by Irvine Forgan
‘…illusion only is sacred, truth profane’ – Feuerbach: The Essence of Christianity.
A mural on the gable end of a housing estate in Rossville Street in the Bogside neighbourhood of Derry depicts events that occurred on Bloody Sunday when the British army opened fire on civil rights protestors and killed fourteen people. [1] The protest occurred in January 1972 when the Northern Ireland Civil Rights Association organized a march in Derry against internment. This setting is explained in the mural with an image that shows a sizeable crowd of protestors and a megaphone placed below a banner containing the writing – Civil Rights Association. The mural which has its own cultural specificities provides a contrast between coerced somatic control and democratic politics. This contrast emerges from its dramatic imagery which is largely based on a photograph taken during the march. A group of men, led by a local catholic priest (later to become Bishop Daly) who is waving a white handkerchief, is seen carrying the body of Jack (Jackie) Duddy from the scene of the shooting. The photograph shows blood on Jack Duddy and on the handkerchief. Notably, the mural does not – an indication that emphasis is placed on grievance and democratic rights and not on the body. The intrusion of violence on this exercise of democratic rights is underscored by a banner that during the attack became bloodstained when used to cover the body of one of those killed and which is represented in the mural not as one might expect on the body of a protestor, but with a masked and armed British soldier standing on the blood spattered writing: Civil Rights.
The street is a site of spiritual and cultural significance famous as the focus of resistance to British presence in the six counties. The artists describe the murals as follows: “This is real art done by the people and for the people. That’s what makes it authentic. That’s what gives it meaning in a world where meaning has all but been destroyed by ambition and the greed for money. It honours our past. Our work commemorates the real price paid by a naive and innocent people for simple democratic rights.”[2] This characterisation which assigns to the mural an authority pitted against the marginalization caused by the victorious ideology of economic growth does not alone however enable the mural to resonate with the Peircean notion of the iconic mode as a sign which bears the closest possible resemblance to what it stands for (as the artists put it – ‘This is real art done by the people and for the people. That’s what makes it authentic . . . it commemorates the real price paid by a naive and innocent people . . .’). Since Foucaultian theory which sees power manifesting through discourse as intrinsic to the ideological structuration of a society—whereby meaning is produced and mediated through the dynamics of this force, and notions of Debord whose spectacle ‘…depicts what society could deliver, but in so doing it rigidly separates what is possible from what is permitted’ (Debord, 2009: p. 25), the uniformity of the iconic mode is susceptible to questions of practice and power.
This means that the meaning of a text, the meaning arising out of discourse, the meaning that emerges from any medium, is always mediated and constructed—it is never transparent but is driven by an underlying ideology. However, the implication for the Bloody Sunday mural is that its highly evocative signifier does not draw our attention to its mediation; embedded in convention it seems to present reality more directly than symbolic signs. Daniel Chandler has noted that a highly motivated sign—such as an iconic sign, is a sign informed largely through social convention (Chandler, 2007: p.38), a notion that recurs in the writings of Umberto Eco who argues that at a certain point an iconic representation appears to hold greater ‘truth’ than the real experience. In this way experience is transferred to convention —thereby people begin to “look at things through the glasses of iconic convention” (Eco, 1976: pp. 204/5). In this illusory state, the sign is preferred to the thing signified thus permitting imagery to mediate the growth of convention. This enquiry is thus concerned to explore the signifying and ideological values articulated in the Bloody Sunday mural.
The convention that foregrounds the Bloody Sunday mural is articulated by Tom Kelly one of the Bogside artists as ‘…the real price paid by a naive and innocent people for simple democratic rights’ (ibid). But the march was scarcely a question of democratic grievance. Bill Rolston observes that by the time of the march a mood prevailed of insurrection against the British. “When British troops were deployed on the streets of Belfast in August 1969, it was ostensibly to protect nationalists under attack from mobs of loyalists and members of the local part-time paramilitary police force, the B Specials. At the same time, it was clear from at least the beginning of 1970 that an insurgency was brewing, leading to the conclusion that the British army was to be involved in a counter-insurgency mode in Northern Ireland” (Rolston, 2005: pp. 181-203). The mural should be compared to the polemic of early agitprop iconography such as the Resist British Rule and Brits Out posters and murals against the British army’s presence.
Unlike the exhortations of these early murals, however, the Bloody Sunday mural speaks of the victim – those injured and dead rushed to cover under the armistice of the white cloth. These protagonists are passive anti-heroes. Hence the imagery does not document the event; rather a moment from the event is captured and reformulated as a new contingency: one which advances a propogandistic message whereby insurrection is encouraged into an alternative modality of meaning as helplessness. This signifier is one of relational and community membership that is considered to live on in a narrative sense after biological death. Unlike the kaleidoscopic opportunities for interpretation offered by allegory, this narrative pivots on the metonym – who is the masked British gunman?
However, the space of agitation this narrative offers, in line with the social circulation of all public imagery, involves a variety of semiotic shifts and constraints against its circulation when brought under the mediating influence of political exigencies. Helplessness and therapy as displayed in this mural are inevitably submission to hegemony which, once won, embeds itself in the iconic imagery. A mural (the Loughgall mural, no longer extant) painted in 1987 in Springhill Avenue, Belfast serves to illustrate this point. The mural was a memorial to eight members of the IRA ambushed and killed by the Special Air Services unit (SAS) of the British army. It showed the Celtic Cross Shields of the four provinces of Ireland and names of the dead and figurative representations of the members wearing IRA berets and camouflage dress. The following two reports, separated by 17 years, capture the changed thinking within the republican and nationalist community. In May 1987, An Phoblacht/Republican News argued: ‘Republicans do not complain about the way in which the British Forces carried out their operation. Centuries of British terror have taught us to expect it. The illegitimacy of the forces which carried out the Loughgall killings is not simply in their actions but in their very presence in our country. It has always been and always will be illegitimate and unacceptable.’ Seventeen years on, in August 2004, the Irish News reported that relatives of one of the IRA members killed at Loughgall had a ‘very useful meeting with the Police Service of Northern Ireland’s (PSNI) chief constable. One member of the family commented afterwards, “We are just a family trying to get the truth about what happened to my brother”. The police spokesperson described the encounter in similar terms: “It was a useful meeting with an open two-way discussion. The Kellys (the family in question) raised a number of issues with the chief constable. He in turn offered his assessment of the decision to deploy the army against what he feared was a dangerous gang.”’ The defiance that characterized the republican struggle has been replaced with what Kevin Bean refers to as a therapeutic tone and a joint search for the truth as part of a process of reconciliation (Bean, 2007). The dead volunteer in question was Padraic Kelly. The Republican activist Kevin Rooney recalls: ‘I remember vividly his father’s tribute the day after the Loughgall ambush, when he described his son and seven comrades as ‘brave Irish soldiers fighting a war against an oppressor’. At the time, the Royal Ulster Constabulary (the six county’s then police force) and the British Army regularly attacked IRA funerals to prevent any military displays. When asked by a TV reporter about the prospects of a clash between security forces and mourners at his son’s funeral, Kelly replied: ‘My son will be buried with full military honours as befitting an Irish soldier. If they try and prevent Padraic’s coffin leaving the house with his IRA beret and gloves then we will bury him in the back garden!’[3] However such an open spirit of defiance is a Read the rest of this entry →