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Excerpt: I will be looking at art in Northern Ireland during the Troubles and afterward,
from the start of this period during the civil rights protests in 1969, through the end of
the armed conflict in the 1990s, and into the 21st century. The political murals which
sprang up all over Northern Ireland at this time, but mostly concentrated in Belfast and
Derry, are a fascinating window into the evolving beliefs and sentiments of people in
these communities. Therefore, I am most interested in the public political murals and
how their use changed over time. The murals were used as a tool for recruitment of
young, likeminded individuals into the different paramilitary organizations, and as a
device meant to antagonize the opposition. During the conflict, the murals were also
used as a means of communicating with the broader global community, not only to
attempt to establish connections with other nationalist causes, but also to present a
different account of events than what was being reported in the media. However, the
murals eventually became an instrument of cross-community growth and healing. I
would like to study the murals specifically in terms of their relation to the development
of the peace and reconciliation process (and the end of the conflict), and the continuing
use of murals in this process. This will hopefully show how these murals were forms of
community self-expression and an outward statement to the opposition as well as the
world.
After compiling the data and analyzing it according to the above listed criteria, I
will begin my analysis. By using this analysis of the different criteria present in mural
themes, I hope to draw conclusions about how the murals changed over time, more
specifically, how they changed in relation to the changing political landscape. When
doing the analysis itself, I was thinking of using Google maps, specifically the custom
mapping tool. Luckily, the database that Bill Rolston has amassed over the last few
decades is also online. I would then go about making two custom Google maps, one in
Belfast, and one in Derry, and putting pins in the location where a picture of a mural
was taken, and then inserting the photograph of the mural, as well as my own caption
with the date the mural was taken and whether it was a loyalist or republican mural.
Google custom maps also allows you to make different layers on the map, so I would
then enter each mural and its location on the map, starting chronologically, and having
a different layer on the map for every decade. This would enable me to distinctly see the
changes in location and frequency of republican and loyalist murals in Belfast and
Derry. By being able to sort the murals locations, dates, and affiliations, I will be able to
digest and analyze all of the information much more easily.
The purpose of this study therefore is to examine how the symbols and
themes in the murals in Northern Ireland changed in correspondence with the changes
in the political climate. This study will also look at how murals are involved in the
ongoing peace process and how they are now used as tools in reconciliation and crosscommunity healing and understanding. Part of this change in the murals recently also
has to do with a government-funded re-imaging program, which replaces older, more
sectarian and violent murals with ones of more idyllic imagery. I will be looking at the
official Re-imaging Communities Programme created by the Arts Council in Northern
Ireland to see how effective the effort was to be part of the building of a shared future
for Northern Ireland, which was peaceful, inclusive, prosperous, stable and fair, founded
on partnership, equality and mutual respect as a basis of good relationships
(Independent Research Solutions 3). These topics present interesting sociological
questions about changing symbols and the ethics of state-sponsored art. I am interested
including music, dance, song, language and more. It consists of some lecture, but mainly
is interactive with lunchtime concerts, masters workshops, and two trips to the
Connemara region of Ireland to learn more about the culture. Since 2011 I have been the
Youth Officer for the Detroit/Windsor branch of Comhaltas Ceoltir ireann (an
international Irish music and culture organization), and have been playing fiddle for
about eleven years. I also studied Irish dance for about six years when I was younger. So
I am very excited to go and continue my studies from Bryn Mawr in Galway.