Art, Protest and Peace: The Murals of the Bogside Artists

Quote by Stanley Hauerwas: "Reconciliation happens when my enemy tells me my story and I am able to say: "Yes, that is my story."
Key question: How can images of rioters, soldiers, and tanks serve as forces for peace, healing, and reconciliation?
The murals depict the Troubles in Northern Ireland from the perspective of the Bogside community, aiming for a non-sectarian narrative.
Artists involved: Tom Kelly, William Kelly, Kevin Hasson.
Timeline: Murals painted between 1994 and 2006 on gables of flats in the Bogside area, amounting to twelve large-scale works.

The** Bogside**: Name derived from River Foyle's historical flooding; pivotal in the incidents that ignited the Troubles—over thirty years of violence in Northern Ireland.
Beginning of The Troubles: Marked by a civil rights march on October 5, 1968, and concluded with the Good Friday Agreement on April 10, 1998.
The murals function as memorials and catalysts for processing the past while cultivating hope for the future.

Geographical Significance: The Bogside’s location at the foot of a wooded hill, historically associated with Saint Columba, Derry’s patron saint.
Colonial History:
- Irish Resistance: The indigenous population faced increasing oppression post-Norman invasions.
- 1603: Elizabeth I’s victory led to the “Plantation of Ulster,” creating social and ethnic divisions that fueled future conflict.
- Development of Derry: Transition to a fortified city under British control with profoundly segregated living conditions for Protestants and Catholics.
Impact of Events: The Great Famine (mid-1800s) exacerbated emigration among Irish Catholics, further entrenching tensions between communities.

The local government exploited a discriminatory electoral system to marginalize the Catholic population, leading to riots against the predominantly Protestant Royal Ulster Constabulary (RUC).
Events of the 1960s: Civil rights protests echoing Martin Luther King’s influence began to reshape Catholic political organization.
Formation of NICRA (1967): Founded by Ivan Cooper and John Hume, advocating for equality and civil rights for Catholics.

Civil Rights March (October 5, 1968):
- Violence erupted when the RUC intervened, showcasing Northern Ireland’s escalating conflict to a world audience.
- Resulted in the declaration of the Bogside as a “no-go” area labeled "Free Derry."
Battle of the Bogside (August 1969):
- Riot following Protestant Parade, leading to military intervention by British forces whose role transformed from protectors to aggressors.
Bloody Sunday (January 30, 1972):
- A NICRA march turned deadly when British soldiers killed 13 unarmed Protestors, furthering Catholic resentment and increasing enlistment in paramilitary groups.
- Supported by a controversial media narrative that branded Catholic protesters as hooligans.
- Findings from the Saville Inquiry (2010) termed the soldiers' actions as unjustified and catastrophic.

Murals Mission: Designed to tell the stories of ordinary people who lived through the Troubles without propagating sectarianism.
Artistic Vision: Promotes healing by recalling shared experiences rather than partisan identity.

Traditional murals often express ethnic and national identities or commemorate historical events.
Lack of Slogans: Unlike sectarian murals, the Bogside murals avoid political slogans, preserving the nuances of human experience.
Public Space: Many murals remain as authentic community expressions rather than government mandates.

Petrol Bomber (1994): First mural depicting a child warrior, symbolizes the innocently caught youth of war.
Bernadette (1997): Commends Bernadette Devlin, a key activist during the Troubles.
Bloody Sunday (1997): Commemorates the 25th anniversary of the shootings of January, depicting Father Edward Daly carrying a victim.
Death of Innocence (1999): Honors Annette McGavigan, a young victim of the conflict, symbolizing youth losses due to violence.
Hunger Strike (2000) and Civil Rights (2004): Address themes of sacrifice and foundational civil rights movements. The later emphasizes involvement of prominent leaders and ordinary participants.
Peace Mural (2004): Contrasts with past images, embodies messages of reconciliation and hope with bright colors and symbols of peace.

Community Healing: Provide a channel for discussing grief, anger, and hope, better resembling a community confession space.
Visibility of Memory: Serve as public reminders of traumatic history, ensuring shared narratives are preserved.
Cross-Community Expression: Discussions inspired by the murals transcend sectarian divides.

Despite the establishment of a power-sharing government, significant rifts remain with regards to interpreting the Troubles, hindering reconciliation efforts.
Memorialization Complexities: With no official truth and reconciliation process akin to South Africa, effective healing has been obstructed by both political and social legacies of the conflict.

Visitors often resonate with the narratives; they serve as metaphors for civil rights struggles worldwide.
Artists stress the importance of acknowledging shared human suffering to build foundational understanding and prevent future conflict.

The Bogside Artists advocate for an acknowledgment of all suffering endured during the Troubles.
Each mural beckons viewers to reflect upon injustices and historical narratives without relegating them to mere sectarian oppositions.

The artists express hope for long-lasting peace, believing that mutual recognition of shared suffering can foster reconciliation across divides.