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My Online Artifacts are these videos, links and article. The article can be accessed HERE
Murals have become a dominant and dynamic form of symbolic expression throughout Northern Ireland. Nearly 2,000 murals have been documented since the 1970's. These murals often reflect the division between and expressions of two political groups: Republicans and Loyalists. To fully understand the conflict and tension in Northern Ireland, one must journey down what would seem to be a an enormously long timeline. A good starting point for considering the history and motivation for these murals would be shortly after WWII ended. After WWII, Northern Ireland remained apart of the United Kingdom and did not follow The Republic of Ireland in independence. This is primarily due to the large population of Anglo-Irish that still feel ties to Great Britain. Aside from the long turbulent history of Ireland and the United Kingdom, this creation of a separate N. Ireland only fueled ancient wounds (as well as creating new problems) and made tensions escalate (Troubles p.1).
Like previously stated, Northern Ireland is essentially made up of two communities. The nationalist community consists of people who are more loyal to Ireland, desire a "United Ireland" (where N. Ireland secedes from the United Kingdom), and are predominately Roman Catholic and Republicans. The unionist community consists of people who feel a certain loyalty or connection to the United Kingdom and therefore wish to remain a part of it. This group has many Anglo-Irish Protestants and Loyalists. The tensions between these two groups escalated in a period called The Troubles. The Troubles lasted primarily between the late 1960's and 1998. During this time, reoccurring acts of intense violence sparked between the loyalists and unionists. Over three decades, around 3,200 people were killed. Much of the violence was incurred by paramilitary group campaigns, such as the Provisional Irish Republican Army (IRA) 1996-1997. The IRA intended to "rid" Ireland of British rule and unify Ireland into one state (Troubles 2).
The heated conflict lasted until 1998, when an uneasy treaty was signed: Belfast Agreement or "Good Friday Agreement". This agreement solidified N. Ireland as a part of the UK. Much happened constitutionally in both Irelands and England that helped to ease tension. One of the most important things is that people who are born in Northern Ireland automatically have dual citizenship with Ireland and the UK (or can choose one or the other). The clash between Catholics and Protestants is not merely a battle over religion but rather one of identity. Identity is an issue that still prominent in Northern Ireland today. Despite the cease fires and the disbanding of the IRA (in 2005), political and ethnic tensions still can run high. An example of this is the youth riots in Ardoyne in 2009.
Murals can be seen all over Ardoyne as well.
Murals have become a dominant and dynamic form of symbolic expression throughout Northern Ireland. Nearly 2,000 murals have been documented since the 1970's. These murals often reflect the division between and expressions of two political groups: Republicans and Loyalists. To fully understand the conflict and tension in Northern Ireland, one must journey down what would seem to be a an enormously long timeline. A good starting point for considering the history and motivation for these murals would be shortly after WWII ended. After WWII, Northern Ireland remained apart of the United Kingdom and did not follow The Republic of Ireland in independence. This is primarily due to the large population of Anglo-Irish that still feel ties to Great Britain. Aside from the long turbulent history of Ireland and the United Kingdom, this creation of a separate N. Ireland only fueled ancient wounds (as well as creating new problems) and made tensions escalate (Troubles p.1).
Like previously stated, Northern Ireland is essentially made up of two communities. The nationalist community consists of people who are more loyal to Ireland, desire a "United Ireland" (where N. Ireland secedes from the United Kingdom), and are predominately Roman Catholic and Republicans. The unionist community consists of people who feel a certain loyalty or connection to the United Kingdom and therefore wish to remain a part of it. This group has many Anglo-Irish Protestants and Loyalists. The tensions between these two groups escalated in a period called The Troubles. The Troubles lasted primarily between the late 1960's and 1998. During this time, reoccurring acts of intense violence sparked between the loyalists and unionists. Over three decades, around 3,200 people were killed. Much of the violence was incurred by paramilitary group campaigns, such as the Provisional Irish Republican Army (IRA) 1996-1997. The IRA intended to "rid" Ireland of British rule and unify Ireland into one state (Troubles 2).
The heated conflict lasted until 1998, when an uneasy treaty was signed: Belfast Agreement or "Good Friday Agreement". This agreement solidified N. Ireland as a part of the UK. Much happened constitutionally in both Irelands and England that helped to ease tension. One of the most important things is that people who are born in Northern Ireland automatically have dual citizenship with Ireland and the UK (or can choose one or the other). The clash between Catholics and Protestants is not merely a battle over religion but rather one of identity. Identity is an issue that still prominent in Northern Ireland today. Despite the cease fires and the disbanding of the IRA (in 2005), political and ethnic tensions still can run high. An example of this is the youth riots in Ardoyne in 2009.
Murals can be seen all over Ardoyne as well.
Neil Jarman discusses, in his article "Painting Landscapes: The Place of Murals in the Symbolic Construction of Urban Space", the murals that can be found throughout the working class estates in Belfast. He talks about the symbolic content of images, "they are always open to multiple interpretations, but as artifacts in a public space they are also open to multiple forms of use, re-use and abuse. As images they always have had a functionality: as propaganda, as rhetoric, as ideological and symbolic markers etc...While on one level it is primarily the image that is being used and transformed, on another level it is the physical artifact, fixed in space, which is the subject of activity; taken still further it is the public space in which the artifact is sited that is changed" (Jarman p.2). These murals are more that just visual displays of art, but they also act as artifacts. When viewing these murals as artifacts, they seem to be created to be seen at specific locations. Jarman also says, "...an extension of their significance is generated by a semiotic dynamic which involves the images taking meaning from their location and the location in turn having a differing significance because of the paintings" (Jarman p.2). Murals in Northern Ireland (in this case, Belfast) can be simultaneously used for multiple purposes.
Murals can be used or seen as territorial indicators and boundary markers. For example, the symbolism and content of these murals can indicate wether or not a community is predominately Catholic or Protestant. Subsequently, this could also indicate a communal political ideology (Republicans, Loyalists). Sometimes the murals will indicate political propaganda while at the same time acting as a warning sign and create fear for the opposition. Not only do the murals function as such, but as act as reminder of past events (for example, Bloody Sunday). They also cater to what happened in each specific location. They act as memorials to fallen soldiers and civilians (many being of fallen IRA members). The murals help to define political and cultural parameters throughout the country. They reinforce the cultural boundaries and differences between the two opposing struggles for identity. Starting in the early 1900s, it was mostly nationalists who painted these murals. In the 1960's, however, civil right inequalities began to be challenged and unionists began painting them as well. As Jarman describes, "As ideological and political arguments turned into sectarian violence and outright warfare, Catholic areas in Derry and Belfast were enclosed behind barricades. As the forces of the state were excluded, people began to exert control over their own areas" (Jarman p.4)
Murals can be used or seen as territorial indicators and boundary markers. For example, the symbolism and content of these murals can indicate wether or not a community is predominately Catholic or Protestant. Subsequently, this could also indicate a communal political ideology (Republicans, Loyalists). Sometimes the murals will indicate political propaganda while at the same time acting as a warning sign and create fear for the opposition. Not only do the murals function as such, but as act as reminder of past events (for example, Bloody Sunday). They also cater to what happened in each specific location. They act as memorials to fallen soldiers and civilians (many being of fallen IRA members). The murals help to define political and cultural parameters throughout the country. They reinforce the cultural boundaries and differences between the two opposing struggles for identity. Starting in the early 1900s, it was mostly nationalists who painted these murals. In the 1960's, however, civil right inequalities began to be challenged and unionists began painting them as well. As Jarman describes, "As ideological and political arguments turned into sectarian violence and outright warfare, Catholic areas in Derry and Belfast were enclosed behind barricades. As the forces of the state were excluded, people began to exert control over their own areas" (Jarman p.4)
Here is a link to a site explain some of the symbolism that can be found in the murals:
Unionist and Loyalist
Nationalist and Republican
Jarman also talks about how these murals function even on an international scale. Not only do they serve multiple purposes for local communities and for the nation as a whole, but also project messages at the rest of the world. "The power of murals have meant that they have become a more self-conscious means by which to propagandise to a much wider public, while still primarily aimed at a local audience. For the global media, these remain little more than relatively simple symbols of the Troubles and of paramilitary violence" (Jarman p.7). The murals also are a component of the economy in terms of tourism. Although Northern Ireland markets itself with little to no emphasis on conflict, the murals act as a seductive romanticized depiction of it...thus attracting tourists to the region. Jarman states it as an attraction to a culture of war. The murals are situated on parade routes and are often placed throughout the city as a means of guiding tourists to explore and see it in a new light. Here is an example of a commercial for tourism...promoting recreation.
When these murals are seen as both images (art) or as artifacts, their meaning becomes very versatile and they simultaneously serve multiple purposes. When the paintings location is taken into consideration, it can clearly be seen that the murals are site specific. They can be used in memorializing the past of fallen soldiers or civilians. They also work as an active history lesson in keeping the memory of past events alive; teaching many lessons. They also serve as boundary markers and an expression of communal politics. They can even be seen as a way to attract tourists to a country that has been previously engulfed in a culture of war. These murals' power of signifying and versatility resonates from the local communities out to the rest of the world.
Jarman also talks about how these murals function even on an international scale. Not only do they serve multiple purposes for local communities and for the nation as a whole, but also project messages at the rest of the world. "The power of murals have meant that they have become a more self-conscious means by which to propagandise to a much wider public, while still primarily aimed at a local audience. For the global media, these remain little more than relatively simple symbols of the Troubles and of paramilitary violence" (Jarman p.7). The murals also are a component of the economy in terms of tourism. Although Northern Ireland markets itself with little to no emphasis on conflict, the murals act as a seductive romanticized depiction of it...thus attracting tourists to the region. Jarman states it as an attraction to a culture of war. The murals are situated on parade routes and are often placed throughout the city as a means of guiding tourists to explore and see it in a new light. Here is an example of a commercial for tourism...promoting recreation.
When these murals are seen as both images (art) or as artifacts, their meaning becomes very versatile and they simultaneously serve multiple purposes. When the paintings location is taken into consideration, it can clearly be seen that the murals are site specific. They can be used in memorializing the past of fallen soldiers or civilians. They also work as an active history lesson in keeping the memory of past events alive; teaching many lessons. They also serve as boundary markers and an expression of communal politics. They can even be seen as a way to attract tourists to a country that has been previously engulfed in a culture of war. These murals' power of signifying and versatility resonates from the local communities out to the rest of the world.
Works Cited:
The Troubles. Available Online: http://www.guardian.co.uk/Northern_Ireland/flash/0,6189,344683,00.html
Jarman, Neil. Painting Landscapes: The Place of Murals in the Symbolic Construction of Urban Space
Available Online: http://cain.ulst.ac.uk/bibdbs/murals/jarman.htm
FINAL PROJECT:
For my final project I was thinking of exploring traditional and modern Irish music. I was thinking of learning an Irish reel and also exploring how some lyrics of modern Irish songs reflect the history and conflict of the current times. I would also incorporate some of the novels we've read and maybe write songs or lyrics to songs about them...and how they relate together.
My second idea is to adapt Carmilla into a film or play script. I would be very careful what dialogue, themes and elements of the story I would incorporate. I would primarily focus on certain psychological elements like we read in the Enigmatic Signifier.
So it took a few times for me to get through this blog, mostly because I most remember Billy Connolly as Uncle Monty in the movie "Lemony Snickets: Series of Unfortunate Events" and it's hard to get that voice out of my head... HAHAHA. Once, I moved past that I was really excited about your online artifact for a few reasons.
ReplyDelete1. You chose a topic I know nothing about, and didn't know existed.
2. I like when people move in different directions in the blogs and your use of visual aids was inspiring.
I tried to acess the website you recommended but for whatever crazy reason my laptop refused to comply.
Your video on the youth riots in Ardoyne was very hard to stomach... I am a firm believer that violence is never justified and only begets more violence. As a mother, I was horrified by the behavior. As a human, I was so incredibly sad.
I really appreciate how you quoted Jarmen on what makes these murals more than art, and why they are so significant: As images they always have had a functionality: as propaganda, as rhetoric, as ideological and symbolic markers etc...While on one level it is primarily the image that is being used and transformed, on another level it is the physical artifact, fixed in space, which is the subject of activity; taken still further it is the public space in which the artifact is sited that is changed." And I like how you linked these artifacts to Identity, and put it within the context of religion, politics, demographics, and nationality.
Additionally, I am really looking forward to your final project (whichever you choose)! My personal favorite novel this semester has been Carmilla, and I've followed your blogs really closely and believe you would do a really good job writing a screen play. I would also be interested in what you could do with writing a song.
So I loved, loved, loved your blog this week. I think you did an absolutely fabulous job with this website/blog. It looks great and has so much wonderful information. I think I'm particularly biased because I've had a bit of a fascination with Northern Ireland because that is where my grandmother's family immigrated from (County Armagh). So I love learning about that area. For whatever reason, I've always identified very strongly with my Irish ancestry (also my Native American heritage but that's for another class).
ReplyDeleteThe murals in these videos are amazing and like the commentator in the first video stated, if someone not from around the area were to see them they might initially feel a bit uneasy. I think I really might feel a bit nervous seeing how strongly this area has struggled with identity. In addition to the amazing murals; the song playing in the first video was extremely touching for me. I think it's just so sad to realize that religion and politics can turn people against each other, especially once friends. So sad.
I also found the riot video sad since I just don't understand why? You know, what's the point of it all?
Your comment, "The clash between Catholics and Protestants is not merely a battle over religion but rather one of identity", is spot on. And I think it's so interesting that as humans we are constantly trying to define ourselves and figure out our identity. Just like poor Pussy in this weeks novel. And so often religion (or really people's intolerance of difference) is the trigger for so much unnecessary violence and anger.
Ok, enough babbling from me...Great Blog. As for the creative project, I would love to see what you can do musically. I'm a huge fan of Irish music (love watching Irish dancing) so it would be interesting to se what you would do and how you would tie it into the novel(s)' we've read this semester. Good Luck!!
Excellent blog! This is exactly what I've been hoping would arise out of this online experience. I find it fascinating how you link different videos and links to explore the Northern Ireland conflict.
ReplyDeleteI love that you will be doing something with music. Make sure you will be able to upload it onto the internet for everyone to listen to. Given all the research you've done on Northern Ireland, perhaps you could research "rebel songs" (?).