The Chronicler here, reflecting on our short visit to Northern Ireland in May.
Do you call it Derry and offend the disappearing majority in the North, or Londonderry and offend the vast majority in the South?
Because the Navigator is in thrall to mapping apps we get to scrape between these two communities, between these two city titles. The concrete kerbs’ tricolour of red, white and blue paintwork might be fading, but the newly installed lighting columns have patriotic paint work that still looks wet. Look the other way and a scheme of identically replicated houses can be glanced through an entanglement of bushes and creepers crawling through a ten foot high link-netted fence. One street: two communities. These are the ‘peace-fences’.
Turn another corner and you’re back in middle class suburbia, only then to suddenly find ourselves on a grit path that quickly devolves to ‘twitchy’. Graffiti on a garage gable suggests there will be no ‘sea border’, whilst a black, newly painted mural states that they are ‘still under siege’, there will be ‘No Surrender’. Every time I read back that last sentence I can’t erase a certain voice from my mind, a preaching voice that comes with vehemence, attitude and absolute certainty, the voice of the late Rev. Ian Paisley. For many on the supposed ‘mainland’ of the British Isles, that is our sole vocal experience of this country and this conundrum city. Which is misguided, yet typical of one hundred and fifty years of LondonWestminster understanding.
StreetArt, in particular multi storied gable end StreetArt are a personal fascination. Many of the more modern ones are exceptional in quality, vibrant in colour, original in thought and meaning. The Bogside murals are promoted as a visitor attraction, which in common with most TripAdvisor suggestions is a personal warning, a flag of avoidance. For StreetArt should be serendipitous, the chance finding, the challenge of the chase, the hunt for an ephemeral piece of art. For it can simply disappear. Maybe the building gets demolished, the piece gets ‘tagged over’ or, as in the case of a gable in Bute Town, Cardiff, gets ‘accidentally’ painted over by Ronnie McDonald’s advertising agency. With the case of the Bogside murals it feels too much like ‘Troubles Tourism’, a voyeurism, I’m not sure if I’m comfortable with that.
As it happens, I do get to see them, but only from a distance, as I stand on the Walls of Derry, my back to the ‘Apprentice Boys of Derry’ museum and looking through a high chain link fence. A barrier to prevent projectiles being hurled at the aforementioned building and has a view from on high, a superior gaze down on the serried ranked rows of ‘two up, two down’ dwellings of the Bogside. And those murals. Viewed in reverse, looking back up at a horizon of militaristic crenellated stone would have a very different perspective. It’s probably no surprise that a giant Palestinian flag flies beside to sign welcoming you to ‘Free Derry’.
We walk those ‘Walls’, more impressive, more encompassing than the better known, at least in my sphere of knowledge, than say Berwick or York. Near complete in their surrounding of the old town, are only breached in one place by an invading shopping mall. It’s from these high vantage point that we find one of those ‘must-see’ visitor attractions, (as it was a ‘chance stumble-upon’ it’s an allowable addition), it’s the Derry Girls mural.
We’re wandering back through the old city hunting a lunch spot that isn’t a chain restaurant, but as it’s the sabbath Monday there’s no success, when we come across the war memorial in the Diamond. The hub from which the radial spokes of streets span out to the original ports in the walls. A triumphant winged Victory atop a forty foot cenotaph holds a laurel garland aloft, below her is a sailor braced against the wind and a soldier. It’s this latter feature’s pose that is troubling. Most Great War memorials that adorn near every British Isles’ village, town or city will depict either a simple Christian cross or soldier in a greatcoat, knapsack and rifle standing head bowed in solemn remembrance. Some might be kilted, others in puttees and trews. All will exude peaceful silence. Victory’s companion in Derry’s Diamond is lunging, driving a bayonet into an invisible foe; a foe who presumably is already lying on the ground. He actively exudes aggressive violence.
As a technical sculpt, it is highly accomplished. Monuments sitting on plinths need to be in balance. Consider a horse with Wellington on board: all four legs will be grounded, if it’s Napoleon he’ll invariable be gesticulating on a rearing horse, two rear legs and a very large tail will be required to tether he and his cuddy to his column. The other favourite for occupancy of a plinth is Queen Victoria, but she doesn’t have a problem, her widow’s weeds of voluminous skirts would have amassed a vast stabilising base, no matter how many pigeons perch on her orb or sceptre, she’s not about to topple over. However, Derry’s soldier is set in frozen fluid motion, no artist’s model in a studio could hold this stance for longer than a few moments. The stresses involved, makes me wonder how it has remained upright for ninety-seven years. Yet one has to wonder what message was being promulgated by the commissioning authorities? What remit was presented to the design sculptor, Vernon Marsh? Whist the Great War had been silent for nine years, it was only four years after the creation of the Irish Free State and a partitioned Ulster in a city that had always had a ruling religious minority and a disenfranchised religious majority. Substitute race for religion, and it can be of no coincidence that the same mould was used to cast a copy for the National War memorial in Cape Town, South Africa.
Maybe the bayonet-wielding soldier conveys a differing message today, with the present questioning of colonial imperialism from the one when the ‘General Officer Commanding the Northern Ireland District’ unveiled this memorial in 1927. Words, titles, concepts alter with time, coloured by modern ideals, political persuasions and personal histories. Still, I was surprised by my reaction to this cenotaph, maybe it was the charcoal-dark silhouette etched on a monochromatic sky on a rain-sodden dank Monday afternoon.
(Depending on which brand of local government you’re accessing, both Derry and Londonderry can be in their official titles).