jonmassey – Page 23

September 14, 2022September 17, 2022

Woolwich: How Pouya Ehsaei is set to bring his Parasang project to Woolwich Works

The British Iranian musician will be performing on the same bill as Addictive TV at Arsenal Of Sounds

Pouya Ehsaei, centre, is set to perform at Woolwich Works – image Monika S Jakubowska/Kings Place

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Musician, sound designer, producer, curator and promoter Pouya Ehsaei wants his audience to join him on a journey and it’s called Parasang.

Talk to him about the project and it quickly becomes apparent that the British Iranian creative is more or less constantly in a state of flux himself – sands shift, ideas evolve and develop.

Parasang is a Farsi word for an ancient unit of measurement – specifically the distance it is possible to travel from one location to another in a single day.

“If you were to go from London to Reading, for example, that would be two parasangs,” said Pouya. “If you go today, then you’d get there tomorrow night.”

Parasang isn’t, however, about traversing great distances.

“It’s a live collaboration between Pouya and a series of other musicians, fusing his electronic music with their free improvisation.

Created initially as a club night, it ran for 30 performances between 2018 and 2020.

“The idea was to invite musicians from around the world with different backgrounds who would not normally play with electronic music to join me on stage in a club so we could improvise and play together,” said Pouya.

The project then went virtual during the pandemic and has now changed again.

“That was using streaming platforms and we were jamming online,” said Pouya.

“There was me in my room and musicians from all over the world – from Detroit, Berlin, South Korea and Brazil – we played together remotely, which was very complicated to set up, but we managed it.

Pouya’s system allows him to jam on stage with musicians – image Monika S Jakubowska/Kings Place

“Now we changed Parasang to be a bit more like a trio or duo that plays electronic dance music mixed with world music in a concert set-up.

“I developed a hardware system so I could improvise with the musicians on stage.

“I have a modular synthesizer, a sampler, a drum machine and a few effects pedals – I signal process all of the sound from the musicians I’m working with as well.

“Everything goes through my system. I mostly make the structure with simple beats, atmospheric sounds and modular generated patterns and then the musicians will freely improvise over the top of that.

“Each of our concerts is one of a kind – the music is made there on stage and it will never be the same again.”

Parasang is set to be one half of the double-bill event Arsenal Of Sounds, which is set to take over Woolwich Works’ Beanfeast venue at Royal Arsenal Riverside on October 7, 2022.

Also on the bill will be Addictive TV’s Orchestra Of Samples, which sees soundscapes created from a vast library of recordings from musicians all around the world.

For this iteration of Parasang, Pouya will be joined on stage by Kadialy Kouyate, a kora player and griot (storyteller and musician) from Senegal.

“Every time I’ve played with him – three times so far with Parasang – it’s magic,” said Pouya. “His sound, his voice and his kora go very well with the stuff that I do.

“I’m really looking forward to the performance at Woolwich.

“The main idea is the sense of journey in our music. We start with something very pure and we take that purity to many places and we like our audience to come with us.

“Our music is hypnotic, immersive and atmospheric.”

Addictive TV's Orchestra Of Samples is also on the bill — Addictive TV’s Orchestra Of Samples is also on the bill

Pouya has been on a journey himself, both physical and musical, to get to where he is.

“Originally I’m from Iran and I started as a musician when I was a teenager – I took flamenco guitar lessons before moving on to classical guitar,” he said.

“In my early 20s I was teaching classical guitar in a school in Iran and then I found out about the electric guitar and I got into metal, nu-metal and rock music.

“It was a big thing back then.

“This was all underground though, in people’s houses or very small venues because that kind of music was banned.

“It was very hard to have a band and to do concerts – really to keep everyone motivated – so I gravitated to electronic music because you could just do that on your own.

“I could sit in my bedroom and send it out into the world, just to have a voice. There was no need to find rehearsal space for a band.

“It’s hard to be committed as a group if you can’t play concerts or really get any kind of feedback on what you’re doing.

“So then I stopped playing guitar and applied to study music technology at York and then I did a PhD before moving to London 10 years ago.

“I’ve been playing music here for a decade now.”

In many ways, Pouya created Parasang in an effort to recapture the feeling he’d had playing music as part of a group, rather than creating it on his own.

“When I came to the UK, I was working on electronic music and that aspect of being in a band with others was missing,” he said.

“That’s why I thought I’d get rid of the laptop and arrange my instruments so I could just play with others intuitively and do that live if I wanted.

“I really like it, the state of flow you get into – the connection I feel with the musicians is completely different than if you just play alone.

Pouya will be joined by kora player Kadialy Kouyate for Parasang in Woolwich — Pouya will be joined by kora player and singer Kadialy Kouyate for Parasang in Woolwich – image Monika S Jakubowska/Kings Place

“Especially when you’re improvising, you have to be present in the moment – all your senses are at work – and with my setup there are so many cables, knobs and buttons, they demand a state of complete focus. That’s something I really enjoy.

“When you come to a city like London it’s so vast and so big that you’re a little bit confused in the beginning.

“Finding people you want to work with and feeling part of a community can take a long time.

“But I have that now and I really feel that this is just the beginning for me. I’m now in the process of turning Parasang into more of a band situation.

“We don’t want to be a club night any more.

“The plan is to have an album a year with, say, with two musicians I want to work with, and then to go on tour with that before changing the line-up.”

It’s also through collaboration that Pouya came to be aware of the work of Addictive TV, the group he’s now sharing a bill with for the second time.

“I have a band called Ariwo, which is me playing with three musicians from Cuba – mixing Cuban and electronic music,” said Pouya, who has performed at venues such as King’s Place, the Barbican, the Royal Albert Hall, the Southbank Centre and the Royal Academy of Arts.

“We were playing at the Womad festival and I saw Addictive TV’s Orchestra Of Samples there – I was totally blown away by what they’d done.

“They saw one of the Parasang club nights in London and we got in touch. I think it was in May that we did a similar thing to what we’re doing in Woolwich – getting together for a concert. That turned out really well – we’re a good combination.”

Arsenal Of Sounds – Orchestra Of Samples And Parasang takes place at 8pm on October 7, 2022. Standard tickets cost £10.50.

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- Jon Massey is co-founder and editorial director of Wharf Life and writes about a wide range of subjects in Canary Wharf, Docklands and east London - contact via jon.massey@wharf-life.com

September 14, 2022September 15, 2022

Canary Wharf: How Third Space can help Wharfers maximise their training days

Elite personal trainer Stephanie Whitehead talks gym workouts, top equipment and mental health

Third Space's Stephanie Whitehead — Third Space’s Stephanie Whitehead

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There’s more to going into work than toiling at a desk or moaning about your employer in the office kitchen.

It’s about coming to a different environment and being able to take advantage of facilities that simply don’t exist in the suburbs or the home counties.

Take Third Space in Canary Wharf, for example.

Set over three floors, it boasts more than 100,000sq ft of training space including a climbing wall, swimming pool, boxing ring and pretty much every piece of exercise equipment you can call to mind.

Regular readers of Wharf Life will already be familiar with the hundreds of classes it offers every week, with everything from Yoga and Pilates through to the epic Yard WOD set in its purpose-built CrossFit-style training area.

The club recently launched its autumn campaign, offering memberships with no joining fee, encouraging Wharfers to see its extensive facilities as an extra benefit to heading into work, as more and more people transition back to regular commuting.

Elite personal trainer at Third Space Canary Wharf, Stephanie Whitehead, said the benefits to exercising this way were clear.

“Training at the gym is very different from training at home,” she said.

“During lockdown, because I’m a trainer, I could be very resourceful and come up with great workouts using just one kettlebell and that would be great fun.

“But we don’t have to do that anymore. The difference here is, firstly, the environment. This isn’t working out on a mat on your kitchen floor.

“Here, you’re in amazing surroundings with people doing really cool things. You’re somewhere else and focused – you’re ready to train.

Third Space Canary Wharf has received some recent upgrades including to its free weights area

“Secondly, it’s all the equipment. You’re not limited by what you have at home.

“If you haven’t been in a gym for a while, that can seem overwhelming – which is why having the input of a personal trainer is really important.

“Suppose, for example, you’re coming into the office a few days each week.

“We can put a programme together for you that fits that, tailored to maximise what you get out of each specific visit.

“Each trainer will have a different style and a different approach, but it’s our job to give you that clarity, structure and focus.

“It also prevents you just doing the things that you are good at, which can create imbalances in the body.

“My approach would be to work with a client on an all-round programme based on the number of days they are coming in to make sure all of their muscle groups are getting involved and we’re working on their whole body.

“For example, I’ll do strength training, but in terms of conditioning, I’ll always try to throw in bigger, full-movements like thrusters or squats.

“That way you get better results and the client gets more bang for their buck.

“I’d say a minimum of three visits a week is a good idea because that is just enough to build habit and consistency and it’s achievable.”

Stephanie says she believes in pushing herself and her clients

Stephanie has worked in the industry for more than a decade and has been a trainer at the Canary Wharf club for eight years.

She is also assistant fitness manager there, meaning she mentors new personal trainers as well as working directly with clients.

Having discovered a passion for fitness at university while studying psychology, she went on to compete in CrossFit before developing a career on the gym floor.

That broad background means she is well-placed to understand the benefits training can have on her clients’ mental health as well as their physical state.

“A lot of my clients would say they have very stressful jobs – lawyers who work really long hours, or bankers who might deal with mistakes involving millions of pounds – really high levels of pressure to deal with,” said Stephanie.

“Firstly, coming to the gym is a distraction and, secondly, it’s a complete break with everyday life.

“I always say to people that this is a place where they can leave work behind – one hour, which is just for them.

“No work, no phone if they want – just the training.

“Exercise is an outlet – a lot of my clients have a little vent at the beginning of their session and then forget the minutiae of the day.

“There’s also that feeling of achievement – getting that personal best on the 2k row or lifting heavier than ever before.

Third Space's recent upgrades include new pin-loaded weight machines — Third Space’s recent upgrades include new pin-loaded weight machines

“With consistency and discipline you will see results and that’s what’s so rewarding about it.

“It’s positive reinforcement and it’s just different from the feeling you get from, say, buying a nice pair of shoes.

“That can be great, but it wears off quite quickly, whereas the feeling you get from achieving in the gym, whether it’s building muscle or losing body fat, means you get fitter and stronger.”

Over the pandemic, many people will have naturally lost the habit of going to a gym and may be nervous about their ability to return to regular training.

Stephanie said the best remedy was simply to start exercising, but not to worry about attaining a certain level of fitness before getting back in the gym.

“Personal trainers are not like drill sergeants – we’re not going to go crazy at the beginning,” she said.

“Personal training is very tailored, so each individual client will have a different ability level. We’ll assess that in the beginning and we just go from there.

“Every single person, no matter what strength or fitness level they’re at will certainly see progress by the end of a few months.

“It might be that that they’re moving better or they feel less out of breath. They might be stronger or feel better.

“But there’s definitely no minimum standard to start coming to the gym – any time is a good time to start.

“My tip would always be to increase frequency.

Stephanie says commuters can get great benefit from exercising three times a week

“If you’re going only once a week and progress seems slow, then going up to three times will be of benefit.

“It’s also important to not just do that same movements over and over. That’s where a personal trainer can really help.

“Personally, I like having a certain amount of pressure.

“That’s why I compete in CrossFit, because having that constant challenge to improve gives me a limitless reservoir of drive and motivation.

“My training philosophy has always been to push myself and, within their own limits, that’s how I work with my clients too.”

In addition to its Canary Wharf club, Third Space operates in the City and at Marylebone, Islington, Mayfair, Moorgate, Soho and Tower Bridge.

Third Space is currently offering memberships to its clubs with no joining fee.
Other incentives include discounted personal training sessions, two complimentary guest passes to the club worth £50, a meal from Natural Fitness Food, 10% off at The Pearson Room and a 25% discount off the member’s first treatment or massage at the Third Space’s Canary Wharf Spa.
Club membership at Canary Wharf costs £180 per person, per month. The cost of personal training sessions varies.

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- Jon Massey is co-founder and editorial director of Wharf Life and writes about a wide range of subjects in Canary Wharf, Docklands and east London - contact via jon.massey@wharf-life.com

September 4, 2022September 4, 2022

Isle Of Dogs: Why Craft Central’s director is reaching out to the local community

Jo McLean says she’s excited to play her part in building the makers charity back up after Covid

Jo McLean has taken over as director of Craft Central

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BY LAURA ENFIELD

For the last two years it has been heads down at Craft Central to keep things ticking over.

The creative charity on the Isle of Dogs had to bring in outside funding for the first time as the effects of the pandemic took hold.

But there is a new director at the helm – Jo McLean – who is ready to build the organisation back up and is looking around her to find its future direction.

“I took the job because I was really excited by the idea of a creative hub,” said the former professional musician, who knits and silversmiths in her spare time.

“I’m very much driven by community engagement. I think artists should sit at the heart of communities and be a really great resource for them. I see the potential for that to happen at Craft Central.”

A classically trained French Horn player, Jo spent 12 years touring internationally before packing away her instrument and starting a career in arts organisations.

“My first proper job was at Cove Park, an artist residency centre in Scotland,” said the 52-year-old.

“I was in charge of a capital project bringing in more accommodation and supporting the visual arts and crafts residences. That was when I first got interested in design and craft.”

A graduate of the Royal Northern College Of Music in Manchester, Jo lived in Scotland for 25 years working for organisations such as Uz Arts and The Touring Network and overseeing the creation of her own home, which gave her a new appreciation of architecture and buildings.

“I’ve always been really interested in good design and craft,” she said.

“So that’s kind of where my path into this area has come from.

Craft Central is based at The Forge on Westferry Road

“I’ve led organisations across all genres of arts, from performance through to visual arts, theatre, literature and lots of consultancy work as well around organisational development, which is, I suppose, where my real interest lies.

“This job brings together my two passions, which is great.

“It’s been a turbulent few years and the charity wanted somebody who was going to come and build up the organisation again and I have the skills to do that.”

It was love as well as work that brought Jo to the capital as she met her husband, a Londoner, and they tied the knot a few years ago.

“We had a long-distance relationship for quite a long time and decided we needed to come together,” said Jo, who recently dusted off her French horn to play on a new album by The Bluebells’ of Young At Heart fame.

She first moved to London just before the pandemic to work for Clod Ensemble, based on Greenwich Peninsula, but returned to Scotland after a year. When she saw the role at Craft Central she knew it was her chance to move down here for good.

“I was ready for a challenge, said Jo, who now lives in north London. “I’ve done organisation internally in CEO type roles but this role was very much building based, which I’d never done.

“The pandemic has left its financial mark on the organisation.

“It’s always been self-sustaining, but the next couple of years are slightly trickier in terms of how we make the business model work as well as it used to.

“All the parts are there, it just sort of needed an architect to put them all together and help everybody to make it work, which is what hopefully I’ll do.”

She had never set foot in the area before, but had heard of Craft Central from friends who have studios there.

Formed in 1970, the arts organisation spent 40 years in Clerkenwell, but in 2017 moved to The Forge on the Isle Of Dogs – one of the last buildings from the golden age of shipbuilding in the area.

Located on Westferry Road, it was built in 1860 for CJ Mare And Company and constructed the keel for battleship HMS Northumberland.

It fell into decline in the 1900s, but was restored and transformed into studios and workspaces used by Craft Central, by the construction of a virtually freestanding two-storey birch plywood structure within the existing Flemish bond brick walls.

“I was blown away – it’s a stunning, incredible building,” said Jo, who is currently hunting for a facilities manager to help take care of the site.

“What I really liked about it is there’s a connection to the west coast of Scotland, which has a really rich shipbuilding heritage and I’ve been told that a lot of Scottish people moved to the Isle Of Dogs for the shipbuilding industry down there.

“So being in that sort of very heavy industrial building feels quite comforting to me.”

The Forge's studios are home to more than 70 makers — The Forge’s studios are home to more than 70 makers

With around 77 makers based there, the studios are almost full, but Jo is concerned about the effect the cost of living crisis will have this autumn.

“Artists are going to be really hard pushed to afford the luxury of having a studio,” she said.

“I am anticipating people will have some very difficult decisions to make and I’m thinking about how we can make sure that we have a full space and keep the business model working.

“Our rent review will be due next year and I’m sure the utilities will go up. We are going to have to face some harsh realities about increases to our costs.

“I’m going to do my very best to make sure we don’t pass those on to our studio holders, but it will largely depend on whether we can find some support to help us.”

The pandemic already saw bosses seek outside funding for the first time, from the Foyle Foundation and Garfield Western Foundation. Jo said more would be needed this year to make the figures work.

“My ambition is that in two years we won’t be relying on any sort of trust, foundation or public funding in order to operate as a centre for craft, but we would be looking for funding to run programmes with the community,” she said.

Jo is hoping to forge relationships with companies in Canary Wharf and beyond to help spread its work further into the Island.

“Craft Central isn’t just about the building – it’s going to be really important to take the brand beyond that,” she said.

“I’m trying to find as many places to connect to as I can, locally and more widely. I’ve inherited a really fantastic team and we’re looking forward to the future.

“For a while its been head-down, let’s hold this together and the team did a fantastic job of that. Going forward, it’s our ambition to be much more embedded in the community.

“Ways we can work with residents and local groups is going to be a definite focus.”

Jo already plans to register Craft Central as an Arts Awards venue to help broaden its work with young people.

“I think it’s really important that we engage with children,” she said.

“Craft isn’t taught so much in schools any more and I think a part of what we can offer is a window into another world for young people.

“We want to work more with older people, because the motor skills associated with craft are a recognized benefit in ageing as well.

“There are so many benefits associated with art of any type, but particularly in craft. It connects you to yourself.”

Craft Central's makers work in a range of different areas — Craft Central’s makers work in a wide range of different areas

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- Laura Enfield is a regular contributor to Wharf Life, writing about a wide range of subjects across Docklands and east London

September 4, 2022September 4, 2022

Canary Wharf: Why Feels Like June is all about the warmth of welcome

Restaurant and bar at recently opened Tribe hotel wants to draw residents and workers to Wood Wharf

Feels Like June is located in Wood Wharf

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It wasn’t so very long ago that there wasn’t really much to visit Wood Wharf for. Those days of promissory hoardings are long gone.

MMy Wood Wharf is finding its feet, complete with a basement jazz club, Emilia’s Crafted Pasta is well established as a place for generous bowls and Hawksmoor continues to be a lunchtime hit, ably assisted by arguably one of the best bars on the Wharf – The Lowback – beneath.

But those are just for starters. Patty&Bun, a chain so hip all its melons are twisted, is serving decent drippy burgers on Park Drive and recently launched hotel Tribe has opened its doors as the first place for visitors to stay actually on the Canary Wharf estate.

Its bar and restaurant, which also acts as a workspace, is the optimistically named Feels Like June – a moniker that is entirely appropriate for a heatwave but that might be more a reach in, say, January.

For restaurant manager, Juan Esquivel, the name is more about the warmth of welcome his team and the hotel aim to extend to visitors and guests.

“First of all, we are casual – you won’t find us in suits,” he said.

“We want people to feel like they are on holiday when they come here and we don’t want people staying with us at Tribe in their rooms, we want them here.

“The social hub is the lobby and there’s a salad bar and a grab-and-go coffee shop.

“But Feels Like June also works as a standalone restaurant. It’s inspired by California both in what we serve, but also by the state’s summer vibe.

“I think the designers have done a really good job – you won’t find a normal linear restaurant here.

“It’s more relaxed, like a lounge, so people can sit with a drink and a book or do some work on a laptop.

“We want this place to be for everybody – an approachable product with great service – a place where Wood Wharf’s residents can meet holidaymakers, Canary Wharf workers and the hotel’s guests.

“The name isn’t about the weather, it’s about the warmth we bring to our guests. The seasons may change, but here you will get that same summery feel – always welcoming.”

Originally from Argentina, Juan has worked in Mexico, Spain and London, most recently for six months at Gaucho.

“I’ve always worked for luxury brands and, for me, coming here was about asking why we can’t bring that level of service and product to a wider audience,” he said.

“Tribe is part of Ennismore (which recently merged with hospitality giant Accor), and we are really proud to be the first hotel on the Canary Wharf estate.

“As a brand it’s a new concept and this is the first in the UK – the flagship for all of the openings around the world.”

Open all day with options for breakfast, lunch and dinner, food and drink-wise, Feels Like June promises diners dishes that prioritise health and natural ingredients.

“Personally I love the sea bass, which comes with herb butter and lemon curd,” said Juan. “It’s very tasty and the steaks are good as well.

“All of our desserts are gluten-free and we do things like a banana split because that’s something fun to share – we have a lot of families at the weekend so it works for kids as well.

“We also have a caramelised pineapple dish with mango sorbet, which is very summery and has rum in it so there are lots of tropical flavours.

“At the bar we are looking to have lots of low alcohol versions of drinks – our versions of classics.

“For example, guests can have our Minimal Colada, a version of a Pina Colada that’s clarified and more summery with coconut rum, banana, pineapple, coconut water and salt.

“The idea is you can have a drink with lunch and be fine to do some work.”

Guests can expect to pay around £13 for a cocktail, while small plates cost between £8 and £17. Main dishes range from £14 to £25 and salads are about £12.

“We’re open for breakfast and we will have a lot of guests from the hotel, but we also have an a la carte menu for our other customers,” said Juan.

“We’ve also just introduced a brunch menu, which we think is going to be very popular at the weekend.

“Feels Like June really brings a different kind of space to Canary Wharf where everyone can find something to enjoy.

“We already have regulars and I really like our staff to engage with our customers and to have conversations with them.

“In turn I think the people who are living here are very happy that more things are opening. Here we want people to always feel that they are welcome.”

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- Jon Massey is co-founder and editorial director of Wharf Life and writes about a wide range of subjects in Canary Wharf, Docklands and east London - contact via jon.massey@wharf-life.com

August 31, 2022August 31, 2022

Greenwich: How It’s A Motherf**cking Pleasure puts blindness centre stage

FlawBored’s Greenwich Theatre show employs satire and glittered-up canes to explore its topic

Image of FlawBored standing against a colourful wall, from left to right, Aarian Mehrabani,(6ft middle eastern man with thick black hair and a shaved face) Chloe Palmer (5ft 8” white woman with blonde hair, blue eyes and freckles.) and Sam Brewer (6ft 1” white man with a shaved head and a short ginger beard) — FlawBored are, from left, Aarian Mehrabani, Chloe Palmer and Sam Brewer

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“I think there needs to be a big shift in theatre to consider disabled audiences, and how you can make work that aims to be more inclusive,” said Chloe Palmer.

“No show is ever going to be 100% accessible, but having companies that are evaluating what they can do and how they can support people with disabilities has been a catapult for us.”

Actors and devisers Chloe, Sam Brewer and Aarian Mehrabani make up FlawBored – an emerging, disabled-led company – that’s set to stage three performances of its debut production at Greenwich Theatre in September, 2022.

A work in progress, It’s A Motherf**cking Pleasure is a satire encompassing blindness, influencer culture and non-disabled anxiety about trying to get things right and do the correct thing.

“It’s really good fun, not harsh and nasty,” said director Josh Roche.

“It’s about the way some people presume to know what is good or useful for those with disabilities and gently mocks that anxiety.

“It’s very funny, very fast-paced, very playful, and it tends to let you know where the floorboards are and then unsettles you and turns things on their head.

“It’s also about how disabled identities talk to each other and how they’re competing for space.

“It focuses on a young influencer who is trying to give disability a social cachet and the compromises they have to make, just like other social justice movements at the moment.”

The hour-long show follows “megalomaniac blind talent manager” Tim who’s on a mission to rebrand disability with “ambitious but naïve” blind influencer Ross as his possible golden ticket.

Audiences can expect glittered-up canes, blind TV spin-offs and hijacked political causes in the mix. It’s fair to say there’s a lot going on, with accessible layers to match.

An image of Sam (left), wearing a pink floral suit jacket, holding Aarian (right), wearing a mustard jumper and blue dungarees both on stage. A photo of Baker Street tube platform projected behind — Sam and Aarian on stage

“This is a piece we’ve worked on for a year,” said Chloe.

“Sam came up with the original concept and approached Aarian and me to ask what we could do to explore how blindness could become dramatised?

“We then spiralled from that. A lot of our process is based on doing research and focusing on ideas we want to explore within the theatre world.

“We go away and explore a question and, because access is so important to us as a theatre company, we also make sure that every idea we come up with can be made accessible.

“Alongside the devising, we have an access language and we look at how captioning and audio descriptions can be integrated into the script and scene – it’s not something we do at the end with limited time.

“Sometimes in theatre the audio descriptions are done by companies who don’t have much to do with the production process, but we say that you should start with access in the forefront of your mind and it should be turning in your head while you create work, which will be enriched because of it.

“You think about the language you can use in a play and the form it can take, and access is just another language, which allows the audience another way to experience your work.

“For example, captions can add an extra layer of experience for anyone who can read them and you can use them however you want.

“I think the support we’ve had for this project is a testament to the fact that a lot of theatre is still inaccessible.

“You’ve got people exploring these languages but not necessarily the know-how to use them.”

In some senses that’s less of an issue for FlawBored because Sam and Aarian are blind.

Having graduated from the Royal Central School Of Speech And Drama in 2020, the three actors teamed up with the idea of making a show together, before finding support and funding in the form of a company.

One of the missions of that company is to put blind characters on stage that don’t conform to tired stereotypes.

Sam said: “I’m blind and so is Aarian, but we are very different people. We simply find ourselves lumped together by the happenstance that we are blind.

“This is one of the things we’re trying to find our way around.

“There are a lot of tropes around vision-impaired characters, historically – oracles in Greek tragedies, soothsayers, characters who see the world differently – that’s all rather boring.”

A photo of Aarian (left) and Chloe (right) on stage. Chloe (wearing a blue and white stripy jumper with blue jeans) extends her hand to Aarian (wearing blue denim dungarees and a mustard yellow jumper) A projection of Baker Street Tube Station in the background

Aarian added: “We’re trying to show that people are an amalgamation of many identities – our gender, class and nationality, for example – blindness is just another one of those differences.

“Sam and I are both visually impaired but that’s just where our similarities cross – we’ve got completely different life experiences.

“All of the characters in It’s A Motherf**cking Pleasure are fully rounded and deep. Inherently they all have loveable and likeable characteristics, but are also deeply flawed.

“It’s a complicated relationship between the characters and the audience and we never want to be saying: ‘These are the blind characters – and you know how to treat them’.”

Josh said: “You always know which identities on stage are allowed to be themselves and which are treated with kid gloves.

“Visually impaired people are typically clairvoyant or see life in a deeper way than those around them.

“When you allow them to be just as flawed as all of the other characters in a play, you’re understanding that visually impaired people are just people – they’re as good or as bad as anyone else.”

Having won support from Arts Council England, Greenwich Theatre (which presented FlawBored with its 2022 LET Greenwich Theatre Award), Theatre Deli, Camden People’s Theatre, Les Enfants Terribles, Wildcard Theatre, Watermill Theatre and Extant, there’s clearly an appetite in the industry for the company’s work.

Sam said: “I think theatre can be really good at doing moments, but it’s about how those artists can then be developed.”

Josh added: “I think there’s a difference at the moment in the way arts funding is focusing towards different identity groups and the way they’re perceived in wider culture.

“I think there’s a reverence about the way funding operates, which can be incredibly useful but can also be quite restrictive – it’s not always as playful or bold as it could be.

“There’s a distinction between this and, for example, the way social media represents different identities.

“The hope is that others will find it easier to develop work in these areas and these ways if people have already done it.”

Performances of It’s A Motherf**cking Pleasure are set to take place at 7.30pm on September 14, 2022, and 7.30pm and 2pm on September 15, 2022. Tickets cost £15.

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- Jon Massey is co-founder and editorial director of Wharf Life and writes about a wide range of subjects in Canary Wharf, Docklands and east London - contact via jon.massey@wharf-life.com

August 31, 2022August 31, 2022

Canary Wharf: Why Joe Powell-Main is the act to look out for at Dancing City

Weekend dance spectacle returns to the estate as part of Greenwich+Docklands International Festival

Joe Powell-Main will perform with the Royal Ballet at Dancing City

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Dancing City is back.

One of the regular pillars of the sublime Greenwich + Docklands International Festival (GDIF) will once again take over Canary Wharf for a whole weekend, filling the estate with free shows for all to enjoy.

Running from 1pm to 6pm on both September 10 and 11, 2022, this year’s outing will see 12 separate companies and artists put on some 22 performances in eight locations.

Consequently, its 2022 iteration offers the familiar opportunity to both explore the estate on a Saturday and Sunday, while catching some very high quality dance in the process.

While it’s worth aiming to see all of the shows – GDIF has a well deserved reputation for giving a platform to artists of the highest quality – there’s a real buzz around one of this year’s pieces.

Sleepwalker is a collaboration between disabled dancer Joe Powell-Main and the Royal Ballet in a story that has almost as many twists and turns as the choreography.

Born in mid-Wales, Joe began dancing aged five, auditioning for the Royal Ballet School’s junior associate programme, travelling to Birmingham to train every Saturday and going on to perform with the Birmingham Royal Ballet.

“From there, when I was about 10 years old, I auditioned for the Royal Ballet Lower School in Richmond and gained a place there,” said Joe.

“There were dancers competing for a place from all over the world and they only took a dozen girls and boys each year.

“I studied there for about three and a half years, and I was lucky to perform with the Royal Ballet in Nutcracker.”

But then disaster struck – a period of prolonged growth meant Joe developed problems in his left knee that led to surgery and further complications.

Then he was involved in a serious car accident that left him unable to use his left leg, meaning he had to leave the Royal Ballet School.

“That’s when I acquired my disability,” said Joe. “It was a very tough time. Since I was young, I’d poured my heart into dancing.

“My parents had supported me and taken me everywhere. I’d put all my eggs in one basket, and having the rug pulled from under me like that at 14 was not a nice thing.

“What was difficult for me as a child and as a teenager was that I had been very active.

“Then there I was, in a place where I was having difficulty with my physical mobility – it was difficult for me to see what I could do with my life.”

It took some time, but Joe found his way back to dance.

His mother spotted some classes for wheelchair users on a trip to see his ballet teacher sister perform and, although they were in Manchester, the family made things work.

He spent a few years dancing Latin and ballroom, going on to win competitions before embarking on a performing arts course at college, initially in musical theatre before switching to dance with the encouragement of his teachers.

A degree in dance and performance at the Arden School Of Theatre in Manchester followed during which time he was making efforts to connect with ballet dancers with disabilities on social media.

These endeavours led him to connect with Ballet Cymru in Wales where he first attended a summer school, gained acceptance as an apprentice and joined the main company in 2020.

Joe and Isabel Lubach will perform Sleepwalker four times over two days

“Because of lockdown, it was a year of waiting, but in 2021 things started opening up and we did some performances of Giselle,” said Joe.

“Then someone reached out to me from the National Lottery to be a part of the ParalympicsGB Homecoming ceremony.

“They also made the decision that it would be cool to reach out to the Royal Ballet, given my connection with them previously and we did a performance last September at Wembley Arena.

“That’s how I became the first dancer in a wheelchair and on crutches to perform with the Royal Ballet and returned to that connection.

“I was asked if I would be interested in doing something for GDIF this year – another collaboration with a company – and luckily the Royal Ballet were really interested in keeping contact going between us and seeing what was possible.”

That has led to Sleepwalker, a piece directed by Royal Ballet principal dancer Alexander Campbell, which explores themes from George Balanchine’s ballet La Sonnambula.

“It’s something people haven’t seen before,” said Joe.

“We started the process of creating the 10-minute piece in March with some research and development. I think there’s a perception, especially with classical ballet that dancers make everything look easy but one of the beauties of this duet is that we’re not afraid of showing the work that’s going on

“I think the audience will have an expectation of what’s coming next, but they really won’t know. Also, because people will be all around us, everyone will view it slightly differently and that’s exciting as well.”

While he acknowledges that his childhood classical training prior to acquiring his disability puts him in an unusual position, Joe hopes his performances and career will serve to inspire companies to embrace greater diversity in the dancers they work with and the programmes they develop, not least so more people can enjoy the benefits of performance.

“While rehearsing, outside of performing, I would classify myself as quite shy,” he said.

“I don’t know what happens but when the music comes on and I’m on stage I gain confidence from somewhere.

“I’m not sure where that comes from, but it’s very enjoyable.

“What’s most important to me is the sound of the music I’m performing to.

“You can explore the choreography, but when it all comes together, that’s the most exciting thing.

“In front of an audience I’m not the world’s most confident public speaker, but when I’m dancing I can express things through movement – you don’t need words.

“Even if it’s a piece you know well it feels new every time you perform.

“It might be finding something different in the venue or in the movements and I find that really interesting.

“I’ve not been to Canary Wharf before but I’ve seen pictures and I think performing the piece outside will be a big change with people all around us.

“I hope that our audiences for Sleepwalker will have their perceptions of what a classical ballet dancer might look like challenged.

“I also hope they seek out opportunities to see more dancers like me.

“I hope companies will also be more willing to bring disability and classical ballet together – if we can keep an open dialogue, we can tackle anything.”

Sleepwalker will be presented at 1.35pm and 3.55pm on both days of Dancing City at Canary Wharf’s Columbus Courtyard.

DELIVERING THE FESTIVAL

“As always, for Dancing City, we like to make a virtue of the stunning outdoor spaces, piazzas and waterfronts which characterise Canary Wharf,” said GDIF artistic director Bradley Hemmings.

“We’ll be down at Jubilee Plaza, Westferry Circus and Wren Landing, but we’re also trying to explore more spaces on the estate than we have in the past so there will be events at Crossrail Place and at Harbour Quay Gardens at Wood Wharf.

“It’s an event where you can imagine you’re in a European city with all the squares and open spaces – that’s the spirit of it.

“We all know Italy, Spain, Portugal and France, with their wonderful street cultures and that’s what this part of the festival does for east London.

“This year we have a range of fantastic shows on offer including Migrare by Cia Maduixa, which is presented entirely on stilts as four migrant women fight for a new place to call home.

“Then there’s Four Seasons at Westferry Circus by James Wilton Dance with capoeira, acrobatics, martial arts and classical dance all set to music by Vivaldi.

“There’s new work from the hip hop company AndroidX + MHz called Crowd_Ctrl.

“This integrates movement with a projection screen behind, which will be like watching a choreographed graphic novel at Jubilee Plaza.

“That’s a London premiere. And there are so many other things besides.

“We’re so pleased to be supported by Canary Wharf to fill the estate with companies from the UK and overseas again for 2022.”

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- Jon Massey is co-founder and editorial director of Wharf Life and writes about a wide range of subjects in Canary Wharf, Docklands and east London - contact via jon.massey@wharf-life.com

August 31, 2022August 31, 2022

Stepney: How the Attlee A Level Academy achieved record-breaking exam results

The New City College east London campus is celebrating a 15% rise in its A Level pass rate

Image shows the main entrance to New City College's Attlee A Level Academy in Stepney, an Edwardian building in east London — New City College’s Attlee A Level Academy in Stepney

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Read the comments of its students below and the secret to the recent success of New City College’s Attlee A Level Academy becomes obvious.

Young people clearly relish the teaching they receive and the environment provided for them to learn in.

Located on the eastern side of leafy Arbour Square, just off Commercial Road and round the corner from Troxy, the academy occupies the fine Edwardian building that once housed Raine’s School.

Most recently rebranded with the blessing of former prime minister Clement Attlee’s family in 2018, in 2022 it achieved record-breaking figures with a 15% rise in A Level pass rates and a 12% increase in students awarded higher grades over the last four years.

In total, 125 students achieved 371 A Levels between them.

“We’re really, really pleased with the results,” said Janet Smith, New City College principal with responsibility for A Levels across its operation.

“Attlee was formed by merging provision that was in Tower Hamlets and Hackney at this site – that started a journey of pulling it all together and really improving things.

“Then we got caught up in the pandemic with students getting centre-assessed grades, but these results really validate the work we’ve been doing to build high quality provision.

“Since that pre-pandemic merger, we’ve improved by 15% and that starts to establish us as a high-performing centre for Tower Hamlets.

“We offer the widest range of A Levels in the borough – it’s a great selection – and we’re particularly good at the sciences and helping the progression of our students into university to study courses such as medicine.

Image shows Janet Smith, a woman with dyed red hair, wearing rimless glasses and gold earrings set with green stones
New City College principal Janet Smith — New City College principal Janet Smith

“During the pandemic, the whole senior leadership team got involved to make sure we weren’t just inflating grades, that what we were doing was valid and we can now go on with the confidence that we avoided doing that.

“We’re particularly pleased that we’ve got 11 subjects here where all of the students who took the exam passed – that’s quite phenomenal.

“These are tricky subjects – business studies, politics, physics, media studies, psychology and sociology – and really significant numbers of high grades.”

Group principal and CEO at New City College, Gerry McDonald, said while many colleges no longer offered A Levels due to the “hard, competitive” nature of the market, Attlee had been created to focus on the student experience to ensure the academy continued to be seen as a first choice for students as opposed to staying on in school sixth forms.

“These results show we made the right decision to create the academy,” he said.

“We have a broad, broad offer with subjects like classical civilisation, which you wouldn’t find in a school, but also fantastic links to universities such as Queen Mary.

“Our teachers are mostly A Level specialists – they understand the syllabuses really well and some have been involved in developing them and are examiners too, so they understand how to support our students. Now our focus is on helping them achieve those higher grades.”

Image shows Gerry McDonald, a white-haired man with black-rimmed spectacles in a blue suit and white shirt
Gerry is group principal and CEO of New City College — Gerry McDonald is group principal and CEO of New City College

Janet said the attraction for those looking to study at Attlee was two-fold.

“There’s the academic side with a breadth of offer and lots of other students, so people can really learn from each other,” she said.

“You might be in a group of 20 and that’s a really rich cohort to work with.

“Then we have very strong links with industry so we offer internships and programmes that may not be what students would be able to get in a school.”

Gerry added: “There’s also the maturity of environment. Our students won’t get the sort of support they have at a school when they go to university.

“Coming to Attlee helps them prepare for that by making them more resilient, independent learners, while also allowing them to mix with different groups of people, rather than moving up with their Year 11 cohort.

“Helping our students progress is a really important part of what we do and, because Attlee is part of a large college, there’s a wealth resource that we can draw on in terms of teaching.

“As staff, we work hard to develop our teaching skills – all of the senior team still do some teaching – and our expectation is that teachers understand that they are role models. It’s about the enthusiasm we have for our subjects, not just about the exam, but developing those broader interests in our students. That’s what our passion is.”

Enrolment for the latest cohort of Year 12 students at Attlee A Level Academy runs until September 3, 2022.

New City College operates across nine campuses in east London including facilities in Hackney, Epping Forest, Havering, Rainham, Redbridge and Illford.

CASE STUDIES: NEW CITY COLLEGE

Image shows Naima El Hallili Kintlerova – a young woman with dyed red hair, wearing a black top.
Naima moved to New City College from George Green's School — Naima moved to New City College from George Green’s School

Naima El Hallili Kintlerova
Law A, History B, Psychology B
Future – Naima has a place at Royal Holloway University Of London to study history

Isle Of Dogs resident Naima was a pupil at George Green’s School before joining New City College’s Attlee A Level Academy to take her studies further after taking her GCSEs.

She said: “I was looking at colleges and this place just came up. I liked that it was local, so I went to an open day. I liked how friendly the teachers were, how they made me feel at ease.

“They have an open-door policy here so if you have a question, you can just go into the staff room and ask.

“It’s not formal, you don’t have to call the teachers miss or sir – it’s all on a first name basis and I liked that.

“I enjoyed coming to college more than school because you have that rapport with the teachers – it’s more like a community and it’s very supportive.

“I never used to be as confident as I am now with things like speaking in public – coming to this college has allowed me to make new friends, be comfortable with myself and speak up.

“I feel a lot of my confidence is because I came here and met a lot of people from different countries and cultures.

“The college gives you a lot of opportunities – you get to work at the academy, get paid and have access to internships.

“I had one with a bank and now I have a mentor who is there for the next few years to help me with things like writing a CV.

“Even from GCSE level I’ve liked history. I thought about doing law at university for a second, but you can always take a legal route later on.

“At college my history teacher was really kind and made the lessons really interesting.

“He was so helpful with exams and coursework and in the end it’s all paid off because I got a place at Royal Holloway.

“I’ve thought about becoming a historian, maybe doing a masters and a PhD, but I still have a few years to decide.”

Image shows Geovanny Rodriguez, a young dark-haired man with pierced ears wearing a black shirt and white T-shirt
Geovanny studied at New City College between ages 14 and 18 — Geovanny studied at New City College between ages 14 and 18

Geovanny Rodriguez
Business A, Psychology A, English Lit B
Geovanny has a place at the University Of St Andrew’s in Scotland to study economics and management

North London resident Geovanny has had a less typical route into studying A Levels at New City College, having joined the institution aged 14 pretty much unable to speak English.

He said: “I’m originally from Colombia, but I moved to Spain when I was about 13, then I stayed there for a year and then came to the UK.

“ First I attended the college’s section for those aged 14-16 who don’t know how to speak English.

“Then I came to the Attlee A Level Academy and now I’m going on to study economics and management at St Andrews.

“I chose it because it’s a really good university and I liked the experience of going to Scotland.

“Unlike Naima I don’t have a passion for a subject like history, but studying business is good because it opens doors.

“My idea is to have a stable income and also to do my own thing with photography and clothes.

“Studying at New City College has been great.

“At first I didn’t really know anyone but then I found friends and I had a really good connection with the teachers.

“The college also allowed me to run a pop-up shop and I donated 20% of the proceeds to charity.

“I take pictures of the things I like, not focusing on anything specific, just weird things I see as I go round.

“I’d definitely recommend the college as a place to study. It’s more like a community than a college because everyone knows each other.

“While I live in North London, it’s totally worth the commute here to find supportive and helpful teachers – they were always there when I needed anything.

“It’s also good to come to a completely different area to the place that you live and to have that contrast to your life at home.”

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- Jon Massey is co-founder and editorial director of Wharf Life and writes about a wide range of subjects in Canary Wharf, Docklands and east London - contact via jon.massey@wharf-life.com

August 19, 2022August 19, 2022

Deptford: How The Yeast Brothers blend youth and experience in their business

Pizza restaurant at Artworks Creekside uses secret blend of flour and time to create signature dough

Rafael Pinto and Ale De Menezes are The Yeast Brothers – image Matt Grayson

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BY LAURA ENFIELD

They say you are what you eat. Well, layers of Deptford life are folded into the pizza at The Yeast Brothers.

Firstly, the sourdough base is made by catching the wild yeast in the air around the Artworks Creekside and fermenting each ball of dough for 48 hours.

“The dough is the main thing,” said co-founder Rafael Pinto, 25. “We don’t like to talk about what goes into ours – it’s secret – but we mix different types of flour so it is very light and crispy at the same time.

“It’s all about the fermentation. If you leave it to over-ferment it’s not going to be nice and we have to control the temperature and hydration overnight. It’s a science.”

The next layer is their background. Bermondsey resident Rafael and co-founder Ale De Menezes, 43, both hail from São Paulo in Brazil, but left their homeland’s traditions behind to mix Italian style with their own modern take, which includes vegetables from Deptford and chorizo from Spain.

“Pizza is a very big thing in Brazil,” said Rafael. “They say it’s the best in the world. The Italians would disagree with that, I’m sure.

“It’s a different style because they don’t use a long fermentation like the Italians. They make the dough in the morning for that night.

“Here, the long dough is very important to us. We like to be patient and let it grow by itself and don’t try to push it.

“It makes it easier to digest because you use less yeast but, of course, without the yeast we would be nothing.”

Hence The Yeast Brothers. Except they’re not actually related. Not by blood anyway.

Ale has been friends with Rafael’s father since they were teenagers in Brazil and it was he who introduced the youngster to pizza making in Deptford.

“When my dad knew I was coming to London, he contacted Ale to help me,” said Rafael.

“Ale used to work in TV production in Brazil and made pizzas but it wasn’t his main job.

“A few years back he went to live in Australia and started working in a kitchen making pizza. When he came to London, he kept doing it.”

When Rafael arrived in London, fresh from culinary school in Brazil, Ale helped him settle in and get a job at Wandercrust at The Duke pub in Deptford.

It was here that the ingredients of The Yeast Brothers began slowly fermenting.

“Ale was the master who taught me everything I know about pizza and we sort of became brothers for life,” said Rafael.

The duo worked at Wandercrust until April 2021 when the business moved to Greenwich, building on their shared love of pizza and dreaming of their own operation.

The Brazilian duo offer a range of flavours – image Matt Grayson

It was lockdown that gave them the push to roll out their own dough.

“During the pandemic, it was just us in the kitchen not talking to anyone but the drivers, so it gave us time to talk and come up with the concept and choose our identity,” said Rafael.

“Ale’s the most hard-working guy I know, so I knew he would be the best partner for me.

“I feel like the pandemic helped because otherwise, it would have taken a lot longer.”

Money to make the dream a reality was tight, but then the team from Deptford Bus approached them with “the perfect opportunity” – a space and some equipment to get them started.

They traded there until December last year but once again were left stranded when the business closed.

Again, Deptford came to the rescue when the team from Artworks approached them with a space.

Hopefully now settled for a while, they are concentrating on developing their menu which offers up classic pizza flavours and some surprises.

“We used to do Neapolitan pizza, which is popular in London, but we thought we could do something different,” said Rafael.

“People who make it tend to follow the traditional techniques but we use a different flour and folding method and try to expand our ingredients – charcuterie from Spain, cheeses from France and not just Italian products.

“For us to actually have an impact we had to have the classics, because that’s what people look for.

“So we use tomato and mozzarella from Italy, but we try to mix it up as well. We do a pizza with Montgomery Cheddar from England and chorizo from Spain.”

His favourite is the burrata and nduja pizza and they also offer four vegan options – a truffle pizza and a weekly special.

“I feel like eventually we’re gonna get rid of some of the classics and try to have more unique flavours,” said Rafael.

It’s a very competitive market and there are so many different styles as well. You have the cheap pizzas, the Domino’s, and the more artisanal ones.

Served up, the finished pizza – image Matt Grayson

“I feel like we are in the high end of pizzas now in terms of quality and prices.”

They are also adding another layer to the business with a van featuring a wood-fired oven.

The duo have just used it for a stint at West India Quay as part of the Kerb Incubator programme and will now be heading to the street market at the Gherkin in the City.

Rafael said he couldn’t see the business leaving Deptford though – they love the neighbourhood so much and are enjoying experimenting with how they do things there.

Their wives take turns to help out in the restaurant at weekends and they have been adapting their hours and menu as they go along based on what customers want.

“We’re still figuring out when is best to be here but enjoying it all,” said Rafael.

“I don’t remember once having an argument with Ale – we are pretty chill.

“We know how to respect one another, that everyone has their moments and how to give one another space.”

So how does this bubbling, almost-finished business compare to their Deptford pizza past?

“It’s just us in the kitchen like it was before, but it’s great, because here the customers can see the pizzas being made and we get to see them eating it,” said Rafael.

“That’s what we’re here for – to see their faces when they enjoy the food.”

Pizzas at The Yeast Brothers – image Matt Grayson

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- Laura Enfield is a regular contributor to Wharf Life, writing about a wide range of subjects across Docklands and east London

August 19, 2022August 19, 2022

Wapping: Why photographer Jonathan Goldberg travels to islands in the Thames

Jonathan will present a talk about his work at the Classic Boat Festival in St Katharine Docks

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BY LAURA ENFIELD

Did you know there are 180 islands in the River Thames? That’s 180 mysterious pockets of land most of us will never set foot on.

If your interest has been piqued, you’re in good company, because I was enthralled when photographer Jonathan Goldberg began to tell me of his journey into the unknown.

He has visited 65 islands over the last four years for his series Estuary Hopes, Upstream Dreams, which captures life on their shores including an abandoned torpedo factory and an artists commune.

“I’ve always been fascinated by islands in general, and my projects are often based around my backyard,” said the Willesden Green resident.

“Other photographers might want to go to exotic locations and travel far, but that leaves a big carbon footprint and there’s so much on your doorstep you might not know about.

One of Jonathan's images of Taggs Island — One of Jonathan’s images of Taggs Island

“The Thames islands are every bit as intriguing as the more publicised locations precisely because they lie under the radar.

“I’m always quite fascinated by things that are seemingly so close yet a little bit hidden.”

He will be sharing details of his journey at St Katharine Docks this summer as part of the Classic Boat Festival, which in turn is part of the Totally Thames Festival.

The 49-year-old will be discussing his work with author and journalist Sasha Arms, whose book, Carl Goes London Islands informed his travels.

Some photographers do not have a predilection for verbosity and there is an argument that art should not be explained.

But Jonathan gallantly attempted to answer my questions about his travels, which he said gave him a greater awareness of the layers of history and many quirks to be found along the river.

His first stop was Eel Pie Island in Twickenham, one of 60 inhabited blobs of land in the Thames.

One of Jonathan's Eel Pie Island images — One of Jonathan’s Eel Pie Island images

“People of a certain age tend to know about it because it’s got a very colourful history,” he said.

“In the 1960s and 1970s, there was a venue where a lot of the big music performers of the day played – The Who, Pink Floyd and David Bowie.

“It’s sort of private now, but it’s home to a lot of artists’ studios and they have an open day twice a year, so I went in the summer and it piqued my curiosity.”

He took the easier road (or waterway) next, travelling to the islands that are designated parkland or open to the public.

“I fixed on the people who frequented the islands and tried to find interesting and diverse characters and the everyday goings on,” he said.

One of his favourite discoveries was Tagg’s Island near Hampton.

“It’s quite exotic-looking because the landscape gardener has planted numerous plants and there’s a lagoon in the middle of the island,” he said.

“All around it are these houses which look really interesting because they are technically houseboats but never move – they are moored permanently.

“Something about the architecture is really ornate and quirky.”

The softly spoken photographer, who started his career on newspapers such as the Hendon Times and the Ham And High in the 1990s, was mostly welcomed ashore.

But he recalls one island that “looked like an 1980s housing estate” where his subjects were extremely reticent about appearing in front of the lens and all but escorted him back to the river after 30 minutes.

In contrast, he has spent “too much time” on Canvey Island and some of its most easterly neighbours.

One of Jonathan's images of Lots Ait — One of Jonathan’s images of Lots Ait

Jonathan said: “Sheppey is one of my favourite places to photograph because it feels rather like the end of the world and is a bit weird with loads of diverse things going on – an industrial corner, a nudist beach, a tacky holiday resort and a nature reserve.”

The furthest west he has been is Osney, near Oxford, and Fry’s Island near Reading, which is almost entirely given over to the Island Bohemian Bowls Club.

He has plans to explore that area further, ahead of an exhibition in Henley next year which will showcase part two of the project.

“I’ll keep going because there are some islands that really interest me and I want to represent a few other facets of island life in my photos,” he said.

However, there are some islands he knows he will probably never get to set foot on.

“Magna Carta Island, which was where the Magna Carta was signed, has just one big mansion that’s owned by a private individual.

“I don’t feel like I’m going to get a chance to photograph that,” he said.

While that piece of history has been allowed to slip away from public view, others like Platt’s Eyot have benefited from their remoteness.

“It’s home to an enormous warehouse and used to be where World War Two torpedoes were constructed,” said Jonathan.

“It’s semi-derelict but preserved, so they’re not allowed to knock it down.

“I think that if this warehouse had been on the mainland it might have been demolished for housing.”

This project follows his series The Runway Stops Here, which documented a different kind of island – an ecological one.

He spent five years visiting and photographing Grow Heathrow – a sustainable community living entirely off-grid in protest at the proposed expansion of the airport.

One of Jonathan's images of Trowlock Island — One of Jonathan’s images of Trowlock Island

“I would sit around the campfire, help out, make food and that played quite a formative role in my life,” he said.

“It was really great to hang out with a lot of people who were really committed to environmental protest and living sustainably.”

Jonathan said he is often lured by the siren call of the islands to make his own escape from mainstream society.

“I often get a real yearning to snap up a property and think it would be lovely to live there,” he said. “But then again, there are practicalities that need to be considered.

“Some have flooding issues, some you have to get a boat to and, in the winter, they’re not as appealing.”

For now, he’s happy to document these snippets of land that are imbued with so much history and encourage others to look more closely at the landscape around them.

“Hopefully, my pictures will encourage people to seek out places that are surrounded by nature and wildlife, look around more and have a greater interest in the natural world in the immediate vicinity,” he said.

“The islands are a really great place to be a bit more at one with nature because, with water all around, you are, by definition, surrounded by nature.

“You get an amplified sense of the changing seasons and time of day and beautiful sunsets and sunrises – a feeling of tranquillity.”

Thames Islands: Presentation and Discussion is set to take place on September 10 from 3pm-4.30pm. Entry is free.

A free exhibition of Estuary Hopes, Upstream Dreams will be held throughout September at Watermans Arts Centre, Brentford.

The Classic Boat Festival at St Katharine Docks

EVENTS + TALKS AT THE CLASSIC BOAT FESTIVAL

The free three-day boating extravaganza returns with around 40 vintage and preserved vessels assembling in the central basin of St Katharine Docks.

They will include the Dunkirk Little Ships, Bates Starcraft and other working vessels. Visitors will be able to board some of them and meet their owners.

The festival is set to run September 9-11 in the afternoon (3pm-5.30pm) on the Friday, and from 11am-6pm on the Saturday and 11am-5pm on the Sunday.

The opening and closing will be marked each day with a salute of horns.

There will also be food stalls, entertainment, nautical goods and services available on Marble Quay. Talks will be held on the SKD events platform and include:

Tom Cunliffe – Fri, 4pm

The Queen’s Row Barge Gloriana – Sat, noon

The history of St Katherine Docks with Dr Oliver Ayers – Sat, 1.30pm

Thames Islands – Sat, 3pm

Gloriana as above – Sun, noon

Association of Dunkirk Little Ships – Sun, 3pm

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- Laura Enfield is a regular contributor to Wharf Life, writing about a wide range of subjects across Docklands and east London

August 19, 2022August 19, 2022

Canary Wharf: How Canary Wharf Group’s Junior Board works to shape estate’s future

Initiative provides a forum for idea generation, communication across the business and mentoring

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Canary Wharf has been in a constant state of evolution since it was created.

The mix of companies on the estate has changed with financial services and media giants joined by technology firms and an increasing number of organisations working in healthcare and life sciences.

It’s become a place to live too, with homes made available for both private sale and to rent at Wood Wharf and more residential expected at North Quay, Canary Wharf Group’s next major phase of development adjacent to its east London heartland.

Alongside these changes, the company that oversees the estate is also embracing the future, increasingly looking to younger staff to ensure it’s heading in the right direction.

Given the timescales involved in development, it makes sense to consult the people those future phases of regeneration are aimed at and to make certain the existing estate is on point to attract people of all ages.

To that end, Canary Wharf Group appointed a Junior Board in January to generate ideas, serve as a sounding board for the company’s leaders and help shape the future of the business.

Originally 13 – now 11 due to a couple of departures – for nearly eight months, it’s been doing just that, so I sat down with recently elected chair Julie Dang and board member Dan Pereira to find out more.

Canary Wharf Group Junior Board chair Julie Dang

who are you, what do you do?

Julie: I work in the corporate social responsibility department as a programme coordinator and I’ve been in the company for about five years. I work to engage with our stakeholders, with young people and schools, to help them with their career aspirations and future employment.

We’ve run job fairs, insight days, where we invite people into the business and get our staff volunteers involved, to tell the young people what their jobs are, how they got to where they are now and what they actually do.

Dan: I work in the IT department as an infrastructure supervisor, helping look after Wi-fi, satellite, phones and TV across the estate, for the tenants in the buildings, the restaurants and the retailers.

I used to be an electrician here working day and night shifts – a different world to 8am-5pm.

That means I can help people understand that you can come from that background to a role like this. My background benefits me because I can collaborate with people on the ground.

why apply for the junior board?

Dan: When I was working shifts, I kept coming up with all these ideas, but had no-one to share them with.

I’d see things in the malls, listen to people’s conversations and wonder what I could do with them.

That’s why I applied – I thought it would be good to have someone on it from a maintenance background.

I didn’t tell a soul because I was scared what people might think of somebody in my position applying for something like that. It’s turned out pretty well.

Julie: I was the opposite, I wasn’t going to apply at all because I thought I wasn’t good enough, but I talked to one of my mentors who thought I was.

So I applied because my role is all about raising others’ confidence and trying to improve the lives of stakeholders and employees.

what are the board’s ambitions?

Julie: After many discussions, we decided to focus on three main areas – pay and progression, how to improve internal culture and collaboration in the business and how to change external perceptions of Canary Wharf and Canary Wharf Group, which is very important to us.

Within those areas there are different projects, such as the introduction of ‘coffee roulette’ where two people working for the business meet for half an hour and get to know each other.

Dan: I’ve been on a couple already with people from the legal and construction departments and it’s amazing – a chance to understand what people do in different areas of the business.

Julie: Building relationships is so important for an organisation and this aligns with one of the company’s values, which is cooperation.

I met someone from the residential sales team and went on a tour of One Park Drive in Wood Wharf, which I hadn’t seen before. Half an hour wasn’t enough so we’ve put another date in the diary.

Canary Wharf Group Junior Board member Dan Pereira

what’s the benefit to the business?

Julie: I think the biggest thing is the culture change. Not a lot of companies have a junior board but it means that decisions are not just top-down.

The management board come and ask us if they’re doing things in the right way.

It’s being taken seriously. We’re each paired with a member of the board and reverse-mentor them on a regular basis.

Dan: We rotate after six sessions, which means we get someone different and that means new opportunities to learn.

At the moment I meet the CEO – Shobi Khan – once a month. He’s kept every appointment and we discuss things that need improving and I give him my opinion.

We go on walks, which means everyone knows who I am now, and he gets a different understanding from me.

I try to be completely honest – if he says something I don’t agree with I’ll say so and there are things I mention to him that he won’t have heard about before.

For example, I took him down to my old mess room underground and he’s looking at relocating those facilities so managers and engineers can work more easily together.

That’s given me a sense of confidence that I can talk to anybody. Being able to spend an hour with the CEO and feel comfortable puts you in a good position.

Before joining the board I hardly spoke to anybody and kept myself to myself.

Julie: For me it’s been a chance to learn about other areas of the company, understand the issues they face and what could be done differently.

I’m paired with Alastair Mullens who is head of Canary Wharf’s build-to-rent business Vertus and he’s a very inspiring person.

how do you want to change the perception of Canary Wharf?

Dan: We want to make sure people know it’s available for everybody, not just those in suits.

We want families and tourists to visit, for it to be seen as a great place to come, with so much to do. You don’t have to spend money here – you can come here with nothing and still have a great day out.

There are parks and great views.My favourite thing is to watch the sunset at Canary Riverside. I take my camera and it’s great.

We want people to feel they’re welcome. I recently spoke to some school kids, and I asked them if they could see themselves working at Canary Wharf, and they said they would need a degree – but I was able to tell them that’s not true, it’s not the route I took.

Julie: We want to emphasise that there are lots of arts and events here that are free. We’ve got the largest public art collection in the UK.

One of my favourite places is Crossrail Place Roof Garden, which is really cool in the summer – you can relax and enjoy the scenery.

As members of the Junior Board we can contribute to how this place develops.

For me, there are two areas we should focus on – ensuring Canary Wharf is inclusive, that there are people working here and visiting from different backgrounds and I think we are already well on our way there.

I also want to see more competitive socialising in the retail element of the estate.

Dan: I think Canary Wharf Group needs to keep doing what it’s doing at the moment – adding more things to make the estate better.

We have lots of open green spaces and now there’s the option to go open water swimming in Middle Dock too.

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- Jon Massey is co-founder and editorial director of Wharf Life and writes about a wide range of subjects in Canary Wharf, Docklands and east London - contact via jon.massey@wharf-life.com