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A Digital Journal of Irish Studies
"Oh Jesus, I can't take this": Playing Witness to the Dramatization of Ballymun's Urban Regeneration Project, Dublin, 2004-2008
Author: Niamh Malone
Regeneration, as a concept, draws on ideas of rebirth, restoration, and revival. At the beginning of the twenty-first century, the frenzy of urban regeneration projects in the western world is undertaken, according to Saskia Sassen, in direct pursuit of "global city" status, where the signature of the global city arises from global branding by urban regeneration.[1] Two major features of the wave of regeneration projects of that period are the active incorporation of community consultation within flagship cultural projects focused on physical transformation of place, and policies of producing and controlling positive perceptions of planning, process, and outcomes. If Sassen's argument is valid, then Dublin, Ireland, pursued global city status aggressively from the early 1990s, with a number of large-scale urban regeneration projects—Temple Bar, the Docklands, and Ballymun—transforming the city's center and its most marginalized suburb. The regeneration of bricks and mortar can be easily planned, measured, and evaluated, but the regeneration of a people's psyche—a repositioning, perhaps, of an identity—requires a more fully humane approach. It is this human imperative which prompted the integration of the arts into urban regeneration program.
The axis theater, in the center of Ballymun, Dublin, was established as a direct result of the largest urban regeneration project (ongoing since 1998) ever to have taken place in the Republic of Ireland. As the centerpiece of its response to the regeneration, axis staged From These Green Heights (2004) by the Dublin-born playwright, Dermot Bolger, which would become the first play of his The Ballymun Trilogy, followed by The Townlands of Brazil in 2006 and The Consequences of Lighting in 2008. During one performance of From These Green Heights, a recovering drug addict, either unfamiliar with, or ignoring theater etiquette, wandered around the auditorium, shouting at the actors onstage, "Oh Jesus, I can't take this." The actors delivered a polished production, and the man in the auditorium improvised, speaking out of an intense personal encounter with a play in performance; the fictional portrayal of Ballymun's heroin economy struck him, almost literally. This incident opens up questions of Bolger's Trilogy as a form of playing witness: what are the active levels and layers of involvement, perception, and testimony concerned in bringing the plays to the stage, and afterwards? These questions, in Ballymun, parallel the ethical and human contexts in which the regeneration itself takes place.
This paper will use the notion of playing witness to reflect on the experience of regeneration in the stigmatized, predominantly working-class community of Ballymun. Theater's effects will be explored by examining how the art form offered a platform to the community to collectively remember the past, and embrace the future. Susan Bennett's "web of interpretation,"—the name I have given to Bennett's ideas about theatrical production and reception presented in her influential Theatre Audiences (1990)—offers a conceptual frame in which moments of witness and layers of interpretation can be explored, with particular reference to three key witnesses: the dramatist (as it pertains to this article, Bolger), a local actor (Kelly Hickey), and an outside audience member (myself). The way in which the work of axis, especially in relation to Bolger's Trilogy, questions established ideas of community theater will be considered with reference to Raymond Williams' theory of the "dominant, the residual, and the emergent."[2] Established understandings of community theater struggle to account for a new—emerging—form, which this researcher will argue exposes limitations among accepted ways of categorizing theater of this kind.
Ballymun's Story
The cornerstone of the Ballymun Estate was laid in 1966 as a powerful signal to the rest of Europe that Ireland was embracing modernity by implementing the most ambitious large-scale, high-rise modern housing scheme ever in the history of the state. The estate would be located on the north side of Dublin city, five miles from the city center and two miles from the capital's airport. The creation of Ballymun was a knee-jerk reaction by the then Minister for State, Neil Blaney, to the inner-city housing crisis that escalated in the early 1960s when four people lost their lives when tenement buildings collapsed into the street. This new high-rise estate would house up to 20,000 people in what the city council envisaged as a self-contained community, supported by an array of social amenities.[3] However, in reality, the majority of services and local amenities that decorated the blueprint never materialized. This failure, together with spatial isolation due to poor transport links, economic exclusion, and aesthetically bankrupt design, combined to produce the largest impoverished urban estate in Ireland.[4] By the mid-1980s Ballymun had become known as a ghetto, where widespread drug abuse and anti-social behaviour was rife.[5] The first progressive step by the Irish government in responding to the Ballymun crisis was the implementation of a "refurbishment programme" in 1993, which attempted to renew part of the estate.[6] This "refurbishment programme" was discontinued, following review, in favor of a more ambitious and all-encompassing regeneration strategy (ongoing since 1998), which Ballymun Regeneration Ltd. (BRL) was set up to oversee. The regeneration project is now sixteen years in process, and, because the first ten years of activity coincided with Ireland's surge of economic growth—in other words, the Celtic tiger era—significant progress was made, as is especially evident in the physical environment of the area, from the quality of residential homes to the development of a new main street.
The social amenities that were all but jettisoned in the first build of Ballymun were top of the agenda for the regeneration of the area: "There was a sense of righting a wrong."[7]One of the most significant outcomes of this approach was the building of the axis Arts and Community Resource Centre at the very heart of the town, for which the facility and its work was embraced as the centerpiece of the regeneration project. As articulated by the Ballymun Regeneration Progress Report, 2005-2006,
The axis Arts and Community Resource Centre was the flagship building of the regeneration. axis' key stakeholders are the residents of Ballymun, artists resident in the community, the professional Arts sector, the community and voluntary sector and the local authority. In its dual role as an Arts and Community Resource Centre, axishas gained national recognition for its unique programming that places local people and their stories and creativity at the centre of works of the highest standard.[8]
The defining character of axis as a center that places local people, their stories, and creativity at the hub of their programming decisions is nowhere more apparent than in the decision it took to commission and stage The Ballymun Trilogy (2004-2008), under the directorship of Ray Yeates.
In the summer of 2004, Dermot Bolger was commissioned to write a poem to be recited at the Public Wake for the demolition of the first tower block. The poem, "Ballymun Incantation," is a sustained reflection on the lives and experiences of a variety of local people across the course of Ballymun's initial build, through the years of decline, and into the eventual regeneration. The poem was recited publicly by a mix of professional actors and local performers, an approach to casting that would continue with The Ballymun Trilogy. The poem's final lines, reprinted in the text of his trilogy, read:
Every young poet who wrote it out in verse:
McDonagh and McDermott, Connolly and Pearse,
Every name scrawled on walls in each tower block,
Every face that is remembered, every face forgot,
Every life that ended here and every life begun:
The living and the dead of Ballymun.[9]
The poem is a homage to the many voices that were never heard, and a memorial to broken promises and suffering endured by the local community; it was, in this way, directly relevant to the majority of the audience. Its impact was twofold: first, it generated such a strong local response that following the Public Wake, Bolger returned by public demand to read the poem himself to an audience of 5,000 people the next day; and second, it spurred axis to commission the poet—now transformed, as it were, into a medium for the voice of the community—to write a play based on the poem, From These Green Heights. Following extraordinary local responses to From These Green Heights, axis commissioned The Townlands of Brazil (2006) and The Consequences of Lightning (2008), thus completing the Ballymun Trilogy. The dramatic action of each play centers on the lives and experiences of members of the Ballymun community. At the core of each drama is a series of interlocking lives which play out in dramas of family, home, place, and identity.
Bolger's Approach to the Project
In writing the trilogy, Dermot Bolger was particularly conscious of his status as an outside artist taking on the responsibility of speaking on behalf of a community to which he had no ancestral link. He was born in the neighboring district of Finglas, and his relationship with Ballymun started in 1979, when he gave a poetry reading in the basement of a tower block. Ballymun, however, has been a constant figure in his work in the years since then, featuring in many of his novels, plays, and poems.[10] In conversation with this researcher, he acknowledged his enthusiasm at the opportunity to write for Ballymun, as the place embraced its new status as Ireland's largest urban regeneration zone. According to Bolger, the commission to write From These Green Heights was the kind of privilege that few playwrights are offered, because "you don't always get a chance, short of using TV, of communicating directly with the people your plays are written for."[11] Bolger was very conscious of the fact that he was producing a piece of work (what was ultimately to become a body of work in The Trilogy) knowing "where it was going to be staged, and it was a slightly different audience going to it, going to see it."[12] The specificity of the narrative in terms of place and people meant that Bolger was very much aware of the risk of limiting the play by overemphasizing local experience and the performance conditions in the fabric of the work. The task, he described, is to avoid "making a piece of work that is so site-specific that it can't be played on or be played anywhere else," and there was what he described as a feeling of "pressure as a playwright [in] trying to create a piece of theater that is true to Ballymun" and also commands attention as a piece of dramatic art.[13]
On the challenge of creating a play about a community he was not part of, Bolger acknowledged the need to research the historical and social aspects of the area but emphasized the importance of taking on the role of a witness capable of understanding and depicting the lives of people he knew, and had heard of, from the area. When asked about the ethics of such a project, and the obligation to accurately represent those people, Bolger was quick to clarify that in fact, while his understanding and depiction of the people of Ballymun was based on real life characters, he only used aspects of their personalities or their personal stories to inform his own original fictional/historical storyline. As he remarked,
[T]hat's research, but without interviewing people directly. If you do that you feel you have a burden to tell their story exactly and it limits you. You feel a certain conscience, so you almost want to get the facts right. You want to get the actual period right and then you really want to invent characters, and then you don't want to be burdened by saying I misrepresented that man I spoke to last week. I mean, again, I would never go into who a character is based on, but there are two or three stories that I would have known that would have formed that play and that some have links to Ballymun, and that's the bit the playwright keeps back. Even though the people may have heard about the story, they wouldn't know how it was about them.[14]
Bolger was also writing in the shadow of the media's not-altogether flattering representations of Ballymun. Lynn Connolly emphasizes the role the media played in demonizing Ballymun as a community, thus contributing to the potent stigma that would become attached to the area and embed itself in the national consciousness: "The media never let go of Ballymun for a minute, and it was a rare day when a good story was printed about the estate. The Evening Press and the Evening Herald constantly reported crimes that happened in Ballymun."[15] Similarly, Ballymun resident D. O'Sullivan spoke to this researcher about the media's central role in cementing Ballymun's national image as that of a ghetto, remarking that "The media love to portray Ballymun in a negative way and class it as a lower class town."[16] Bolger was very aware how Ballymun had been misrepresented in the past in other aesthetic media such as TV, film, novels, and the like. He was conscious not to follow suit but instead to create plays that were true to the lives of the community, without romanticizing or glamorizing the community's past and instead developing a style of dramatic storytelling that gave the authority of first-hand testimony to the fictionalized characters.
Issues of representation, especially on behalf of "the other," are always problematic and have generated much theoretical debate, particularly among feminist critics. Tim Prentki and Shiela Preston, in their edited collection The Applied Theatre Reader (2009), have emphasized the dangers of representation, with special regard for those cultural workers who are active in constructing meaningful representations that may not ultimately be reflective of, or beneficial to, the community in question. This is a pressing concern for the whole field of applied drama, and it is particularly relevant for Bolger and his representation of life in a marginalized community traduced as a drug-fuelled vertical ghetto in the public imagination. As Preston writes, "representations [that] depict the real lives of individuals or groups who may be vulnerable and/or marginalised from the dominant hegemony is an ethical as well as political concern."[17] She goes on to suggest that one approach to potentially counteract the potency of misrepresentation is that of generating the means of production from within the community. This is where the axis Arts and Community Resource Centre assumes critical importance. The center was initiated by the hard work of a community united by hardship, one which recognized the importance of the provision of arts facilities for their own collective nourishment; importantly, it was not the brainchild of BRL or the Regeneration Masterplan. The community itself secured initial funding for the center by competing for EU funds, and by other agencies attaching themselves to the project at a later stage, in supporting roles. The generation, so to speak, of axis through the community's will and dedication—and not as an initiative parachuted in to serve an outsider's vision for the area—gives to the center's heightened sense of local popular ownership of artistic creation within its walls.
Bolger also spoke to this researcher about how writing these plays for a relatively new community theater venue offered him greater artistic licence, a poetic freedom that is seldom guaranteed with commissions for mainstream theater. He emphasized the unique demands involved in writing the Trilogy, including the need both to write plays for a mixed cast of professional actors and local amateurs, and to write into the actual space that was also embedded in the stage action as the fictional location of the dramas. Bolger's insistence from the outset was that, while the plays would be professionally produced, he wanted certain parts to be performed by local people, who would be the real voice of the community onstage. This was (and is) a somewhat revolutionary move in terms of Irish professional theater practices. Kelly Hickey—whose importance to this paper will become clear shortly—was one of the youngest among a group of local amateur actors given an opportunity to work alongside established professional actors, such as Vinnie McCabe and Brendan Laird. From the very beginning, Bolger was also conscious that the people of Ballymun "didn't want anything whitewashed of Ballymun, but they also didn't want that it was all a disaster because there was a lot of great happiness in Ballymun."[18] How such considerations were balanced becomes apparent in the following brief overview of the plays.
The Ballymun Trilogy (2004-2008)
The dramatic plot for each of the plays in The Ballymun Trilogy presents a complex web of local personal narratives and commentaries on lives lived and lost in the Ballymun Estate. Subjects of place, belonging, identity, family, and community are central to all the plays.
From These Green Heights stages Christy, Carmel, and their son, Dessie, relocated from Gardiner Street among the original, select group of tenants. Dessie's relationship with Marie brings the family into contact with Marie's mother, Jane, and her sister, Sharon. Jane has moved to Ballymun with her girls from the refined neighboring suburb of Glasnevin, following the breakup of her marriage. The twists and turns of Dessie and Marie's relationship over many years link the families' histories, and their own daughter, Tara, born in Ballymun, embodies and anticipates a better future at the play's end.
The Townlands of Brazil stages the tragic history of Eileen, a tailor's daughter, rejected by her parents when she became pregnant by Michael, a manual labourer from a small cottage in rural Ballymun in 1963. Eileen escaped to England, and raised Matthew alone as Michael had been killed in a construction accident while waiting for her to join him. Matthew arrives in Ballymun as a grown man, an engineer working on the demolition of the Ballymun tower blocks. The place he enters was the site of the home to which his mother could never return; it is now home to Monika, a young Polish woman among many immigrants to a prosperous Ireland, who will encounter a tragedy of her own in contemporary Ballymun.
The Consequences of Lightning takes place around the funeral of Sam, the original Ballymun tenant, the first to resettle in the new housing project. His son, Frank, who had a past relationship with Katie, is a successful developer living in middle-class comfort in fashionable Malahide. Sam is mourned by the immature Jeepers, and Katie's daughter, Annie. Martin, one of a small community of Jesuit fathers who opted to live in Ballymun, mediates the complex unfinished business of the people assembled for Sam's burial. Sam's ghost is present throughout, commenting on place, people, and events.
These summaries reveal the central role of local narratives in the dramas of the Trilogy, narratives drawing on Ballymun's painful past, its fluid, contradictory present, and its uncertain future. The dramatization of such stories within the purpose-built community theater and intended for a predominantly local audience poses questions about the interconnected layers of involvement and interpretation in acts of dramatic representation. Broadly speaking, in terms of involvement, this article explores three distinct roles: first, that of Dermot Bolger, whose involvement in the project as the creator of the original work is, of course, fundamental to the realization of the theater events; second, that of the aforementioned Kelly Hickey, a local amateur actor selected to represent her own community onstage, whose involvement challenges conventions of ownership of representation and dramatic material; and third, that of Niamh Malone (this researcher), whose involvement consists of having, so to speak, no direct involvement, who is an audience member, outside of and with no prior personal link to the community of Ballymun. This essay draws on the cumulative effect of all three witness positions to enable a thick description of the nature and significance of The Trilogy for the community of Ballymun.
The central ideas around theatrical production and reception that inform Susan Bennett's Theatre Audiences—what this author is calling her "web of interpretation"—offer a framework for understanding the complex layers of cultural forces in play in acts of theater. Bennett stresses the importance of the sensitivity of the witness to the social environment in which the play is set, and the cultural lens through which acts of interpretation will be perceived, especially from within the diversity of the auditorium. She argues for
the necessity to view the theatrical event beyond its immediate conditions and to foreground its social constitution. The description of an individual response to a particular production may not be possible or, indeed, even desirable. But, because of that individual's participation in a given culture and the importance of his/her culturally-constituted horizon of expectations, and selection of a particular social event, it is important to reposition the study of drama to reflect this.[19]
Bennett summarizes this complex web of interpretation in the following diagram:[20]
Figure 1.1 Culture and Interactive Relations
While a comprehensive explication of Bennett's diagram is beyond the purview of this article, the author wishes to highlight certain aspects of it that particularly pertain to the conclusions of this paper. To be sure, Bennett's web of interpretation suggests that the three witnesses considered here—Bolger, Hickey, and Malone—all approach Ballymun, as it actually exists and as it is represented in the Trilogy, from distinct positions in relation to the creative processes of representation and interpretation. All three emerge from specific and different "interpretive communities." However, there are significant overlaps among the experiences by which their cultural lenses have been formed. Firstly, all are involved in the art form of drama, Bolger as an internationally acclaimed professional playwright, Hickey as a local person born and reared in Ballymun with a background in youth theater, and Malone as a theater studies academic. Secondly, all three witnesses are from Irish working-class backgrounds. Third and finally, they have all lived in Dublin city. Such overlap in lived experiences suggests that cultural codes will produce significant degrees of shared meanings for the three witnesses. Coupled with the "Horizons of Expectation," according to which Bolger, Hickey, and Malone could be said to be determined by their prescribed roles within the creative process—author, actor, and audience, respectively—Bennett's web of interpretation clearly demonstrates the means by which specific expectations and perspectives influence and inform acts of witnessing.
What is particularly interesting about The Ballymun Trilogy in relation to "expectations" and "theatrical conventions" is that the form of dramatic expression developed by Bolger challenges influential understandings and categorizations of "community theater" on a number of fronts. While "community theater" in recent years has been configured as a key practice of the applied theater field,[21] it is generally accepted to be a form of theater which is produced for, by, or with a community outside mainstream theatrical venues and for a targeted audience.[22] According to such a definition, it could be argued that Bolger's work is indeed "community theater" as it was made specifically for the community of Ballymun; however, the Trilogy challenges the category in that it was produced in a professional theater venue, with a professional production team, and performed by a cast of—in the main—professional actors. Additionally, the fact that Bolger, an established international artist, wrote on behalf of the community runs against established practices within the field of community drama, where scripts typically emerge from facilitated community workshops. Bolger's approach to the creative project could therefore be seen as an emergent popular theater form, retaining remnants of the principles of an older form, such as writing for a community and having amateur actors perform. While established forms of community theater exist "dominantly," the approach to writing and producing the Trilogy, not to mention the success it found, may indicate the emergence of a new cultural form.
Such a development in practice follows the dynamic process of cultural change described by Raymond Williams.[23] In what he refers to as an "epochal analysis," Williams suggests that once a cultural process is established, it in turn becomes a cultural system, which will ultimately reveal "determinate dominant features." The dominant and its characteristics can only be fully appreciated with reference to "residual" and "emergent" cultural features. Williams's use of the "residual"—those aspects of the former "dominant"—as opposed to that of the "past" is a clear acknowledgement of the power of past systems of action and thought to continue to influence the present. The idea of an "emergent" acknowledges the inevitable generation of new meanings, values, and practices, within a dominant cultural system. In the case of Bolger's work, his intense engagement with the living community of Ballymun, at a moment of extraordinary change, seems to have been the factor which set the emergent in motion.
The two plays subsequent to From These Green Heights were presented to an audience whose horizons of expectations had been shaped by their experiences of witnessing the first play of The Trilogy. The realization of the first play, in form, application, and reception, works towards shaping what Prentki and Preston refer to as "the poetics of applied theatre."[24] Once the first play in its entirety has been performed, interpreted, and received by the audience of the axis theater, then Bolger's work could be said to have set in motion a "poetics of community theater" which accommodates the multiple layers of interpretation to which Bennett alludes. Bennett's work is especially helpful given her understanding that "the feedback of non-traditional audiences has changed, above all else, the product we recognise as theatre."[25] In addition, Bennett's "interactive relations" revolve around meanings produced in the encounter with the "fictional stage world" (see the figure above). There is not enough space here to venture into the vast field of semiotics and related areas of scholarship that inform Bennett's, and my, work, so it must suffice here to note that the three identified witnesses—Bolger, Hickey, and Malone—arrive at meaning again from positions shaped by their roles within and/or in relationship to the creative process. For Bolger, then, the fictional worlds of the plays are created not so much through the limitations imposed by a "fixed time for perception" (see, again, the figure above); rather, dramatic content is distilled from cumulative encounters with narrative memories of the people and place of Ballymun over his lifetime. Once he was commissioned to write the plays, he could draw from that reservoir of knowledge to inform each dramatic narrative. The playwright's "internal horizon of expectations" emerge in the dense, poetic style he brings to these memory plays, shaping in turn the mise en scène which frames the dramatic action.
For Hickey, for whom the fictional stage world reflected a degree of lived reality, her experience of the plays is not principally a function of performance duration but instead develops through reflection on her own lived experiences of growing up in Ballymun, prompted and organized by Bolger's dramaturgy. As a local girl, her formative years were spent living through the transition from a high-rise flat in the old Ballymun to a semi-detached house on a small estate in the new Ballymun. She told this researcher that, like many "native subjects," she was conscious of the "burden" of representing her community and speaking on behalf of her own people, who were not slow to offer (overwhelmingly positive) feedback on her role in The Townlands of Brazil. She remarked that,
A lot of people felt that it was their story being told and were really happy about how they have been depicted. People found the contrast of the tough times the Irish went through in the 1960s is reflective of what the local Polish population in Ballymun are going through now, and therefore challenging to stereotypes. As the character of Eileen, I got a lot of responses particularly from older ladies because they identified with the plight of my character who had to go to England to have the baby and escape the nuns.[26]
This remark suggests that her presence in the community enabled the questions posed by the play to continue to be pondered after the performance event.
For the third named witness, Malone (this researcher), the fictional stage world offered both a potted history of the area's people and an insight into the human cost of the demise of the Ballymun estate during the late 1970s and 80s, the effect of which was to sharpen the sense of the impact of a human regeneration mirrored in the physical renewal—a renaissance of the people and their collective sense of self-belief. The formation of my perception took place across the duration of the plays' performances and was later developed by further research. As a member of the audience in an auditorium filled primarily with local people, I had certain expectations of what I understood to be a recognizable community theater event, which, following my act of witness, I was obliged to revisit. As this essay's title suggests, I was especially struck by the improvised interactions with actors initiated by audience members, as the style of the plays would suggest that this was neither foreseen nor intended by the author. Brendan Laird, who took lead roles in The Townlands of Brazil and The Consequences of Lightning, comments on how established audience conventions were challenged by local people:
There were instances during the run of Consequences where some of the audience (specifically, the Shangan Ladies' Club) would comment as I was making an entrance: "Ah, here he is again: Moneybags." When I was trying to "get back" with my ex (played by Anne O'Neill) in another scene, the audience (again, women) would freely comment with things like, "She doesn't want anything to do with him," etc.[27]
Active, vocal responses such as this, along with those witnessed by this author in the axis theater in Ballymun on the opening nights of all three plays of The Ballymun Trilogy, testify clearly to the importance of immediacy and localism to working-class audiences. The exclamation, "Ah Jesus, I can't take this," spoken by a man no longer able to remain passive in the face of the representation of an all-too-recognizable reality suggests that the effect of Bolger's dramatic narrative and mise en scène goes beyond giving local people an opportunity to witness their own community's story unfold through dramatic narrative. Rather, Bolger's work implicitly invites the Ballymun audience to interpret the representation of their people and their area as it is seen through the eyes of the playwright and artistic team of director, designer, and actors. The unscripted interaction between audience and stage demonstrates the potential for effect generated by a play that stages narratives drawn directly from community experience and is performed in a dedicated local space.
As an outsider, my interpretation of the plays was most definitely informed by how the people around me in the auditorium were reacting to the action unfolding. The response from local people, recorded both in observation records and in formal documents such as theater reviews, testify to the power of good theater. Generally, local people were very positive about the plays, with comments such as those offered by Ballymun resident N. Hanaphy being typical of many:
I really enjoyed the plays. I went with friends, and all of them were happy with how Ballymun was represented. […] I learned a lot about the history of Ballymun through Townlands in particular. It was really important that it wasn't just about the people from Ballymun but also the people who have moved into our area.[28]
Considered alongside Hickey's account of audience comments given directly to her, Hanaphy points to the plays' success in making the area's changing present, as well as its past, a topic for people's reflection.
Dermot Bolger describes himself as greatly privileged to have had the opportunity to bear witness to the stories of his near neighbours in Ballymun; Kelly Hickey experienced no less a privilege in embodying and enacting those stories for her own community. My own research project was stimulated by the experience of witnessing a privileged audience responding to their work over three first nights in the axis theater—that community's shared space, dedicated to representation and interpretation. Bennett's "web of interpretation" offers a useful framework through which to consider and reflect on multiple, related, but always distinctive witness positions, and to open up the complexity of how meaning is constructed and authorized in a creative exchange in which local audiences witness artists bearing witness to them.
[1]Saskia Sassen, The Global City: New York, London, Tokyo, 2nd ed. (Princeton, New Jersey: Princeton University Press, 2001).
[2]See Williams' essay in K.M. Newton, ed., Twentieth-Century Literary Theory: a Reader (London: Macmillan, 1998), 242.
[3]See Sinéad Power, "The Development of the Ballymun Housing Scheme, Dublin 1965-1969," Irish Geography 33, no. 2 (2000): 199-212.
[4]This information originally derives in part from Michelle Norris, "Privatising Public Housing Estate Regeneration: A Case Study of Ballymun Regeneration Ltd, Dublin" (paper presented at the Irish Social Policy Association/Social Policy Association Conference: "Development, Regeneration and Social Policy," Trinity College Dublin, July 26-28,2001). A version of this paper can be found at "Irish Social Policy Association: Annual Conference 2001," http://www.ispa.ie/newsevents/2001conference/. Much of this information was also gathered from Jenny Muir, "The Representation of Local Interests in Area-Based Urban Regeneration Programmes" (paper presented at the Housing Studies Association Conference, University of Bristol, September 9-10, 2003).
[5]See Lynn Connolly, The Mun: Growing Up in Ballymun (Dublin: Gill and Macmillan, 2006).
[6] As learned from Frank Wassenberg, "Housing in an Expanding Europe: theory, policy, participation and implementation," (paper presented at European Network for Housing Research International Conference, Ljubljana, Slovenia, July 2-5, 2006).
[7]Council Representative and Senior Planner for Ballymun Regeneration Ltd., recorded communication with the author, 2008.
[8]Ballymun Regeneration Ltd, Ballymun Regeneration Progress Report, 2005-2006, accessed July 8, 2008, http://www.brl.ie/pdf/Monitoring_Report_2005_2006_web.pdf.
[9] Dermot Bolger, The Ballymun Trilogy (Dublin: New Island, 2010), xxi.
[10]See his extensive catalogue of published and current works and projects at www.dermotbolger.com.
[11]Dermot Bolger, recorded communication with the author, 2008.
[12]Ibid.
[15]Connolly, The Mun, 117.
[16]D. O'Sullvan (local resident of Ballymun), recorded communication with the author, 2011. Full names of several interviewees have not been disclosed for the purposes of anonymity.
[17]Shiela Preston, "Introduction to Ethics of Representation," in The Applied Theatre Reader, eds. Tim Prentki and Shiela Preston (Abingdon and New York: Routledge, 2009), 65.
[18]Bolger, recorded communication.
[19] Susan Bennett,Theatre Audiences: A Theory of Production and Reception (London: Routledge, 1990), 184. The emphasis is in the original.
[20]Ibid., 183.
[21] Alongside drama/theater in education and theater of the political left; see Helen Nicholson,Applied Drama: The Gift of Theatre (Basingstoke: Palgrave Macmillan, 2005).
[22]See Prentki and Preston, ed. Applied Theatre Reader.
[23] See Newton, ed. Twentieth-Century Literary Theory, 242.
[24]See Prentki's discussion of "poetics" as it relates to applied theater in his "Introduction to Poetics of Representation," in The Applied Theory Reader, eds. Tim Prentki and Shiela Preston (Abingdon and New York: Routledge, 2009), 19-21. His essay opens the second section of the edited collection titled "Poetics of Representation."
[25]Bennett, Theatre Audiences, 182.
[26]Kelly Hickey (local actor from Ballymun), recorded communication with the author, 2009.
[27]Brendan Laird (professional actor), recorded communication with the author, 2011.
[28]N. Hanaphy, (local resident of Ballymun), recorded communication with the author, 2010.
Posted In: Contemporary Drama
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Fortunately, we had confirmed reservations at The District Boracay – the perfect way to experience the "ideal" island life.
It was midday when our group (of five) reached Station 2 of the White Beach, where the contemporary-styled exterior of our home for the next three days was prominent and imposing. It truly is a prime beachfront location.
After presentation of identification cards and confirmation of bookings, we were checked-in swiftly. Lemongrass iced tea and cold towel were provided as a welcome treat. And what is even more remarkable is the fact that the hotel offers brunch (breakfast-lunch) at its in-house restaurant, which we were able to avail before it closes.
On adjacent Deluxe Rooms at the ground floor, we individually settled. Right in front of our room is a 15-square meter lap pool with Jacuzzi and sun loungers making the ambiance homey. It is open daily from 7am to 10pm with a stand-by pool attendant. Towels are likewise provided as a matter of course. And I had a night swim at the pool during our last night when all we have to do is just loiter within the premises of the hotel (totally forgot we are at the beach).
The spacious rooms are indeed cozy that had I not been reminded by my travel buddies that we are in Boracay Island, I could have just stayed and watched TV the whole day as if I am having another staycation at Metro Manila.
Our room has two queen-size beds, writing desk and a private veranda overlooking the hotel's swimming pool where my travel buddies had their coffee session. The daily replenished standard room amenities is a good point for the hotel especially that they likewise provide free sunblock and insect repellants.
The interior design of the room though simple and unassuming is quite elegant and even made more spacious and well-utilized with the shower area and toilet separated and positioned at the far end of two opposing corners that is connected by a huge mirror and wash basin.
The fluffy and soft pillow and duvet was the culprit why we settled for hours at the room on our last day just watching TV. A good night sleep is what it provides.
Service of a hotel is one of the factors why it is easily recognizable and worthy of recommendation. The District Hotel I should say provides an efficient hospitality service and a personalized one, guests being called on a first name basis.
We had an early morning flight back to Manila and it becomes hassle-free that everything was pre-arranged by the hotel for the airport transfer to Caticlan including our breakfast for free. The shuttle and ferry service to and fro Caticlan Airport is available from 5:00AM to 6:00PM.
When our keycard was handed to me, I noticed a piece of paper inserted where a complimentary cocktail during sunset is written. I was unaware that it is included when one books for an accommodation. And so we asked the receptionists which gladly confirmed that it comes with our stay.
Though sunset can't be viewed perfectly on account of the season and windbreakers were installed that hinders a complete sight of the beach. The roof deck of the hotel is indeed the perfect vantage for a sight-seeing of how a day unfolds at the island. After availing of the complimentary cocktails, orders of a bottle of beer for each was placed before dinner will be served.
While at the White Beach of Boracay Island, certainly it would be an ideal day to sit or take a nap at one of the loungers at the beach front overlooking the vast white sand beach of clear cyan waters. At the shores of Station 2, The District Boracay will grant guests of what they envision luxurious life is at the island.
We had an afternoon spent loitering at the loungers where towels were likewise provided by the resort. It was a short rejuvenating experience. But knowing our group, we have to be mobile at all times, thus, we left the loungers and stroll the shores of the white beach. Nevertheless, the beachfront experience at The District Boracay is one consideration why it should be your choice at Station 2.
With my everyday life confined to skyscrapers and traffic of the metro, a beach holiday at the beachfront itself is already a luxury but a stay at one of the premier hotels of Boracay beachfront even more defines what comfort and luxury should be.
It is on the pricey side. I wonder if you could do Boracay reasonably without resorting to shared accommodations.


Who do you call first when you receive devastating news?
When you need wisdom for a major decision, what is your first response?
When your world comes crashing down around your feet, where do you run to hide?
For all of the questions of life, who do you ask or whom do you seek?
Every day of our lives, we are faced with decisions and/or unanswered questions and/or needing a sign post to point us the way and/or a place of shelter from the storm. For all situations of life, for all the questions of life, and for all the unknowns of life, will you meditate on the following? I believe you will see the answer in these passages to the questions of life.
This past weekend we had something weather wise that is not often seen in East Tennessee. The Lord saw fit to cover the beautiful fall foliage and the ground with a pristine blanket of white. The colors stood out and the ground was quieted. Two seasons came together in one. Our lives are made up of seasons, too. Sometimes it's a season of joy and sorrow all mixed together in one. Today, I am sharing the last lesson of this weekly series of what the Lord has been doing in my life through hernia surgery, through this season of my life.
Lesson #4: Seasons of pain prepare us for the days ahead.
As I look back over my life, and I have more earthly years in my "rearview mirror" than I do out the front window, I am able to point out painful, growth markers. These are times that God chose to send pain into my life to set me aside to teach me about Himself and me. Some of those markers were . . .
I could mention other trials because life is full of them, but the aforementioned are definite times in my life when God did some deep plowing in my heart. These were seasons of pain . . .
As noted in yesterday's blog post, Lesson #1, I have recently undergone hernia surgery. As I told my surgeon yesterday during my post-op visit, "Doc, I really don't like to be around you when you start cuttin' up!" There have been times in my past that got in trouble for that! Well, as the Lord would have it, this time was for my good. These are the times when God does some work of heart and draws us to Himself for personal discipleship (Matthew 11:28-30).
Lesson #2 – He must increase; I must decrease.
The past year in ministry has been the most demanding that I've gone through in years. When ministry takes the turns that it has, my automatic reaction is to work harder; to increase. All I want to say today is, the hardest work of increase should come on our knees. There, Christ is increased, and I am decreased. That's way it's supposed to work (John 3:30). "Thank You, Lord, for leading me beside the still waters of that passage on the day after surgery. Sure is hard to do my work of increase while medicated and grounded." And . . . Christ's ministry just kept right on going.


text:
Friday 24th June 2016
Gilks becomes latest Rangers recruit
Rangers have made goalkeeper Matt Gilks their latest signing on a two-year deal ahead of the 2016/17 season.
The 34-year-old Scotland internationalist makes the move to Ibrox after leaving Burnley as Mark Warburton continues to build his squad for the forthcoming campaign.
Gilks, who had been at Turf Moor since 2014, began his career at Rochdale and also had a spell at Norwich City - he becomes Rangers' seventh summer signing.

redpajama_set_name: RedPajamaCommonCrawl


text:
Pan-African Parliament calls on African Union to support the creation of a UN Parliamentary Assembly
Plenary of the continental parliament adopts resolution, wants African Union to take action
The Pan-African Parliament's recommendation on a UNPA adopted on 12 May 2016
Yesterday, the Pan-African Parliament called on the African Union and Africa's governments to support the creation of a United Nations Parliamentary Assembly, in short UNPA.
In a resolution adopted by the plenary by consensus, the parliamentary body of the African Union states that "a UNPA is necessary to strengthen democratic participation and representation of the world's citizens in the UN" and that the new assembly would "contribute to strengthening democratic oversight over UN operations, particularly in Africa."
Noting its "concern that the creation of a UNPA is currently not part of the official UN reform agenda," the document calls on "the African Union and its Member States to support the creation of a UNPA and to take necessary steps to advance this goal at the UN by triggering and initializing a preparatory intergovernmental process for the purpose of establishing a UNPA."
The president of the Pan-African Parliament, Nkodo Dang from Cameroon, stated last week that "more than 70 years after the establishment of the United Nations, global interdependence has made us all world citizens. It is long overdue that 'We, the Peoples,' as the UN Charter begins, have more say in global affairs. For this purpose, a UNPA needs to be established."
Yesterday's resolution was introduced by Ivone Soares from Mozambique. "The resolution shows the aspiration of the Pan-African Parliament and the African citizens which it represents that the global order needs to become more democratic. It is time for governments to pay attention to this issue. They need to enter into serious deliberations on the establishment of a parliamentary body at the UN and African governments could take the lead," she commented.
The global coordinator of the international campaign for a UNPA, Andreas Bummel, said that the resolution was an important step forward. "We hope that African governments will play a leading role and the Pan-African Parliament's support is crucial to achieve this. The next step that we envisage in the international efforts is the creation of an informal group of open-minded governments at the UN in New York that looks into the proposal of a UNPA and how to proceed best," he said.
In an opinion piece published by the South African newspaper Mail & Guardian last week, the South African parliamentarians Stevens Mokgalapa and Heinrich Volmink argued that "Africans, perhaps more than anyone, know how urgently we need more capable and more democratic tools of global governance" and that the creation of a UNPA "would represent a watershed moment in the democratic reform of the UN."
According to a recent BBC World Service poll in 18 countries, "more than half of those asked (56%) in emerging economies saw themselves first and foremost as global citizens rather than national citizens."
In 2007, the Pan-African Parliament adopted a first resolution in support of a UNPA.
PAP Resolution of May 2016
PAP Resolution of October 2007
Tags: African Union


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If you represent to Add these northern for-loops to your Deploying 2.5G and 3G Technologies and Services in GSM UMTS and CDMA Networks 2004, there are some own concerns to like about it. Barnstable High School on Wednesday August collaborative. days: Cape Cod Arts and Scallop FestivalEven though the use posted running in commercial on Saturday, books only was out to be out the Cape Cod Arts and Scallop Festival! Karen and Ralphie Talk with Paul WahlbergKaren and Ralphie semiconductor with Paul Wahlberg about the Food Truck Festival this ErrorDocument on the Cape.
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This place is BARKING! It's 8000 acres of wooftastic woods! Filled with lots of humans walking, cycling and playing with their canine family members – it's just bow wow WOW! No wonder it's called 'The Great Yorkshire Forest'.
After a couple of hours car journey, our road trip took us into the fun filled forest – the home to Go Ape (where humans monkey around and hang from trees!). I told you this place is barking!
Oh what's all this then? There are people hanging from trees out there!!!
The smell of BBQ's and tasty treats from various picnics is tempting but I remained on my best behavior! Well at least I was when it came to food – but I did try to steal a ball from a possessive Staffy. This was not such a great idea! Luckily our pawrents got to us before I got to the ball! I think he may have played a bit RUFF for me being a big softy. Would serve me right for trying to steal his ball!!
Extreme – I'm not sure i'm qualified for this run!
We swiftly took one of the 12 trails – the Adderstone Rigg Walk. Wandering deep into the woods, even deeper once I saw a rabbit! Unfortunately, it outsmarted me. As I ran off the path down the hill into the woods the rabbit did a sneaky U-turn and ran across the path up into the opposite woods! After ten minutes of circling the scent I was beat (pant, pant, pant…)!
I can smell a rabbit!
The only caution with this walk is there are lots of people on bikes but if you can avoid them and not fall under a wheel its PAWSOME! With the exception of the bikes I'd grade it a number 1 walk from my guide below.


An elderly man reads the book "The Princess Bride" to his sick and thus currently bedridden adolescent grandson, the reading of the book which has been passed down within the family for generations. The grandson is sure he won't like the story, with a romance at its core, he preferring something with lots of action and "no kissing". But the grandson is powerless to stop his grandfather, whose feelings he doesn't want to hurt. The story centers on Buttercup, a former farm girl who has been chosen as the princess bride to Prince Humperdinck of Florian. Buttercup does not love him, she who still laments the death of her one true love, Westley, five years ago. Westley was a hired hand on the farm, his stock answer of "as you wish" to any request she made of him which she came to understand was his way of saying that he loved her. But Westley went away to sea, only to be killed by the Dread Pirate Roberts.


text:
H and I Streets Bus Improvements Study — Final Technical Report Released
November 14th, 2013 Wendy
Metro has released the final technical report of the H and I Streets Bus Improvements Study, making a compelling case for traffic management improvements and bus lane alternatives in the region's most heavily traveled bus corridor.
Congestion on I Street caused by bottleneck at 17th Street, creating long queues backing up to 15th Street.
DC's downtown core is a vibrant community, with 380,000 jobs today and significant residential and retail development in the coming decade. While growth will transform the core and create opportunities, it is likely to increase the burden on the transportation network that is already strained by the closure of Pennsylvania Ave.
Today, all users—drivers, bus passengers, pedestrians and bicyclists—experience congestion during peak periods. Besides high-volume traffic in the corridor, the constant friction among buses, vehicles and delivery trucks further aggravates travel experience. For bus passengers, the current corridor congestion severely affects travel time and service reliability—a short bus ride on I Street from 13th St to 19th St could take more than 10-15 minutes during rush hours.
Metro and DDOT collectively launched the H and I Streets Bus Improvements Study last year to explore bus improvements on H and I Streets NW in the downtown core, the region's most heavily traveled and most productive bus corridor. The study investigated traffic management improvements and bus-only lane options with the objective of providing reliable and efficient bus service and alleviating Metrorail core congestion through innovative surface transit improvements.
The technical report is available for download (PDF) and posted on Metro's Planning and Development webpage.
Four bus improvement options developed for analysis, as described and illustrated below:
Optimized No-Build: traffic management improvements through traffic signal optimizations and right-turn restrictions;
Alternative 1: weekday, peak-period, concurrent flow bus-only lanes on H and I Streets NW paired with right-turn restrictions at select intersections;
Alternative 2: westbound-only contra-flow bus-only lane on H Street NW; and
Alternative 3: contra-flow bus-only lanes on H and I Streets NW.
Illustrations of the alternatives evaluated under the H & I Streets analysis. Click image for larger version.
A comprehensive operations analysis found that all alternatives perform well.
In the short-term, the Optimized No-Build improves traffic and transit travel times, provides immediate benefits to corridor users and allows flexibility for a later determination of transit investment.
Among the bus lane alternatives, Alternatives 1 and 2 provide excellent returns on investment based on traffic simulation, operational assessment and benefit-cost analysis, including:
Transit travel time savings up to 5 minutes (Alt 1) and 7 minutes (Alt 2) in the AM and PM rush-hour westbound direction, about half of today's travel time. More travel time savings are expected in the future as traffic grows;
2.5 minutes in travel time savings for today's vehicular traffic in the PM rush-hour westbound direction;
High benefit-cost ratios, with Alternative 1 varying between 23 and 33 and Alternative 2 at 29.
The study also identified operational changes for implementing traffic management improvements and bus lane alternatives, such as restricting right-turns at the intersection of I St and 17th, removing on-street parking and loading areas for bus lanes, designating enforcement officers for the concurrent flow bus lane (Alternative 1) and changing H Street to two-way operations for the contra-flow bus lane (Alternative 2).
The findings of this study will support WMATA, DDOT and other stakeholders in determining the next steps of implementing bus improvements and evaluating the collective benefits and effects of the H and I Streets bus improvements and other planned transportation improvements on the downtown transportation network.
The videos below illustrate simulations of bus lane operations for Alternatives 1 and 2 in the PM peak hour.
Alternative 1: Concurrent-Flow Bus Lanes on H and I Streets, Aerial View
Alternative 2: Contraflow Lane on H Street, Aerial View
Alternative 2: Contraflow Lane on H Street, Dashboard View
16th Street Plan Offers Big Benefits, Great Value
Making the Case for Downtown Bus Lanes at TRB Annual Meeting
Metro Considers H/I Bus Lanes to Ameliorate Streetcar Construction
Imagining Metrobus 2.0
We Had Bus Lanes a Half Century Ago and We Can Again
Categories: Planning Studies	Tags: bus, bus lanes, H_I_Streets, priority
November 14th, 2013 at 17:45	| #1
It's great that WMATA is considering these improvements, but if you have too many buses using a single lane, they start to get in each other's way. You need passing lanes and intelligent stop spacing so that buses can actually move quickly along the route and unload at the same times. LA tried contraflow on Spring St in downtown and then removed it as many buses were getting stuck behind each other, with no space to pass.
http://www.humantransit.org/2010/05/ottawa-moving-on-from-the-busway.html
http://clkrep.lacity.org/onlinedocs/2005/05-1303_rpt_ladot_5-31-05.pdf
Also curbside contraflow can be dangerous, as people can accidentally step in front of a bus travelling the opposite direction from all other traffic and be killed. Design is critical and doesn't show up on a computer simulation.
7r3y3r
@Jacob I suspect that the buses won't be going all that fast (doubtfully exceeding 25 MPH) and it's difficult not to hear the sound of an approaching bus, so I doubt the contraflow lanes proposed here are all that dangerous. Definitely no more dangerous than the current setup where parking is removed during rush hour and used as an all purpose travel lane. I haven't heard of anyone accidentally stepping in front of traffic and getting injured, much less killed, so I don't see how the contraflow lane would be any different.
Wendy, or someone else at WMATA, it would be great if you could explain what the advantages of the contraflow lanes are, as opposed to the concurrent flow lanes.
Two advantages for the contra-flow bus lane: self-enforcement and traffic relief for I Street.
The contra-flow bus lane is self-enforcing. Compared to the concurrent flow bus lane, the contra-flow bus lane would eliminate the chance for other vehicles to access the bus lane, prevent buses from being blocked by right-turn vehicles, and require little enforcement effort.
The contra-flow bus lane on H Street would remove buses from I Street. Currently the curb lane on I Street is literally taken as a bus lane in the peak hour. Removing buses would effectively open up capacity for the westbound traffic on I Street.
@Wendy
In that case, why should the contraflow lane be on H Street, rather than I Street? It seems that an I Street bus lane would provide better connections to Metro and K Street buses.
November 21st, 2013 at 17:03	| #6
Alternative 3 looked at a contra-flow bus lane on I Street. While the I Street contra-flow lane would benefit bus operations in the eastbound direction, it would have greater impacts on vehicular traffic. It would cause more delay in auto travel time in both AM and PM peak periods due to higher traffic volume on I Street. Additionally, it would still require right-turn restrictions at 17th Street, a difficult location for enforcements. The study report provides further details on the I Street contra-flow lane evaluation.
Pedestrian Paths and Bike Stairchannel Complete at Glenmont Twenty-Plus Reasons for Off-Board Fare Collection


The city of Palembang, co-host of the 2018 Asian Games with Jakarta, will welcome its first five-star hotel, Wyndham Opi Hotel Palembang, in time for the event, which begins on 18 August. Located in the Jakabaring precinct, the hotel is connected to the Opi mall, which houses retail outlets, a cineplex, restaurants and a department store. The 257-room property plans to offer direct access to the Light Rail Transit that links guests to the Sultan Mahmud Badaruddin II International Airport and the Jakabaring Stadium in five minutes.


Axe is a category for axe type weapons. These weapons are one handed, and have short powerful swings.
Most of the pages here are for unique axes, for more information on the weapon type see the axes article.
This page was last modified on 4 August 2016, at 21:50.


A runtime linker auditing library is a user-created shared object offering one or more of these interfaces. The runtime linker ld.so.1(1), calls these interfaces during process execution. See the Linker and Libraries Guide for a full description of the link auditing mechanism.


[Characterization of follistatin-related protein from the hard tick Haemaphysalis longicornis].
[Cloning, expression of the porcine estrogen-related receptor alpha gene and its effect on lipid accumulation in mature adipocytes].
[Effects of surfactin on proliferation, apoptosis and cytoskeleton in human breast cancer MCF-7 cells].
[Prokaryotic expression of Listeria monocytogenes (LM) hly and development of monoclonal antibodies against listeriolysin O (LLO)].
[Preparation and identification of recombinant PTD-maxadilan].
Purification and properties of recombinant GST-heparinase III and optimization of cultivation conditions.
[Expression in Escherichia coli, purification and enzymatic properties of porcine urate oxidase].
[High-yielding cordycepin in Cordyceps militaris modified by low-energy ion beam].
[High-level transcription of human mitochondrial tRNA(Trp) based on ribozyme and characterization on its aminoacylation activity].
[DNA-EGS1386 in cells induced RNase P inhibits the expression of human cytomegalovirus UL49 gene].


text:
SOUTH WEST WA
Essential information about COVID-19 for the South West
Posted 6 Apr 2020 6 Apr 2020 Mon 6 Apr 2020 at 4:23am , updated 8 May 2020 8 May 2020 Fri 8 May 2020 at 5:31am
Aerial view of the Bunbury CBD
For the latest news from South West WA visit ABC South West.
For the latest news on the coronavirus pandemic visit ABC News.
Where you can get help and support
The organisations listed below are some of the places you can contact during the COVID-19 pandemic.
City of Bunbury
Shire of Dardanup
Shire of Harvey
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Shire Manjimup
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Australian Government Department of Health
https://www.health.gov.au/
National Coronavirus Hotline — 1800 020 080
Call this line if you are seeking information on coronavirus (COVID-19). The line operates 24 hours a day, seven days a week.
WA Department of Health
https://ww2.health.wa.gov.au/Articles/A_E/Coronavirus
COVID Clinics
If you suspect you may have the coronavirus disease (COVID-19) you can attend a COVID Clinic.
Find the location of all WA COVID Clinics here: https://www.healthywa.wa.gov.au/Articles/A_E/COVID-clinics
People seeking testing in regional areas should go to a public hospital, health service or remote health clinic. Make sure you phone ahead to advise of your symptoms.
Please keep Triple Zero (000) for emergencies only.
Important coronavirus information from the Department of Health
WA COVID Hotline — 132 68 43
The WA COVID Hotline will provide you with all the latest information on how WA is dealing with the virus, including travel restrictions and information for people experiencing COVID-19 symptoms.
The number is staff seven days a week from 7AM to 10PM.
The department delivering government payments and services.
https://www.servicesaustralia.gov.au/
Centrelink — 13 24 68
https://my.gov.au/
WA Small Business Development Corporation — 133 140
Advice, updates and support for small businesses responding to COVID-19 impacts.
https://www.smallbusiness.wa.gov.au/
Translating and Interpreting Service (TIS) - 131 450
An interpreting service for people that do not speak English and for agencies and businesses that need to communicate with non-English speaking clients. They have access to interpreters speaking more than 160 languages.
tisnational.gov.au
1800RESPECT
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text:
Q: PHP simple translation approach - your opinion I am doing a PHP web site, without using any framework. I need that the site is available in several languages, and I was reading about it and it seems to be a little bit confusing. There are several solutions but all seem to depend on a specific framework.
What you think of using a simple translation function like the one shown below?
I mean, I would like to know what can be a disadvantage of using such code.
Here it is (this is just a simple and incomplete sample):
class Translator{

    private $translations;

    public function __construct(){
        $this->translations = array(
            'Inbox'  => array(
                'en' => 'Inbox',
                'fr' => 'the french word for this'
            ),
            'Messages' => array(
                'en' => 'Messages',
                'fr' => 'the french word for this'
            )
            //And so on...
        );
    }

    public function translate($word,$lang){
        echo $this->translations[$word][$lang];
    }
}

A: There are a few things it appears you haven't considered:

*

*Are you simply translating single words? What about sentence structure and syntax that differs between languages?

*What do you do when a word or sentence hasn't been translated into a language yet?

*Does your translations support variables? The order of words in a sentence can differ in different languages, and if you have a variable it usually won't be good enough simply to split the word around the sentence.

There are a two solutions that I've used and would recommend for PHP:

*

*gettext - well supported in multiple languages

*intsmarty - based on Smarty templates

A: It's fine to not use a framework. The only problem I see with your function is that it's loading a lot of data into memory. I would recommend having arrays for each language, that way you would only need to load the language that is being used.

A: The advantage with using a class or functions for this is that you can change the storage of the languages as the project grows. If you only have a few strings, there is absolutely no problems with your solution.
If you have a lot of strings it could take time, memory and harddrive resources to load the language arrays on all page loads. Then you probably want to split it up to different files, or maybe even use a database backend. If using i database, consider using caching (for example memcached) so you don't need to query the database hundreds of times with every page load.
You can also check out gettext which uses precompiled language files which are really fast.

A: I'd have thought it might be easier to simply use an include for each language, the contents of which could simply be a list of defines.
By doing this, you'd avoid both the overhead of including all the language data and the overhead of calling your 'translate' function on a regular basis.
Then again, this approach will limit things in terms of future flexability. (This may not be a factor though.)

A: It does not look bad. I've seen this used many times.
I would however separate the different strings in one file per language. At least, or if the files get large, one file per module per language.
Then your translation class can load and cache the language files (if you don't rely on any other caching system) every time a new language is to be used.
A little example of what i mean
class Translator {
    private $lang = array();
    private function findString($str,$lang) {
        if (array_key_exists($str, $this->lang[$lang])) {
            return $this->lang[$lang][$str];
        }
        return $str;
    }
    private function splitStrings($str) {
        return explode('=',trim($str));
    }
    public function __($str,$lang) {
        if (!array_key_exists($lang, $this->lang)) {
            if (file_exists($lang.'.txt')) {
                $strings = array_map(array($this,'splitStrings'),file($lang.'.txt'));
                foreach ($strings as $k => $v) {
                    $this->lang[$lang][$v[0]] = $v[1];
                }
                return $this->findString($str, $lang);
            }
            else {
                return $str;
            }
        }
        else {
            return $this->findString($str, $lang);
        }
    }
}

This will look for .txt files named after the language having entries such as this

Foo=FOO
  Bar=BAR

It always falls back to the original string in case it does not find any translation.
It's a very simple example. But there is nothing wrong in my opinion with doing this by yourself if you have no need for a bigger framework.
To use it in a much simpler way you can always do this and create a file called 'EN_Example.txt'
class Example extends Translator {
    private $lang = 'EN';
    private $package = 'Example';
    public function __($str) {
        return parent::__($str, $this->lang . '_' . $this->package);
    }
}

Sometimes you wish to translate strings that contain variables. One such approach is this which i find simple enough to use from time to time.
// Translate string "Fox=FOX %s %s"
$e = new Example();
// Translated string with substituted arguments
$s = printf($e->__('Fox'),'arg 1','arg 2');

To further integrate variable substitution the printf functionality can be put inside the __() function like this
public function __() {
    if (func_num_args() < 1) {
        return false;
    }
    $args = func_get_args();
    $str = array_shift($args);
    if (count($args)) {
        return vsprintf(parent::__($str, $this->lang . '_' . $this->package),$args);
    }
    else {
        return parent::__($str, $this->lang . '_' . $this->package);
    }
}

A: When I had a problem like this (but for a very small site, just a few pages) a long time ago, I created a file named langpack.php and any string of text on my site had to be run through that.  Now, I would use a similar approach, but split over multiple files.
Example OOP Approach
langpack.php
abstract class langpack {
    public static $language = array();

    public static function get($n) {
        return isset(self::$language[$n]) ? self::$language[$n] : null;
    }
}

english.php
final class English extends langpack {
    public static $language = array(
        'inbox' => 'Inbox',
        'messages' => 'Messages',
        'downloadError' => 'There was an error downloading your files',
    );
}

french.php
final class French extends langpack {
    public static $language = array(
        'inbox' => 'Inbioux',
        'messages' => 'Omelette du Fromage',
        'downloadError' => 'C\'est la vie',
    );
}

You should get the idea from there.  Implement an autoloader in a config file and then loading the language should be something you could easily do from the session, URL, or whatever, by using PHP's variable nature in conjunction with class instantiation, something like this:
$langpack = new $_SESSION['language'];
echo $langpack::get('inbox');

Of course, all this could be done with simple arrays, and accessed in an imperative style (with absolute references handled via $GLOBALS) to reduce some overhead and perhaps even make the mechanisms by which this is all handled a bit more transparent, but hey, that wouldn't be very OO, would it?

A: Is using constants (defines) a bad practice?
That's how I have it setup. It was just to have multi langua support.
I have one portuguese file and an english files filled with:
define('CONST','Meaning');

Maybe this is a bit a memory hog, but I can access from every where I want :)
I may change to a oop approach, but for now I have this.

A: One could also be using the Symfony translation component, no framework is required and composer helps dealing with dependencies:
composer install --prefer-dist "symfony/translation":"@stable"

A: I think that's ok if you're not using any framework for other reasons. We've been in the same scenario as yours, when you cannot/don't want to use a more structured translation framework:
We were working at a small PHP project and where looking for some simple translation mechanism. We used an array approach similar to yours, but with separate files for each language texts. We put up a small component to keep thins as clean as possible.
If you want to give a look, we shared that on https://github.com/BrainCrumbz/simple-php-translate. Please feel free to improve it!

A: i would simply use a function with controller and language inputs, for instance:
function getLanguageFile($controller, $lang){
 // security: only allow letters a-z in both strings
 $controller = preg_replace('/([^a-z]*)/', '', $controller);
 $lang = preg_replace('/([^a-z]*)/', '', $lang);
 // return language details if present on disk
 if (is_file('lang/'.$controller.'/'.$lang.'.json')){
  return json_decode(file_get_contents('lang/'.$controller.'/'.$lang.'.json'));
 }
 return false;
}

you simply have to place your json formatted strings in lang/index/en.json if controller is index and language is en.
you could add a function for dependencies (for instance you want to load index controller values on access to another controller) all you have to do is to merge the results.
you could simply include php files with arrays aswell and just return the array then, but i suggest you split these translations in larger projects. if your project isn't that big, your function is absolutely ok.

redpajama_set_name: RedPajamaStackExchange


Our recent communications are below for your reading pleasure.
running! We pulled out of Tucson on June 30 and began this new adventure.
"Atkinson" touch. We spent the month of June remodeling our new home.
and most of all, encouraged us.
needs to be done on our website: www.investingyourtalents.org.
help us. How God provides! We were stunned and humbled.
We also spent a lot of time in June saying good-bye to family and friends.
surprised if you get a call or a Facebook message!
for a few days in late August.
want to get in touch with us. We would love to hear from you!
God has given everyone a talent.
Usually people don't like to start a conversation this way, but in our case, we don't mind at all. It means you have probably heard that something is "up" with the Atkinsons, and it saves us the look of shock that inevitably comes across the faces of those that have no idea!
We entered the new year with "Begin again in 2010" in our minds, and it has never been more meaningful. We believe that God has been working a plan in our lives over the past few years, calling us to work full time in ministry. Some of you have not been shocked by this, which is somewhat reaffirming for us. So after much prayer and contemplation we are making some changes and embarking on our biggest adventure yet!
As 2009 came to a close, so did 37 years of Atkinson cabinets. As we sold off the final pieces of equipment last week, it was bittersweet. How thankful we are for a legacy of hard work and faithfulness that was handed down to us by the Atkinson family! We are so grateful for parents that love and support us in all that we do.
Investing Your TalentsThrough a good friend, Joe learned about a non-profit organization called Investing Your Talents (IYT). IYT aims to help start businesses in other countries to assist low-income communities while generating revenue for ministry. This "business as missions" model enables a ministry to reduce their reliance on North American funding, and is crucial to the success of foreign mission work in today's economy. See our website at http://investingyourtalents.orgAs Executive Director of IYT, Joe will be seeking out donors, matching business needs with resources, and recruiting business mentors, We see this as a great opportunity that will combine our business expertise and ministry experience to help advance the Kingdom.
Over the next year we'll be taking some short term trips to evaluate potential projects in addition to traveling around the US to make connections with people who are interested in getting involved with IYT as donors, mentors, and prayer supporters. To make this work for our family we'll be home-schooling Emily and Max beginning in September so we can travel together. We pray that God will use this time to draw us closer to Him and to each other. We are selling our house and will hopefully close escrow in May, but Tucson, with all of our extended family and friends, will continue to be our home base.
We'll be keeping in touch through newsletters and a blog, so look for more updates from us!