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The Contested Identities of Ulster Protestants This Page Intentionally Left Blank the Contested Identities of Ulster Protestants The Contested Identities of Ulster Protestants This page intentionally left blank The Contested Identities of Ulster Protestants Edited by Thomas Paul Burgess Senior Lecturer, School of Applied Social Studies, University College Cork, Ireland and Gareth Mulvenna Visiting Research Fellow, School of Politics, International Studies and Philosophy, Queen’s University Belfast, UK Selection and editorial matter © Thomas Paul Burgess and Gareth Mulvenna 2015 Remaining chapters © Respective authors 2015 Softcover reprint of the hardcover 1st edition 2015 978-1-137 -4 5393 - 8 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The authors have asserted their rights to be identifi ed as the authors of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2015 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN 978-1-349-49779-9 ISBN 978-1-137-45394-5 (eBook) DOI 10.1057/9781137453945 This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental regulations of the country of origin. A catalogue record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data The contested identities of Ulster Protestants / edited by Thomas Paul Burgess and Gareth Mulvenna. pages cm Summary: “‘Flags’, ‘Emblems’ and ‘The Past’; three seemingly insurmountable challenges which continue to hinder the peace process in Northern Ireland. For many, the responsibility for the impasse that scuppered the Haass talks and brought violent protests to the streets of Belfast appears to rest with the perceived intransigence of the Protestant, Unionist and Loyalist communities to embrace change. That this community is itself riven with internal rancour and discord should come as no surprise. Issues of social class, denominational alignment, political aspiration and national identity have historically divided what outsiders have often mistakenly viewed as a collective cultural, religious and socio-political entity. This study explores the statement by Henry McDonald that this is ‘...the least fashionable community in Western Europe’. A diverse group of contributors including prominent politicians, academics, journalists and artists investigate the reasons informing public perceptions attaching to the Protestant, Unionist and Loyalist communities in Ulster”—Provided by publisher. 1. Protestants—Political activity—Ulster (Northern Ireland and Ireland) 2. Protestants— Ulster (Northern Ireland and Ireland)—Attitudes. 3. Unionism (Irish politics) 4. Peace-building—Northern Ireland. 5. Peace-building—Ireland. 6. National characteristics, Irish. 7. Ulster (Northern Ireland and Ireland)—Politics and government. I. Burgess, T. P., editor of compilation. II. Mulvenna, Gareth, 1980– editor of compilation. DA990.U46C674 2015 305.6'80409416—dc23 2014028155 Typeset by MPS Limited, Chennai, India. For Mary and Ruby Burgess TPB To my mother and father, my brother Andrew, and Paula who is my rock GM This page intentionally left blank Contents List of Tables ix Preface x Acknowledgements xv Notes on Contributors xvi Introduction 1 Thomas Paul Burgess and Gareth Mulvenna 1 Beginning to Talk to ‘Billy’: Revising Southern Stereotypes of Unionism 9 Eoghan Harris 2 Investigating the Protestant ‘Kaleidoscope’ 24 Henry McDonald 3 Lost in Translation: Loyalism and the Media 31 Malachi O’Doherty 4 Typical Unionists? The Politicians and their People, Past and Present 39 James Greer 5 ‘Doing Their Bit’: Gendering the Constitution of Protestant, Unionist and Loyalist Identities 55 Fidelma Ashe and Caireen McCluskey 6 The Re-invention of the Orange Order: Triumphalism or Orangefest? 70 Reverend Brian Kennaway 7 Loyalism On Film and Out of Context 83 Stephen Baker 8 This Sporting Life: Anything to Declare? Community Allegiance, Sports and the National Question 98 Thomas Paul Burgess 9 No One Likes Us, We Don’t Care: What Is to Be (Un) Done about Ulster Protestant Identity? 113 Robbie McVeigh vii viii Contents 10 Celebration and Controversy in America: At Home with the Scots-Irish Diaspora 134 John Wilson and Alister McReynolds 11 Convergence 147 Graham Reid 12 Labour Aristocracies, Triumphalism and Melancholy: Misconceptions of the Protestant Working-Class and Loyalist Community 159 Gareth Mulvenna 13 To the Beat of a Different Drum: Loyalist Youth and the Culture of Marching Bands 177 Sam McCready and Neil Symington 14 Blood Sacrifice for Queen and Country: Paramilitarism and Political Manoeuvrings 191 Billy Hutchinson Index 207 List of Tables 5.1 Northern Ireland Assembly election results, 2011 63 ix Preface Whilst attending a perfectly respectable dinner party in the second city of Ireland, the espresso-fuelled topic of conversation turned to, of all things, the validity of cultural expression. After close on twenty years as a taxpaying citizen of the Republic, I am, it seems – for good or ill – forever to be designated as ‘The Prod from Belfast’. (An unpleasant trait often associated with Cork is that anyone sojourning deep into the heart of the so-called ‘Rebel County’ will forever be considered a ‘blow-in’ no matter how long their duration of domicile.) As such, I could anticipate, as I so often have done before, what was coming straight down the tracks at me. Didn’t I believe that those aspects of triumphalism inherent within the core of northern Orangeism, undoubtedly stymied initiatives such as the much lambasted ‘Orangefest’?1 It was not unreasonably posited that this legacy would inevitably scupper any attempts to move toward a more inclusive, mainstream ‘carnival-like’ Twelfth of July celebration aimed at promoting those positive aspects of Protestant/loyalist/unionist cultural identity. It required just a small leap of lazy stereotyping then to press forward the inevitable premise. At this point, a young woman with impeccable Irish Republican credentials spoke up forcefully, and advanced her sure and certain hypothesis that there did not exist – neither could there ever exist – any legitimate or worthwhile expression of a valid or meaningful cultural contribution emerging from the Ulster unionist or loyalist tradition. She cited as her logic for this pronouncement that – unlike, say the great Protestant poets, playwrights and novelists who embellish the literary his- tory of the Republic – no repressive, sectarian or reactionary state could ever produce art or cultural expression of worthwhile or lasting merit. As if by way of empirical evidence, a quick inventory was offered. An entire pantheon of outstandingly successful musicians, writers and actors were presented, all of them first- or second-generation Catholic Irish and many of them drawing their very inspiration from the muse of Celtic mysticism, Catholicism, dispossession and suffering. To further support this, she asked us to consider if any enduring and influential artists had emerged from apartheid Afrikaans society, the Zionist Israeli state or indeed Nazi Germany for that matter? x Preface xi No. Great art in general, and edgy, subversive popular culture in particular, remained exclusively the unimpeachable birthright of the dispossessed, the revolutionary and the freedom fighter. And woe betide anyone from the liberal intelligentsia who might dare to suggest otherwise. I forced a smile of course – through gritted teeth – feeling that any spirited defence on the matter would render me a bellicose Paisleyite and monarchist lick-spittle … once I had left the room, naturally. Instead I resorted to my tried and tested response when faced with the need to defend an entire community of fellow Northern Protestant Irishmen and women in their absence. I fell back on an infinitely more interesting period in my life as a travelling minstrel of sorts. ‘Did I ever tell you about the time that Elvis Costello called me an Orange bastard?’ That never fails to do the trick. As I had learned during my own experience as a songwriter, performer and musician with my band ‘Ruefrex’ throughout the 1980s, the music establishment and press prefer their Paddies Catholic, nationalist and one-dimensional. We had been performing on the Tyne Tees TV show The Tube as part of the ‘Red Wedge’ initiative. This was a collective of British popular musicians (Billy Bragg, Tom Robinson, The Communards, Madness, The Smiths, et al.) who attempted to engage young people with politics in general – and the policies
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