequel to the 2013 CFP film ‘If the Walls Could Talk’.  9 audio interviews were carried out with 8 people, and 3 video interviews with 3 people. The Cork Folklore Project was commissioned by Cork City Council as part of Cork Heritage Open Day to create a film exploring the relationship between some of Cork's most historic buildings and the people who use them. &lt;br /&gt;&lt;br /&gt;The project carried out a series of interviews with local historians, people associated with the buildings, and Cork residents (the interviews in this collection were carried out by Mark Wilkins), and drew on existing audio and video interviews. &lt;br /&gt;&lt;br /&gt;Interviews in this collection featured in the DVD discuss St Anne’s Shandon, Collins Barracks, Heineken Murphy’s Brewery, the Everyman Palace Theatre, Cork City Hall, the Imperial Hotel, Cork Synagogue, the Crawford Art Gallery, the Unitarian Church, the Quaker Meeting House, the Lifetime Lab at Old Cork Waterworks, and Fota House and Gardens. An interview on Cork City Opera House, carried out for the project If the Walls Could Talk, also features in the film.    &lt;br /&gt;&lt;br /&gt;&lt;a href="http://corkfolklore.org/films/" target="_blank" rel="noreferrer noopener"&gt;The film is available on the Cork Folklore website&lt;/a&gt;   &lt;br /&gt;&lt;br /&gt;The DVD by Mark Wilkins was edited by Tim McCarthy, and featured music by Mark Wilkins and photography by Gráinne McGee. &lt;br /&gt;&lt;br /&gt;The project was co-ordinated by CFP Project Manager Mary O’Driscoll.    &lt;br /&gt;&lt;br /&gt;Support: This project was part-funded by Cork City Council.</text>
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                  <text>&lt;strong&gt;Interviewees:&lt;/strong&gt; Patrick Walsh; Geraldine Healy; Maud Cotter; Roger "Ronnie" Herlihy;Fritz Spengeman; Sean Moraghan; Aisling Byron; Denise Gabuzda; Michael Lenihan:</text>
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                  <text>CFP_SR00509_walsh_2014; CFP_SR00510_healy_2014; CFP_SR00511_cotter_2014; CFP_SR00512_herlihy_2014; CFP_SR00514_spengeman_2014; CFP_SR00523_healy_2014; CFP_SR00525_moraghan_2014 ;CFP_SR00526_byron_2014 CFP_SR00527_gabuzda_2014; CFP_VR00540_herlihy_2015; CFP_VR00541_lenihan_2015; CFP_VR00542_healy_2015&#13;
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                  <text>If the Walls Could Talk: Stories of Cork's Built Heritage (2013) &lt;br /&gt;&lt;br /&gt;Links to:&lt;br /&gt;&lt;a href="http://corkfolklore.org/archivecatalolgue/collections/show/1" target="_blank" rel="noreferrer noopener"&gt;Catalogue Collection&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;a href="http://corkfolklore.org/films/" target="_blank" rel="noreferrer noopener"&gt;Film&lt;/a&gt;</text>
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              <text>&lt;span&gt;&lt;strong&gt;The following is a short extract from the interview transcript, copyright of the Cork Folklore Project. If you wish to access further archival material please contact CFP, folklorearchive@gmail.com&lt;/strong&gt;&lt;br /&gt;&lt;br /&gt;&lt;/span&gt;I mean the -- what we know as the entrance today to the Imperial Hotel on the South Mall was the Commercial Rooms, or the Commercial Building. Em actually the, the hotel itself was built at the rear of the building, the entrance was on Pembroke Street. The restaurant is there now today, the entrance -- but that would have been the entrance to the hotel and that didn’t open until maybe about five years I think after em, [clock strikes] five years after the Commerical Buildings itself so twas the eh -- twas part of the Commercial Buildings, the main entrance was on Pembroke Street but you could -- you could also go through em the South Mall entrance through the Commercial Rooms into it. And actually when you go into the [unintelligible voices in background 08:35] South Mall today you’ll see there’s a plaque, a circular plaque on the, on the floor mosaic, kind of a plaque with a Cork coat of arms and it has ‘The Commercial Buildings’ written around it you know. Em so as I said it wasn’t really then until oh -- I think twas into the 1940s by the time the Commercial Buildings actually moved out of the front so twas that long before the hotel took over actually the front part of, of the South Mall eh, that building there you know.</text>
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                <text>Roger talks about the Imperial Hotel, South Mall, formerly  the Commercial Buildings and the famous people who attended the hotel. &#13;
He explains that South Mall used to be a channel of the River Lee and that is why some buildings on the street have steps going up to their front doors. He tells a story about hotel manager Charles MacDowell. He talks about Franz Liszt’s visit to Cork in 1840, and his playing at Hallaran’s asylum. Slavery abolitionist Frederick Douglass spoke at the hotel and there is a plague there dedicated to him. Artist John Banvard demonstrated a long painted panorama known as The Three Mile Picture. &#13;
Other visitors to Cork included Charles Dickens, midget Tom Thumb, and courtesan Lola Montez. The hotel was also occupied by anti-Fenian forces, and later by pro-Treaty commander Michael Collins.&#13;
Interviewer and interviewee share two funny stories about the City Hall.&#13;
Note: this interview was conducted for the DVD If The Stones Could Speak.&#13;
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                  <text>9 interviews with 8 people    &lt;br /&gt;&lt;br /&gt;This film project created the sequel to the 2013 CFP film ‘If the Walls Could Talk’.  9 audio interviews were carried out with 8 people, and 3 video interviews with 3 people. The Cork Folklore Project was commissioned by Cork City Council as part of Cork Heritage Open Day to create a film exploring the relationship between some of Cork's most historic buildings and the people who use them. &lt;br /&gt;&lt;br /&gt;The project carried out a series of interviews with local historians, people associated with the buildings, and Cork residents (the interviews in this collection were carried out by Mark Wilkins), and drew on existing audio and video interviews. &lt;br /&gt;&lt;br /&gt;Interviews in this collection featured in the DVD discuss St Anne’s Shandon, Collins Barracks, Heineken Murphy’s Brewery, the Everyman Palace Theatre, Cork City Hall, the Imperial Hotel, Cork Synagogue, the Crawford Art Gallery, the Unitarian Church, the Quaker Meeting House, the Lifetime Lab at Old Cork Waterworks, and Fota House and Gardens. An interview on Cork City Opera House, carried out for the project If the Walls Could Talk, also features in the film.    &lt;br /&gt;&lt;br /&gt;&lt;a href="http://corkfolklore.org/films/" target="_blank" rel="noreferrer noopener"&gt;The film is available on the Cork Folklore website&lt;/a&gt;   &lt;br /&gt;&lt;br /&gt;The DVD by Mark Wilkins was edited by Tim McCarthy, and featured music by Mark Wilkins and photography by Gráinne McGee. &lt;br /&gt;&lt;br /&gt;The project was co-ordinated by CFP Project Manager Mary O’Driscoll.    &lt;br /&gt;&lt;br /&gt;Support: This project was part-funded by Cork City Council.</text>
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                  <text>&lt;strong&gt;Interviewees:&lt;/strong&gt; Patrick Walsh; Geraldine Healy; Maud Cotter; Roger "Ronnie" Herlihy;Fritz Spengeman; Sean Moraghan; Aisling Byron; Denise Gabuzda; Michael Lenihan:</text>
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                  <text>If the Walls Could Talk: Stories of Cork's Built Heritage (2013) &lt;br /&gt;&lt;br /&gt;Links to:&lt;br /&gt;&lt;a href="http://corkfolklore.org/archivecatalolgue/collections/show/1" target="_blank" rel="noreferrer noopener"&gt;Catalogue Collection&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;a href="http://corkfolklore.org/films/" target="_blank" rel="noreferrer noopener"&gt;Film&lt;/a&gt;</text>
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              <text>&lt;strong&gt;&lt;strong&gt;The following is a short extract from the interview transcript, copyright of the Cork Folklore Project. If you wish to access further archival material please contact CFP, folklorearchive@gmail.com&lt;br /&gt;&lt;/strong&gt;&lt;/strong&gt;
&lt;p&gt;This was Unitarianism, was illegal up until the early part of the 19&lt;sup&gt;th&lt;/sup&gt; Century in fact it was punishable by death to espouse Unitarian points of view, and understandably Unitarians would of kept their heads low and so and so this church evolved as a liberal Presbyterian church with the lifting of the prohibition on Unitarianism, Unitarian ideas, in the, I think it was 1817. Unitarianism grew as a more identifiable part of the church and this gave rise to friction, and basically there was a schism between the Unitarians who believed in the oneness of God and the Trinitarians who believed in the doctrine of the trinity and that split resulted in eventually Reverent Faris congregation going up, and they eventually built the trinity church and that is how that arose but he is quiet right, the Presbyterians and Unitarians worship here for many, many decades.&lt;/p&gt;</text>
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                  <text>9 interviews with 8 people    &lt;br /&gt;&lt;br /&gt;This film project created the sequel to the 2013 CFP film ‘If the Walls Could Talk’.  9 audio interviews were carried out with 8 people, and 3 video interviews with 3 people. The Cork Folklore Project was commissioned by Cork City Council as part of Cork Heritage Open Day to create a film exploring the relationship between some of Cork's most historic buildings and the people who use them. &lt;br /&gt;&lt;br /&gt;The project carried out a series of interviews with local historians, people associated with the buildings, and Cork residents (the interviews in this collection were carried out by Mark Wilkins), and drew on existing audio and video interviews. &lt;br /&gt;&lt;br /&gt;Interviews in this collection featured in the DVD discuss St Anne’s Shandon, Collins Barracks, Heineken Murphy’s Brewery, the Everyman Palace Theatre, Cork City Hall, the Imperial Hotel, Cork Synagogue, the Crawford Art Gallery, the Unitarian Church, the Quaker Meeting House, the Lifetime Lab at Old Cork Waterworks, and Fota House and Gardens. An interview on Cork City Opera House, carried out for the project If the Walls Could Talk, also features in the film.    &lt;br /&gt;&lt;br /&gt;&lt;a href="http://corkfolklore.org/films/" target="_blank" rel="noreferrer noopener"&gt;The film is available on the Cork Folklore website&lt;/a&gt;   &lt;br /&gt;&lt;br /&gt;The DVD by Mark Wilkins was edited by Tim McCarthy, and featured music by Mark Wilkins and photography by Gráinne McGee. &lt;br /&gt;&lt;br /&gt;The project was co-ordinated by CFP Project Manager Mary O’Driscoll.    &lt;br /&gt;&lt;br /&gt;Support: This project was part-funded by Cork City Council.</text>
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                  <text>&lt;strong&gt;Interviewees:&lt;/strong&gt; Patrick Walsh; Geraldine Healy; Maud Cotter; Roger "Ronnie" Herlihy;Fritz Spengeman; Sean Moraghan; Aisling Byron; Denise Gabuzda; Michael Lenihan:</text>
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                  <text>If the Walls Could Talk: Stories of Cork's Built Heritage (2013) &lt;br /&gt;&lt;br /&gt;Links to:&lt;br /&gt;&lt;a href="http://corkfolklore.org/archivecatalolgue/collections/show/1" target="_blank" rel="noreferrer noopener"&gt;Catalogue Collection&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;a href="http://corkfolklore.org/films/" target="_blank" rel="noreferrer noopener"&gt;Film&lt;/a&gt;</text>
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              <text>&lt;strong&gt;&lt;strong&gt;The following is a short extract from the interview transcript, copyright of the Cork Folklore Project. If you wish to access further archival material please contact CFP, folklorearchive@gmail.com&lt;br /&gt;&lt;/strong&gt;&lt;/strong&gt;
&lt;p&gt;I did a project about six years ago on the Jewish community in Cork and it was a subject that was very close to my heart because my maternal grandparents lived in 31 Geraldine Place in the heart of what the local people affectionately call Jew Town. As David Marcus said in his autobiography &lt;em&gt;Buried Memories, &lt;/em&gt;no cartographer actually has it listed as Jew Town on a map of Cork but it’s a distinct place known to everybody just like Ballyphehane or Blackpool or anywhere like that and very close to my heart so I began writing about the Jewish community up at the Folklore Project. I focused in on the history of the Jewish people and their presence in Cork City and some prominent members of the Jewish community who contributed so much so much to Cork life because the Jewish community in academic, economic, social, political circles contributed greatly to the fabric of Cork life and society and also a little bit about their history as they dispersed after the War from Cork.&lt;/p&gt;</text>
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                <text>As Interviewee:&lt;br /&gt;&lt;a href="http://corkfolklore.org/archivecatalolgue/document/103" target="_blank" rel="noreferrer noopener"&gt;CFP_SR00389_healy_2010&lt;/a&gt;;&lt;br /&gt;&lt;a href="http://corkfolklore.org/archivecatalolgue/document/15" target="_blank" rel="noreferrer noopener"&gt;CFP_SR00505_healy_2013&lt;/a&gt;;&lt;br /&gt;&lt;a href="http://corkfolklore.org/archivecatalolgue/items/show/167" target="_blank" rel="noreferrer noopener"&gt;CFP_SR00510_healy_2014&lt;/a&gt;;&lt;br /&gt;&lt;a href="http://corkfolklore.org/archivecatalolgue/items/show/189" target="_blank" rel="noreferrer noopener"&gt;CFP_VR00542_healy_2015&lt;/a&gt;;&lt;br /&gt;CFP_SR00700_healy_2019;&lt;br /&gt;CFP_SR00701_healy_2019;&lt;br /&gt;CFP_SR00709_healy_2019;&lt;br /&gt;CFP_SR00710_healy_2019:&lt;br /&gt;&lt;br /&gt;As Interviewer:&lt;br /&gt;CFP_SR00387_Sheehan_; CFP_SR00395_Speight; CFP_SR00421_Cronin.</text>
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                    <text>Cork Folklore Project</text>
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                  <text>9 interviews with 8 people    &lt;br /&gt;&lt;br /&gt;This film project created the sequel to the 2013 CFP film ‘If the Walls Could Talk’.  9 audio interviews were carried out with 8 people, and 3 video interviews with 3 people. The Cork Folklore Project was commissioned by Cork City Council as part of Cork Heritage Open Day to create a film exploring the relationship between some of Cork's most historic buildings and the people who use them. &lt;br /&gt;&lt;br /&gt;The project carried out a series of interviews with local historians, people associated with the buildings, and Cork residents (the interviews in this collection were carried out by Mark Wilkins), and drew on existing audio and video interviews. &lt;br /&gt;&lt;br /&gt;Interviews in this collection featured in the DVD discuss St Anne’s Shandon, Collins Barracks, Heineken Murphy’s Brewery, the Everyman Palace Theatre, Cork City Hall, the Imperial Hotel, Cork Synagogue, the Crawford Art Gallery, the Unitarian Church, the Quaker Meeting House, the Lifetime Lab at Old Cork Waterworks, and Fota House and Gardens. An interview on Cork City Opera House, carried out for the project If the Walls Could Talk, also features in the film.    &lt;br /&gt;&lt;br /&gt;&lt;a href="http://corkfolklore.org/films/" target="_blank" rel="noreferrer noopener"&gt;The film is available on the Cork Folklore website&lt;/a&gt;   &lt;br /&gt;&lt;br /&gt;The DVD by Mark Wilkins was edited by Tim McCarthy, and featured music by Mark Wilkins and photography by Gráinne McGee. &lt;br /&gt;&lt;br /&gt;The project was co-ordinated by CFP Project Manager Mary O’Driscoll.    &lt;br /&gt;&lt;br /&gt;Support: This project was part-funded by Cork City Council.</text>
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                  <text>&lt;strong&gt;Interviewees:&lt;/strong&gt; Patrick Walsh; Geraldine Healy; Maud Cotter; Roger "Ronnie" Herlihy;Fritz Spengeman; Sean Moraghan; Aisling Byron; Denise Gabuzda; Michael Lenihan:</text>
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                  <text>CFP_SR00509_walsh_2014; CFP_SR00510_healy_2014; CFP_SR00511_cotter_2014; CFP_SR00512_herlihy_2014; CFP_SR00514_spengeman_2014; CFP_SR00523_healy_2014; CFP_SR00525_moraghan_2014 ;CFP_SR00526_byron_2014 CFP_SR00527_gabuzda_2014; CFP_VR00540_herlihy_2015; CFP_VR00541_lenihan_2015; CFP_VR00542_healy_2015&#13;
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              <text>&lt;strong&gt;&lt;strong&gt;The following is a short extract from the interview transcript, copyright of the Cork Folklore Project. If you wish to access further archival material please contact CFP, folklorearchive@gmail.com&lt;br /&gt;&lt;/strong&gt;&lt;/strong&gt;
&lt;p&gt;My familiarity with Fota House is really more to do with Fota gardens, I did a course there, on the history of Irish Gardens and I also became familiar with the frameyard garden, the frameyard was really part of the production garden, so what people forget about country houses, is that the house and the garden were one entity, they were not separate entities, the garden provided the fruit and vegetables for the family and for some of the staff, and the garden also provided, a supply of flowers in bloom for every month of the summer, essentially. Now it was the head gardeners job to provide army after army of flowers in bloom, also to provide, soft fruit, for the desert section of the families dinners and for the guests, so the house and the garden really were two sides of the same coin, now when we think, of gardens and gardeners, we have an image of some guy raking up leaves in a field, the gardener in a country house had the most important position, aside from that of the butler or the leader of the household staff. Now the gardener, occupied quite an unusual position because to be the head gardener was to occupy a fairly elevated social position, it was a way, in which young men, usually who would have started as gardeners boys and then became foreman, journeymen, foreman, and then head gardeners, it was a way for them to elevate their social position but really to be head gardener was to be a very important person, because you liaised with the master of the house particularly in the Victorian period, the leaders of aristocratic families competed with each other in raising exotic plants and flowers and the head gardener worked quite closely with the head of the household to achieve success with garden specimens, very often these were quite exotic and the reason they had exotic plants and flowers, was because Ireland was then nominally part of the British Empire and Irish and British plant hunters went out and brought back seeds and specimens, which people then competed to bring to bloom, or to bring to, bring to success.&lt;/p&gt;
&lt;p&gt;&lt;span&gt; &lt;/span&gt;&lt;/p&gt;</text>
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                <text>Sean Moraghan talks in depth about Fota House and gardens in specific and the evolution of the country house in general. He talks, inter alia, about the role of the garden, food preparation and storage, class, status and gender distinctions. </text>
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                    <text>If the stones could sleep cover</text>
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                  <text>9 interviews with 8 people    &lt;br /&gt;&lt;br /&gt;This film project created the sequel to the 2013 CFP film ‘If the Walls Could Talk’.  9 audio interviews were carried out with 8 people, and 3 video interviews with 3 people. The Cork Folklore Project was commissioned by Cork City Council as part of Cork Heritage Open Day to create a film exploring the relationship between some of Cork's most historic buildings and the people who use them. &lt;br /&gt;&lt;br /&gt;The project carried out a series of interviews with local historians, people associated with the buildings, and Cork residents (the interviews in this collection were carried out by Mark Wilkins), and drew on existing audio and video interviews. &lt;br /&gt;&lt;br /&gt;Interviews in this collection featured in the DVD discuss St Anne’s Shandon, Collins Barracks, Heineken Murphy’s Brewery, the Everyman Palace Theatre, Cork City Hall, the Imperial Hotel, Cork Synagogue, the Crawford Art Gallery, the Unitarian Church, the Quaker Meeting House, the Lifetime Lab at Old Cork Waterworks, and Fota House and Gardens. An interview on Cork City Opera House, carried out for the project If the Walls Could Talk, also features in the film.    &lt;br /&gt;&lt;br /&gt;&lt;a href="http://corkfolklore.org/films/" target="_blank" rel="noreferrer noopener"&gt;The film is available on the Cork Folklore website&lt;/a&gt;   &lt;br /&gt;&lt;br /&gt;The DVD by Mark Wilkins was edited by Tim McCarthy, and featured music by Mark Wilkins and photography by Gráinne McGee. &lt;br /&gt;&lt;br /&gt;The project was co-ordinated by CFP Project Manager Mary O’Driscoll.    &lt;br /&gt;&lt;br /&gt;Support: This project was part-funded by Cork City Council.</text>
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                  <text>&lt;strong&gt;Interviewees:&lt;/strong&gt; Patrick Walsh; Geraldine Healy; Maud Cotter; Roger "Ronnie" Herlihy;Fritz Spengeman; Sean Moraghan; Aisling Byron; Denise Gabuzda; Michael Lenihan:</text>
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                  <text>If the Walls Could Talk: Stories of Cork's Built Heritage (2013) &lt;br /&gt;&lt;br /&gt;Links to:&lt;br /&gt;&lt;a href="http://corkfolklore.org/archivecatalolgue/collections/show/1" target="_blank" rel="noreferrer noopener"&gt;Catalogue Collection&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;a href="http://corkfolklore.org/films/" target="_blank" rel="noreferrer noopener"&gt;Film&lt;/a&gt;</text>
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              <text>&lt;strong&gt;&lt;strong&gt;The following is a short extract from the interview transcript, copyright of the Cork Folklore Project. If you wish to access further archival material please contact CFP, folklorearchive@gmail.com&lt;br /&gt;&lt;/strong&gt;&lt;/strong&gt;
&lt;p&gt;Well this is the drawing room and this was one of the worstly effected building or rooms in the building because as you can see there was partial collapse of the ceiling here, and behind all this, I don’t know if the possibly, don’t know the construction of lath plaster ceilings, basically, even though, this area here was the area that had fallen, the whole rest of the ceiling was very weak at that point as well, because the way that the base of the ceiling would be first put in place is you get your joists crossing the entire ceiling and on top of that, I put laths and laths of timber that would perhaps be about one inch in thickness, they vary, they don’t have to be very particular, and there then nailed, from this side of the room, and so if you can imagine these are spread out then at intervals, maybe of half an inch and from this side the plaster is pushed up into the laths and as the plaster ceases the laths and as the plaster is pushed up this is a piece of plaster now it falls up and curls over and forms a little ‘U’, which is known as a nib, and quiet often in old buildings like that, the nibs actually break, they break at the line of the lath, so this whole, this whole building, this whole ceiling was very, very, weak. So even though this is the area that looked damaged the entire thing had to be from the other side the floor boards lifted and all the nibs prepared. This had fallen in one piece but as it hit the floor it smashed considerably so.&lt;/p&gt;
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                <text>Aisling talks about her architectural conservation work at Fota House, Cork. &#13;
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Note: this interview was recorded as part of the audio track to accompany the DVD entitled If The Stones Could Speak. &#13;
&#13;
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              <text>&lt;strong&gt;The following is a short extract from the interview transcript, copyright of the Cork Folklore Project. If you wish to access further archival material please contact CFP, folklorearchive@gmail.com&lt;/strong&gt; &lt;br /&gt;&lt;br /&gt;I think probably the most distinctive thing about Quakerism is that it is based on the premise that everybody is equal. Religion really equal and that we don’t need any kind of intermediary between us and God or the Spirit and, for that reason, back when Quakerism came into being in the 17th Century they decided they didn’t need priests or Ministers or any kind of Pastor and, essentially, the whole structures of how Quakers do things are based on the idea that we can have that direct contact. So the appearance of a Quaker meeting on a Sunday morning, Quaker meeting houses are very different than what most people are used to in terms of churches or temples or synagogues or whatever. The building will be very simple, very little adornment and there’s no programme at all. There’s nobody leading the service. We just sit in silence for about, mostly silent for about an hour. Occasionally somebody may get up and say something that they feel moved to say and, in principle, we believe that sometimes when this happens that person is actually moved to say something by the spirit of God and so, in some sense, they are acting as the Minister of the meeting during the time that they get up and speak. So that’s what a Quaker meeting is like. That’s the form of worship that Quakers use, mostly silence with a bit of sort of inspired ministry from a number of people during the course of about an hour. All the work that would normally be done by paid clergy or priests or Ministers is done by committees essentially, by officers who are appointed for a few years and then they may step down and somebody else will be appointed to do the job.</text>
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                  <text>CFP_SR00509_walsh_2014; CFP_SR00510_healy_2014; CFP_SR00511_cotter_2014; CFP_SR00512_herlihy_2014; CFP_SR00514_spengeman_2014; CFP_SR00523_healy_2014; CFP_SR00525_moraghan_2014 ;CFP_SR00526_byron_2014 CFP_SR00527_gabuzda_2014; CFP_VR00540_herlihy_2015; CFP_VR00541_lenihan_2015; CFP_VR00542_healy_2015&#13;
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                  <text>If the Walls Could Talk: Stories of Cork's Built Heritage (2013) &lt;br /&gt;&lt;br /&gt;Links to:&lt;br /&gt;&lt;a href="http://corkfolklore.org/archivecatalolgue/collections/show/1" target="_blank" rel="noreferrer noopener"&gt;Catalogue Collection&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;a href="http://corkfolklore.org/films/" target="_blank" rel="noreferrer noopener"&gt;Film&lt;/a&gt;</text>
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            <description>An account of the resource</description>
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                <text>The local historian Ronnie Herlihy was interviewed on video for the film If The Stones Could Speak. This is one of three video interviews carried out for the collection. This interview generated two video files of a combined length of  (put in length of video) and two audio files recoded for back-up audio.</text>
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                    <text>Cork Folklore Project</text>
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            <element elementId="50">
              <name>Title</name>
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              <name>Subject</name>
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                  <text>Built Heritage:</text>
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                <elementText elementTextId="4909">
                  <text>9 interviews with 8 people    &lt;br /&gt;&lt;br /&gt;This film project created the sequel to the 2013 CFP film ‘If the Walls Could Talk’.  9 audio interviews were carried out with 8 people, and 3 video interviews with 3 people. The Cork Folklore Project was commissioned by Cork City Council as part of Cork Heritage Open Day to create a film exploring the relationship between some of Cork's most historic buildings and the people who use them. &lt;br /&gt;&lt;br /&gt;The project carried out a series of interviews with local historians, people associated with the buildings, and Cork residents (the interviews in this collection were carried out by Mark Wilkins), and drew on existing audio and video interviews. &lt;br /&gt;&lt;br /&gt;Interviews in this collection featured in the DVD discuss St Anne’s Shandon, Collins Barracks, Heineken Murphy’s Brewery, the Everyman Palace Theatre, Cork City Hall, the Imperial Hotel, Cork Synagogue, the Crawford Art Gallery, the Unitarian Church, the Quaker Meeting House, the Lifetime Lab at Old Cork Waterworks, and Fota House and Gardens. An interview on Cork City Opera House, carried out for the project If the Walls Could Talk, also features in the film.    &lt;br /&gt;&lt;br /&gt;&lt;a href="http://corkfolklore.org/films/" target="_blank" rel="noreferrer noopener"&gt;The film is available on the Cork Folklore website&lt;/a&gt;   &lt;br /&gt;&lt;br /&gt;The DVD by Mark Wilkins was edited by Tim McCarthy, and featured music by Mark Wilkins and photography by Gráinne McGee. &lt;br /&gt;&lt;br /&gt;The project was co-ordinated by CFP Project Manager Mary O’Driscoll.    &lt;br /&gt;&lt;br /&gt;Support: This project was part-funded by Cork City Council.</text>
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                  <text>&lt;strong&gt;Interviewees:&lt;/strong&gt; Patrick Walsh; Geraldine Healy; Maud Cotter; Roger "Ronnie" Herlihy;Fritz Spengeman; Sean Moraghan; Aisling Byron; Denise Gabuzda; Michael Lenihan:</text>
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                  <text>CFP_SR00509_walsh_2014; CFP_SR00510_healy_2014; CFP_SR00511_cotter_2014; CFP_SR00512_herlihy_2014; CFP_SR00514_spengeman_2014; CFP_SR00523_healy_2014; CFP_SR00525_moraghan_2014 ;CFP_SR00526_byron_2014 CFP_SR00527_gabuzda_2014; CFP_VR00540_herlihy_2015; CFP_VR00541_lenihan_2015; CFP_VR00542_healy_2015&#13;
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                  <text>If the Walls Could Talk: Stories of Cork's Built Heritage (2013) &lt;br /&gt;&lt;br /&gt;Links to:&lt;br /&gt;&lt;a href="http://corkfolklore.org/archivecatalolgue/collections/show/1" target="_blank" rel="noreferrer noopener"&gt;Catalogue Collection&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;a href="http://corkfolklore.org/films/" target="_blank" rel="noreferrer noopener"&gt;Film&lt;/a&gt;</text>
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                  <text>Cork Folklore Project  </text>
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              <name>Source</name>
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              <elementTextContainer>
                <elementText elementTextId="4917">
                  <text>Cork Folklore Project Audio Archive</text>
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                  <text>Cork Folklore Project  </text>
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              <name>Rights</name>
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              <elementTextContainer>
                <elementText elementTextId="4919">
                  <text>Cork Folklore Project </text>
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              <name>Language</name>
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                  <text>English</text>
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              <description>The nature or genre of the resource</description>
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                <elementText elementTextId="4924">
                  <text>.mov</text>
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              <text>Mark Wilkins</text>
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          <name>Location</name>
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          <name>Original Format</name>
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            <elementText elementTextId="4896">
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          <elementTextContainer>
            <elementText elementTextId="4897">
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        </element>
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          <element elementId="50">
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          <element elementId="49">
            <name>Subject</name>
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              <elementText elementTextId="4855">
                <text>Built Heritage:</text>
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            <name>Date</name>
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              <elementText elementTextId="4856">
                <text>21 January 2015</text>
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                <text>Interviewee: Michael Lenihan</text>
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              <elementText elementTextId="4858">
                <text>Interviewer: Mark Wilkins&#13;
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                <text>Videographer: Annmarie Mclntyre</text>
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              <elementText elementTextId="4859">
                <text>Cork Folklore Project</text>
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                <text>Cork, Ireland, 1800s, 1900s</text>
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                    <text>Geraldine Healy</text>
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                    <text>Geraldine Healy Portrait Photograph</text>
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                    <text>Gráinne Magee</text>
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                    <text>Cork Folklore Project</text>
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                  <text>If the Stones Could Speak: More Stories of Cork’s Built Heritage (2015)</text>
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                  <text>9 interviews with 8 people    &lt;br /&gt;&lt;br /&gt;This film project created the sequel to the 2013 CFP film ‘If the Walls Could Talk’.  9 audio interviews were carried out with 8 people, and 3 video interviews with 3 people. The Cork Folklore Project was commissioned by Cork City Council as part of Cork Heritage Open Day to create a film exploring the relationship between some of Cork's most historic buildings and the people who use them. &lt;br /&gt;&lt;br /&gt;The project carried out a series of interviews with local historians, people associated with the buildings, and Cork residents (the interviews in this collection were carried out by Mark Wilkins), and drew on existing audio and video interviews. &lt;br /&gt;&lt;br /&gt;Interviews in this collection featured in the DVD discuss St Anne’s Shandon, Collins Barracks, Heineken Murphy’s Brewery, the Everyman Palace Theatre, Cork City Hall, the Imperial Hotel, Cork Synagogue, the Crawford Art Gallery, the Unitarian Church, the Quaker Meeting House, the Lifetime Lab at Old Cork Waterworks, and Fota House and Gardens. An interview on Cork City Opera House, carried out for the project If the Walls Could Talk, also features in the film.    &lt;br /&gt;&lt;br /&gt;&lt;a href="http://corkfolklore.org/films/" target="_blank" rel="noreferrer noopener"&gt;The film is available on the Cork Folklore website&lt;/a&gt;   &lt;br /&gt;&lt;br /&gt;The DVD by Mark Wilkins was edited by Tim McCarthy, and featured music by Mark Wilkins and photography by Gráinne McGee. &lt;br /&gt;&lt;br /&gt;The project was co-ordinated by CFP Project Manager Mary O’Driscoll.    &lt;br /&gt;&lt;br /&gt;Support: This project was part-funded by Cork City Council.</text>
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                  <text>&lt;strong&gt;Interviewees:&lt;/strong&gt; Patrick Walsh; Geraldine Healy; Maud Cotter; Roger "Ronnie" Herlihy;Fritz Spengeman; Sean Moraghan; Aisling Byron; Denise Gabuzda; Michael Lenihan:</text>
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                  <text>&lt;strong&gt;Interviewers:&lt;/strong&gt; Mark Wilkins (9); Annmarie McIntyre (3):</text>
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                  <text>CFP_SR00509_walsh_2014; CFP_SR00510_healy_2014; CFP_SR00511_cotter_2014; CFP_SR00512_herlihy_2014; CFP_SR00514_spengeman_2014; CFP_SR00523_healy_2014; CFP_SR00525_moraghan_2014 ;CFP_SR00526_byron_2014 CFP_SR00527_gabuzda_2014; CFP_VR00540_herlihy_2015; CFP_VR00541_lenihan_2015; CFP_VR00542_healy_2015&#13;
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                  <text>Cork: Ireland: 1700s-2010s:</text>
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                  <text>If the Walls Could Talk: Stories of Cork's Built Heritage (2013) &lt;br /&gt;&lt;br /&gt;Links to:&lt;br /&gt;&lt;a href="http://corkfolklore.org/archivecatalolgue/collections/show/1" target="_blank" rel="noreferrer noopener"&gt;Catalogue Collection&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;a href="http://corkfolklore.org/films/" target="_blank" rel="noreferrer noopener"&gt;Film&lt;/a&gt;</text>
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                  <text>Cork Folklore Project  </text>
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                  <text>Cork Folklore Project Audio Archive</text>
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                  <text>Cork Folklore Project  </text>
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                  <text>Cork Folklore Project </text>
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                  <text>.wav</text>
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          <name>Interviewee</name>
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              <text>Geraldine Healy</text>
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                <text>Geraldine Healy</text>
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            <name>Date</name>
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                <text>30 October 2014</text>
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                <text>Interviewee: Geraldine Healy</text>
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                <text>Videographer: Annmarie Mclntyre</text>
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            <name>Identifier</name>
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                <text>CFP_VR00542_healy_2015</text>
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                <text>Cork Folklore Project</text>
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                <text>Cork Folklore Project</text>
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                <text>Cork Folklore Project</text>
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                <text>For more from Geraldine.&lt;br /&gt;&lt;br /&gt;&lt;strong&gt;As Interviewee:&lt;/strong&gt;&lt;br /&gt;&lt;a href="http://corkfolklore.org/archivecatalolgue/document/103" target="_blank" rel="noreferrer noopener"&gt;CFP_SR00389_healy_2010&lt;/a&gt;;&lt;br /&gt;&lt;a href="http://corkfolklore.org/archivecatalolgue/document/15" target="_blank" rel="noreferrer noopener"&gt;CFP_SR00505_healy_2013&lt;/a&gt;;&lt;br /&gt;&lt;a href="http://corkfolklore.org/archivecatalolgue/items/show/167" target="_blank" rel="noreferrer noopener"&gt;CFP_SR00510_healy_2014&lt;/a&gt;;&lt;br /&gt;&lt;a href="http://corkfolklore.org/archivecatalolgue/items/show/174" target="_blank" rel="noreferrer noopener"&gt;CFP_SR00523_healy_2014&lt;/a&gt;;&lt;br /&gt;CFP_SR00700_healy_2019;&lt;br /&gt;CFP_SR00701_healy_2019;&lt;br /&gt;CFP_SR00709_healy_2019;&lt;br /&gt;CFP_SR00710_healy_2019:&lt;br /&gt;&lt;br /&gt;&lt;strong&gt;As Interviewer:&lt;/strong&gt;&lt;br /&gt;CFP_SR00387_Sheehan_; CFP_SR00395_Speight; CFP_SR00421_Cronin.</text>
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