Third Space

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
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
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

GDIF artistic director Bradley Hemmings
GDIF artistic director Bradley Hemmings

“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.”

Read more: Greenwich+Docklands International Festival is back 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
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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.”

Read more: How Blackout Dance Camp is rolling out London services

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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
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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

Photographer Jonathan Goldberg
Photographer Jonathan Goldberg

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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
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

Read more: How Canary Wharf’s Junior Board is shaping the estate

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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 
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Royal Docks: How Blackout Dance Camp combats mental and physical health issues

Founder Levan Peart talks dance at UEL, Britain’s Got Talent and expanding his London operation

Blackout Dance Company founder Levan Peart
Blackout Dance Company founder Levan Peart – image Matt Grayson

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“Dancing feels liberating – to be present and grounded in the moment gives me an outlet and a medium to express, be and present myself and to connect with others – it’s powerful,” said Levan Peart, dancer, student, choreographer and social entrepreneur.

The founder of community interest company (CIC) Blackout Dance Camp is constantly striving to harness that power as a way to combat mental and physical health issues.

“I really think they are synonymous – when you address one, you address the other,” he said.

“In the digital age, we can be frequently distracted – with social media, for example – so it’s great to come into a space, connect with others and to have that freedom of expression. 

“The exercise also releases endorphins so it generally improves your state of being and it stimulates your cognitive abilities because you’ll be using your brain in ways you’re not used to.

“You’re having to think and coordinate with your body but at the same time, release and let things flow.”

As a child, Levan danced with his siblings, discovering a passion that has been the foundation of his activities and one he is driven to share.

“I’ve loved dance since I was young – getting home from school and watching dance movies like You Got Served, Stomp The Yard, Streetdance, Step Up and Honey, and dancing to the music channels non-stop,” he said.

“Then two of my sisters and me joined a dance school having seen a story in the local newspaper.

“I’m from Telford originally – a very small town with not many opportunities and not much diversity, but we joined that group and that exposed us to the street dance world a bit more.

“Then my sisters, me and some other people split off and formed our own group called High Definition, which appeared on Britain’s Got Talent.

“My sisters and me also did Sky One’s Got To Dance when we were growing up as well.”

Levan now studies at the University Of East London
Levan now studies at the University Of East London – image Matt Grayson

While still in his teens, he first created Blackout at school, entering national competitions before the project evolved further.

“I’d been approached by some parents who wanted me to involve their dependants in dance, so we formed a group, with regular classes and entering competitions,” said Levan.

“From there, things just snowballed – I was getting into working with schools and meeting more and more teachers who wanted our services.”

Next came a partnership with local community centre The Wakes, offering free dance sessions to young people from low income backgrounds.

“That felt incredible – to give that gift of dance, because it was something, growing up, that I struggled to access,” said Levan.

“It was a real pleasure to be able to give that for free and there was a massive demand for it as well.”

Through that project, he was put in touch with Nicky Kent of Social Heart CIC who helped him set Blackout up as a social enterprise, before a move to London’s Royal Docks beckoned.

“I knew I wanted to get onto the Dance: Urban Practice course at the University Of East London (UEL), years ago,” said Levan.

“It’s the only course of its kind and I knew with my roots that this was the sort of environment I’d feel more aligned with.

“I’m not classically trained, I don’t have that background and this programme covers dance from other origins.

“But it was a bit of a lost dream. I didn’t have the right credentials to get enough UCAS points to be accepted.

“However, I did manage to get onto the New Beginnings access course at UEL – that meant travelling every week from Telford to London, a round trip of five hours.”

Having completed that programme and been accepted onto the undergraduate course, Levan is now seeking to develop and expand his activities with Blackout in both Telford and London.

“For me, it’s being able to balance Telford and London, because Telford is part of my roots and it’s somewhere I’m passionate about,” he said.

“The course at UEL has exceeded my expectations. For me it’s been an incubation period, a time of transcendence – spiritual, mental and physical growth.

Levan started Blackout in Telford
Levan started Blackout in Telford – image Matt Grayson

“Being exposed to new networks and meeting new peers – it really is a different life coming from a cold spot in the UK to such a bustling city, which is thriving and full of opportunity.

“With Blackout, we’re at the stage now of establishing a presence in London and the course I’m on at UEL is exposing me to a whole group of people we can look to work with in the delivery of our own funded projects, going forward.

“We offer a range of specialist dance, education and wellbeing services, integrating Caribbean-style dance with commercial dance to create our signature style.

“Our organisation is split into three segments. There’s the educational element, where we go into schools and deliver mass movement workshops where we can reach up to 400 children at any one time.

“We have our participatory element, which is our dance camps, workshops and intensives.

“The main aim of that is to bridge the gap between industry settings and community settings – to level the playing field for those from marginalised backgrounds. 

“We welcome beneficiaries from all walks of life, however we do have a focus on members of black and ethnic minority communities, LGBTQIA+ dancers, neurodivergent groups and those living in low-income areas.

“The third element is performative, where we have showcases and the opportunity for beneficiaries to take part in short films and screenings.”

Right now, Levan, 22, is focused on growing Blackout’s operations in the capital. 

“I want to continue to build up our programmes in schools in London – to build up a strong roster of people that we can use to deliver these services,” he said.

“There’s only so much you can do with a small team, so collaboration is key for the kind of mission that we have.

“I want to expand the team, expand the roll-out and also the organisation so there’s more time to focus on the artistic vision.

“Eventually it would be nice to create full-length films to raise awareness about issues we’re tackling through our work.

“Potentially, in the future, we’d even like to look at theatre.

“At the moment the programmes we offer in east London with our short films are on a call-out basis, so people should keep engaged with our social media profiles (@blackoutdancecamp) and keep an eye out for project opportunities.”

Levan is expanding Blackout's operation in London
Levan is expanding Blackout’s operation in London – image Matt Grayson

GAINING RECOGNITION

Levan has recently been honoured for his achievements at the Student Social Mobility Awards organised by charity upReach, attending a ceremony at the House Of Lords hosted by Baroness Helena Kennedy.

As well as winning the top Creative Industries Sector Award, he was also named as one of the upReach 10 in recognition of his grit, resilience and determination.

The accolade comes on the back of his success in winning the top prize of £2,500 in an incubator pitch competition organised by HSBC, where he impressed the judges with his entrepreneurial vision.

Levan said: “Winning that money didn’t feel real for a moment, especially as UEL is so close to HSBC’s tower.

“I was shocked but really grateful. It means a lot when you know where you came from and what you’ve had to do to get to where you are. It felt really good to get that external appraisal.

“With the Social Mobility Award, I didn’t think someone  from my demographic and origin would ever enter the House of Lords and take these awards with me.

“It’s a demonstration of what we can achieve if we work for it.

“This recognition has made me more determined than ever to succeed. I feel like this platform has made me more accountable to myself.

“I’ve set a benchmark and I know what I’m capable of. 

“I’m ready to spread my wings and help create a better society for Blackout’s beneficiaries.

“That’s the core of what I’m doing with Blackout – improving the lives of others.”

Read more: M restaurant opens in Canary Wharf

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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
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Canary Wharf: How M restaurant takes dining on the estate to another level

Founder of the steak specialist, Martin Williams, on water bikes, St Tropez and carbon-neutral meat

M founder and CEO Martin Williams
M founder and CEO Martin Williams – image Matt Grayson

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Water bikes, duck eggs from the local waterfowl, hydroponically grown salad ingredients from the Isle Of Dogs – oh, and steak, a great deal of steak.

There’s something happening on the lower floors of Newfoundland tower at the eastern edge of Canary Wharf and it promises a completely different experience to anything the estate has seen before.

Open now for summer previews, with an official launch set for September 5, M restaurant has been long in the making.

For the brand’s CEO and founder Martin Williams, to see the doors open is both a thrill and a challenge.

“We signed the deal for the space when the building was just foundations and it went up pretty spectacularly,” he said. 

“But it’s taken a bit longer than everybody planned, with the pandemics and the war, but it’s great that six years on the dream has become a reality.”

That dream is one that builds on the success of M’s first two sites – in the City’s Threadneedle Street and Victoria. 

Cobia tartare at M restuarant
Cobia tartare at M restuarant

Its latest opening, in Canary Wharf, promises to further the spirit and verve of the brand.

It’s a reflection of the complementary dichotomy Martin’s character hints at – a man who is at once laser-focused on the detail of the businesses he runs, balanced by the kind of sense of fun that has seen his restaurants offer wheel of fortune prizes to Christmas revellers and an hour of free wine and cheese to mark the recent spate of Governmental resignations.

The slick operation of the venues is a given, but it doesn’t take much for him to sail away on the romance of the inspiration behind them.

“While there are small moments of self-congratulation in running a business – when everybody’s gone home and you sit there and feel you’ve achieved something – in your mind you’re always thinking what more you can do, how you can make the place super special,” said Martin.

“When you walk into any restaurant, you’re looking at the micro details – when I dine out with my wife, she makes me sit facing the wall.

“And there’s so much detail in our Canary Wharf restaurant – the inspirations are from the Cote d’Azur, the Riviera and Lake Como.

“We want to stay with the water – we’re surrounded by it with 360º glass – and we wanted to play on that with the colours.

“There are lots of net details, metalwork inspired by yachts, portholes, seagulls – real maritime inspiration and that feels very fitting.

Tuna tataki at M restaurant
Tuna tataki at M

“There’s nothing like this on the Isle Of Dogs or in Canary Wharf – it’s a different level in terms of decor, the level of hospitality and the quality of the products.

“When combined with the wow factor of the views, people who visit will very quickly acknowledge this is somewhere special.”

M is set to launch its St Tropez Beach Brunch on August 27 and 28, slightly ahead of its official opening.

Running from noon-3pm on the Saturday and Sunday of the Bank Holiday weekend, £65 buys a two-course meal and 90 minutes of free-flowing Mirabeau wine or  cocktails.

As with other M sites, the venue has a range of facilities that will act as host to a varied programme of events in addition to its core business.

“We’ve tried to create a venue that you can use for a number of different reasons,” said Martin

“On the ground floor we have La Petite M, which is a wine and wagyu bar with wagyu sausage muffins and bacon sandwiches for breakfast – then it goes into wagyu Cuban sandwiches for lunch and, in the evening, charcuterie plates and wine

“The cafe is very much a grab and go concept and with 600 residents above us, we think it will be very popular for breakfast.

“Then, the main venue is our gastro playground, which is reached via a spiral staircase. It’s akin to walking into a hotel lobby, a very sensory environment that we hope will build anticipation.

Martin says M is a gastronomic playground
Martin says M is a gastronomic playground – image Matt Grayson

“Go up and you’ll be confronted with six ageing chambers for our beef – it’s a bit in-your-face.

“Then there’s a cocktail bar, two private dining rooms, a private members’ lounge, a wine tasting area, a terrace and the grill restaurant specialising in Provencal cuisine.

“Throughout, you can enjoy heightened hospitality.

“It’s always our intention to give you an amazing dining experience.

“We’re cooking on wood, coal and smoke and we specialise in beef with the best meat from around the world.

“We have quality wagyu from Japan and cuts of Blackmore wagyu from Australia – exclusive to us, Heston Blumenthal and The Ledbury – so there are some incredible beef offerings

“All of our steaks are carbon neutral – the way we do that is by having partner farms across the globe where we know the farmers very well and we measure their carbon footprint and the methane output of the cattle. 

“Then we measure the transportation impact of bringing all of our foods to the table, and then we mitigate or reduce that at source as much as possible, and we offset it with a charity we have that is concerned with a reforestation programme in the Amazon.

“That means you can dine knowing it’s not having a negative impact on the environment.

“We also offer a lot more besides. About 50% of our diners eat steak and that means half order other dishes – the rest of our menu has been described as Michelin level food with flair. 

Wagyu scotch egg at M

“We’re very casual and accessible, but the quality is up there with the best restaurants in the UK.”

That M’s third site is in Canary Wharf is no coincidence. Martin, left Marske-By-The-Sea near Middlesborough for London aged 18, working in hospitality through his studies before deciding to take restaurants “very seriously” at the age of 24.

His first managerial role was at Gaucho’s Canary Wharf branch, a business he eventually rose to become MD at and that he is once again running alongside M.

“We had a sheltered upbringing with one row of houses between us and the North Sea and a five-minute drive to the North York Moors – Heartbeat country,” he said. 

“When I came to London it was a wonderful shock to the senses, very busy and very diverse.

“You could be anyone you wanted to be. Canary Wharf has changed immeasurably since I first came here – it’s a very different landscape.

“When I launched M in 2014, I was looking at the Wharf and the City, but the Threadneedle Street site had previously been a restaurant so a lot less capital was needed to open.

“This new venue should be the making of M. 

“I love Canary Wharf, the cleanliness and the safety but also the journey it’s been on over the past 15 years to become more than a sterile environment, with real culture and art and the way the waterways are being used in different ways now. 

“We’re hoping to do a competition where businesses and residents can race water bikes along Middle Dock with some great prizes for the winners.

“We want to open with a bang and offer the highly competitive people of Canary Wharf a way to have some fun, get some exercise and enjoy the world’s best beef.”

M’s signature Bakewell Tart

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Greenwich: How GDIF is set to fill east and south-east London with performances

The 2022 edition of the Greenwich And Docklands International Festival runs from Aug 26-Sept 11

GDIF will feature Charon, a zoetrope-like installation

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“We’re opening this year with a truly amazing event – Spark – the creation of a Dutch artist called Daan Roosegaarde, it’s a complete reimagining of what an environmentally sustainable public celebration might look like,” said Bradley Hemmings, artistic director and founder of the Greenwich And Docklands International Festival (GDIF).

“He’s taken inspiration from fireflies to create this wondrous moment, that audiences will see lying on their backs on the grass in front of the Queen’s House.

“They will be surrounded by myriad moving sparks in the sky – something very beautiful and very much echoing the magic of the natural world.

Sat in Festival.org’s offices at the Old Royal Naval College, Bradley’s obvious enthusiasm for GDIF is undimmed as he looks ahead to overseeing its 27th iteration. 

Taking place across an ever-evolving spread of locations in east and south-east London from August 26 to September 11, 2022, it promises 18 days of free arts performances selected to astonish, amaze, delight, amuse and challenge those attending.

“As always, this year’s GDIF is going to be characterised by a whole range of extraordinary and spectacular events, as well as performances taking place at a more local level,” said Bradley.

“The last two years have been difficult for everyone – certainly in mapping out, understanding and planning how things might transpire.

“We were incredibly fortunate to be able to deliver two festivals with a strong sense of confidence, so we’re incredibly proud of that.

“This year we’re in different territory, with new challenges and new contexts. We’ve always been a free festival and that’s something people can make the most of as we’re in the middle of a cost of living crisis.

“It does put into sharp relief the power of a festival like GDIF – it is there for everyone, accessible, and we try to go the extra mile to make sure we attract people who might otherwise not attend the arts.

“For 2022, we’re going out to new sites, like Rathbone Market in Canning Town, Avery Hill Park in Greenwich as well as Thamesmead near Abbey Wood and Deptford, to bring performances to different areas.

“That’s one of the challenges of going outdoors, because for each site we have to create the theatre as there’s nothing on the ground.

“Of course there are venues we work at every year – Greenwich town centre for Greenwich Fair on August 27, for example, but actually discovering new sites and venues, as well as returning to places after a period away, is what keeps GDIF fresh and audiences awake and excited by what we’re doing.

GDIF founder and artistic director Bradley Hemmings

“For example, it’s great to be working with Tower Hamlets again  – we have a wonderful audio piece at Island Gardens called Final Farewell, that takes people on a journey through the streets and parks of the Isle Of Dogs.

“Then we also have a new production from Air Giants called Unfurl over in Bethnal Green Gardens, which features ingenious, soft robotic technology – people will walk in a garden of giant inflatables that come in a whole range of different colours and react to the public passing by.”

The problem when writing a preview piece about GDIF is the sheer depth and number of the performances it offers. 

With limited space, it’s hard to convey the often surprising blend of art, acrobatics, dance, circus, theatre and spectacle the festival offers – soaking the locations it touches in the unexpected to create memories that still echo many years after. 

In previous years I’ve watched an acrobat tussle with a huge robotic arm, seen a whole band swing on a giant chandelier suspended from a crane high above dancers in an imaginary ballroom and been charmed by two performers being silly with a stack of buckets.

Bradley is, understandably, at pains to select highlights given the embarrassment of riches on offer – a reflection perhaps of the fact that all the performances have the potential to be affecting in their different ways.

“We care deeply about all the events, although one of the things we’ve done is continue to work very closely with Flanders House in London and this year we’re focusing on Flemish circus,” he said. 

“There’s an amazing performance as part of GDIF 2022 called Follow Me, by a company called Be Flat, which will take people on a completely wondrous tour of a part of Thamesmead using acrobatics, Parkour and ingenious staging to draw the audience in. 

“They are incredibly skilled performers who will leave amazing images in people’s minds after it’s gone.”

The best thing to do, of course, is just see as many performances as possible and decide for yourself.

DIARY DATES

While there are far too many performances to list over the 18 days GDIF runs in east and south-east London, here are a few highlights that demand a place in the diary

Island Of Foam is set for Greenwich Peninsula
Island Of Foam is set for Greenwich Peninsula

Sept 3-4, 6pm, freeGreenwich Peninsula

Artist Stephanie Lüning will use mountains of rainbow-coloured foam to transform Greenwich Peninsula.

Bradley said: “This is a UK premiere, a very exciting, unpredictable event with a huge outpouring of foam as Stephanie controls the palette and how the colours behave.”

Charon will be at Limmo Peninsula

Sept 1-10, 8pm, freeLimmo Peninsula, Royal Docks

Originally created for the Burning Man festival, Peter Hudson’s kinetic installation is a 32ft-high zoetrope powered by volunteers.

Bradley said: “Audiences arrive at the artwork having gone on an immersive sound journey. This is an extraordinary piece sited right beside the River Lea with the figures appearing to move.”

Peaceophobia will take place in Stratford
Peaceophobia will take place in Stratford

Sept 7-10, times vary, £10 Here East, QEOP Multi-storey car park

This unapologetic response to rising Islamophobia uses verbatim speech from members of modified car clubs.

Bradley said: “This play by Zia Ahmed casts real people using their own words as they tell their stories, all while stripping down a car and putting it back together again.”

Discover Ukraine: Bits Destroyed will be at the Old Royal Naval College
Discover Ukraine: Bits Destroyed will be at the Old Royal Naval College

Aug 26-29, times vary, freeOld Royal Naval College

This work sees mosaics destroyed in the Russian invasion of Ukraine projected onto the buildings of the Old Royal Naval College.

Bradley said: “This is a project that really speaks to the destruction of the country’s cultural heritage since the February invasion, and shares with us this remarkable tradition of mosaic-making.”

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Canary Wharf: How Unifi.id delivers tech that helps firms cut carbon in their buildings

Level39-based company’s real-time occupancy data designed to help reduce energy wastage

Unifi.id CEO and founder Paul Sheedy

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“You cannot manage what you can’t measure,” said Paul Sheedy, the CEO and founder of Unifi.id.

“The one thing we focus on is giving clients the right measurement tools so that they can manage their buildings better.”

In the mouth of a lesser individual, technology designed to track building occupancy in real time and adjust systems such as lighting, heating and air conditioning accordingly might seem a little dry.

But Paul positively vibrates with passion when it comes to his specialist subject.

On the one hand there’s the engaging Irish lilt of a Dubliner and a glint in the eye.

On the other there’s a burning frustration and exasperation that more isn’t being done to tackle climate change and humanity’s continued overuse of resources.

He’s disarming, funny and deadly serious.

“We talk a lot about smart buildings,” he said, waving a hand to indicate the London skyline stretching out to the City and beyond as we gaze out of the 39th floor of One Canada Square in Canary Wharf.

“But 96% of buildings around the world are not smart.

“What we’re trying to do is deliver the things companies need to actually make them smarter.

“In most buildings, energy wastage is about 30% – just think of that in the wider context of cutting emissions and gas and electricity prices rising so quickly.

“My focus is all about using less energy and so lowering organisations’ carbon footprint very, very rapidly.”

Unifi.id's long range RFID cards are logged by its detectors
Unifi.id’s long range RFID cards are logged by its detectors

Based at Canary Wharf’s tech community Level39, Unifi.id has developed technology embedded in entry and exit swipe cards that allow its detectors to log employees as they pass key points in a building. 

Paul is quick to stress this isn’t about tracking the exact movements of individuals as they go about their day, but rather knowing who is in what general area at any given time and then using that data in a number of different ways.

“The lingering effect of the lockdowns is a good example,” he said. “Almost all buildings are being run as they were pre-Covid.

“Companies have all their cleaning staff, their restaurant staff and security staff in as though the occupancy was the same.

“But some buildings still have only around 2% of staff in on a Friday.

“That those buildings are being run in the same way is ridiculous.

“Before Covid, the way buildings were occupied was consistent, but now there’s not a single one that we run that has any consistency.

“Occupancy is so sporadic and it can be extreme on Mondays and Fridays.

“It’s criminal that all the lights are on, the air conditioning is cooling every floor, with only a fraction of the staff in.

“That’s why our technology can have an impact – the more we monitor, the better our predictive analysis gets. For example, we can see the effect of external factors. 

“We see that about 7%-12% fewer people come to the office on a Thursday if it’s raining.

“In contrast, rain on a Tuesday hardly affects anything and we think there’s a psychological reason for that because if you’ve been working from home on Friday and Monday, by Tuesday you’ll be feeling a need to return to the office despite the weather.

“On a Thursday, you might just think it doesn’t matter so much, especially if you’re working at home or off on the Friday.

“Then you have other factors such as train strikes, which can affect occupancy over an entire week.

“Occupancy detection also allows building owners working with us to tell the buildings in advance so they can adapt – keeping floors closed and turning down the air con, for example. 

“What we’re really trying to say to organisations is that they can adapt to this new way of working, but there will be consequences, so they may need to use hot-desking because certain areas won’t be open.”

The key for Unifi.id is giving organisations this ability to track change so they can adapt what their buildings are doing in real time, rather than simply guessing what’s happening.

Paul says energy is wasted in the vast majority of buildings
Paul says energy is wasted in the vast majority of buildings

“We think there will be a change,” said Paul.

“People working from home, paying for all the lighting and heating, will recognise that it would be cheaper for them to go to work, so it will get busier later in the year.

“In many sectors where there is flexibility, we already know what’s happening.

“Staff are seeing that it’s the right time to go back to work, socialise and interact with other people again.”

Greater numbers back in buildings makes Unifi.id’s technology even more relevant, given its obvious safety benefits.

Should a building catch fire, for example, knowing exactly how many people are in it and where they are is potentially life-saving information for the emergency services.

“This is something I’m particularly passionate about, because back in Dublin when I was a child, we had 48 of our neighbours die in a dance hall fire – they couldn’t get out of the building,” said Paul.

“What we want to do for the London Fire Brigade and for the tenants of buildings is to bring in a new policy where, in real time, if something does go wrong, the emergency services and building managers know the occupancy of the building.

“That means they can monitor the evacuation of the building and could save firefighters’ lives if they then don’t need to go in.

“Also we look at how many people in a building have mobility issues and where they are, so efforts can focus on getting them out safely.

“People don’t always do sensible things when it comes to an evacuation. 

“We have mechanisms in place where, if we can see people heading the wrong way, a completely automated communication is sent to their mobile to tell them where to go and what to do to get to the ground floor, even if that’s to avoid a certain evacuation route.”

Paul created Unifi.id following the success of Symphony Retail AI, a company he co-founded that analyses loyalty card transaction data to better understand the behaviour of shoppers.

Originally conceived to create beacon technology – the idea of sending messages from companies to people’s phones based on their location and profile – his firm switched its focus to property when it eventually became clear in the advertising world that this was a non-starter.

“I hate to admit failure, but I will,” said Paul, who has been based at Level39 since it launched as a tech accelerator hub in 2013.

“The world was convinced that beacon technology was going to be the next big thing in advertising, but it never happened.

“No retailer anywhere in the world ever made it work to detect the right customer at the right time to send them the right offer.

“In reality it didn’t work because it didn’t think about the individual and what they would have to do. 

“So now we focus on making technology that isn’t dependent on people doing certain things to make it work – the more you do that, the better your product is going to be.

“It’s more difficult for the company, but hey, I wouldn’t get out of bed if I didn’t know it was going to be a challenging day ahead of me.

“I enjoy squeezing the grey matter and the brains of brilliant people I work with to find what piece of physics we can break, bend or enhance.

“So we transformed into a proptech company, delivering simple essential data to those managing buildings so they can make them more efficient and better for the environment.

“Over the past two years, it’s not been a great time to be working in occupancy technology, so a lot of what we did in 2020 was to go back to our clients and say: ‘This will end, tell us what we could do to be even better after Covid’. 

“With their responses, my tech team sat down and we just worked relentlessly on building new solutions, working out what the next steps would be.

“We saw that the market was moving from card-based access control to apps.

“But we know this doesn’t make sense because people don’t tap in and out so much using an app, whereas the RFID technology in our cards  means we automatically detect people walking into or out of a building or past our detection points.

“We realised that the way to get around this was to develop a facial recognition system. 

“We only hold the vectors of a face in the camera, and only when an employee of the company walks in or out of the building – this would be detected and put in the database of who is in the building.

“Then we’d mesh that with 3D counting cameras – with these, we don’t know who you are, but we do know how many people pass them, so in reality we have absolute accuracy on the usage of each floor of a building.

“This means that if we do have an evacuation, for example, we know the numbers of people on each floor and we can detect them as they enter each stairway, so we can see the flow and quickly identify where there might be blockages or problems and allow the fire brigade to get to them.

“We really believe that this will become a global system, which will go into major cities around the world, like Dubai and New York.

Paul is clear that Unifi.id’s technology cannot be used to monitor the exact position of employees – this isn’t about tracking who’s at which desk and how many trips they take to the toilet in a day.

He said this would not only be an invasion of privacy on an ethical level, but also that such data would not be very useful.

“We have been careful with every client that we will never be a Big Brother solution – we’re only detecting people as employees or visitors who are allowed access to a particular floor of a building,” he said.

“Secondly, we will never put our technology into places like toilets or cigarette-smoking areas. If an employer wants to do that, they will be doing it without our technology. That’s not what this is about.

“One of my key points is that it should be actionable data, which would deliver the best solution, not just collecting data for the sake of it.

“The world isn’t taking climate change seriously enough.

“We’re failing on every single metric and we have to realise this isn’t about governments – its about organisations and individuals making the right choices on every single thing they do. We have to contain energy with every single device we use. 

“What the UK does have is an amazing ecosystem of accelerators for technology companies and a lot of them are now focused on proptech. 

“We’re now working in collaboration with a lot of those companies and, because we’re working with them, this country is now at the forefront of this sector going forward. 

“We work with people on LED lighting and automated building management systems and by using our data, businesses can rapidly cut energy wastage now.”

Read more: How Ultimate Performance helps its clients achieve their goals

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Canary Wharf: How Ultimate Performance works to help its clients meet their goals

Wood Wharf-based personal training business offers relentless focus and commitment

Ultimate Performance's Mike Turnbull assists in a lift
Ultimate Performance’s Mike Turnbull assists in a lift – image Matt Grayson

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Ultimate Performance (UP) might look a bit like a traditional gym.

Descend into the brand’s Wood Wharf facility underneath the 10 George Street residential tower and you’ll find ranks of high-end Atlantis fitness machines in serious red, white and black livery, shiny lines of silver dumbbells awaiting the firm grip of sweating clients and a scarlet trackway ready for a pounding from those pushing sleds.  

But this business is a very different animal.

This is “where the excuses stop and the results begin” – according both to the writing on the wall of the facility and more subliminally from the TV screen beside the street-level entrance, which broadcasts an unrelenting carousel of before and after pictures of the bodily changes achieved by its clients.

Founded in 2009 by personal trainer Nick Mitchell, UP has grown from a one-man band in east London, to operating 21 gyms in four continents. 

It only offers in-gym or online personal training, meaning its clients only work out at its facilities on a one-to-one basis for hour-long sessions with their trainer present.

“Our motto is: ‘Producing results not promises’,” said Wood Wharf UP gym manager Mike Turnbull.

“We always aim to give clients a significant return on their investment.

“Nick’s founding idea was to change the personal training industry for the better and to make sure the clients were getting the best out of it.

“People who train with us get serious value for money.

“They sign up for results – whether they want to achieve a certain bodyweight or look – and we’re going to say that with the programmes that we have, designed over more than 10 years, we know we can deliver.”

The internet is awash with surveys suggesting people often fail to achieve the fitness goals they set themselves – one by Bodybuilding.com found only 27% had done so within a year with only 40% getting halfway there when left to their own devices.

UP’s approach is squarely aimed at addressing that challenge, although with a price tag of £5,650 for a 12-week, 36-session package, access requires a significant financial outlay.

The justification for that bill comes in the sheer intensity of approach from UP.

Ultimate Performance's Wood Wharf gym
Ultimate Performance’s Wood Wharf gym – image Matt Grayson

“Our programmes are very much backed up by science, so we know we can deliver,” said Mike.

“First of all at a consultation, we break down the layers to find the true reason a client has come to us.

“That’s different for every person – it might be to get a six-pack, to be able to perform 10 pull-ups or just to feel healthy again. 

“We want to understand their vision so we can project-manage to help them achieve their end goal.

“We’ll take a full set of measurements, photos and conduct an intense assessment on the gym floor so we get a real profile of their starting point.

“Then we’ll know what to do to build their training programme.

“It will also allow us to set nutritional guidelines – how many calories a person is going to need – breaking that down to fats, protein and carbohydrates, so we can find the calorie deficit necessary to help achieve their goal.

“From a scientific point of view, that’s the guarantee – the harder part is coming in with the right mindset and being able to follow the plan. 

“That’s where our trainers come in to try to find the right solutions to any problem, to guide people and help them stay accountable.

“We have a messaging system where clients can contact our trainers at any time as a support network to keep them going.”

This holistic approach offers clients a clear plan to achieve their goals, although UP is clear that the effort has to come from them.

The brand’s regional manager for London and Amsterdam, Matt Milles, said: “We’re serious about what we do to achieve results.

“For us, it’s about going the extra mile with everything we do. 

“That includes how we approach nutrition – we offer packages to help time-poor people – how we train clients in the gym itself, the level of support and service we give outside the gym and the amount of time and money we invest into making sure that every aspect of our operation works, whether that’s the personal training product itself or the technology behind it.

“Even if we’re doing something well, we don’t want to rest on our laurels, but ask ourselves how we could do it better.

“However that doesn’t mean our clients have to be athletes – we train clients from every single background you can imagine.

“We have complete beginners, people who want to get in shape ahead of a holiday or a wedding, or sports people who want to build muscle.

“People usually come to us because they want to achieve a physical goal, but they find there are also lots of mental health benefits to exercise.

“Our clients talk to us about how much more confident they feel and the benefits to their relationships with their family and work colleagues.

“They’re more energised – they’ve got more energy to spend with their kids and such things are priceless.”

Ultimate Performance's Matt Milles
Ultimate Performance’s Matt Milles – image Matt Grayson

Mike and Matt have been with UP for about seven years, having both worked as personal trainers before joining.

“Working in commercial gyms is tough,” said Mike.

“It’s finding your feet, building a client base – you’re out there on your own, wanting to be the best, but not sure how to get there. 

“At UP, you have a mentor and a team and there’s a lot of support.

“You’ll be looking after your clients, but we’re always working to understand how we can improve our programmes – you have to be a certain level of trainer before you walk through the door.

“Then you get to concentrate on that job because you don’t have to do the marketing or the sales – you just focus on the training and helping your clients get the most out of it.

“That’s the best bit of the job – seeing the person in front of you changing and working towards their goals is super-rewarding.

“As a manager, my role is to look after and train the trainers and to oversee the programmes.

“We have multiple team meetings every week to discuss where we can improve.

“That’s all to make sure we’re delivering a very high quality of service to everyone.”

Having recently opened, UP’s Wood Wharf gym is currently seeing about 100 clients per week, but has capacity for at least 400 as it looks to grow its customer base locally.

“As a trainer myself, joining UP was like going from playing Sunday football to the Premier League,” said Matt. 

“It was a massive difference in terms of the results we achieve but also the amount of effort we put in.

“Our clients are generally very successful at what they do, but that can mean their health and fitness has taken a back seat. 

“That might be because they have a career and a family and that’s understandable. 

“We’re here for when they realise they need to make a change and, instead of going into a commercial gym and spinning their wheels with no progress, this is a place they can come where they know they will get results.

“As long as they are prepared to do what they need to do, they can be confident we’ll cross all the Ts and dot all the Is to make that happen.

“You might see your trainer for three hours a week, but we’re in touch with our clients every day outside those sessions – that really makes the difference. 

“I really think that’s the big secret and the reason we achieve the results that we do – because we go the extra mile. That comes from experience.”

Ultimate Performance is open daily with early morning and evening sessions available most days.

Trainers work one-to-one at Ultimate Performance
Trainers work one-to-one at Ultimate Performance – image Matt Grayson

Read more: Discover open water swimming in Canary Wharf

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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
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Leamouth: Nashville Meets London returns with fresh acts and a new East End venue

Two-day festival of emerging USA and UK country talent arrives at Trinity Buoy Wharf, partly by boat

Shy Carter will headline the first day of Nashville Meets London

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Nashville Meets London (NML) is back in the East End with a fresh line-up of country talent from the UK and the USA in a new location.

Taking place at Trinity Buoy Wharf on August 24 and 25, 2022 (plus a river cruise on August 19), the festival promises cutting-edge sounds and a good ol’ country welcome.     

“One of the key things we’ve proved is that NML seems to be a taste-maker for identifying artists, particularly from the US, who are about to break in the UK, Europe and beyond,” said Peter Conway who co-founded the festival.

“Russell Dickerson, for example, has gone on to become a major artist and Laura Elena is now massive in America and her profile is very wide in Europe too.

“For this year, we’ve got headliners in Shy Carter and the young Priscilla Block, both of whom have a huge fan base already. 

“We always want to break a new artist too and we have Manny Blu playing exclusively for us both at the opening night party and in a major slot on the Wednesday.

“He’s really starting to make waves in America and all his socials are growing exponentially. 

“On the UK side, we’re delighted to be offering The Wandering Hearts who are based in Hackney and are one of the top three country bands over here. They’re a stunning act and we are predicting great things for them.”

Shy – the main act on the first night of the festival on August 24 – is full of excitement when we connect on zoom between London and Tennessee.

He’s primarily worked as a songwriter, having been discovered by Nelly and his manager Courtney Benson, before going on to create a string of hits with other artists. 

Now the 37-year-old is making a name in his own right on the country scene and can’t wait to take the stage in London.

He said: “I put so much time into being in studios, it’s a breath of fresh air to be able to get in front of an audience and see all these different people who come out and really appreciate the music.

“I really engage with the people when I do my shows – I walk into the crowd, get a handshake and make up a song with that person’s name.

“I do a lot of freestyle, it’s real free and a lot of fun, and anything can happen. I sing some hits, some new songs, and it’s really heartfelt.

“Something about being on stage just makes me feel good – if there are people out there, it makes me feel even better. 

“If they’re moving to something you’ve created, it’s one of the greatest experiences and one of the best feelings I’ve had in this life. It’s party time and it also helps me as a songwriter.”

Shy has worked with a plethora of artists, including co-writing Someday, a No. 1 hit for Rob Thomas of Matchbox 20, and songs for the likes of Keith Urban, Jamie Fox, Jason Derulo, Billy Currington and Charlie Puth.

Born and raised in Tennessee he was “always around music” at home and in church, learning his first chords as a child and developing a love for r’n’b before recording his first song aged 16 at a home set-up in a friend’s apartment. 

He said: “I was addicted to the process – hearing my voice on a CD. From then on I continued making music all the time and tried to find a way to make music my career.

“Now it’s a real blessing to put my own soul and my own flavours into the music. It’s good to write for others, but this lets me be a little bit more myself.

“I don’t think it really matters, but I’d say my music is country because the songs are no different to the ones I’ve written for artists in that genre.

“As a person of colour, my songs might sound a little blacker – but that’s what I’m trying to do, to bring country music to people who don’t normally listen to it. At its heart, it’s storytelling.

“Being on stage makes me a better writer because it helps me to see what songs people connect with most.”

Day tickets for Nashville Meets London cost £34 and can be booked here.

  • A selection of VIP packages are also available for Nashville Meets London. The Festival VIP Ticket costs £150 and includes entry for the festival on both days at Trinity Buoy Wharf, access to the VIP backstage area and the VIP bar from 2pm and access to the meet and greet area.

The Premium Nash Pass costs £200 and includes all of the above, plus a ticket on the NML River Cruise and entry to the invitation-only Opening Night Party at Pizza Express Holborn on August 22, which will feature performances by Juna N Joey, Kaitlyn Baker, Robbie Cavanagh and special guests.

  • Ticket holders for Nashville Meets London can travel directly to the festival via Uber Boat By Thames Clippers as a special request stop at Trinity Buoy Wharf has been arranged. Journeys on the river bus service must be booked in advance to take advantage of this offer. 

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Nashville Meest London's DJ Hish
Nashville Meets London’s DJ Hish

THE LINE-UP – NASHVILLE MEETS LONDON

Aug 19, doors 6.45pm, £45-£560

Billed as a “voyage down England’s longest river” this trip along the Thames sets off from Bankside Pier for an evening of music hosted by Absolute Radio Country presenter Matt Spracklen. Expect performances by Kyle Daniel, Vicki Manser and a set by DJ Hish (pictured).

Manny Blu is set to perform on Day One
Manny Blu is set to perform on Day One

Aug 24, doors 4pm, from £34

The first day of the festival at Trinity Buoy Wharf will see performances from Sarah Darling, Manny Blu (pictured), Ruthie Collins, Arbor North and Matt Hodges. Shy Carter will headline the first night, with music selected by DJ Hish between sets. 

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Priscilla Block is set to headline Day Two

Aug 25, doors 4pm, from £34

The second day of the festival, now enjoying a renaissance following a two-year break, will be headlined by Priscilla Block (pictured) with artists Kyle Daniel, Candi Carpenter, The Wandering Hearts, Tebey and Essex County also taking to the stage in east London.

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Peter Conway co-founded Nashville Meets London

REFRESHING THE FESTIVAL

Cut a slice through Docklands culture over the last 40-plus years and you’ll find Peter Conway woven through the rings of the tree.

His CV includes stints at the Half Moon Theatre, a decade as principal arts officer at Tower Hamlets Council before going on to arrange music events at Cabot Hall – a former venue in Canary Wharf in a space now occupied by Boisdale.

After that was closed for redevelopment, he went on to run Blackheath Halls on the other side of the Thames, before returning to Canary Wharf in 2000 to programme outdoor music events on the estate, creating the Canary Wharf Jazz Festival and more recently Nashville Meets London in 2016 – relocated to Trinity Buoy Wharf for 2022.

“It was a moment of serendipity in Nashville in 2015,” said Peter.

“I bumped into Jeff Walker of AristoMedia and from that meeting came the idea for the festival – an event to promote the best of emerging country music talent in both Nashville and the UK.”

Sadly, Jeff died suddenly later that year, but his daughter Christy Walker Watkins and son-in-law Matt Watkins, who worked with him, joined forces with Peter to make their vision for the festival a reality.

After four years in Canary Wharf’s Canada Square and a two year break due to Covid, NML is back at a new venue in east London.

“This is a kind of new beginning for the festival – we’ve got a great person supporting us in terms of Eric Reynolds at Trinity Buoy Wharf,” said Peter.

“We’re using the Chainstore as the main venue and the building it’s attached to as a VIP area and artists’ dressing rooms. 

“Then you have the wonderful terrace outside that looks over the Thames and the Lea where we’ll be having food and bars. 

“Each day there will be shows running from 5pm to 11pm with non-stop music – we want people to come down and experience the joy of country music, get converted and help us on our journey to build and develop this festival into a much bigger event over the coming years.

I’m very keen to foster a sense of country community and to make this a real East End event.” 

Read more: Trinity Buoy Wharf consults on plans to put flats on a bridge

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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
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Hackney Wick: How Women Of The Wick creates places for women to be heard

Discover Sara Kärpänen’s platform for marginalised voices via podcasts, workshops and events

Women Of The Wick founder Sara Kärpänen
Women Of The Wick founder Sara Kärpänen – image Matt Grayson

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BY LAURA ENFIELD

I believe we all have a story to tell and the voice to tell it,” said Women Of The Wick founder Sara Kärpänen.

“Sometimes we need other people to provide a safe space to share our stories. Social media isn’t always the best platform to show our vulnerabilities or experiences.”

Women Of The Wick (WoW) provides that space for marginalised voices to be heard through podcasts, workshops and events.

This autumn, Sara will be bringing many of those stories together in a new magazine that will go out across the Wick.

It will be the culmination of a storytelling programme funded by Foundation For Future London.

“It came about from the need to offer alternatives to the current media platforms or institutions that exist within the area and beyond,” said Sara.

“I want to help give creative entrepreneurs storytelling tools so they can use their voices and more unconventional business methods.

“The parts of ourselves we hide are often like superpowers.

“Those are the stories that connect us with other people, and potentially help someone who’s struggling with the same thing. 

“I have realised that many professional writers still either lack the confidence or find that they need more peer-to-peer support and a safe space to share their stories, or are just generally interested in gaining insight into their writing.”

Before she moved to London, Sara had her own successful career as a cultural journalist back home in Finland.

But it left her feeling “burned out and uninspired”. It was a visit to Hackney Wick that brought her back to life.

“I walked into this warehouse space in 2013 and shouted out ‘I’ve come home’,” said the 35-year-old.

“I had such a strong feeling of belonging, from the first instant I looked around. 

“There was this sense of freedom and access to different types of spaces and support from the community.”

Sara says she has a strong attraction to Hackney Wick
Sara says she has a strong attraction to Hackney Wick – image Matt Grayson

She was only meant to be visiting London as part of an internship with The Finnish Institute.

But after wrapping up her master’s in visual culture back home, she left Finland for good and moved to her own live-work space in Hackney Wick.

At first, she worked as a freelance artist doing public works commissions with a local architects’ practice and then began writing again for an online publication, where she realised the need for more feminist spaces and media.

“I have always been someone who’s fought for equal rights and I feel very strongly about gender inequality,” she said.

“I think it is my duty to tackle the inequalities that exist in the creative industry.

“It took me quite a while to gain the type of networks that I currently have and I wanted to offer some of the skills and networks I have gained along the way to other people whose first language isn’t English or who have moved to London.

“Also, I find elevating other women’s voices and visibility helps me overcome the feeling that other women take away from what I have got.

“It’s a counterwork to that societal pressure that we should be enemies instead of sisters supporting one another.”

WoW was born in 2019 from a residency at creative space Grow Hackney during which Sara started a podcast.

“I wanted to capture, document and share beautiful stories from the women that had somehow contributed to making the creative communities that Hackney Wick and Fish Island are known for,” she said.

“I wanted to facilitate a space where individual stories could be heard but also create a strong sense of community and belonging – the kind I once felt when I moved to the area.

“Quite quickly I was commissioned by the Foundation For Future London to capture more stories from women within east London.

“I realised this work was needed – not just a podcast.

“I wanted to create other ways to facilitate spaces for women to come together, be vulnerable and talk about everything from sex to social media and the highs and lows of being an artist, mother and woman today.”

Sara runs monthly workshops with WoW
Sara runs monthly workshops with WoW – image Matt Grayson

In the first year, that mission led to a panel discussion on Art, Sex and Gender, raising money for LGBTQIA+ charity Galop UK, a queer poetry night and the two-day festival Heal Her, focused on storytelling and eco-feminism.

“I feel very strongly that feminist issues are also trans and gay rights – we’re all on the same front line against the patriarchy,” said Sara.

When lockdown hit, she began a series on Instagram Live with local artists from their studios explaining their work processes and collaborated with organisations like Grow Hackney to do a book club and talks.

Today, WoW facilitates monthly workshops for freelancers at Hackney Bridge and works with partners across London, including Foundation For Future London, Economy Of Hours (Echo), Stour Trust, BMW Foundation, and Creative Land Trust. 

The podcast How To Occupy Space continues, and sees Sara interview artists, activists and architects such as Juliet Can, founder of Stour Trust and Arab artist Tamara Al-Mashouk.

Last year Sara launched a second podcast, Girl Get A Real Job, to talk about how we can reduce the current pay gap in the creative industries and normalise conversations about money and financial resilience. 

Guests have included Selina Flavius, author of Black Girl Finance and Kaiya Shang, editor at Scribner.

In the autumn she will be launching a new programme focused on the topics discussed.

Sara also works as programme coordinator at Echo

Sara also works as programme coordinator at Echo – image Matt Grayson

“Hosting a space where experiences can be shared and people can be authentically themselves is incredibly powerful,” said Sara, whose day job is programme coordinator at Echo, where members trade the skills they have for those they need.

“The reason I find podcasting so accessible is that it’s another way to share our stories and journeys with others, as well as writing and public speaking. 

“All these things are really under the big umbrella of storytelling, which keeps coming up as a central theme for everything that we do.

“It is a key component in branding and more businesses are becoming aware that storytelling is at the core of their practice and they need to communicate that effectively to others.

“That’s led me to do workshops for businesses or entrepreneurs who want to expand their vision of what they can do with purpose-led storytelling strategies.

“Since MeToo and the so-called third wave of feminism, there has been more importance placed on personal storytelling and women’s experiences.

“But there’s still so much to do. It’s great there is interest there, but it needs to be more than just ticking a box. 

“If a voice is given to people or representative groups, then we are on the right track.”

Sara said the key to good storytelling was realising there was no wrong way to do it.

“Write as you would speak to your best friend, is the best advice to anyone who wants to have their voice heard,” she said.

“We all have a story within us and are powerful beyond belief.

“You need to trust in that voice. It doesn’t have to be polished.”

To give people the confidence to speak out, Sara has everyone who attends a WoW workshop or programme agree to a safe space commitment.

“Everyone agrees that there’s a non-judgmental space and we have zero tolerance of racism or misogyny,” she said.

“We are here to cheer each other on and this is a space where we can share those vulnerabilities – the highs and lows of being an artist.”

Read more: How The Shipwright offers a communal, collaborative approach to theatre

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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 
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