Murals in Northern Ireland

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Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.

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Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.

In Irish republican areas the themes of murals include the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands, murals of international solidarity with revolutionary groups, and murals highlighting a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However, traditional themes such as William of Orange and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common. [1]

History

A Loyalist political mural in Derry circa 1920 Early loyalist mural.jpg
A Loyalist political mural in Derry circa 1920

Murals can be described as a mirror of political change, as they have been painted throughout the last century and display all important historic as well as political developments in the scope of unique wall paintings. In 1908 Ulster loyalists started to portray William of Orange on a white horse in order to strengthen the Orange identity of Ulster Protestants. Irish republican wall-paintings started in the late 1970s and can be seen in particular as a visual display of a social movement, which was radicalized after the IRA began to fight for a greater political voice and a United Ireland. [2] Unionist murals quickly forewent general commemoration and became explicit signage of loyalist paramilitaries, a fixture that remained following the peace process although alongside an increase in commemorative murals. [3] Republican murals, while often drawing upon the likes of Bobby Sands and the IRA, are less squarely militrastic featuring a broader repertoire that extends to Celtic mythology and international revolutionaries; their scope includes style, ranging from "anti-fascist propaganda to commercial film posters". [3] [4]

Murals are for the most part located in working class areas of Northern Ireland, primarily in Belfast and Derry. Arguably the most well-known and easily identified mural is that of Bobby Sands, on the side wall of Sinn Féin's Falls Road office. A close second is the collection of Irish republican and international-themed murals which are located at what is known as 'The International Wall', also in Belfast. In Derry, Free Derry Corner, where the slogan "You Are Now Entering Free Derry" was painted in 1969 shortly after the Battle of the Bogside, is prominent. Free Derry Corner has been used as a model for other murals in Northern Ireland, including the "You Are Now Entering Loyalist Sandy Row" mural in Belfast, which was a response to the republican message of Free Derry Corner, and the "You Are Now Entering Derry Journal Country" mural, which is an advertisement for a Derry publication.

Not all murals in Northern Ireland are directly political or sectarian in nature, with some commemorating events such as the Great Irish Famine, and other moments in Irish history. Many portray events from Irish mythology, and images from Irish myths are often incorporated into political murals. A few murals avoid the subject of Ireland altogether, instead focusing on such neutral subjects as litter prevention and the C. S. Lewis novel The Lion, the Witch and the Wardrobe . In Derry's city centre, a mural depicting the five principal characters from the TV show Derry Girls was painted on the side of a pub, [5] [6] with the mural being updated during the COVID-19 pandemic in 2020 and prior to the airing of the show's final series in 2022. [7] [8] Murals representing peace and tolerance are becoming increasingly popular with school groups who have children either design or actually paint murals in areas around their schools. With many paramilitaries now involved in community work, there has been a move to decommission many of the hard-edged murals across Northern Ireland (although this trend is reversed in times of tension). [9] This change was further highlighted in 2007, when the Bogside Artists were invited to Washington, D.C. for the Smithsonian Folk Life Festival. The three artists were invited to recreate murals in the Washington Mall. [10]

Examples

Republican

Loyalist

Other

See also

Related Research Articles

<span class="mw-page-title-main">The Troubles</span> 1960s–1990s conflict in Northern Ireland

The Troubles were an ethno-nationalist conflict in Northern Ireland that lasted for about 30 years from the late 1960s to 1998. Also known internationally as the Northern Ireland conflict, it began in the late 1960s and is usually deemed to have ended with the Good Friday Agreement of 1998. Although the Troubles mostly took place in Northern Ireland, at times violence spilled over into parts of the Republic of Ireland, England, and mainland Europe.

<span class="mw-page-title-main">Ulster Volunteer Force</span> Ulster loyalist paramilitary organisation formed in 1965

The Ulster Volunteer Force (UVF) is an Ulster loyalist paramilitary group based in Northern Ireland. Formed in 1965, it first emerged in 1966. Its first leader was Gusty Spence, a former Royal Ulster Rifles soldier from Northern Ireland. The group undertook an armed campaign of almost thirty years during The Troubles. It declared a ceasefire in 1994 and officially ended its campaign in 2007, although some of its members have continued to engage in violence and criminal activities. The group is a proscribed organisation and is on the terrorist organisation list of the United Kingdom.

<span class="mw-page-title-main">Red Hand Commando</span> Ulster loyalist paramilitary group

The Red Hand Commando (RHC) is a small secretive Ulster loyalist paramilitary group in Northern Ireland that is closely linked to the Ulster Volunteer Force (UVF). Its aim was to combat Irish republicanism – particularly the Irish Republican Army (IRA) – and to maintain Northern Ireland's status as part of the United Kingdom. The Red Hand Commando carried out shootings and bombings, primarily targeting Catholic civilians. As well as allowing other loyalist groupings to claim attacks in their name, the organisation has also allegedly used the cover names "Red Branch Knights" and "Loyalist Retaliation and Defence Group". It is named after the Red Hand of Ulster, and is unique among loyalist paramilitaries for its use of an Irish language motto, Lámh Dearg Abú, meaning 'red hand to victory'.

<span class="mw-page-title-main">Bogside Artists</span>

The Bogside Artists are a trio of mural painters from Derry, Northern Ireland, consisting of brothers Tom and William Kelly, and Kevin Hasson. Their most famous work, a series of outdoor murals called the People's Gallery, is located in the Bogside neighbourhood of Derry and depicts the events surrounding sectarian violence and civil rights protests in Northern Ireland during the Troubles.

<span class="mw-page-title-main">Irish People's Liberation Organisation</span> Former Irish Republican paramilitary group

The Irish People's Liberation Organisation was a small Irish socialist republican paramilitary organisation formed in 1986 by disaffected and expelled members of the Irish National Liberation Army (INLA), whose factions coalesced in the aftermath of the supergrass trials. It developed a reputation for intra-republican and sectarian violence as well as criminality, before being forcibly disbanded by the Provisional Irish Republican Army (IRA) in 1992.

<span class="mw-page-title-main">Ardoyne</span> District in Northern Ireland, United Kingdom

Ardoyne is a working class and mainly Catholic and Irish republican district in north Belfast, Northern Ireland. In 1920 the adjacent area of Marrowbone saw at multiple days of communal violence between Protestants and Catholics. Ardoyne gained notoriety due to the large number of incidents during The Troubles.

The Bogside is a neighbourhood outside the city walls of Derry, Northern Ireland. The large gable-wall murals by the Bogside Artists, Free Derry Corner and the Gasyard Féile are popular tourist attractions. The Bogside is a majority Catholic/Irish republican area, and shares a border with the Protestant/Ulster loyalist enclave of the Fountain.

<span class="mw-page-title-main">Free Derry</span> 1969–1972 no-go area in Northern Ireland

Free Derry was a self-declared autonomous Irish nationalist area of Derry, Northern Ireland that existed between 1969 and 1972 during the Troubles. It emerged during the Northern Ireland civil rights movement, which sought to end discrimination against the Irish Catholic/nationalist minority by the Protestant/unionist government. The civil rights movement highlighted the sectarianism and police brutality of the overwhelmingly Protestant police force, the Royal Ulster Constabulary (RUC).

<span class="mw-page-title-main">The Twelfth</span> Ulster Protestant celebration

The Twelfth is a primarily Ulster Protestant celebration held on 12 July. It began in the late 18th century in Ulster. It celebrates the Glorious Revolution (1688) and victory of Protestant King William of Orange over Catholic King James II at the Battle of the Boyne (1690), which ensured a Whig political party and Anglican Ascendancy in Ireland and the passing of the Penal Laws to disenfranchise and persecute the nation's Catholic majority, and to a lesser extent Protestant Dissenters, until Catholic Emancipation in 1829.

<span class="mw-page-title-main">Battle of the Bogside</span> Communal riot that took place from 12 to 14 August 1969 in Derry, Northern Ireland

The Battle of the Bogside was a large three-day riot that took place from 12 to 14 August 1969 in Derry, Northern Ireland. Thousands of Catholic/Irish nationalist residents of the Bogside district, organised under the Derry Citizens' Defence Association, clashed with the Royal Ulster Constabulary (RUC) and loyalists. It sparked widespread violence elsewhere in Northern Ireland, led to the deployment of British troops, and is often seen as the beginning of the thirty-year conflict known as the Troubles.

<span class="mw-page-title-main">Ulster loyalism</span> Pro-UK political ideology in Northern Ireland

Ulster loyalism is a strand of Ulster unionism associated with working class Ulster Protestants in Northern Ireland. Like other unionists, loyalists support the continued existence of Northern Ireland within the United Kingdom, and oppose a united Ireland independent of the UK. Unlike other strands of unionism, loyalism has been described as an ethnic nationalism of Ulster Protestants and "a variation of British nationalism". Loyalists are often said to have a conditional loyalty to the British state so long as it defends their interests. They see themselves as loyal primarily to the Protestant British monarchy rather than to British governments and institutions, while Garret FitzGerald argued they are loyal to 'Ulster' over 'the Union'. A small minority of loyalists have called for an independent Ulster Protestant state, believing they cannot rely on British governments to support them. The term 'loyalism' is usually associated with paramilitarism.

The Ulster Loyalist Central Co-ordinating Committee (ULCCC) was set up in 1974 in Belfast, Northern Ireland in the aftermath of the Ulster Workers Council Strike, to facilitate meetings and policy coordination between the Ulster Workers Council, loyalist paramilitary groups, and the political representatives of Ulster loyalism.

<span class="mw-page-title-main">1969 Northern Ireland riots</span> Sectarian riots starting the Troubles

During 12–16 August 1969, there was an outbreak of political and sectarian violence throughout Northern Ireland, which is often seen as the beginning of the thirty-year conflict known as the Troubles. There had been sporadic violence throughout the year arising out of the Northern Ireland civil rights campaign, which demanded an end to discrimination against Catholics and Irish nationalists. Civil rights marches had been attacked by Protestant loyalists, and protesters often clashed with the Royal Ulster Constabulary (RUC), the overwhelmingly Protestant police force.

The culture of Belfast, much like the city, is a microcosm of the culture of Northern Ireland. Hilary McGrady, chief executive of Imagine Belfast, claimed that "Belfast has begun a social, economic and cultural transformation that has the potential to reverberate across Europe." Belfast is split between two rarely-overlapping vibrant cultural communities, a high-culture of opera, professional theatre, filmmaking and the visual arts and a more popular or commercial culture. Throughout the short years of troubles, Belfast tried to express itself through art and music. In the second decade of the twenty-first century, the city has a growing international cultural reputation

Parades are a prominent cultural feature of Northern Ireland. The overwhelming majority of parades are held by Ulster Protestant, unionist or Ulster loyalist groups, but some Irish nationalist, republican and non-political groups also parade. Due to longstanding controversy surrounding the contentious nature of some parades, a quasi-judicial public body, the Parades Commission, exists to place conditions and settle disputes. Although not all parading groups recognise the Commission's authority, its decisions are legally binding.

The city of Derry, Northern Ireland, was severely affected by the Troubles. The conflict is widely considered to have begun in the city, with many regarding the Battle of the Bogside in 1969 as the beginning of the Troubles. The Bloody Sunday incident of 1972 occurred in Derry, in the Bogside area.

The Northern Ireland civil rights movement dates to the early 1960s, when a number of initiatives emerged in Northern Ireland which challenged the inequality and discrimination against ethnic Irish Catholics that was perpetrated by the Ulster Protestant establishment. The Campaign for Social Justice (CSJ) was founded by Conn McCluskey and his wife, Patricia. Conn was a doctor, and Patricia was a social worker who had worked in Glasgow for a period, and who had a background in housing activism. Both were involved in the Homeless Citizens League, an organisation founded after Catholic women occupied disused social housing. The HCL evolved into the CSJ, focusing on lobbying, research and publicising discrimination. The campaign for Derry University was another mid-1960s campaign.

<span class="mw-page-title-main">Belfast City Hall flag protests</span>

On 3 December 2012, Belfast City Council voted to limit the days that the Union Flag flies from Belfast City Hall. Since 1906, the flag had been flown every day of the year. This was reduced to 18 specific days a year, the minimum requirement for UK government buildings. The move to limit the number of days was backed by the council's Irish nationalists while the Alliance Party abstained from the vote; it was opposed by the unionist councillors.

<span class="mw-page-title-main">Orange Volunteers (1972)</span>

The Orange Volunteers (OV) was a loyalist vigilante group with a paramilitary structure active in Northern Ireland during the early 1970s. It took its name from the Orange Order, from which it drew the bulk of its membership.

References

  1. Maxamillian Rapp: Murals in Ulster: Symbol kultureller Revolution im nordirischen Bürgerkrieg. In: KultuRRevolution Nr. 61/62 2012.
  2. Maximilian Rapp and Markus Rhomberg: The importance of Murals during the Troubles: Analyzing the republican use of wall paintings in Northern Ireland. In: Machin, D. (Ed.) Visual Communication Reader. De Gruyter.
  3. 1 2 Rolston, Bill (2004). "The War of the Walls: political murals in Northern Ireland". Museum International. 56 (3): 38–45. doi:10.1111/j.1350-0775.2004.00480.x. ISSN   1350-0775. S2CID   154188559.
  4. Forker, Martin; McCormick, Jonathan (2009). "Walls of history: the use of mythomoteurs in Northern Ireland murals". Irish Studies Review. 17 (4): 423–465. doi:10.1080/09670880903315898. ISSN   0967-0882. S2CID   143454753.
  5. "Derry Girls immortalised in paint for giant city centre mural". The Irish News . 25 January 2019. Retrieved 12 April 2022.
  6. Thomas, Cónal (29 January 2019). "The giant Derry Girls mural has been completed - and here it is". TheJournal.ie . Retrieved 12 April 2022.
  7. O'Connor, Rachael (24 April 2020). "Iconic Derry Girls mural gets a makeover to remind people of importance of social distancing". The Irish Post . Retrieved 12 April 2022.
  8. Keenan, Shaun (7 April 2022). "Derry Girls mural receives 'temporary' update ahead of third and final series". Belfast Live . Retrieved 12 April 2022.
  9. "Old masters change murals". BBC News . 31 May 2005. Retrieved 28 November 2008.
  10. Taggart, Maggie (22 June 2007). "Painting a New Image of NI". BBC News . Retrieved 28 November 2008.

Further reading