Northern Ireland Feature
Belfast's Wall Murals
In Northern Ireland they say the Protestants make the money and the Catholics make the art, and as with all clichés, there is some truth in it. It's a truth that will become clear as you look up at the gable walls of blue-collar areas of Belfast on which the two communities—Catholic and Protestant—have expressed themselves in colorful murals that have given rise to one of the more quirky tours of the city.
Although the wildly romantic Catholic murals often aspire to the heights of Sistine Chapel-lite, those in Protestant areas (like the tough, no-nonsense Shankill and the Newtownards Road) are more workmanlike efforts that sometimes resemble war comics without the humor. It was not always this way.
In Protestant areas, murals were once painted by skilled coachbuilders to mark the July 12 celebrations of the defeat of the Catholic King James by King William at the Battle of the Boyne. As such, they typically depicted William resplendent in freshly laundered scarlet tunic and plumed cap, sitting on a white stallion that has mastered the art of walking on water. On the banks of the Boyne sits a mildly disheveled James, the expression on his face making him look as if he has just eaten an overdose of anchovies. Other popular themes in Protestant areas are the Red Hand of Ulster, symbolizing the founding of the province, and, on Carnmore Street, the 13 Protestant apprentice boys shutting the gates of Derry against King James in 1688, leading to the famous siege.
More recently, though, Protestant murals have taken on a grimmer air, and typical subjects include walleyed paramilitaries perpetually standing firm against increasing liberalism, nationalism, and all the other isms that Protestants see eroding their stern, Bible-driven way of life. Nationalist murals, on the other hand, first sprang up in areas like the Falls Road in 1981, when IRA inmates of the Maze prison began a hunger strike in an unsuccessful bid to be recognized by the British government as political prisoners rather than common criminals. Ten died, and the face of the most famous, Bobby Sands, looks down now from a gable wall on the Falls Road alongside the words "Our revenge will be the laughter of our children."
Since then, themes of freedom from oppression and a rising nationalist confidence have expressed themselves in murals that romantically and surreally mix and match images from the Book of Kells, the Celtic Mist mock-heroic posters of Irish artist Jim Fitzpatrick, assorted phoenixes rising from ashes, and revolutionaries clad in splendidly idiosyncratic sombreros and bandannas from ideological battlegrounds in Mexico and South America. Irish words and phrases that you will see springing up regularly include the much-used slogan Tiocfaidh ár lá (pronounced chuck-y ohr law and meaning "Our day will come") and the simple cry Saoirse (pronounced seer-she), meaning "Freedom."
The murals in both Protestant and Catholic areas are safe to view in daylight and outside the sensitive week of the July 12 marches by Protestant Orangemen. However, the most sensible way to view them would be to take a guided tour with Belfast City Sightseeing or one of the other bus or taxi tour companies.
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