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Brewed in Scotland, Bottled in Ulster uncorked in the USA
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| Mural painting has been a feature of Protestant popular culture since the early years of this century when symbols began to adorn the gable walls of the working-class areas of Belfast. From the early years of the nineteenth century elaborate displays of flags, flowers and bunting were hung from houses and across Ulster streets for the July commemorations of the Battle of the Boyne. |
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New mural by North Antrim Cultural & Musical Society in Ballymoney, County Antrim, Northern Ireland. It was unveiled recently by the United States Consul for Northern Ireland Barbara Stephenson.
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| Each year wooden, metal or floral arches were installed in the centres of many towns and villages. Mural painting was soon recognised as an established feature of Protestant popular culture, and after partition in 1921, helped to define the political and cultural parameters of Northern Ireland. |
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This mural is one of three painted in Londonderry to note the contribution of the Ulster-Scots to American independence. This mural quotes George Washington's recognition of the role played by Ulster-Scots soldiers in the Colonial Army.
From Pioneers to Presidents - portrait of President Theodore Roosevelt, 26th US President 1901 – 1904, showing Apprentice Boys shutting the gates of Derry, "My forefathers were…the men who had followed Cromwell and who shared in the defence of Derry, and in the victories of Aughrim and the Boyne…"
Portrait of James Buchanan, 15th USA President with images of pioneers, "My Ulster blood is my most priceless heritage". USA crest reads "From Pioneers to Presidents".
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The Free Derry mural was an early example of the transformation of public space by nationalists through the installation of political imagery, but for a time it was an isolated example. It was not until the early 1980s that murals became a prominent form of street display in nationalist areas and the brush joined the armalite and the ballot box as a facet of political strategy. Numerous murals and political slogans appeared across nationalist Belfast, kerbstones and lamp-posts were painted, streets were renamed in Irish, and the tricolour flew freely to assert a permanent and visible, political and cultural dominance over the area.
During the 1980s this changed from a day of political speeches and rioting to a week-long celebration of Irish culture. Mural painting was encouraged as part of the new West Belfast Festival. The images you see in Ulster today are used as a means of conveying political ideas, for displaying historical heroes and role models.
Thus we see murals commemorating past struggles and martyrs, some reflecting the cultural outlook of the people and Ulsters history.
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Hame is whaur tha Hairt is". Ulster-Scots mural showing a female figure looking across two houses and down a glen to the sea. "Through Famine and Frost, poverty and persecution, the Ulster-Scots People emigrated to the four corners of the earth. Ulster-Scots can be found from the Americas to Australia – ordinary folk, yet extraordinary achievers. Our incredible story is seldom told. Discover it for Yourself".
Deserted! Well - I can Stand Alone 1914 - 2003" showing woman with rifle, with the Union Jack. "A Protestant farmer's wife guards her husband against sectarian attack from the IRA as he farms the field on a tractor" showing a masked woman aiming a shotgun, with a farmer driving a tractor in the background.
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The Free Derry mural was an early example of the transformation of public space by nationalists through the installation of political imagery, but for a time it was an isolated example. It was not until the early 1980s that murals became a prominent form of street display in nationalist areas and the brush joined the armalite and the ballot box as a facet of political strategy. Numerous murals and political slogans appeared across nationalist Belfast, kerbstones and lamp-posts were painted and streets were renamed in Irish to assert a permanent and visible, political and cultural dominance over the area.
During the 1980s this changed from a day of political speeches and rioting to a week-long celebration of Irish culture.
The images you see in Ulster today are used as a means of conveying political ideas, for displaying historical heroes and role models.
Thus we see murals commemorating past struggles and martyrs, some reflecting the cultural outlook of the people and Ulsters history.
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Democratic Rights. Human Rights. Civil Rights".
Mural showing six crosses
"La Mon 12 Innocent",
"Enniskillen 12 Innocent",
"Omagh 31 Innocent",
"Tee Bane 8 Innocent", "Bloody Friday 9 Innocent", "Shankill 9 Innocent".
"The Civil, Human and Democratic Rights were taken away from these people by Violent Republicans. IRA, INLA, RIRA.
Let Us Not Forget". The IRA, INLA and RIRA letters are dripping with blood.
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1. Palestine Ireland Solidarity. STOP Aggression against Palestinian People" Portrait of Ariel Sharon named a "Terrorist indicted for War Crimes" and Yasser Arafat as a "Peacemaker. A life devoted to conflict resolution". Palestinian flag and Irish tricolor shown.
2. IRA & PLO Solidarity, just of the Falls Road Belfast.
3. Anti-American feelings. This graffiti
is painted on the wall of the post office at Great James Street, in the Catholic Bogside, in Londonderry. This appeared the day after 9/11.
4. ETA & IRA Solidarity in Catholic area of Belfast.
5. IRA will never give up its weapons of death, Belfast.
6. Close-up of the three armed IRA men with rifles and RPG launchers
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Scotch Irish
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