Making-Over Northern Ireland by Changing Facades & Perceptions

Through art, architecture, and “symbolic landscapes,” post-conflict Northern Ireland is changing the “face” it shows the world. Bree T. Hocking explores this new identity in The Great Reimagining: Public Art, Urban Space, and the Symbolic Landscapes of a ‘New’ Northern Ireland. In the following short essay, the author explains some of actual and perceived changes, by way of the words exchanged with a young Protestant man.

 


 

On a recent visit to Northern Ireland, I met a young Protestant man from the Shankill Road heading home after dropping off his daughter at a nearby crèche. It was hardly an extraordinary encounter—save for the fact that the man had just left his toddler at a nursery on the Catholic side of one of Belfast’s largest and oldest peace walls. (These walls, sometimes up to eight metres tall, separate many working-class neighborhoods across the city along ethno-national lines.)

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If Monuments Could Talk

War memorials are more than a simple, objective way to commemorate the past; they can also, as a visual message, guide the memory of a society in certain political and ideological directions. Author Elisabetta Viggiani looks at and into war memorials in Northern Ireland — and what these say about the broader culture — in her just-published Talking Stones: The Politics of Memorialization in Post-Conflict Northern IrelandBelow, the author gives an introduction to her work, followed by an excerpt from the volume.

 

 

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If memory was simply about the past, why would governments and public authorities be prepared to put their ever-shrinking budgets at its service? The answer is because memory is seldom about the past, rather it is about the present moment; as Pierre Nora puts it, ‘through the past, we venerate above all ourselves’. Talking Stones investigates how collective memory and material culture are used to support present political and ideological needs in contemporary society.

 

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