The Auburn St. Patrick’s Day Parade showcased vibrant traditions through bagpipers, dancers, and community spirit, celebrating Irish heritage and unity in a poignant, lively procession.
The streets of Auburn, New York, were alive with the spirit of St. Patrick’s Day. A crisp breeze carried the sound of bagpipes through the neighborhood, stirring both nostalgia and excitement. I stood on the curb, camera in hand, ready to capture the essence of what is proudly proclaimed as “New York’s Shortest St. Patrick’s Day Parade.”
Leading the procession was a lone bagpiper, his presence commanding attention. Clad in a traditional kilt, he marched with precision, his fingers skillfully pressing the chanter, producing the unmistakable droning melody. The contrast of his black uniform against the white socks and flashes of green was striking. His gaze was fixed forward, unwavering, as he walked past modest houses adorned with shamrocks and green decorations. A woman standing nearby lifted her phone to capture the moment, mirroring my own effort to preserve the memory.
Just behind him, a group of proud marchers advanced, their sashes boldly displaying the colors of the Irish flag. Some leaned on walking sticks, a testament to age and tradition converging on this special day. They carried a banner that read: “New York’s Shortest St. Patrick’s Day Parade – Auburn – Ancient Order of Hibernians.” The crowd lining the sidewalks clapped and cheered as the parade, though brief, filled the street with a warmth that defied the cool March air.
The energy of the parade was contagious. A group of Irish dancers followed, their synchronized steps punctuated by the rhythmic clap of their hard shoes on pavement. The young girls, dressed in intricately designed Celtic-inspired outfits, smiled through the motions, their faces reflecting both discipline and joy. Alongside them, women in matching athletic gear clapped along, encouraging the younger dancers while swaying to the lively music.
Green was everywhere—on scarves, hats, jackets, and even the leggings of a young girl who skipped along with excitement. Onlookers wore festive attire, their laughter and conversations blending into the celebratory atmosphere. Irish pride radiated from the participants and the community that gathered to watch, reinforcing the deep cultural roots that have anchored this parade in tradition.
For all its brevity, the Auburn St. Patrick’s Day Parade carried a weight of significance. It was not about grand floats or large crowds; it was about honoring heritage, embracing camaraderie, and keeping alive a tradition that linked the past with the present. As the final marchers passed and the echoes of the bagpipes faded, I took a final look through my camera lens. I had captured moments of pride, joy, and unity—a testament to the enduring legacy of the Irish spirit in this small but vibrant celebration.
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Copyright 2024 All Rights Reserved Michael Stephen Wills
To continue my posting “Climb Hill of Tara” my first submission of three Hill of Tara photographs to Getty Istock had two of the photographs returned for revision.
A statue of Saint Patrick fittingly welcomes visitors to the Hill of Tara, County Meath, Ireland. This statue of cast concrete was an existing statue donated by the Sisters of Charity, moved from an existing installation to the Hill of Tara in the year 2000 AD. The creator is anonymous, the is no plaque or other attribution on or around the statue.
The original statue was erected on the summit of the Hill of Tara shortly after Catholic emancipation in 1829, commemorated the events of 433AD when St. Patrick lit a bonfire on the nearby hill of Slane on the eve of Easter Sunday.
Lighting such a fire was contrary to the pagan laws of the time which dictated that the first fire lit that night be in Tara. Observing St. Patrick’s bonfire from afar, the chief druid of the ancient Gaelic capital predicted that if the flame were not extinguished that night, Christianity would never be extinguished in Ireland. The saint’s bonfire continued burning and the next morning, Easter Sunday, St. Patrick entered Tara to convert the king and his followers to Christianity.
For the fenced statue of Saint Patrick the revieweR wrote:
Please provide a full description for the work of art featured in this image. Include the artist, date of creation, location, etc. Works of art created by someone other than yourself must be free of copyright protection to be considered. If this work of art is indeed under copyright protection, a property release signed by the copyright holder will need to be provided.
Hmmmm….What I do while capturing a photograph of a statue is take photos of any plaque, sign, whatever to acquire the name of the creator, how it came to be there, community connections. There was nothing around the statue nor the very informative Office of Public Works placards at the entrance. I was proud to submit the statue photograph, as it turned out so well, and hoped for the best.
Last week, I put in a query to Ireland’s Office of Public Works (OPW), the agency responsible for the Hill of Tara, and did not receive a response when, for other queries, they were helpful. This Saturday and Monday mornings, several hours of internet research revealed this history.
The original statue was placed on Tara sometime after the 1829 Catholic emancipation. It was molded concrete, created by Thomas Curry of Navan at his own expense to honor the connection of Saint Patrick to Tara.
The OPW removed Curry’s statue 1992 for repair of a century of wear. During the removal the statue was damaged beyond repair and, afterwards, was further damaged by vandals who decapitated and used it for target practice.
Initially, the OWP decided not to replace Saint Patrick citing the “pagan” nature of the place. After an angry meeting of local people at the Skryne Parish Hall. In this meeting the local Rathfeigh Historical Society formed the “Committee to Restore St. Patrick to Tara.” In turn, pressure was put on Michael D. Higgins, Minister for Arts, Culture and the Gaeltacht (and the OPW). It was decided a new statue was to be created, based on a competition, and instead of it former place at the hill summit (called Rath na Rí), it was to be near the entrance, outside the Interpretative Center, to offer a Céad Míle Fáilte to visitors and be seen on departure.
The outcome was the competition winner was rejected by locals. The winning entry, by sculptor Annette Hennessy, did not follow competition rules that specified the statue incorporate traditional features to include shamrocks, harp, miter, a crozier and, perhaps, fleeing snakes. Hennessy’s design was of a shaven headed teenage boy in a short (“mini-skirt”) kilt, a handbag-shaped bell in hand. She agreed hers was “not a traditional style statue” saying it “acknowledges our Pagan Celtic history.”
The rejection included a statement from Dr. Leo Curran, chairman of the Rathfeigh Historical Society, “We agreed that most of the monuments in Tara are from the pre-Christian era, but St. Patrick should be at the uppermost layer, representing Christian tradition extinguishing paganism.”
By this time, a new government and minister were in place. The decision was made to search Ireland to find a suitable, existing, replacement statue. By 2000 the present statue, donated by the Sisters of Charity, was in place at the Hill of Tara entrance.
At the end of this post I provide the two references from my internet research and from which many facts and all the quotes were used here. I concluded the statue author was anonymous without copyright protection and submitted a revised image description, attaching a copy of my research.
What happened to my IStock photograph of Saint Patrick on the Hill of Tara? Getty accepted my application, published the photo and it is one of my top downloads, and earners.
On Monday, June 9, 2014, cousin John Mills dropped his son, Sean Mills, myself and Pam Wills off at the foot of the western slopes of Slieve Foy on the Tain Way. Sean, Pam and I walked the way over the mountain and into Carlingford in the footsteps of epic Irish heroes.
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Copyright 2022 Michael Stephen Wills All Rights Reserved
In follow-up to my last post my IStock photograph of Saint Patrick on the Hill of Tara was accepted and is available for viewing (click the link to go there).
Since July 2008 a sea generation tidal turban, “SeaGen”, produces electricity (1.2 MW) for between 18 and 20 hours a day while the tide is forced in and out of Strangeford Lough through the Narrows where the generator is installed. The first large scale commercial production of electricity from the tide, “SeaGen” is located between the Northern Ireland towns of Strangeford and Portaferry, the strength of the tides there were used by the earliest tidal mill known, the Nendrum Monastery mill dating 787 based on archeological excavation.
History records Patrick converted the island of Erin (Ireland) to Christianity in the Fifth Century AD as a return to his place of captivity and slavery.
An informational plaque mounted on granite next to the grave of Saint Patrick.
There is a connection between “SeaGen” and the return of Patrick to Ireland. The first sanctuary dedicated by Patrick was at Saul, County Down not far from River Quoile that drains into Strangeford Lough. Historians identify Patrick’s first landing site, upon return, as Wicklow where he was forced to leave by the locals. Heading north in the boats of the time, the strong tide of Strangeford Narrows pulled them into the Lough and, from there, headed up the River Quoile to encounter the local chieftain, Díchu mac Trichim. Patrick’s first Irish convert to Christianity, the feast of Saint Dichu is April 29.
On June 7, 2014 Pam and I visited this area. Here are some photographs of the traditional burial place of Saint Patrick.
View of Downpatrick from the hill of the Cathedral Church of Holy Trinity (Down Cathedral)The High Cross of Downpatrick fronts Down Cathedral on a hill overlooking the town. The informational placard reads “The granite head and shaft date to about 900 AD and were once re-used as part of a Market Cross at the bottom of English Street. The pieces were found in various places in town, reassembled and presented to the Dean and Chapter of the Cathedral in 1897.”The placard text reads: “A large memorial stone of Mourne granite was place here in 1900 to mark the traditional burial-place of St. Patrick. The stone was quarried at Slieve-na-largie near Castlewellan, and it took 12 men 14 days to cut from the quarry.”Inscription on the upper surface of stone marking grave of Saint Patrick.
Explore the Hill of Tara with us! Discover the rich history of Saint Patrick’s statue, the legendary bonfire, and stunning panoramic views of County Meath. Join our journey through Ireland’s ancient and mystical landscapes in our blog post.
Arriving around noon on a Tuesday, Pam and I were greeted at the Hill of Tara by these children, headed to the school bus.
A statue of Saint Patrick fittingly welcomes visitors to the Hill of Tara, County Meath, Ireland. This statue of cast concrete was an existing statue donated by the Sisters of Charity, moved from an existing installation to the Hill of Tara in the year 2000 AD. The creator is anonymous, the is no plaque or other attribution on or around the statue. The original statue was erected on the summit of the Hill of Tara shortly after Catholic emancipation in 1829, commemorated the events of 433AD when St. Patrick lit a bonfire on the nearby hill of Slane on the eve of Easter Sunday. Slane was the second site we visited on our day of arrival, Saturday, May 24.
Lighting such a fire was contrary to the pagan laws of the time which dictated that the first fire lit that night be in Tara. Observing St. Patrick’s bonfire from afar, the chief druid of the ancient Gaelic capital predicted that if the flame were not extinguished that night, Christianity would never be extinguished in Ireland. The saint’s bonfire continued burning and the next morning, Easter Sunday, St. Patrick entered Tara to convert the king and his followers to Christianity.
A series of mounds surmounts the hilltop, one is visible across the expanse of grass.
Climbing higher, the view opens.
On the top, views from all cardinal directions, 360 degrees.
The Hill of Slane is visible in the east, the tall cathedral ruin though not visible in this view.
The first of the following panel is a view northwest from looking across County Meath with views of Counties Westmeath and Cavan. On the horizon, right, is Hag’s Mountain, (Irish: Sliabh na Caillí) , site of the Loughcrew Cairns. The standing stone is the “Stone of Destiny: (Irish: Lia Fáil), which served in coronation the coronation of the High Kings of Ireland. It stands on the Inauguration Mound (Irish: an Forrad) of Tara. This photograph was taken the morning of May 27, 2014 hours before the stone was vandalized, doused with green and red paint.
A bit to the east is the Mound of the Hostages, a passage tomb.
Walk into a glade, through the ancient graveyard to the visitors center in a deconsecrated church.
Browse my reasonably priced stock photography. This blog features three (3) photographs I published last week to Getty Istock and my Fine Art gallery.
Gold on display for the permanent exhibit “Treasures of the Girona,” Ulster Museum, Belfast. It is not Leprechaun gold, certainly.
“Lay not up for yourselves treasures upon earth, where moth and rust doth corrupt, and where thieves break through and steal: But lay up for yourselves treasures in heaven, where neither moth nor rust doth corrupt, and where thieves do not break through nor steal: For where your treasure is, there will your heart be also.” Matthew 6:19-24“
Copyright 2022 Michael Stephen Wills All Rights Reserved
We did not climb so much as ascend, with effort, the flank of Slieve Foy, a peak of the Cooley Mountains, County Louth, Ireland. The group being cousin Sean, my wife, Pam, and myself.
The ridge of Golyin Pass loomed in the mist where the path dissolved in low cloud. Sean pointed above, to the right to Barnavave, also know as Maeve’s Gap for the queen who came from the west of Ireland to take Donn Cúailnge, the Brown Bull of Cooley, by force of arms with an army behind her.
A modern rendering of Donn Cúailnge. See link at the bottom of this posting for more information.
When cousin Sean named Cú Chulainn, the champion of Maeve’s opponents, the Ulstermen, he recalled a story once lost, Táin Bó Cúailnge. A hospitable siege different from Maeve’s and mist are part of the story of the recovery of this tale.
A gathering of 150 poets, 100 pupils, and attendants strained the patience and wealth of Guaire Aidne mac Colmáin, King of Connacht, when it extended to a year and four months.
Our first and only encounter with fellow hikers. In the distance two figures appear over the next ridge, a mother and young daughter. She greeted us and challenged Sean to his knowledge of the area. Sean acquitted himself well and we continued.
On that 16th month, the king challenged the leader of his guests to the telling of a tale. Guaire demanded Seanchan Torpest, the chief poet of Connacht, to recite the whole of Táin Bó Cúailnge, known in English as the Cattle Raid of Cooley or The Táin (Cattle Raid).
Click a gallery pic for a larger view.
In this way the king was relieved of his guests: the book of the Táin was lost before their lifetimes, rumored to be abroad. Abashed at his failure, Seanchan Torpest withdrew. Fellow poets and followers trailed out from the castle.
Seanchan Torpest regrouped the host (an opened question is who then supported them) in conference to construct Táin Bó Cúailnge. It was a false hope as the gathering discovered while each poet knew a part of the whole, most of the story was lost. His honor, reputation and self-esteem in tatters the Chief Poet of Connacht, set off with Murgen, his son, and second cousin Eimena to return the Táin to Ireland.
Into mists such as those Pam, Sean and I ascended, the travelers soon were lost and separated.
Magically, Murgen finds the grave of the Uncle of Cú Chulainn in the mists, there to meet the shade of that enormous man, Fergus mac Róich is his name. In the Táin, as related in whole by Fergus to Murgen, Fergus was led by circumstances to ally with Maeve, to guide her army against the Ulstermen. As a deposed king, traitor to Ulster and Uncle to the champion Cú Chulainn, Fergus knew the tale entire.
View as we approached Goliyn Pass
It was from the mists that Murgen emerged, found his father and cousin, and returned together without the book, but with possession of the substance of the Táin.
On Monday, June 9, 2014, cousin John Mills dropped his son, Sean Mills, myself and Pam Wills off at the foot of the western slopes of Slieve Foy on the Tain Way. Sean, Pam and I walked the way over the mountain and into Carlingford in the footsteps of epic Irish heroes.
Our guide, Sean Mills, proposed the walk and it fell on our last full day in Ireland. Sean’s father and our host for this visit, John Mills, transported the group including my wife Pam to the starting point at the foot of Slieve Foy.
Yes, if there is any part of the Tain Way the the mythic Irish heroes trod it is this one over Slieve Foy mountain. The saga, in Irish “Táin Bó Cúailnge” and “The Cattle Raid of Cooley” in English, features this bull, “Donn Cuailnge” “The Brown Bull of Cooley”, here as a statue erected 2011 by the Grange and District Residents Association.
Donn Cuailnge raged over the very slopes we walked this day. The myths themselves fill a volume and I am unable to do them justice here.
On the way, John stopped at the Old Aghameen School he attended in the late 1930’s early 1940’s 70 years before and we pass through the country soon to grace our views.
Many thanks to the Glenmore Athletic Club, the Cooley Walking Forum and land owners who provide access to the Tain Way.
We had our leave taking with John, who planned to stay near the phone for our call from Carlingford, if all went according to plan. That same year Pam had the first of two total knee replacements. This was our longest hike in Ireland and Pam was not likely to miss it, regardless of any pain. Pam is always ready to smile.
At start, the Tain Way is broad, green and welcoming.
The western slopes of Slieve Foy hold views of a valley among the Cooley Mountains with Dundalk Bay of the Irish Sea to the south / southeast. It was not long before the view started to open and, then, opened and opened the entire walk to the top. We were graced with a lovely, cloudy, June day. Mist only, no rain. Plenty of wind, not strong.
Farms are all about. Here a farmer attends to the flock. They know who he is.
The lower slopes hold many small stream among granite stones.
I will continue with our walk on the Tain Way soon enough.
Here is the press release text: “The American Irish Historical Society is placing its present headquarters at 991 Fifth Avenue on the market. The building, which has been the society’s headquarters since 1940, was designed by James R. Turner and William G. Killian in 1901 as a private residence and has had three previous owners. Before moving to 991 Fifth Avenue, the Society was based first at the old Manhattan Hotel, then the Waldorf-Astoria Hotel, and then at 132 East 16th Street.
“The AIHS is a cultural and scholarly organization devoted to making better known the history of the Irish in the United States as well as celebrating the riches of Irish culture globally. The decision to place the building on the market has been made in order to best enable the society to pursue its cultural and scholarly mission in a sustainable manner. The society has selected the firm of Brown Harris Stevens (broker, Paula Del Nunzio) to represent the sale of the property.”
My son and I attended the 2002 Saint Patrick’s Day Parade, taking a station outside the Metropolitan Museum of Art. Here are some shots of 991 Fifth Avenue. The building is 25 feet wide with an elegant facade and interior. The VIPs on the balcony made a huge contribution for the honor according to the Society’s web page. There is a virtual tour of the interior as well.
Copyright 2021 Michael Stephen Wills All Rights Reserved