JJB Sports went into receivership in 2012 and the Royal Avenue shop was (is?) to become a Wetherspoons (Future Belfast). In the meantime, the hoarding is used by Leo Boyd (web | ig | Fb). Welcome to the simulation!
This sequence of UDA “memorial” murals along Island Street replaces a similar sequence from roughly 2005. Novel features are the poppies featured throughout and the use of Lawrence Binyon’s poem For The Fallen in the third panel (see below). The image above – the left-most of the four – depicts two men standing in reflection upon an above-ground grave, also symbolic of the fallen of World War I, but the mourners are modern UDA volunteers.
The old Ballymacarrett station was the last stop before Belfast when travelling from points east such as Holywood and Bangor. On the morning of January 10th, 1945, a faulty signal caused the 7:10 from Bangor to be halted at Ballymacarrett, only for it to be hit from behind by the oncoming 7:40 from Holywood. The steel lead-car of the Holywood train ploughed through the whole of the last carriage’s wooden coachwork and on into the penultimate carriage, causing the death of 22 people and injury to another 27 (WP).
Michael Blakstad’s Children In Crossfire is a justly famous documentary portraying the lives of children in Creggan (Derry) and various areas of Belfast, such as Ballymurphy & Springmartin, Divis, and the area around Gawn Street in east Belfast. The documentary is on youtube and an image from it (c. 28m 13s) is depicted in this mural at the foot of the Dee Street overpass into what is now the “Titanic Quarter”.
The panel to the right (in the wide shot, below) shows the original Armitage Street; the area has been redeveloped and the street was built over with a cluster of houses named Armitage Close.
By Dee Craig with support from the Housing Executive, City Council, and Connswater Homes.
The gates on Lanark Way are part of the west Belfast “peace” wall. On this site we always put the word in scare-quotes to signify that it has a different meaning than it typically does. Without them, “peace wall” might suggest a place where people can go for a few moments of quiet reflection.
Rather, the wall – and the gates and the cages that surround many buildings on either side of the wall (see above) – is a divider meant to keep the peace by separating warring factions. Indeed the reason for the re-painting of the gates is not just the up-coming 25th anniversary of the Belfast or “Good Friday” Agreement (on April 10th) but the fact that they were damaged in the 2021 rioting (BBC). (This Irish News article surveys 150 years of violence at the site.)
The new art on the gates is inspired by the cover of the booklet sent to every household in advance of the May vote to ratify the Agreement (available at CAIN), which was similar in various ways to the television ad shown at the time (Ads On The Frontline). It showed a family of four in silhouette against a red-and-orange sunset; given the rioting associated with Lanark Way, on the gates this sunset could be mistaken for flames, and the rejoicing silhouetted figures for gesticulating and petrol-bomb-throwing rioters. For the previous art on the gates, see the Visual History page on the west Belfast “peace” line. (For the mural in the background, see Sailortown Dockers.)
HMS Caroline re-opened in March, post Covid (Royal Navy). It opened as a floating museum in 2016, in time for the centenary of the Battle Of Jutland on May 31st-June 1st, 1916. There were almost 10,000 casualties and 25 ships were sunk that day but the Caroline survived. She served as a Navy headquarters during WWII, in Belfast harbour, before being returned to reserves. (WP)
These eight panels are in Tennent Street in the Shankill. There was previously a painting of HMS Caroline at the Battle Of Jutland off the Shore Road in north Belfast – see HMS Caroline.
“”It is not our differences that divide us. It is out inability to recognize, accept and celebrate those differences.” – Audre Lorde”, “Peace & reconciliation”.
This does not seem to be an authentic Audre Lorde quote but an extrapolation of some lines from the essay “Age, Race, Class, and Sex: Women Redefining Difference”, where she writes, “It is not our differences which separate women, but our reluctance to recognize those differences and to deal effectively with the distortions which have resulted from the ignoring and misnaming of those differences.” (p. 122 in Sister Outsider).
Painted in 2016 by students from Susquehanna University in Bread Street, Divis. “The river and bridge represent a Lutheran hymn about the peace of mind a river provides and the bridge connecting people” (Spaces4Learning). In 2017, students from the same university painted the gates on the “peace” line – see Ambassadors For Peace.
Here are three new pieces above the security gates on Northumberland Street, coving over the “Deserted! Well, We Can Stand Alone” graffiti in the last remaining spot on the wall without a mural. From left to right:
Arthur Guinness: “Black Protestant Porter” as a description of Guinness stems from Arthur Guinness’s opposition to the 1798 rebellion (Indo). The Union Star (newspaper in Belfast – A Planet Of Light And Heat) called Guinness a spy and advised that “United Irishmen will be cautious of dealing with any publican who sells his drink.” (An Phoblacht).
Gusty Spence, a former commander of the UVF, read out the ceasefire statement of the “Combined Loyalist Military Command” (UVF, RHC, and UDA): “Let us firmly resolve to respect our different views of freedom, culture and aspiration and never again permit our political circumstances to degenerate into bloody warfare – Gusty Spence, loyalist ceasefire [statement in full], 13 October, 1994.”
“Welcome To The Shankill Road – we are proud, resilient, welcoming”: The original ‘three hands’ was on Northumberland Street, just above this spot – see Proud, Defiant, Welcoming – which was then reproduced in reduced form in Gardiner Street – see Welcome To The Shankill Road.
This is the most conciliatory statement ever made by loyalism and the decision to put it on Northumberland Street, especially in the context of the internationally famous and associated-with-Ireland Guinness and the “welcome” mural, suggests that the trio is directed at tourists rather than locals.