Here is an assortment of images concerning boycotts of Israeli goods in response to the invasion of Gaza. Above, “Ban Israeli goods” on the wall of the Alexandra Park Tesco, north Belfast; below, V-for-victory fingers as scissors snipping barbed wire (bdsmovement.net) in a shop window in Andersonstown, west Belfast; “BDS” [Boycott, divestment, sanctions] and “IPSC” [Ireland Palestine Solidarity Campaign, which maintains a list of Israeli goods] next to a painted Palestinian flag in the middle Falls, west Belfast; plus an Artists Against Genocide (ig) sticker.
This face is by Birmingham graffiti artist Fum.Armada (ig), in North Street, Belfast. There is another from Union Street in the Paddy Duffy collection.
For the launch of the murals painted in the Painting For Palestine project (Fb) a red ribbon with the words from Palestinian writer Refaat Alareer’s poem “If I Must Die” was added to the ten consecutive panels below the ‘republican museum’ panel.
If I must die, you must live to tell my story to sell my things to buy a piece of cloth and some strings, (make it white with a long tail) so that a child, somewhere in Gaza while looking heaven in the eye awaiting his dad who left in a blaze —
and bade no one farewell not even to his flesh not even to himself — sees the kite, my kite you made, flying up above and thinks for a moment an angel is there bringing back love If I must die let it bring hope let it be a tale
The launch event for the Painting For Palestine project (Fb) took place on March 3rd. A large paper Palestinian flag (with the cartoon character of resistance Handala (WP) on it) was used as a cover over the mural of three children – Irish, Palestinian, and South African – and unveiled by local children who had worked on the piece.
“Cosaın Ár Neodracht – Ní dhéanann muıd freastal ar Westminster nó ar Washington ach ar Éıreann amháın./Protect our neutrality – We serve neither Westminster nor Washington but Ireland only.” The question of Ireland’s neutrality is a frequent one in light of US aeroplanes using Shannon as a stop-over point en route to the Middle East and more recently because of the Russian invasion of Ukraine that has pushed Finland and Sweden to join NATO (CNN).
The other issue on these posters (on the right of the electrical box) is political prisoners in Palestine. The Al Naqab prison is in the Negev, Israel, and “a center of brutality and brutal behavior” according to the head of a Palestinian prisoners’ welfare organisation (Al Mayadeen) with at least six prisoners killed in October-November (People’s Dispatch). (For the POW solidarity poster in the bottom right, see Victory To The PFLP.)
For the use of an upturned red triangle, see Resist! from the Lecky Road underpass. For a kite flying in support of peace in Gaza, and the source of this entry’s title, see Tell My Story.
Central Drive (above) and Southway, Derry.
The Resist triangle in Central Drive replaces some simple graffiti in memory of Bloody Sunday:
“When it comes to punk, New York has the haircuts, London has the trousers, but Belfast has the reason.” – Terri Hooley in 2012’s Good Vibrations (IMDb).
The final incarnation of Hooley’s Good Vibrations record shop (Fb) closed in North Street in 2015 (BelTel). It began in October 1976 at 102 Great Victoria Street (Spit Records | Louder Than War | Spit Records) — the shop and Hooley are included, along with footage of the Undertones, Outcasts, Stiff Little Fingers, and many others — in the 1979 documentary Shellshock Rock (UK viewers can watch at BFI | Spit Records has a great write-up of events surrounding the film’s launch).
The new mural is close to the shop’s second location (from roughly 1984-1993), on the other side of the road, at 121 Great Victoria Street, which itself has had “Good Vibrations” signage reinstated by Zippy (ig) – one of the new pieces around the corner on 127 Great Victoria Street that can be seen in the entry in the Paddy Duffy collection.
Big Time Punk is in Stroud Street, painted by Peaball, specifically RAZER (ig) and NOYS (ig).
The plaque (final image) outside the Harp Bar (in Hill Street) reads, “For the contribution made by Terri Hooley and the role of Good Vibrations to Belfast’s music heritage and putting Belfast on the international music map. The Harp Bar and its shared history of the people and bands who played here. The Outcasts, Rudi, SLF, The Defects, The Undertones and many more 1978-1982.”
Two days of public hearings were held on January 11th and 12th and the ruling on the 26th directed Israel to take “all measures” to prevent any acts that could be considered genocidal, though it did not order a halt to Israel’s attack on Gaza (Al Jazeera | WP).
Sınn Féın moved in the Dáıl that Ireland join South Africa as a plaintiff in the full case, but the motion was defeated (Irish Times).
The image above shows, on the left, three children from Ireland, Palestine, and South Africa holding hands, and, on the right, dead Palestinian children flying to heaven over stripped and kneeling Palestinian prisoners. The flying children are based on an image by Taqdees Fatima (ig) and the kneeling prisoners on an image by Saïd Hassan (ig). The source for the three children is unknown.
The Palestinian West Bank is surrounded by, and in some places penetrated by, a system of barriers 440 miles long. In some places it takes the form of multiple fences, in others, of a concrete wall reaching to a height of 30 feet/9 metres. (Here is WP’s map of the wall in the vicinity of Bethlehem and Jerusalem, also showing the Israeli settlements in this part of the West Bank).
In this mural, a Palestinian stands on top of the wall and looks towards (Christian) Church Of The Holy Sepulchre and the (Islamic) Dome Of The Rock in old Jerusalem and imagines themselves a phoenix, a symbol representing rebirth and persistence, well known from (Irish) republican muraling (Peter Moloney Collection | Extramural collection).
The mural is on the International Wall, west Belfast, part of the Painting For Palestine project (Fb). The original artist is unknown.
This is one of five pieces by digital artist Saïd Hassan (ig) that is being painted on the International Wall as part of the Painting For Palestine (Fb) project. It shows a family of refugees living in a tent; the female adult is cooking over an open flame while three children look on.
This is the last (right-most) of the 12 murals.
The images above and immediately below are from February 14th. The ‘in-progress’ images below are in reverse-chronological order.
Seosamh Mac Coille Collection 