Ulster’s defenders, past and present, from Cuchulainn “Ancient defender of Ulster from Gael attacks”, via the 1893 UDU and WWI soldiers memorialised in the towers at Messines and Thiepval, to the modern UDA/UFF: “In memory of the officers and volunteers of A. Coy. [“Glencairn, Highfield, Springmartin”] UDA/UFF West Belfast Brigade who unselfishly dedicated their lives in defence of their country.”
The Ulster Volunteers were formed in response to the Home Rule bill of April 1912 and the Covenant signed in September 1912, first by Edward Carson and then by almost half a million others. Guns were smuggled into Larne on the Clyde Valley in April 1914 but the advent of the World War saw the volunteers instead joining the British Army, specifically the 36th (Ulster) Division, and went over the top at the Somme.
“Comrade, councillor, cara [friend].” Pat McGeown was a 1981 IRA hunger striker whose family intervened when he lapsed into a coma. After his release in 1985 he also worked for Sınn Féın and was elected to Belfast City Council in 1993. He died in 1996 of a heart attack. He is also remembered by a plaque on the Sınn Féın office on Falls Road.
This pair of murals, on the New Lodge Road, Belfast, contrasts life for young people in the black-and-white “1900s” to life in colourful “2000”. Instead of working (and dying – in the headlines from the Irish News) in mills, they work in fast-food restaurants and drive black taxis (and suffer unemployment, suicide, and anorexia – again, in the newspaper), and instead of playing in the streets and wrapping themselves in blankets, they sit on walls and drink.
On the left, the Belfast/Good Friday Agreement establishes “The right to freedom from sectarian harassment” but, on the right, the Orange Reality involves “10 Catholics murdered as a result of Drumcree, 150 Catholic homes petrol bombed, 1350 Catholic families forced out, many dozens or pipe bombs, attacks on Catholic homes”. The left-hand panel shows the cover of the Agreement booklet that was sent to every household ahead of the vote, showing a family of four silhouetted against a sunset; the right-hand panel shows the same family, but the source of light is now burning houses.
This is a complete version of Bobby Sands’s poem The Rhythm Of Time, along with the names and portraits of the ten deceased 1981 hunger strikers, and Michael Gaughan and Frank Stagg, who died on hunger strike in England.
“I ndıl chuımhne na gcımí poblachtanacha a fuaır bas ı ngéıbheann ı rıth na coımhlınte reatha seo.” A lark bursts through prison bars of Long Kesh, Portlaoise, and prisons in England, in which republicans have died from the 70s to 90s.
“The struggle for political status.” The twentieth anniversary of the hunger-strikes in Long Kesh and Armagh Women’s prison, 1980-2000, is commemorated. Seven men in Long Kesh and three women in Armagh went on strike, for fifty-three days and nineteen days, respectively.
The lilies are held over from the previous year – see The Final Salute.
“Leanna An Dúın – Beıdh sıad ın ár gcuımhne choíche.” Local female IRA volunteers Laura Crawford, Patricia Black, Bridie Quinn, Maıréad Farrell and a generic female volunteer with assault rifle on manoeuvres in an Irish landscape strewn with standing stones.
Signed by “Lenadoon Youth 2000”. Glenveagh Drive, Lenadoon, Belfast
The dying Cú Chulaınn and the Blessed Virgin Mary make an odd pairing in this Ligoniel memorial garden to locals who died during the Troubles. Cú Chulaınn is typically used to memorialise paramilitary volunteers (see the Visual History page) but the plaque does not mention volunteers and the statuary suggests prayer rather than a final salute as a fitting form of remembrance.
The plaque in the centre, which was previously at the crux of a Celtic Cross mural, reads “I ndıl chuımhne [in fond memory]. This plaque is dedicated to the memory of all those from Ligoniel who lost their lives as a result of the conflict in our country. A Mhuıre banríon na nGael guıgh orthu [Mary, queen of the Gael, pray for them]”
The other mural in the yard is a greatly re-designed presentation of Éıre, taking up the whole wall, and replacing the Maid Of Erin harp with Érıu, the mythological queen of Ireland/Éıre, as designed by (or at least, in the style of) Richard J King/Rísteard Ó Cíonga. (Also seen in the Short Strand.)