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In this edition of UL’s Alumni Spotlight, we meet Mayo-born musician, educator, and composer, Ernestine Healy, whose multifaceted career bridges performance, leadership, and arts education. 

A graduate of ¾ÅÉ«ÊÓƵ’s Graduate Diploma in Music Education (now the Professional Master of Education in Music) and the MA in Irish Traditional Music Performance, Ernestine reflects on her time ¾ÅÉ«ÊÓƵ's School of Education and Irish World Academy of Music and Dance and how the UL experience continues to shape her creative and professional journey.
 

Can you tell us a bit about yourself?

I’m originally from County Mayo, where I grew up in a family and community surrounded by traditional Irish music and culture. Music was part of everyday life - from local sessions and fleadhs to family gatherings - and I began learning at the age of six with my first teacher, Bernie Geraghty. I played mainly concertina and piano, but it was harmony, arrangement, and composition that really captured my imagination.

I now live in Dublin with my husband, David, and our dog, Ruadh. While Mayo will always be home - especially as an avid supporter of Mayo GAA - I’m proud to carry a bit of the west with me wherever I go. Dublin has become the base for my creative and professional life in music and education.

Over the years, I’ve been lucky to enjoy a varied career spanning teaching, leadership, and performance. I’ve lectured at the Irish World Academy of Music and Dance (IWA),  where I also served as Acting Course Director for the Graduate Diploma in Music Education, as well as tutoring at the University College Cork and part-time lecturing at Dublin City University. Alongside teaching, I’ve performed and taught internationally and was one of the first concertina tutors with the Online Academy of Irish Music.

As Executive Director of the Meitheal Residential Summer School since 2004, and former Director of the Blas International Summer School of Irish Traditional Music and Dance ¾ÅÉ«ÊÓƵ, I’ve had the privilege of working with young musicians and helping them develop their artistry. I’m also a composer, my works such as The Meitheal Suite, Music Generation Laois Tionól Suite, Jiggy, Anam, and Cairdeas have been performed by hundreds of musicians, including performances at the National Concert Hall and on Fleadh2023 on TG4.

Can you tell us about your academic and career journey, and why you chose to undertake postgraduate studies in music ¾ÅÉ«ÊÓƵ?

After finishing school, I studied music at University College Cork, which gave me a strong foundation in performance, composition, and research. During those years, I began teaching privately, playing and touring regularly at sessions and festivals at home and abroad - experiences that showed me how music could connect people and spark confidence in young learners.

After graduating, I continued to teach and perform, but I was keen to deepen my understanding of how music education could be developed creatively and sustainably. That curiosity - and the wish to combine artistry with strong pedagogical practice - is what brought me to the ¾ÅÉ«ÊÓƵ to undertake the Graduate Diploma in Music Education, now the Professional Master of Education (PME) in Music, based at the Irish World Academy of Music and Dance.

The Academy offered something truly unique - a space where artistry, education, and research came together in a forward-thinking and collaborative way. The programme encouraged us to grow both as musicians and as educators, with a strong emphasis on creativity, reflection, and innovation. That approach, central to the Academy’s vision and supported by UL’s broader culture of creativity and excellence, shaped my professional philosophy and continues to guide everything I do.

What did you enjoy most about this course and your time ¾ÅÉ«ÊÓƵ?

The Irish World Academy was an incredibly inspiring place to study. It struck a wonderful balance between pedagogy and artistic practice — we were encouraged to perform, compose, and create, while also developing as reflective, research-informed teachers.

Jean Downey, our course director, was an exceptional mentor who created an environment of trust and support. Dr Niall Keegan, Dr Sandra Joyce, the late Professor Mícheál Ó Súilleabháin and the wider Academy faculty encouraged students to think independently and approach music and music education not just as instruction, but as an art form in itself.

The atmosphere of imagination and collaboration within the Academy, combined with the energy and openness of the wider UL community, made it a truly transformative experience. The friendships and professional connections I formed are sustained to this day.

Can you tell us about your work placement and/or thesis?

Our school placement was designed to give us a gradual and practical introduction to teaching. In the first term, we spent one day a week in schools, observing and beginning to teach, which allowed me to link theory directly to practice. In the second term, I completed a six-week block placement, which involved more teaching responsibilities helping to build my confidence in the classroom.

We were lucky to have excellent lecturers and tutors supporting us throughout. The PME (then Graduate Diploma) was delivered jointly across the Irish World Academy and the School of Education, bringing together creativity and strong educational practice, a balance that continues to influence how I work today.

For my elective project, a classmate and I recorded a CD of our own compositions — a project that reflected the Academy’s belief that creativity and artistic expression should sit at the heart of teacher education. That experience still informs how I connect performance, composition, and teaching in my work today.

Throughout your time in UL, you had the opportunity to learn from some of the top academic talent. How did your UL experience shape what was to come next in your career?

Studying and later working at the ¾ÅÉ«ÊÓƵ, particularly within the Irish World Academy of Music and Dance, meant being surrounded by inspiring educators and practitioners. The access we had to world-class facilities, creative spaces, and mentors was a huge part of my development as both an artist and an educator.

After completing the Graduate Diploma in Music Education, I spent several years teaching full-time which gave me invaluable experience that deepened my understanding of music’s role in young people’s lives. During those years, I also worked as a tutor and mentor with the Comhaltas Ceoltóirí Éireann branch in Fermoy, and as a tutor in the Music Department at University College Cork, which kept me connected to higher education and to the wider Irish music community.

In 2007 I returned to UL to complete a Master’s in Irish Traditional Music Performance at the Irish World Academy, a turning point that allowed me to focus on my musicianship while developing as a researcher and composer. I was also privileged to have the opportunity to tutor in the IWA, gaining a new perspective on mentoring and academic life.

Shortly after, in 2008, I was offered the role of Acting Course Director for the Graduate Diploma in Music Education, bringing my journey full circle. The following year, I got an opportunity to join the lecturing team on the BA in Irish Music and Dance and in 2010, shortly before returning to my secondary school teaching position, I became Director of the Blas International Summer School of Irish Traditional Music and Dance, leading it through its 20th anniversary. These roles gave me a deep appreciation of the creative community at the Irish World Academy and the innovative culture of the wider ¾ÅÉ«ÊÓƵ.

The experience of learning, teaching, and leading within such an imaginative and supportive environment, profoundly shaped how I view education today. The balance of artistry, academic excellence, and collaboration that I experienced ¾ÅÉ«ÊÓƵ continues to inform my approach to leadership and learning.

I currently work as a Senior Leader with Oide (and formerly with Junior Cycle for Teachers), a support service for teachers and school leaders funded by the Department of Education and Youth, on secondment from my secondary school teaching position. During my time with Junior Cycle for Teachers, I was part of the Music team that supported the introduction of the new Junior Cycle Music specification as part of Junior Cycle reform, working with and supporting teachers nationally and assisting schools with its implementation.

The confidence and insight I gained ¾ÅÉ«ÊÓƵ, both as a student and as a member of staff, underpin my work every day. UL and the Irish World Academy of Music and Dance gave me the tools and perspective to help shape music and arts education nationally, and for that I’ll always be grateful.

Are there any particular highlights in terms of projects you’ve been involved in?

I’ve been lucky to work on projects that combine creativity, education, and community — values that have always been central to my work.

Directing the Blas International Summer School was a major highlight. Over seven years, I had the privilege of leading the programme to its 20th anniversary, expanding its reach and fostering new collaborations between artists, scholars, and students.

Another defining part of my career has been serving as Executive Director of the Meitheal Residential Summer School, which I’ve directed since 2004. It’s become one of the most respected spaces for young traditional musicians to develop their artistry. Seeing those young players grow — many of whom now work professionally in music — has been incredibly rewarding.

In recent years, I’ve also been invited to work with a number of Music Generation programmes around the country, collaborating with young musicians and ensembles in creative workshops and performances. I’m currently Musical Director of the Kildare Youth Folk Orchestra, an ensemble that celebrates the energy and creativity of the next generation of Kildare musicians.

Alongside my work in education and performance, I continue to compose new music — an aspect of my practice that allows me to bring together many of the creative influences that have shaped me over the years. My compositions have been performed by large ensembles, including at the National Concert Hall and on TG4, and often celebrate collaboration, community, and the living tradition of Irish music.

What advice would you offer to students considering the Professional Master of Education (PME) in Music ?

Be open to every opportunity the course offers. The PME in music ¾ÅÉ«ÊÓƵ, through the School of Education and Irish World Academy, will challenge and inspire you in ways you might not expect.

It’s not just about learning how to teach — it’s about developing your own creative and reflective practice. Perform, compose, collaborate, and make the most of the incredible mentors and facilities around you.

Are there any lessons or insights you wish you had known when starting your career?

I’ve learned that careers in music and education are rarely linear — and that’s a good thing. Every experience, even the challenging ones, adds something valuable. This is something that I always say to my own students too – don’t be afraid that the path changes – embrace it. 

The culture of the Irish World Academy of Music and Dance taught me early on that learning never stops, and that collaboration makes everything stronger. Those lessons have stayed with me ever since.

What are your hopes and plans for the future?

I’m passionate about continuing to create meaningful opportunities for musicians, educators, and young people. Through my ongoing work with projects like Meitheal and the Kildare Youth Folk Orchestra, I hope to continue supporting and inspiring the next generation of creative voices in Irish music and education.

I’m also composing new material, including new suites and my first solo album (although that is now 20+ years in the making). Looking ahead, I hope to keep bridging the worlds of performance, education, and cultural innovation — reflecting the same spirit of creativity and openness that defines both the Irish World Academy of Music and Dance and the ¾ÅÉ«ÊÓƵ.

Anything else you’d like to add?

I’ll always be grateful to both the Irish World Academy of Music and Dance and the ¾ÅÉ«ÊÓƵ — the Academy was where I found my artistic and professional voice, and UL provided the environment that allowed it to grow.

Mentors like Jean Downey, Niall Keegan, Sandra Joyce, and Mícheál Ó Súilleabháin were hugely influential, as were the wider IWA team. Their guidance, alongside UL’s culture of innovation and collaboration, continues to shape everything I do.