Population Change and Social Inclusion Study Derry/Londonderry
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Free Derry – a “No Go” Area
MODULE 1. THE NORTHERN IRELAND CIVIL RIGHTS MOVEMENT 5: FREE DERRY – A “NO GO” AREA LESSON LESSON DESCRIPTION 5. This lesson will follow up on the events of The Battle of the Bogside and look at the establishment of a “No Go” area in the Bogside of Derry/Londonderry. The lesson will examine the reasons why it was set up and how it was maintained and finally how it came to an end. LESSON INTENTIONS LESSON OUTCOMES 1. Explain the reasons why • Students will be able to explain barricades remained up after the the reasons why “Free Derry” was Battle of the Bogside. able to exist after the Battle of the 2. Explain the reasons why the Bogside had ended and how it barricades were taken down. came to an end. 3. Demonstrate objectives 1 & 2 • Employ ICT skills to express an through digital media. understanding of the topic HANDOUTS DIGITAL SOFTWARE HARDWARE AND GUIDES • Lesson 5 Key • Suggested • Image • Whiteboard Information Additional Editing • PCs / Laptops Resources Software • M1L5 • Headphones / e.g. GIMP Statements Microphone • Digital • Audio Imaging Editing Design Sheet Software e.g. • Audio Editing Audacity Storyboard www.nervecentre.org/teachingdividedhistories MODULE 1: LESSON 5: LESSON PLAN 61 MODULE 1. THE NORTHERN IRELAND CIVIL RIGHTS MOVEMENT 5: FREE DERRY – A “NO GO” AREA ACTIVITY LEARNING OUTCOMES Show the class a news report via This will give the pupils an insight as BBC archive footage which reports to how and why the barricades were on the events of the Battle of the erected around the Bogside area of Bogside (see Suggested Additional Derry/Londonderry. -
R0inn Cosanta. Bureau of Miilitary History, 1913-21
R0INN COSANTA. BUREAU OF MIILITARY HISTORY, 1913-21. STATEMENT BY WITNESS DOCUMENT NO. W.S. 803 Witness Commandant Michael Sheer in (0.2984), Baldonnel Camp, Co. Dublin. Identity. Member of Irish - Volunteers, Tyrone, 1914 ; Company Officer Irish volunteers, Deny, 1917 - ; Member of Flying Column, Co. Donegal, 1920-'21. Subject. National events, Donegal-Derry, 1914-1921. Conditions, if any, Stipulated by Witness. Nil File No. S.2114 Form B.S.M.2 STATEMENTBY 0,2984 COMMANDANTMICHAEL SHEERIN, ARMAMENTOFFICER, THE AIR CORPS, BALDONNELCAMP. COUNTYDUBLIN, I was born in Glenelly, Co. Tyrone, on 26th September, 1900 and after leaving school I went to Hughes' Academy in Derry City. I lived at 17 Foyle St. in the private apartments of the group of buildings known as Conlan's Rooms My uncle administered this property. The Irish Volunteers used these buildings as Assembly Rooms. My "keeper" was Miss Conlan and Miss Reddy - both of these ladies were elderly spinsters. I think I actually became a member of the National Volunteers about the middle of 1914. I was intended for the Church, and while getting a grind from Ft. Jos. Lagan, C.C., Cranagh, preparatory to entering St. Columb's College - a brother of Dr. Lagan, the donor of the Lagan Cup to the Gaelic Athletic Association - I persuaded him to take me into a juvenile section of the local Company that he directed. This was probably the Fianna. When the Rising occurred in Dublin during Easter Week 1916, there was some activity in Derry. A number of the leading Volunteers were arrested and subsequently interned. -
The Code of Practice for Film Production in Northern Ireland
THE CODE OF PRACTICE FOR FILM PRODUCTION IN NORTHERN IRELAND Northern Ireland Screen promotes Northern Ireland nationally and internationally as an important location for the production of films for cinema and television. Northern Ireland Screen provides a fully comprehensive information service, free of charge, to film and television producers from all over the world. WHY A CODE OF PRACTICE? Northern Ireland Screen is here to help complete projects safely and efficiently. We bring together all bodies affected by film-making and work with them and the general public to ensure a more film friendly environment. The creation of a code of practice for production companies to follow when filming on location in Northern Ireland will ensure closer co-operation with the public and better management on the ground. The object of this code of practice is to maximise Northern Ireland’s potential as a location while safe guarding the rights of its residents. Northern Ireland Screen encourages all feature film producers to agree to abide by this code of practice. NB: This Code of Practice is not intended for news and documentary crews of five persons or less. Whenever this document refers to film and film production, the term includes all other visual media such as television, commercials, corporate and music videos, cable, satellite etc. This document contains a declaration that all producers are requested to sign. NORTHERN IRELAND SCREEN 3rd Floor, Alfred House, 21 Alfred Street, Belfast BT2 8ED T: +44 28 9023 2444 F: +44 28 9023 9918 E: [email protected] -
Planning Applications Validated - for the Period 01/07/2020 to 31/07/2020
Planning Applications Validated - For the Period 01/07/2020 to 31/07/2020 Reference Number Proposal Location Application Type Agent Name & Address LA09/2020/0763/F Proposed silo and dry Farmyard at 29 Full CQ Architects pen cattle shed with Crancussy Road 23 Dunamore Road agricultural access Cookstown Cookstown provided to fields at the BT80 9NR rear LA09/2020/0764/DC Discharge of condition 8 North of 3 Discharge of APS Architects LLP Unit 4 on previously approved Coolreaghs Condition Mid Ulster Business Park application Road Sandholes Road LA09/2019/0994/F Cookstown Cookstown BT80 9LU LA09/2020/0765/F Amendment of design East of 18 Lisgallon Full J.Aidan Kelly Ltd 50 and access laneway as Road Tullycullion Road approved in Ennish Dungannon M/2005/0504/O Dungannon BT70 3LY LA09/2020/0766/F Erection of Replacement 35 Lisbeg Road Full Bernard J Donnelly Dwelling & Retention of Ballygawley 30 Lismore Road Ex. dwelling as outbuilding Ballygawley / store. BT70 2ND LA09/2020/0767/NMC Change part of external North of 3 Non APS Architects LLP Unit finish from dark grey Coolreaghs Road Material 4 Mid Ulster Business facing brick to dark grey Cookstown Change Park Sandholes Road self colored render to all Cookstown house types BT80 9LU LA09/2020/0768/F Proposed Replacement 36 Granville Road Full J Aiden Kelly Ltd Dwelling Dungannon 50 Tullycullion Road Co Tyrone Dungannon BT70 3LY LA09/2020/0770/F Proposed replacement 33 Blackpark Road Full floodlights to main Toomebridge playing pitch LA09/2020/0771/F Retention of engineering and 73 Derryvale Road Full C McIlvar Ltd sandblasting business to Coalisland Unit 7 include use of No. -
Derry~ Londonderry Strategic Framework
Bogside, Fountain & Bishop Street DERRY~ LONDONDERRY STRATEGIC FRAMEWORK August 2016 DERRY~ LONDONDERRYURBAN VILLAGES INITIATIVE DERRY~ LONDONDERRY 1 INTRODUCTION 01 2 BOGSIDE, FOUNTAIN AND BISHOP ST TODAY 19 3 THE FUTURE 55 4 SUPPORTING DELIVERY 102 01INTRODUCTION Urban Villages Initiative - Bogside, Fountain and Bishop Street 1 INTRODUCTION 1 PURPOSE OF DOCUMENT This Strategic Framework is intended to provide a reference point for anyone involved in shaping investment decisions or identifying collaborative opportunities in the Bogside, Fountain and Bishop Street Urban Village area. The Framework presents findings from a creative process of analysis and reflection which involved individual members of the community, as well as representatives from local and central government. It provides an analysis of place and is a tool for informing action and investment. The Framework is intended to be used as a working document so that emerging opportunities can be identified and changing circumstances acknowledged. It begins by presenting information on what the Urban Villages Initiative is, what it is trying to achieve and how it will work. Section 2 then sets out the local context and presents key findings under three headings - strengths, symptoms and causes. Section 3 looks towards the future and sets out Strategic Actions which emerged through the process of engagement, evidence gathering and analysis. These can help to inform future investment plans as well as identifying opportunities for alignment of effort and collaboration around shared outcomes. Section 4 focuses on delivery. The Executive Office will take forward projects and programmes within its remit, and work with others to progress opportunities for shared delivery of outcomes, in keeping with the approach articulated in the draft Programme for Government Framework. -
“Slowly, Through a Vector”: the Battle of the Bogside, 1969 Ian Laplante
“Slowly, Through a Vector”: The Battle of the Bogside, 1969 Ian Laplante Submitted in Partial Fulfilment of the Requirements for the Degree of Master of Arts in History Nipissing University School of Graduate Studies North Bay, Ontario © Ian Laplante August 2011 ! Laplante iii! Abstract In the case of Northern Ireland, and the Bogside in particular, the state understanding of the borderland often ran in opposition to the understanding of those residing in the space; nonetheless, the ways in which those definitions were countered and defended were often quite similar: through violence and storytelling— that is, action and interpretation. The actors in this narrative perceived themselves to be passing slowly through a vector—forceful and deadly, rooted in over a thousand years of history, culminating in the street violence of August 1969. As such, in focusing on public representations and interpretations of the violence, this paper will explore the ways in which the Battle of the Bogside was understood by participants, observers and historians. I thus hope to speak not so much to the violent event itself but to the act of storytelling as a means of crystallizing and protecting group identity in a contested landscape. ! Laplante iv! Acknowledgements This MRP was, in many ways, a collaborative project. As such, I’m deeply indebted to all those who helped shape it into its current form, especially: Dr. Dean Bavington and Dr. Steve Connor of Nipissing University’s History Department and Dr. Gyllian Phillips of Nipissing’s English Department; My colleagues in the MA History program; And Nipissing University staff. ! Laplante v! for N.S. -
Legacies of the Troubles and the Holy Cross Girls Primary School Dispute
Glencree Journal 2021 “IS IT ALWAYS GOING BE THIS WAY?”: LEGACIES OF THE TROUBLES AND THE HOLY CROSS GIRLS PRIMARY SCHOOL DISPUTE Eimear Rosato 198 Glencree Journal 2021 Legacy of the Troubles and the Holy Cross School dispute “IS IT ALWAYS GOING TO BE THIS WAY?”: LEGACIES OF THE TROUBLES AND THE HOLY CROSS GIRLS PRIMARY SCHOOL DISPUTE Abstract This article examines the embedded nature of memory and identity within place through a case study of the Holy Cross Girls Primary School ‘incident’ in North Belfast. In 2001, whilst walking to and from school, the pupils of this primary school aged between 4-11 years old, faced daily hostile mobs of unionist/loyalists protesters. These protesters threw stones, bottles, balloons filled with urine, fireworks and other projectiles including a blast bomb (Chris Gilligan 2009, 32). The ‘incident’ derived from a culmination of long- term sectarian tensions across the interface between nationalist/republican Ardoyne and unionist/loyalist Glenbryn. Utilising oral history interviews conducted in 2016–2017 with twelve young people from the Ardoyne community, it will explore their personal experiences and how this event has shaped their identities, memory, understanding of the conflict and approaches to reconciliation. KEY WORDS: Oral history, Northern Ireland, intergenerational memory, reconciliation Introduction Legacies and memories of the past are engrained within territorial boundaries, sites of memory and cultural artefacts. Maurice Halbwachs (1992), the founding father of memory studies, believed that individuals as a group remember, collectively or socially, with the past being understood through ritualism and symbols. Pierre Nora’s (1989) research builds and expands on Halbwachs, arguing that memory ‘crystallises’ itself in certain sites where a sense of historical continuity persists. -
By James King B.A., Samford University, 2006 M.L.I.S., University
THE STRUGGLE CONTINUES: ARCHIVAL APPROACHES TO CIVIL RIGHTS IN NORTHERN IRELAND AND THE AMERICAN SOUTH by James King B.A., Samford University, 2006 M.L.I.S., University of Alabama, 2007 M.A., Boston College, 2009 Submitted to the Graduate Faculty of School of Computing and Information in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2018 UNIVERSITY OF PITTSBURGH SCHOOL OF COMPUTING AND INFORMATION This dissertation was presented by James King It was defended on November 16, 2017 and approved by Dr. Sheila Corrall, Professor, Library and Information Science Dr. Andrew Flinn, Reader in Archival Studies and Oral History, Information Studies, University College London Dr. Alison Langmead, Associate Professor, Library and Information Science Dissertation Advisor: Dr. Richard J. Cox, Professor, Library and Information Science ii Copyright © by James King 2018 iii THE STRUGGLE CONTINUES: ARCHIVAL APPROACHES TO CIVIL RIGHTS IN NORTHERN IRELAND AND THE AMERICAN SOUTH James King, PhD University of Pittsburgh, 2018 When police and counter-protesters broke up the first march of the Northern Ireland Civil Rights Association (NICRA) in August 1968, activists sang the African American spiritual, “We Shall Overcome” before disbanding. The spiritual, so closely associated with the earlier civil rights struggle in the United States, was indicative of the historical and material links shared by the movements in Northern Ireland and the American South. While these bonds have been well documented within history and media studies, the relationship between these regions’ archived materials and contemporary struggles remains largely unexplored. While some artifacts from the movements—along with the oral histories and other materials that came later—remained firmly ensconced within the archive, others have been digitally reformatted or otherwise repurposed for a range of educational, judicial, and social projects. -
Baseline Statistics & Evidence Base
Baseline and Evidence Base Annea_A_cover.indd 1 15/03/2017 09:10 Where verbatim extracts from reports are presented within this document they do not necessarily reflect the views of the authors or DCSDC but are there for information purposes only. These are contained within shaded boxes and referenced accordingly. 2 Stats_01.indd 2 03/06/2015 11:22 Contents 7 Purpose of the Briefing Paper 8 Key Findings 11 Structure of the Report 12 Statistical Sources 13 Choice of Geography 14 Context and Background for Analysis and Interpretation of Data 14 Relationship between Multiple Deprivation Measure domains 15 The Use of Spatial Measures for the Targeting of Need: OFMDFM:2013 17 Context: Social 17 General Demographic Trends, DCSDC, NI, Donegal 26 Context: Economic 26 Economy and Society OFMDFM - Impact of Welfare Reform on NI, 2013 30 Universal Credit in Northern Ireland: what will its impact be, and what are the challenges? 33 DCSDC SOA 2010 Deprivation – Domains and Sub-Domains Ranked 35 Multiple Deprivation Measures for DCSDC (2010) 40 Community Planning: THEME 1: SOCIAL 40 1.1: Health 51 1.2 Cultural Deprivation Index 62 1.3: Sport 63 1.4: Volunteering 79 2.3: Suicide 81 Community Planning: THEME 2: ECONOMY 81 2.1: Employment/Economic Activity 93 2.2 Tourism 97 2.2: Education 105 2.3 Skills 109 Community Planning: THEME 3: ENVIRONMENTAL Derry District Housing Plan & Local Housing Strategy 2014/2015, NIHE 117 Fuel Poverty 129 Rurality 139 Equality 3 Stats_01.indd 3 03/06/2015 11:22 139 Ethnicity: Detailed Characteristics for NI on Ethnicity, -
Representation and Memory in the Bogside Murals in Northern Ireland
54 ARTICLE ‘Look What We Have Gone Through’: Representation and Memory in the Bogside Murals in Northern Ireland LAURA AGUIAR, Queen’s University Belfast ABSTRACT Murals have been painted on the outside walls of houses and businesses in Northern Ireland and have functioned as visual evidence of people’s experiences of the conflict known as the Troubles. Created in 1994, The People’s Gallery is a series of twelve murals painted by three local artists in the Bogside district in Derry. This article examines how the murals ‘remember’ the conflict, what stories are included or excluded, how ‘Us’ and ‘Them’ are portrayed, and how the depiction of the past relates to the present. The analysis shows that the murals focus on the Bogside’s own experiences, portraying ‘Us’ as victims and as activists. The Other is represented directly by the image of the British army/RUC, and indirectly by the image of the chaos and violence caused to ‘Us’. Due to the lack of sectarian messages, The People’s Gallery can have a positive use as a storytelling tool in Northern Ireland’s current transitional scenario. KEYWORDS Murals; Bogside; Derry; Memory; Othering; Representation; Troubles Introduction Voted as one of the Top Ten cities in the world to visit in 2013 by Lonely Planet (2012), and holding the title of UK City of Culture for the same year, Derry-Londonderry (Northern Ireland) has increasingly seen tourists flocking into its historic walls to enjoy a wealth of cultural events. With such optimist atmosphere, it may be hard for tourists to imagine the city’s troubled past, which has been ‘shaped by violent and traumatic conflict focused on spatial imposition and contestation of state power, remembered in highly politicised cultures of public commemoration’ (Dawson 2007, 92). -
Foyle Heritage Audit NI Core Document
Table of Contents Executive Summary i 1 Introduction ..................................................................................................1 1.1 Purpose of Study ................................................................................................... 1 1.2 Objectives of the Audit ......................................................................................... 2 1.3 Project Team ......................................................................................................... 3 1.4 Study Area ............................................................................................................. 5 1.5 Divisions ................................................................................................................ 6 2 Audit Methodology .......................................................................................8 2.1 Identification of Sources ....................................................................................... 8 2.2 Pilot Study Area..................................................................................................... 9 2.3 Selection & Organisation of Data .......................................................................... 9 2.4 Asset Data Sheets ............................................................................................... 11 2.5 Consultation & Establishment of Significance .................................................... 11 2.6 Public Presentation ............................................................................................ -
Evaluation of the Building Peace Through the Arts: Re-Imaging Communities Programme
Evaluation of the Building Peace through the Arts: Re-Imaging Communities Programme Final Report January 2016 CONTENTS 1. BUILDING PEACE THROUGH THE ARTS ................................................... 5 1.1. Introduction ........................................................................................................... 5 1.2. Operational Context ............................................................................................. 5 1.3. Building Peace through the Arts ......................................................................... 6 1.4. Evaluation Methodology ....................................................................................... 8 1.5. Document Contents .............................................................................................. 8 2. PROGRAMME APPLICATIONS & AWARDS ............................................ 10 2.1 Introduction ......................................................................................................... 10 2.2 Stage One Applications and Awards ................................................................ 10 2.3 Stage Two Applications and Awards ................................................................ 11 2.4 Project Classification .......................................................................................... 12 2.5 Non-Progression of Enquiries and Awards ...................................................... 16 2.6 Discussion ...........................................................................................................