ABSTRACT
This chapter examines the creation, removal and reception of murals on a small housing estate in West Belfast and the complexities as to how these processes can be interpreted, misinterpreted and reinterpreted. It focuses on the choreography of mutually supporting and codependent structural and relational tensions between internal and external participants in the mural 'business'. The notion of 'memory entrepreneurs' has been explored in relation to how selective and collective memory can be harnessed to agitate and reinforce meta-political narratives in other geographical areas. The chapter discusses the trans-generational impact of conflict-related trauma can occur within communities who live with murals that are a staple of the emerging 'dark' and trauma tourism markets. It considers the impact murals, as a part of trauma-tourism on the Lower Shankill estate, can have on the formation and sustaining of cultural heritage and identity, and also on the choreography of structural and relational dynamics between those who are 'stakeholders' in the re-imaging of areas.
