This website relates to the Fathers and Sons Project. The project  explores, over time and space, different models of fatherhood and sonhood. Many men nowadays are experiencing confusion and conflict about how they should be good fathers and sons.

The aim is to empower men to question their own attitudes as fathers and sons and to promote positive and creative responses to the issues facing them in the contemporary world.

Who Is Involved?

The project involves a number of men from rural areas in Northern Ireland and there are also links with Australia.

The project is being run as a partnership between Queen’s University School of Education, the Nerve Centre, Derry, the Menaware Group, the BEAM Creative Network and the Out and About Disability Group. The project was carried out through a series of learning workshops accredited by the Open Learning Programme in Queen’s  University, Belfast.

The men worked with ‘peer facilitators’ to create an ‘exhibition’ of music, visual art and creative writing. The exhibition has been uploaded on to this website, together with other materials generated from the project.

Funded By

The project has been kindly funded by a grant from the Higher Education Academy (C-SAP).




Song Created about the project – Were you the one who flew my kite

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About this website

Learning Workshops

The project was conducted through a series of learning workshops. Participants will gain 10 CATS points ( level 1) from Queen’s University’s Open Learning adult education programme (School of Education). All of the participants were involved in making the‘galleries’ for the website. (See below). The workshops took place in a variety of community settings, including the Fire Station in Armagh and the BEAM Network centre in Donaghmore. We would like to record our sincere thanks to NIFRS ( Northern Ireland Fire and Rescue Service) and BEAM for hosting us.

This section contains materials used for the learning workshops and includes:

Course Material

  • A powerpoint presentation on Australian history prepared by Cathal McManus, Teaching Fellow, School of Education, Open Learning Programme
  • Class notes on Australian literature and on literature about fathers and sons prepared by Tess Maginess, Senior Teaching Fellow, School of Education, Open Learning Programme
  • A list of songs on the theme of Fathers and Sons

Reports from Workshops

  • Reports from the workshops

Video Clips

  • A short moving image clip recorded at one of the workshops which took place in the home of one of the participants


  • A photo-montage of some of the books and other materials used
  • Photos of the workshop participants

Work in Progress

This section contains ‘work in progress’ ‘art-e-facts’ from some of the workshops:

Visual arts – material from sketchbooks

Music – samples of some of the music recorded

Writing – samples of some of the poetry and essays in draft


This section contains the ‘art-e-facts’ produced by the participants. Some combine art forms such as music and writing, some represent single art forms.

Project Story

This section contains various materials which tell the story of the project as it evolved. They offer a sense of the ‘process’ of the project:

  • Higher Education Academy C-SAP project application
  • Sample correspondence with Australian partner and with participants
  • Correspondence from a participant 1
  • Correspondence from participant 2
  • Correspondence with participant 3
  • Correspondence from participant 4
  • Correspondence from participant 5
  • Correspondence from Linda Turner
  • Menaware Letter
  • Mid-term Report for C-SAP
  • C-SAP Final Report
  • C-SAP Evaluation
  • Minutes of steering group meetings
  • Fathers and Sons timetable

Contact Us & Links

This section contains contact details for the partners involved in the project:

Higher Education Academy
Open Learning Programme, School of Education, Queen’s University
Out and About pan-disability Project
The Nerve Centre/Studio On


We would like to extend our heartfelt thanks to all who helped us to make this project happen, in particular, Tracey Read ( project administrator, Out and About project); Northern Ireland Fire and Rescue Service, Armagh; Shelley Tracey (project evaluator, School of Education, Queen’s University, Belfast); Richard Taylor (web designer, The Nerve Centre, Derry); John McCandles (graphic designer, The Nerve Centre); Marty Melarkey (creative director, The Nerve Centre); Michael McBroom (film maker, The Nerve Centre); Ian Maginess (photographer); and Professor John Gardner (Head of School of Education, QUB). ‘The Butts’, taken from Human Chain ©, Seamus Heaney and reprinted by kind permission of Faber and Faber Ltd.

Bianca Del Rio: 'I would gladly do my comedy without drag' | Television & radio

Hi, Bianca! So where the hell are you? I am actually in New York City, down on 16th Street. I’ve been here for two days. I’m just schlepping from one place to another, interviewing and talking about myself. Related: RuPaul's Drag Race ends season 7 with one of the best finales in show's history This year’s been quite the whirlwind for you (1). You keep popping up everywhere! pre bonded hair It truly has. Actually, these last few months, I’ve had a couple more days here and there when I stay in the city a day longer, or stay in Los Angeles for three days in a row. That actually makes it worse because you kind of get accustomed to everything, and then you have to leave again. Getting back to that grind is somewhat difficult. All these girls usually complain about, “I need time off,” and for me it’s not good because then it throws me off completely. Actually February, it might be two years that I’ve been traveling as much as I have, which is kind of nuts. I’ve also been one of those people that have said yes to every gay thing that comes my way. I’ve had some great gigs and had horrible ones. I always look at the horrible ones, and think there’s got to be something in this that I can use later in my show. It all pays off in the end. Does Bianca even bother with a personal life at this point?

I have my dogs, I have my friends, but as far as relationships go, it’s a little difficult when you’re on the road as much as I am. It’s not a bad thing. You also got to be somewhat careful with the people that you meet on the road. You don’t know if they really like you or if they just want to borrow your dress. Speaking of dresses, how many suitcases do you typically travel with? remy hair extensions Usually four. There will be one that is my actual drag clothes and shoes. One of them is my makeup and my jewelry and my wigs and that kind of stuff. Then usually the other two are merchandise, and then I use a pretty large carry-on for my boy stuff, depending on how long I’m out. No wig boxes?

No! I assemble my hair on my head. I started out with wigs years ago when I was younger. I’ve always done wigs. For me, it’s part of the process. I don’t carry around wigs on sticks. I put my hair together every night, and then I just mantle it every night because it’s just the best way to travel. Related: RuPaul: 'Drag is dangerous. We are making fun of everything' perruques cheveux naturels You drink a lot in your show. Are you actually swigging liquor, or do queens tend to fake it onstage? It’s no act, it’s real. I know some people that do pop drink and stuff like that because they can’t handle it. For me, when I started working at bars, I would drink. I’m used to drinking. It’s very Dean Martin of me.

You’re so polite on the phone – not the Bianca I was expecting. Well, catch me after a couple of drinks. The world is just a little too fucking serious. I take pictures with fans, and I always show up on time – dispel all those drag queen myths of being late and all that madness of not showing up. When it comes to the stage, I just let it rip and let it happen because I know somewhere, somebody else is tanking it. I don’t really do it so much in real life; it might just work through my advantage at the DMV or something. perruques cheveux Variety recently singled you out as a “comic” to watch out for in 2015 – and not as a drag performer. Do you consider yourself a comic first and foremost? For me, call me what you want, as long as I’m working. I’ve been all of those things. I don’t really know about a title, but the interesting thing with drag, particularly when it comes to comedy, I don’t do any funny dressing up. I’ve made it a point with this show to make it more about stand-up comedy and less about drag. I didn’t want to do costume changes. I didn’t want any music. I didn’t want any of that, because I didn’t want people who may not know me outside of the Drag Race bubble see me as, “Oh a drag show.” I’ve done those things. I would gladly do my comedy without drag. I wouldn’t be opposed to it.

Do you think you could be as lacerating, the way Bianca is, without the full regalia? I think yes and no. There are friends of mine that I’ve known for years who didn’t like my brand of humor, but once I was on Drag Race, they loved it. Really, I don’t know. I wouldn’t know until I tried it. Seeing you as a person can either help or harm you. It’s definitely something worth experimenting with. You’re known for your comedy, not your lip-synching abilities. Do you think not wanting to have to lip-synch helped you win the Drag Race crown (2)? This is the thing: A lot of queens basically say that Bianca’s not even a really drag queen because she doesn’t lip-synch. I’m like, “What a fucking idiot”. Isn’t that the point of the fucking show? Which is not to lip-synch because that means you’re in the bottom? No, I didn’t want to lip-synch. If I had to, I could, because I learned every song. But that’s not the point of the show, stupid. Every season, it’s the pageant queens v the comedy ones. Do you think that battle has run its course on the show? lace front wigs I don’t know their intention. You got to remember when we go in, we don’t know the information. I don’t know everything. They don’t give a file on each person. We meet everybody when we actually meet them when we first come in the room. It just becomes what it is. I’m not privy to any of that information, but it’s not as fascinating to watch. Either young versus old or comedy queen when they’re ugly. The people that spend all this time and energy making these audition tapes, when they get on the show and then they go, “What? I got to do this?” It’s silly. Realize that’s the show! You know the structure of it, so be prepared. Do the best that you can in those elements.

Related: RuPaul's Drag Race: which queen should win season six? What was RuPaul’s reaction to seeing the Rolodex of Hate show? I don’t know if she has seen it. What? She’s doing 40 different shows on TV right now. cosplay wigs True. Any time I’ve seen her, she’s always been very supportive and she’s always proud of me. I thank her immensely for this opportunity. TV’s a pretty powerful thing. I recently did a podcast with her and she’s obviously generous and laughed. Getting a compliment out of her is not that easy. If she comes, I’ll give her free tickets. I’ll hook her up. It’s the least I could do. (1) For more than a year now, Del Rio has been touring her comedy show, Rolodex of Hate, to cities worldwide. A taping of her show in Austin, Texas, is now available to watch exclusively on Vimeo. (2) Del Rio won the sixth season of Logo TV’s popular drag queen contest series, RuPaul’s Drag Race. Every episode, one queen is eliminated following a lip-synch “for your life” battle.