This mural, created in 2008, expresses support for the Basque nationalists, and is one of a few murals in this vein. It, and murals of a similar tradition, read almost like political cartoons and are sorts of calls to action rather than agents of interpolation into a way of viewing the conflict in Northern Ireland within history. There are other murals like this one which address political issues in Nicaragua, Cuba, and Palestine.
Northern Ireland developed direct contact with Basque: Gerry Adams visited Basque in 1998 and, “The appearance of [earlier murals about Basque] coincided with efforts on the part of Irish republicans to support the Basque struggle for independence and subsequently to help broker a peace process” (Rolston 459).
This particular image is focused on the sovereignty of the three regions of Basque and is direct in commanding, “Not Spain not France self-determination for Basque country.” The word ‘Askatasuna’is the Basque word for freedom and in other murals was joined with the Gaelic word for freedom as well (Rolston 459).
The fact that political murals such as this are located in Northern Ireland, within the tradition of mural painting, automatically lends them to association and identification with movements within Northern Ireland. They occupy the same physical space as do murals with direct local connections: murals which depict events and people who occurred and lived where they are placed. This gives these international murals a personal nature—though what they show does not necessarily affect Ireland in a direct way, they are allowed in the same space as those issues which do have intensely local backgrounds and this creates the implication that the universal span of all struggles for liberation does have a direct international effect.