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    [ID] => 11001
    [post_author] => 15
    [post_date] => 2026-09-08 23:40:49
    [post_date_gmt] => 2026-09-08 23:40:49
    [post_content] => 

Women steeped in democracy work around the world share their thoughts on what we owe our shared future, and how we can all better contribute to our communities.

So much of what we once took for granted—democracy, belonging, institutions, even our sense of a shared future—feels unsettled. Being a good community member feels equally fraught, yet in the face of uncertainty, it has become all the more essential in the collective fight for a better tomorrow.

We asked women working across different fields, countries, and cultural backgrounds a simple set of questions: What does community mean to you? What can a person do today to become a better neighbor, organizer, and partner in a shared future? And what advice would you offer to anyone looking to strengthen their relationship to their community?

Their answers point toward a common practice and perspective: A shared future is not something we wait for. It is something we make together.

Community is contributing, no matter what it looks like

Tiffany Kagure Mugo is a Kenyan author and podcaster who focuses on issues around sex and sexuality within the African context. Based in Johannesburg, South Africa, she is actively involved in building a vast community of and for queer people across the African continent. Describing this community as the one she spends the most time in, she says it also intersects with the sex positive community she is a part of, which she’s worked to cultivate continent-wide for many years. 

“The older I’ve gotten, the more my idea of community has shifted,” Mugo says. “When I was trying to figure out my sexuality, the idea of community was very much based on my social justice connections, who could help me figure out my sexuality… And then as I got older, it was the network of friends that I have built.”

At present, Mugo primarily sees community beyond the larger groups she aligns with politically, socially, and in terms of identity, and instead, as the people who are a part of her core support system. “The idea of community can be very nebulous,” she says. “For the longest time, because of being in the social justice world and having all these buzz words around community, it became a very rigid idea.” During that period of her life, Mugo considered community to be a fixed idea with definitive parameters that demanded a collective politics presenting itself in very specific ways. She has since shed that precise definition of community for one that makes room for more people, even if they are not always the people who are going to sit together at the same dinner party.

Beatriz Silva de Almeida Barros in São Paulo, Brazil applies a similar sentiment in her definition of community. On a granular level, hers is composed of people across six cities in the three countries she’s lived in—Brazil, the United States, and Ireland—plus the digital connections she’s made, some through her work as a gender equality advocate. Broadly speaking, however, Barros says it’s “important to allow yourself the idealism of caring about everyone in the world.” As Barros explains it, taking an interest and learning to be attentive to the ways she can reach others is precisely what has expanded her ability to reach more people across social and political divides.

“If I tell my Gen X coworker with no college education that I think abortions should always be free and legal, she’s going to think I’m another one of those commies and dismiss me out of hand,” she says. “If I tell her I wish her doctor hadn’t pressured her into having another child before she had a hysterectomy, without which she’d still have debilitating pain, we’ve taken a step in the right direction.”

Barros considers communities as groups that we’re a part of, de facto, even if we may not necessarily choose all the people in them, such as in a workplace. In such environments, she says, attempting systemic change to wholly improve people’s lives may not always be possible, but there are still always ways to make a difference.

“What we can do,” Barros says, “is make the experience of making a living more livable by being kinder to one another.” 

Start where you are, with what you have

For Maria Perez, the Ecuadorian co-Executive Director of Democracy Rising, becoming a better community member begins with finding a place to contribute.

“Join a local organization that aligns with your values and with the vision of the world and your community you are interested in co-creating,” she says. “Get clear about what you have to offer.”

That contribution does not have to be extraordinary. It might be $20 a month. It might be volunteering an hour a week. It might be facilitation, graphic design, event planning, or simply a willingness to show up.

“I guarantee that any organization you align with is struggling to make ends meet,” Perez says. “Become an active supporter. It will take all of us.”

This idea—that citizenship is expressed through contribution—is deeply rooted in the Basque Country, where Ione Ardaiz, Projects Lead at Arantzazulab, describes a longstanding tradition of community development and collaborative governance known as herrigintza: building community, society, and public institutions together.

One of the concepts that shapes this work is auzolan, collective work carried out for the common good. It is based on a simple reciprocity: Sometimes you contribute your time and effort to help others; other times, you benefit from the support of your community. More broadly, Ardaiz says, auzolan expresses the idea that people come together “to create, sustain, and care for what belongs to everyone.”

Another Basque concept, erantzukidetasuna, combines ideas of responsibility, reciprocity, and shared obligation. It provides a stark contrast to the transactional worldview prevalent in Western governing philosophies, particularly so-called “free market capitalism.” In one word, erantzukidetasuna describes the mutual relationships in a successful society, including what we owe one another. Through this lens, citizenship is not only about having rights, but about taking responsibility for the conditions we share. Collective and individual wellbeing is not simply something provided by public institutions; both depend on people actively contributing to sustaining and strengthening them over time.

This is a useful corrective to the idea that civic life is something that happens somewhere else, in institutions or among professional organizers.

Based in east Kent, UK, Rebecca Gibson emphasizes this kind of local community engagement should go beyond one’s municipality, to include both offline and online spaces where people have shared values. A Londoner for most of her life who now lives in Canterbury, her local community involvement includes directly addressing the most pressing issues within her area, from climate change to roads. She also says the early days of COVID lockdown inadvertently made her much more attuned to her neighbors both near and far, especially some of the especially vulnerable and lonely older adults in her community, something now considered an epidemic across the globe.

“Through the parish council and the church, there was a real effort to connect with elderly neighbors and make sure they weren’t isolated,” Gibson says. “I was actually paired with an 86-year-old woman at the time, who was in poor health and I would do her shopping for her and regularly call on her through the window.” Their relationship superseded the time frame of the initiative, and they eventually became friends, something Gibson says might not have happened without the initial program, despite them living on the same street.

Separately, the genocide in Gaza has prompted Gibson to seek community beyond her usual networks, who didn’t share her outrage. She sought local groups of like-minded people, joining marches and setting up a continuous weekend stall in the city center to engage strangers. Previously on the board of Canterbury for Palestine, Gibson has become heavily involved in the Boycott, Divestment, Sanctions (BDS) movement over the last few years, as part of the Palestinian-led global movement’s effort to put economic and political pressure on Israel. 

“For me, it’s been a powerful reminder that community can come from the most unexpected places and that finding people who you share values with can turn a feeling of helplessness into something much more positive and active,” she says.

Practice belonging through relationship

That work begins with how we relate to the people around us.

Perez suggests a remarkably simple practice: Start a friendly conversation with someone whose worldview you suspect is different from your own—because of age, class, gender, ethnicity, or any other difference. “Acknowledging that you both belong in your community is a reminder that a shared future includes all of us,” she says. “These small, seemingly meaningless touches are really important.”

For Ouassima Laabich, a Moroccan futures practitioner and initiator, and a Project Lead of Muslim Futures at Superrr, that kind of relationship across differences requires something deeper.

“Being a better community member begins with honesty and authenticity: showing up as your full self, with the beautiful, the difficult, and the unfinished parts all present,” she says. She describes the self as an unfinished process, and says we have to grant other people that same permission to continue evolving. That means staying in uncomfortable conversations: the disagreement in a group of young friends, the moment when someone names a tension nobody wants to touch, initiating a conversation with the neighbor to whom you owe an honest word.

Community, in this sense, is not harmony. It is the ongoing work of maintaining a relationship.

To Laabich, community needs caring, both for ourselves and for others.  Self-care, then, is not an escape from community responsibility, she argues—it is what allows us to return to it.

“Rest when you are depleted,” she says, “so that after some rest, you can still lead the counseling session, answer the message that keeps the network alive, knock on the door of the neighbor who has gone quiet.” And just as importantly, work within your real capacities: "Offer the two hours you have rather than the ten you wish you had,” she adds. “Name the task you can carry and the one you cannot.”

There is generosity in knowing our limits. A sustainable community is built not by people pretending to be limitless, but by people being honest about what they can give—and then giving it.

Move from participation to shared power

The women also point toward something larger than individual acts of community care: finding ways to share real responsibility for community decisions.

If building a shared future begins with how we show up for one another, sustaining that future requires us to develop ways of making decisions together. Movements need more than shared values, individual acts of solidarity, and heroes; they need cooperative structures that turn many individuals’ knowledge, relationships, and imagination into collective agency and shared power.

Movements must cultivate forms of cooperation and collective decision-making that can draw people together, while also renewing the institutions we already have, even when those institutions seem illegitimate, or have grown distant, depleted, or derelict. The work of democracy is not simply to build something new, but to reclaim and repair what belongs to all of us.

Many of the women are experimenting with different ways that communities can achieve this, and Perez is particularly proud of a recent effort to find “antidotes to fascism that are effective and applicable now, by regular people in their communities.” She convened elected officials, government bureaucrats, and community activists from across the country who are experimenting with shared decision-making models in their jurisdictions.

“They are learning from each other and troubleshooting together,” she says. The goal is to cultivate experiments in collaborative governance, “one seed at a time.”

This is also at the heart of Arantzazulab's work in the Basque Country: finding new ways to meaningfully involve citizens in public policymaking and decision-making, while also supporting innovation within public institutions. The aim is not simply to give people more opportunities to speak, but to rethink the relationship among public institutions, organized civil society, and individual citizens—and to strengthen the democratic ecosystem that connects them.

For Dr. Jayne Engle, a Canadian-American practitioner working at the intersection of democracy, cities, land relationships, and futures, this kind of civic infrastructure is increasingly essential. “Every community carries stories of the beautiful futures its people already know are possible,” she says.

Currently, she is especially enthusiastic about building Polity, a democracy cooperative developing digital civic infrastructure for more participatory, deliberative, and democratic forms of collective action. Engle sees this work, alongside the efforts of many others, as fundamental to building the civic agency required for the societal innovation and transformation demanded by this moment of geopolitical and geoeconomic disruption.

In other words, becoming a better community member is not only about becoming kinder or more engaged. It is also about building the capacity to make decisions together.

Learn to see what is possible

This form of collective action also requires imagination.

Engle encourages people to pay close attention to their own thought patterns and ways of seeing. As Anaïs Nin famously put it, “We don't see the world as it is, but as we are.” For Engle, futures thinking and systems thinking have to be accompanied by two other elements that are equally important: feeling and imagination. Their practice allows us to see possibilities, and to cultivate a collective imagination that makes resilience possible.

“Start where you are; do what you can,” she says. “Find the others. And lead with love and courage.”

Perez's work with communities experimenting in collaborative governance is one expression of this principle. Engle's partnerships with Indigenous community leaders through 7GenerationCities and their efforts to develop new practices of land relationships and stewardship is another. These practices change the time horizon of civic work: Instead of thinking only in election cycles or fiscal years, Engle asks us to think in generations.

“Learn to see—and sow—the seeds of the possible,” she says. “Every community carries stories of the beautiful futures its people already know are possible.” That means accepting that important ideas may initially feel too radical, even embarrassing. “Discomfort is often a sign you're onto something meaningful and important,” she says.

For Nana Darkoa Sekyiamah, a Ghanaian feminist and writer whose transnational work is at the center of sexual and reproductive rights and social justice, radical possibilities turn into radical realities when one considers what is absent from the community they have, and what they would like to have, then actually begins to build it. 

“If there’s a space that you wish exists but doesn’t exist yet, create that space yourself,” she says. “Find people who are like-minded and invite them to co-create the space with you.”

She’s speaking from experience: Sekyiamah holds an annual festival centered around sex and sexuality, and for the first time ever, she’s excited that it will be held in a francophone country, Benin, allowing it to draw many French speakers from West Africa and elsewhere. Centered around pleasure, Sekyiamah is especially proud that she can approach sex and sexuality through this dimension, as an important part of the conversation. Bringing together her community of African feminists and queer people across Africa and its diaspora—including Mugo, who has previously attended—Sekyiamah takes great pride in the various people represented in organizing the festival and attending it, physically and virtually. 

“I’m really proud of that, because it’s a community effort and also an effort that benefits the community, with the community being feminists, being queer people, being sex workers, being trans people, being gender non-conforming people,” Sekyiamah says. 

Build for people you may never meet

Perhaps the most profound shift many of the women describe requires moving from thinking about community as the people who are here now, to thinking about community across time.

Engle describes the practice of considering “our future ancestors”—people who do not yet exist, but whose lives will be shaped by the decisions we make today. She asks herself a question that gives a different meaning to civic responsibility: “What did you do when you knew?”

This asks us to think beyond our immediate interests, our own political moment, and even our own generation. It asks us to become stewards rather than simply consumers of the places and institutions we inherit. And it connects back to the Basque concept of auzolan—how sometimes we contribute to something from which someone else will benefit in the future, just as we benefit from the work undertaken by those who came before us.

A shared future is built in this reciprocal space—between generations, between neighbors, between citizens and institutions, between what we can imagine and what we are willing to do.

The work is ordinary—and extraordinary

None of these women suggest that there is a single grand gesture that will repair our communities. Instead, they describe a collection of practices.

Join something. Give what you can. Talk to your neighbor. Stay in the difficult conversation. Know your limits. Rest so you can return. Share responsibility. Learn from people who see the world differently. Build institutions that allow people to make decisions together. Imagine futures that do not yet exist. Think across generations.

Community is something we continually make through our relationships, our contributions, our courage, our imagination, and our willingness to take responsibility for what belongs to all of us. Our shared future is not waiting to be discovered somewhere ahead. It is being built, one conversation, one act of care, one experiment, and one seed at a time.

[post_title] => How To Be a Better Neighbor [post_excerpt] => Women steeped in democracy work around the world share their thoughts on what we owe our shared future, and how we can all better contribute to our communities. [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => how-to-be-a-better-neighbor-community-member-development-democracy-decision-making-politics-shared-future-guide [to_ping] => [pinged] => [post_modified] => 2026-09-10 19:43:50 [post_modified_gmt] => 2026-09-10 19:43:50 [post_content_filtered] => [post_parent] => 0 [guid] => https://conversationalist.org/?p=11001 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )

How To Be a Better Neighbor

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    [ID] => 9937
    [post_author] => 15
    [post_date] => 2026-01-07 07:35:47
    [post_date_gmt] => 2026-01-07 07:35:47
    [post_content] => 

Why Ireland's Basic Income for the Arts program is just the first step in better supporting the country's artists.

In 2022, visual artist Elinor O’Donovan was working as a receptionist in Cork, Ireland, when she began to receive the Basic Income for the Arts (BIA) stipend. The Irish government had launched the program that year as a way to address the country’s unstable arts sector, which had left many artists without job security and consistent financial earnings—O’Donovan included. At the time she applied, she'd just graduated from university and was living with her parents as she tried to figure out the next steps for her career. When she found out she’d been selected from a pool of over 9,000 other applicants for the BIA, it was life-changing. As one of 2,000 artists receiving a weekly income of €325 over a three-year period, O’Donovan was able to quit her job and move to Dublin to make art full-time. 

“The BIA has allowed me to be a bit more brave with the stuff that I make,” she tells The Conversationalist. “It allowed me to make whatever I want, and not feel as if I have to justify why it's important to a funding body.” 

According to a cost-benefit analysis published by the Department of Culture, Communications and Sport last September, the BIA has been a resounding success for beneficiaries, and Irish society at large. The report revealed that recipients were able to dedicate an additional four hours per week to art-making, and that the program “strengthened artists’ professional autonomy, capacity for creative work, and attachment to the arts sector.” Moreover, for every €1 of public money invested in the pilot, the country received €1.39 in return—a value that accounts for an increase in earnings generated from art-making as well as an increase in public engagement with the arts. In short: Giving money to artists, with no strings attached, was demonstrably profitable.  

For O’Donovan, income from the BIA not only gave her more time to make art, but provided her with newfound financial stability, something that affected every part of her life. She had more time to cook for herself, joined a gym, and for the first time, was able to afford to go to therapy. She was also finally able to plan for the future. 

“I was 26 when I started receiving [the BIA], and I was able to start a pension fund,” she says. “Just having that fallback [was a relief], knowing that I would receive an income no matter what happened; if I got sick, I would still be able to pay my bills, pay my rent. It has really been transformative for my well-being.”

Importantly, the BIA has also allowed her to create opportunities for other artists: O’Donovan’s ability to explore filmmaking, something she was afforded because of the stipend, meant she could create new jobs in the field. “Having financial stability from the basic income means that I've been able to hire other people to work with me,” O’Donovan says. “So there's even been a kind of trickle down of the basic income to other artists and other creatives in Ireland.” 

For artists around the world, the program has also offered one hopeful potential solution for a global arts sector severely hit with funding cuts and political uncertainties over the last few years. But while things have taken a recent downturn, the financial instability of the arts has been a major problem for decades, if not centuries, something that likely explains the growing admiration for the BIA around the world.

In a capitalist society, creative work is not valued as a productive or profitable field, which often means that artists are being underpaid for their work, if they’re paid at all. Creativity and art-making require passion and time, two resources that are generally scarce in an economic system more concerned with profit than beauty. Often, this forces workers to abandon or sideline their creative work in favor of taking a non-creative job that will provide financial stability. But a program like the BIA provides an alternative model, giving artists the financial foundation to create without the stress of figuring out how they will pay their rent or bills. 

Joining other basic income pilot programs around the world, the BIA demonstrates that providing workers with financial stability first allows them to thrive, increasing a country’s worker satisfaction, contributing to better mental health, and resulting in higher housing stability, by supporting people pursuing their preferred fields of work. 

Even the program’s most ardent supporters, however, argue that the BIA is only the start of a more stable arts field. In Ireland, the arts generate €1.5 billion in income each year, but according to Praxis, the artists’ union of Ireland, artists still face “extremely challenging economic conditions.” In an open letter published in September, the group cited that 50.7% of artists in Ireland still live in Enforced Deprivation, compared to 15.7% of the general population. (The Irish Central Statistics Office defines Enforced Deprivation as when a household experiences two or more of 11 national deprivation items, such as being unable to replace worn out furniture, or being unable to afford a drink or a meal with friends once a month.) The BIA, then, should be seen as just the first step in a bigger effort to make the industry more sustainable. 

“It has always been precarious,” writer, editor, and Praxis policy director Michaele Cutaya tells The Conversationalist. “I've never managed to make a living off just my art income, [and] my situation, my difficulties, are not isolated instances.” As a union representative, Cutaya helped advise the government on the BIA’s design; but despite its success, she emphasizes that the country still has a long way to go. 

“Quite a large part of the economy relies on the work of artists,” she says, citing the profit the arts brings to the hospitality sector in Dublin as one example. But very little money generated by the arts sector actually goes to artists, a discrepancy that continues to grow despite the BIA. In the last three years, work opportunities have diminished throughout the sector, a trend worrying to union leadership and artists alike. “Access to public funding remains the main source of income for artists, mainly through the Arts Council,” Cutaya continues. “[But] I find that the number of chances of getting your work selected has gone down because essentially there seems to be a lot more people applying [to public funding].”

This may explain why some are concerned that the BIA will become “the shiny object” of policies, while other issues in the sector go ignored, like unregulated pay, the use of AI, and the still-growing lack of opportunities.

“There's a lot of issues and they’re not doing much about it,” says actor Christophe Lombardi, who was in the control group of the BIA pilot program, where he received one yearly payment of €650 as compensation for participating, rather than the weekly stipend of €325. (The results of Lombardi’s control group were used so researchers could better understand how the BIA helps artists over a longer period of time, in comparison with those not receiving it.)  

Emphasizing other issues he would like to see addressed, Lombardi points to Gayanne Potter, a voice actor whose voice was used without permission by ScotRail to create AI-generated platform announcements in Scotland. “We are facing all the [same] problems [in Ireland]. So I don't want [the government] to use the BIA as an excuse to pretend to help the artists, but behind the scenes, not [do] anything about the rest of the issues.” 

Last April, the Irish Creative Industries Forum (ICIF) wrote to the Irish government requesting measures for the protection of artists from AI, and the enforcement of copyright infringement laws against the misuse of the technology. As of yet, however, the government has yet to implement any AI regulation policies in response. 

Still, there is a widespread recognition that the BIA is a net positive, and can and should be used to help address many of the existing issues in the industry. In its letter, the ICIF requested that the BIA be extended to artists affected by job loss caused by AI. Across Ireland, unionized artists are currently campaigning for the BIA’s permanent expansion. “It does make a difference, obviously,” Lombardi says. “Because it's hard to stay creative, to keep things going, while you can't keep a roof over your head. There was [an] upswing in mental health—everything's better.”

In Praxis’ open letter, the union demanded for the program’s extension for an indefinite period of time, and for the income to be indexed to inflation. Additionally, the union urged the government to expand eligibility to include previously omitted art forms, like performance artists, socially-engaged artists, craftspeople, and designers. 

Arguing that the BIA pays for itself in economic returns, Praxis warns this expansion should not come at the expense of other arts agencies, which also deserve resources, attention, and support. “The arts sector needs more funding, not less,” the letter reads. 

O’Donovan agrees. Given her experience, she says the BIA should be one part of a “bigger ecosystem” that helps the arts sector thrive, and allows artists to be fairly compensated for their work. “I think what people don't understand about being an artist is how much work you do that goes unpaid,” she says. “Having the basic income means that I'm still able to live and I'm still able to work.” 

The pilot program was originally set to end in December 2025, but has now been extended to February 2026. From September 2026, it will be a permanent program in the country, although the government has not defined eligibility criteria or the number of recipients moving forward. In an email to The Conversationalist, a spokesperson for the Department of Culture, Communications and Sport writes that “details such as the duration, eligibility and selection method… have not yet been decided.” 

Cutaya says, so far, they’ve also been left in the dark about the expanded program’s specifics, something especially concerning because, while the program was initially launched under a progressive coalition government, the current government is conservative. “We know very little at this stage,” Cutaya says, but adds that Praxis is holding out hope their input will be taken into consideration as the program evolves. 

This lack of transparency has also left current BIA recipients in the dark, unsure of how they will support themselves in the gap between February and September. “Realistically I'll just have to start working again,” O’Donovan says. “It feels like a shame. I'm really grateful to have had these three years where I've been able to work full-time as an artist because very few people who aren't on the basic income can afford that.” 

Reflecting on how public arts funding is the first to be cut during economic hardship, Lombardi wishes that society at large would recognize the inherent value of artists’ labor for the mental health and wellbeing of the general population. “Imagine life without art,” Lombardi says, pointing to how artists played a key role in keeping people sane during the pandemic. “Imagine for six months, there is no art. You can't watch stuff, you can't read stuff, you can't go out and see stuff. You can't sing, there's no music, there's nothing. The only thing is work and sports. That's it. The decrease in mental health would be astounding, people would go around the bend.” 

Having access to the most basic resources to be able to live while working in your preferred profession shouldn’t be a privilege for the few: Everyone deserves what the BIA has provided to artists for the last three years. But as too many places proverbially edge closer to the dystopia Lombardi describes, the BIA might be seen as a place to begin to reimagine how we value and fund the arts moving forward. Whether it’s an album, a painting, a play, a movie, a live band—whatever your preferred mode of expression—the arts remind us of the wonders of life, forcing us to see the beauty in between work shifts and growth indicators. Fair pay to the workers who deliver those reminders to the general population, then, is urgent; otherwise, we risk a world without fascination. The findings of the BIA pilot reveal the systemic flaws of how society treats its artists, and beyond the stipend, point to more hopeful solutions on the path to a world where art and artists are truly valued.

[post_title] => Painting a More Hopeful Future [post_excerpt] => Why Ireland's Basic Income for the Arts program is just the first step in better supporting the country's artists. [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => hope-week-universal-basic-income-for-the-arts-artists-ireland [to_ping] => [pinged] => [post_modified] => 2026-08-03 21:01:29 [post_modified_gmt] => 2026-08-03 21:01:29 [post_content_filtered] => [post_parent] => 0 [guid] => https://conversationalist.org/?p=9937 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )
A two-panel illustration of a person with a flower head; in the first, the bud is closed, and in the second, the flower is in bloom.

Painting a More Hopeful Future

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    [post_date] => 2020-02-07 17:52:00
    [post_date_gmt] => 2020-02-07 17:52:00
    [post_content] => One of the world's most financially successful singers is a recluse who never performs, rarely gives interviews, and declines to play the role of a celebrity.

Enya, the Irish singer-musician, is perhaps one of the most mocked and memed artists of our time. Her body of work is often dismissed as New Age, a label she has disavowed. To many, her songs are the aural equivalent of astrology: mystical and fun, but lacking substance. Familiar tracks like “Only Time” provide ambience at yoga retreats, LARPs, facials, and tarot card readings. The singer has a reputation for being a bit of a recluse, rarely making public appearances or granting interviews. Music critics often offer muted or grudging praise for her albums, but they don’t take her seriously. I, however, love Enya—and not ironically.

When I was growing up, my dad often assumed the role of school chauffeur and minivan DJ. His taste was (and remains) eclectic; during those drives, he played everything from The Moody Blues, to German musical project Enigma, to ambient techno from the now-defunct 90s website mp3.com. Enya was always on heavy rotation and, as a result, still occupies a special place in my heart and on my Spotify playlists. 

My deep affection for Enya's music is rooted in more than just nostalgic childhood memories. Her ethereal songs are a testament to the worth of gentleness and beauty, qualities that have historically been categorized as feminine and, therefore, of little value. In a world where obsessive fans have endangered the lives of female musicians, her choice to live a private life is a salutary example; setting boundaries is an act of self-preservation and an empowering choice, not necessarily an eccentric one. It is also a mute but radical demonstration that professional success as a musician can be achieved without living the life of a celebrity, perpetually in the spotlight. As one of the best-selling artists in the world, Enya shows us there is another way to achieve wealth and fame.

Born Eithne Pádraigín Ní Bhraonáin, Enya began her music career singing with Clannad, her family’s award-winning Irish music band. In 1982, she became a solo artist in partnership with Nicky Ryan, who she met when he was Clannad’s sound engineer, and his wife Roma, a lyricist; they remain her creative team to this day. The three began experimenting with looping harmonies, eventually creating what is now Enya’s signature layered sound. Unless otherwise noted in song credits, Enya performs all the vocals for her music and plays all the instruments. Known for her facility with languages, she has recorded songs in Gaelic, Latin, Japanese, and Sindarin—the latter an Elvish language invented by J.R.R. Tolkien.

The music industry tends to expect that female artists will offer up their private lives for public consumption, but Enya refuses to play the celebrity game. Instead she lives alone in Manderley Castle, the Dublin-area Victorian mansion named for the house in Daphne Du Maurier's novel Rebecca. She never tours, rarely performs, and spends years crafting each album.

[caption id="attachment_1601" align="aligncenter" width="640"] Manderley Castle, Enya's mansion in Killiney.[/caption]

On the rare occasions she sits for interviews, Enya frequently points out that fame and success are not synonymous. In a 2015 profile for BuzzFeed she notes, “There’s no rulebook that says, ‘Your music is successful; you must now become famous.’” She remains unwaveringly committed to the integrity of her music, and isn’t afraid to say “no” to even the most tempting offers. She famously declined to compose the score for “Titanic,” and turned down an invitation to speak at Harvard. In an interview for The Irish Times, she explains, “I just did things that I wanted to do.”

Rooted in Celtic, classical, folk, and choral traditions, Enya’s music has a timeless quality. I can imagine someone cleansing a room with sage and crystals to "The Memory of Trees" in 2020 as easily as I can channel the image of fourteenth-century women singing the Gaelic lyrics of "Ebudæ" while dancing in a misty green field. Enya’s body of work is both beautiful and deeply, wonderfully weird. 

Despite her refusal to play the role of celebrity, Enya is by all objective standards a superstar. She is one of the best-selling musicians in the world, surpassing even Nirvana in album sales. She’s a four-time Grammy Award winner, and has been nominated for an Academy Award and a Golden Globe. The eclectic range of artists who have sampled her music include The Fugees, Panda Bear, Diddy, and Meek Mill; her music has provided the soundtracks for countless commercials and movies, and inspired artists from Weyes Blood to Nicki Minaj. Enya’s music has spent over five years in the number one spot on the Top New Age Albums chart. (Check it out, she’s still there.) 

“There isn't another modern artist who can stay holed up with her cats in her castle (next door to Bono's!) watching “Breaking Bad” and still sell 23.8 million albums in the United States alone,” writes Melissa Locker in a profile for NPR. In 2017, VICE described her as “a musician capable of selling the unsellable”—spiritual, synth-infused choral music. In a 1989 review in the Orlando Sentinel, Bill Henderson describes Enya’s music “as light as a whisper, yet as strong as a scream.” The Irish musician has become an unlikely music industry powerhouse on her own terms, according to her own rules. 

So why are similarly reclusive male musicians, like Leonard Cohen, or those who are “eccentric,” like David Bowie, or genre-bending, like Brian Eno, respected as artists, while she is not? 

In a searing 2000 review, Entertainment Weekly summarized  "A Day Without Rain," her fifth album, as “New Age nonsense," adding: “Unless you’re bound in an herbal body wrap, there’s simply no acceptable reason to listen” it. According to the reviewer for Rolling Stone, “The Irish-multi-instrumentalist-singer-composer's skill at ephemeral sonic watercolors has grown wearisome.” In 1989, The Los Angeles Times panned Enya’s second album, "Watermark," calling it “a portentous pastiche,” and dismissively referring to her as a “young chanteuse.” According to critics, Enya’s music is “too much,” and yet not substantive enough. Her talent is pretentious and tiring. Her success is baffling. Her songs are strange, but not in a cool way. (Siri, play “The Man” by Taylor Swift.)

For his film “Eighth Grade," director Bo Burnham uses "Orinoco Flow" (Sail away, sail away, sail away) as a poignant commentary on the swirling emotions of a socially anxious, lonely 13 year-old girl seeking the acceptance of her peers in the Instagram generation. Burnham feels the singer has been unjustifiably maligned. "We’ve been trained by countless commercials and Will Ferrell movies to find the retro needle-drop inherently funny,” he tells Vulture's Sean O'Neal. In "Eighth Grade," Burnham sets out to redeem "Orinoco Flow," a song he loves without irony. The treatment of Enya’s music in popular culture has clearly warped our collective ability to take it seriously, but Burnham remembers that as a child, Enya’s music made him “feel bigger than [he] was...deeper and more exciting.” I can relate.



The dual nature of Enya’s work is part of what makes it both hard to pin down and special. Are her songs beautiful, technical, and emotive? Or are they hilarious in their hyper-seriousness? The answer is, they are both.

“Derry Girls,” a comedy about a group of high school friends in 1990s Northern Ireland, channels these diverse elements of Enya’s music to great effect. “Caribbean Blue” opens and closes Season Two: In the first episode: a drone camera pans over Ireland’s iconic green hills and its urban rooftops, showing heavily armed British soldiers in armored personnel carriers, demonstrators throwing molotov cocktails, and walls covered in Irish nationalist graffiti; meanwhile we hear Erin, one of the protagonists, delivering a dramatic and very clichéd monologue about peace—and then the camera reveals she’s speaking from the bathtub. Here, the function of Enya’s music is to add humor—a comically solemn soundtrack to highlight the heroine’s sense of self-importance. 



The same song sets the mood for a serious moment in the season finale, when the girls stand sullenly in a cheering crowd, unable to join in celebrating President Bill Clinton’s visit to their town because their friend James is moving back to England. “Caribbean Blue” grows louder as one of the girls spots James, who has decided to stay; the song drowns out the crowd’s cheers, and the girls run to embrace their friend: If all you told was turned to gold, if all you dreamed was new… The song that provided comedy in the first episode of the season signals earnestness in the final one. Enya’s music is no longer the butt of the joke; it’s serious.

When I listen to Enya, I hear the sound of a woman in control, undaunted by those who underestimate her. Her delicate, ethereal songs affirm that in softness, there is power.
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Enya: Icon of radical softness