The Arts Struggle

Promising more "craic" than a Columbian drug baron, West Belfast's Feile an Phobail began its 10th birthday with a colourful, if subdued, parade up its traditional route, the Falls Road. The crowds were not 10 deep on the footpaths, but those who were there enjoyed the opportunity to slag off those they recognised on the floats. As always the Feile organisers chose to emphasise its roots in the republican struggle rather than try to stress any artistic merit it may have. The foreword to this year's programme by Caitriona Ruane, Feile's director, contains a paragraph or two which would not be out of place in a Sinn Fein election leaflet. Ruane blasts those who have attempted to "silence us, to censor us and to cut our funding" though without actually naming names. She also demands "an inclusive negotiated settlement on this island." She asserts that: "This more than anything will ensure the continuing dynamic growth of our community and and our Feile".

Given that the Feile has attracted sponsorship from groups as diverse as the Northern Ireland Tourist Board, the Community Relations Council, the Cultural Traditions Group, the Arts Council of Northern Ireland, the Northern Ireland Voluntary Trust to name but a handful, you wonder who exactly Ruane is talking about. Indeed, is there anyone specific in mind or is this just the sort of woolly resistance talk which takes the place of actually saying anything of value?

More fundamental to the Feile's continued growth is Ruane's stated aims of creating "from within West Belfast the resources of its own image making - to create a showcase of creative talent and energy." On the evidence of what is on offer, Feile, more often than not, seems to reinforce outsiders' image of west Belfast as being peopled by Irish Sandinistas. The naming of competitions, the tone of lectures and, most notable, the mural displays, served to highlight (if not glorify) republican resistance rather than trying to place "all violence" (to paraphrase Sinn Fein) in its context. Indeed, by Monday morning the photographic display of murals in the Conway Mill had not been hung at all, adding a certain sense of disorganisation to the whole affair. Rows of photographs lay on the ground with their backs to the public. Was this a statement? Given also that the photographs were all taken from Bill Rolston's book, Drawing Support, the question has to be asked: why bother visiting when you can buy the book or, even better (if you're living in West Belfast), open the front door?

The chance to juxtapose loyalist imagery with republican imagery was certainly lost. There was a handful of loyalist images all lying on the floor. Was it too dangerous to hang them side by side with those taken from nationalist west Belfast? Would this physical act of "celebrating our diverse cultures" (one of the themes of this year's Feile) perhaps raise questions best left unasked? For example, it is virtually impossible to ignore the glorification of masked gunmen by both republicans and loyalists and to ignore the self-serving use of history at which both sides are adept in their depiction of their respective struggles.

Feile's obvious commitment to organising as many events as possible in as many places as possible in as short a time as possible also has its drawbacks. There are simply not enough venues of a reasonable size in which to mount displays or hold seminars. This attitude of "never mind the quality, feel the width" seriously undermines any attempt at organising an attractive programme which will bring people to west Belfast. But then it could be argued that Feile an Phobail is not about bringing people to west Belfast (other than the revolutionary tourists) but more about re-affirming the political values of those already there.

For all the bluff, there have been, so far, absolutely no recognisable highlights in the arts during Feile. Robert Ballagh's Riverdance Paintings were simply too slight to qualify as a major exhibition and the Irish Museum of Modern Art's Famine collection was disappointingly unimpressive. Two pieces which did stand out, however, were Geraldine O'Reilly's Letter and Register 1 from the Voices from the Tower exhibit. O'Reilly's skilful use of archival material effectively highlighted the human tragedy of the Famine and ignored the polemics.

Unfortunately, no attempt was made to highlight the work of established artists from the area. Once again, the opportunity was lost for a major retrospective of the work of Gerard Dillon, an artist born and raised on the Falls. Dillon has never been given the recognition he deserves and remains a marginalised figure of major artistic importance within West Belfast. Surely, the Feile committee should commemorate annually the life and works of such artists and writers as Dillon, Michael McLaverty and Joseph Tomelty who are part of a different and equally legitimate west Belfast?

This lack of understanding for, and appreciation of, west Belfast's hidden artistic heritage is depressing. Showcase local work such as the West Belfast Arts Society and launch local anthologies, by all means, but let people know that they are the inheritors of a tradition and not the creators of one, that the example of true artists, untainted by political considerations, is also part of the cultural fabric of west Belfast.

Even more surprisingly Feile had no big name writers reading this year. Don Mullin, author of Eyewitness, an account of the Bloody Sunday killings, certainly drew a large crowd for his talk in the Falls library. But there wasn't a hint of any major established literary figure on the programme. This is a huge omission from Feile's programme. Did the writers of Ireland get better offers elsewhere or did Feile decide that writing was less important than racing guiders?

The West Belfast Festival continues until Sunday. Highlights include: a panel discussion on conditions for women prisoners, with Bernadette Mc Aliskey and Gareth Pearse (Tonight, An Chulturlann, 7 p.m.); Justus and Dubbeljoint's Binlids, about "life in West Belfast from internment in 1971 and the subsequent demonisation of that area and its people" (until Saturday, B.I.F.H.E., Whiterock Road); Frances Black's Feile Finale Con- cert (Sunday, Westway Entertainment Complex, 7.30 p.m.). Festival information on Belfast 313440.