Third Spaces: how creative communities on the edges of change are rebuilding London's social fabric

Third Spaces: how creative communities on the edges of rapid change are rebuilding London's social fabric.

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Contents

Page Number

01.

Foreword

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02.

The mahjong renaissance in Hackney

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Two More Years, Hackney Wick and Fish Island: the pioneering spirit of ‘meanwhile use’ spaces

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04.

The community space in Brixton that’s breathing new life into waste

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05.

Unit38: imagining different futures in the fight against gentrification

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06.

The People’s Museum: reviving the working-class histories of ‘radicals, reformers and rebels’ in Somers Town

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07.

Community and artistry at The Space theatre

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08.

Reflections on community, creativity and resilience with creative arts changemaker Writerz and Scribez

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09.

The creative industries are enjoying a ‘boom’ period in the UK. How can organisations support emerging talent?

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Foreword As we navigate rapid social, technological and urban change amidst astonishing inequalities and injustices, a cost-of-living and mental health crisis, and a City still trying to make sense of the last few years and rediscover itself, creativity and possibility by all for all is under threat, and many are struggling with feelings of isolation, disconnection and uncertainty.

Look closely at the edges, intersections and skinny branches of life in the capital though and new creative communities are emerging and rebuilding, forming connections and collaborations that serve as sources of inspiration and resilience.

This summer, we commissioned eight creatives and writers living and practising in the city to research and document a story of creative and cultural innovation in their local community that mattered to them, using a solutions journalism approach.

From a mahjong club in Hackney and a zero waste makers cooperative in a disused car park in Brixton to a creative hub in Fish Island and a film hub for emerging talent in Walthamstow, these stories showcase the importance of third spaces – informal networks and places and spaces of creativity and enjoyment – where people from all backgrounds can come together to connect, collaborate and create.

These hubs of play, connection and creative collaboration, built on diversity and mutuality, are not only rebuilding the city’s social fabric but also driving good growth and promoting a more sustainable way of life and doing purposeful business. With hybrid working patterns now embedded, these spaces hold an even greater

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significance in our hyper-connected but often lonely world.

The examples provide valuable inspiration and lessons for London’s creative and cultural sector.

As we look towards rebuilding and reconnecting with audiences in the post-pandemic world, these stories inspire and guide us in fostering a sense of belonging, connection, and wellbeing. They remind us of the power of creativity and the vital role it plays in our society.

Christy Ku explores the uplifting story from the Hackney Chinese Community Services (HCCS), where a weekly game of mahjong has brought together a diverse community, providing a safe space for socialising and building friendships.

This highlights the importance of protecting and supporting community spaces.

Lena Mohammed takes us to the heart of London’s Hackney Wick and Fish Island, where we witness a vibrant transformation brought on by creative spaces and locally-led meanwhile spaces in tension with regeneration. ‘Two More Years’ serves as a shining but threatened example, offering space for artists in affordable studios and creating a space for the community to come together. Amidst the threat of gentrification, this hub serves as a bridge between existing and new residents, fostering understanding and unity.

Flora Medford reflects on The Remakery, a cooperative workshop in a disused car park nestled between Camberwell and Brixton dedicated to achieving zero waste through repurposing materials. This community-run space continues to thrive with a focus on

youth education and empowerment. It serves as a model for other organisations looking to make a positive impact in their community while also addressing urgent environmental issues.

Jabir Mohamed shares the story of Unit38 – an architecture collective in London that worked with the Latin Village market community in Tottenham to oppose a contentious commercial and residential development and create an alternative community vision and plan for the site. Through their collaboration with the community, they developed a viable plan that celebrates and protects the market’s culture while establishing the area as a community gateway. Their success showcases the power of community involvement and alternative visions in the fight against displacement.

Starr Charles delves into the community-led museum, The People’s Museum in Somers Town, Kings Cross, which preserves the working-class histories and fights against gentrification in the area. This resident-initiated project serves as a model for empowering marginalised communities.

Continuing our exploration of the power of third spaces, Maria Telnikoff reflects on the social impact of The Space theatre – a former church turned arts and theatre hub that champions new and diverse voices and fosters connections between the local community and visiting artists.

Post-pandemic, The Space continues to prioritise free, accessible spaces and serves as a symbol of the East End community and the power of grassroots organisations.

Wisdom-Baako to explore what it takes to build a successful arts and creative education practice.

Jemilea’s passion for making art accessible to all has led to recent initiatives such as WE DEYA, a showcase of Windrush stories in Newham. Jemilea’s determination and problem-solving skills have helped the organisation grow and support artists nationwide. She emphasises the importance of following our passions, learning from failures, and working with what we have to create meaningful and inclusive art.

Finally, looking at what it means to be a young creative starting out and navigating the growing creative industries, Reese Campbell identifies the need for greater support and the importance of providing access to local networks. Despite efforts to improve diversity, there is still a lack of representation and opportunities for those from lower socioeconomic backgrounds. Small organisations such as Walthamstow International Film Festival and E17 Films & Emerging Talent CIC are working to bridge this gap. A film by Reese and Sena Cetin accompanies this piece: Voices of Waltham Forest: How do we support people into the creative arts?

These stories are just a snapshot of many similar and related examples in the city and show how the social fabric of London is being woven back together by the creativity, resilience and dedication of its creative communities. They show us the power of connection, joy, energy and enthusiasm, whether it be through play and games, repurposing materials, preserving histories, or fostering connections through art, culture and creativity.

Thembe Mvula sits down with Writerz and Scribez founder and award-winning poet Jemilea

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The mahjong renaissance in Hackney

BY CHRISTY KU (SHE/THEY) christyku.co.uk |

@kukadoodles

It's 10am on a Saturday and the community centre is packed with young people. Square green tables dot the room, and waves of hands push the game tiles, creating a sound like pebbles on a beach rattling underwater. People are laughing, catching up, sipping on cups (and, when there’s a shortage, bowls) of tea poured by the centre’s caretaker.

Occasionally, there are shrieks of delight and despair after someone flips their set of tiles to reveal a win, calls for a tutor to come over and help tally up the points or resolve a dispute.

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Every Saturday morning, at least thirty young Londoners willingly drag themselves out of bed after a long work week (or Friday night out) to gather in the Hackney Chinese Community Services (HCCS) to play mahjong for two hours, three if Michael the caretaker has the time.

Mahjong is a tile-based game originating from 19th century China. It’s intensely hard to describe this game in a written format, particularly if you haven’t seen it before, so I will decline to explain

For many of Chinese heritage and/or those who have watched the movie ‘Crazy Rich Asians’, we know the game but never played or learnt it.

Mahjong is typically played by the older generation - there are mahjong clubs throughout the week at HCCS, mostly populated by the aunties and uncles who play significantly better and faster than us.

Children are typically banned from playing due to mahjong’s stigma as a gambling game. My parents have forbidden me from even standing close to a mahjong table or looking at the tiles. Readers of this article are forbidden from sending this article to my parents.

Many of us have been left standing longingly on the outskirts of the room, listening to the clatter, wishing to understand the in-jokes that erupt when a certain tile is revealed, to weigh in on debates about strategy, to put their hands in and shuffle as well.

The founders of Four Winds Mahjong, the group that hosts the Saturday mahjong club, had less strict parents and were able to learn the game in their childhood. Chan Lap Fung (Chan is the last name, he goes by Fung) has been playing mahjong with his family for as long as he can remember.

Monica Kam picked up the game from watching her family play. Isabel Wharton would play with her grandparents to connect with them despite the language barrier. And Connor Wan would routinely lose his Christmas pocket money to his parents.

Back in early 2021, Fung and Monica were volunteering at HCCS and chatting to Vicky Sung, the now-former ESEA Outreach Officer.

They came across the topic of mahjong, and Vicky asked if they would be willing to teach the game. In August 2021, they began a test run of four sessions.

All sessions quickly filled up, and regular Saturday sessions began.

HCCS was founded in 1985 and is located a short walk from London Fields overground. It’s a charity that serves the local East and South-East Asian (ESEA) community, predominately Chinese and Vietnamese people who are living nearby. When the local community organisation An Viet Foundation folded in 2017, HCCS expanded to include and continue services for the Vietnamese community. A wide range of activities and services are available at HCCS: helping and advising people with their benefits and pensions, ensuring residents

are aware of their rights, providing luncheon clubs, karaoke, chess, table tennis, tai chi, lion dance classes and more. The space is also available for hire, and events such as supper clubs and book launches have been hosted here.

On the weekdays, predominately Chinese and Vietnamese people, and increasingly more European people recently, attend the lunch clubs and often join the centre for its other benefits.

There’s a wide range of ages, mostly pensioners and babies in arms.

Events such as Four Winds Mahjong bring in large numbers of young people, to the extent that the caretaker is in the process of building more tables (mahjong ideally needs square tables with raised edges to keep the tiles from falling onto the floor).

It’s a mix of people from different careers and walks of life, predominately those from ESEA heritage, but all are welcome

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further, but readers are very welcome to come to the centre and learn.

For most of us, attending these sessions was the first time we had ever been in a room full of fellow ESEA people, especially people our age. Many of us grew up in predominately white neighbourhoods across the country.

We have endured racism throughout our lives, particularly during 2020 due to COVID-related racism, which saw a 300% increase in reported hate crimes against ESEA people in the first few months of the year.

Having a space where ESEA people can gather in large groups, laugh loudly and experience joy without being stared at or receiving hostility has been deeply healing. It’s allowed us to realise what community actually means, what it feels like and to build our own. Many friendships have been made, and the mahjong club has been a central spot for ESEA movements to begin and gain momentum.

Green Lions (a group focused on climate change) emerged from the club, and Baesianz FC members

THE MA HJ O NG R E NA I S SA NCE I N HAC K N EY

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FOUR WINDS FOUNDERS L TO R: CHAN LAP FUNG, MONICA KAM, ISABEL WHARTON AND CONNOR WAN. PICTURE CREDIT: NOEL ZHANG, INSTAGRAM: ONCEATOURIST

(a football team for Asian women and non-binary people) frequently attend, attracting more players and supporters to their games.

People with similar interests will branch off to watch movies and concerts together, visit cafés and restaurants, form swimming groups and more.

Some return to the centre on other days to take part in other activities, the lunch clubs or book the space for their own events. Attendees have taken their newfound knowledge home and play with their families. One attendee doesn’t speak much Cantonese, and her grandmother doesn’t speak English but was recently able to reconnect by playing mahjong.

Saturday session players are encouraged to donate to the centre, and local restaurant My Neighbours The Dumplings hosts monthly mahjong nights with Four Winds Mahjong.

There, attendees can play and order food and drinks with proceeds donated to HCCS. The weekly sessions are regular fundraising events for HCCS, which relies on donations to keep its doors open and to serve the elderly ESEA people in the local area. Found Winds has also been supporting other community centres recently, there was a themed event for Centre 151, which supports Vietnamese, Lao and Cambodian communities. The night was called ‘In the Mood For Mahjong’, referencing Hong Kong filmmaker Wong Kar-Wai’s movie, an event which came with catering, raffle and, of course, mahjong, raising just under £1,000 for the centre.

Sociologist Ray Oldenburg coined the term “third place”, meaning a space aside from home and work where people can build communities, socialise and simply live. Third spaces can include youth centres,

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parks, pubs, libraries, religious centres, gyms, allotments and of course, community centres.

Increasingly, our third places are now digital, taking the form of social media platforms. Our home and work spaces are becoming one, meaning we don’t even have a second space. Third spaces are becoming inaccessible due to the decline of funding for public spaces and private space’s costs of entry. Private spaces must operate on the model of chasing out customers after they have used the service to maximise profits, e.g. going to a cafe, having to purchase something to sit in the cafe and then having to leave once the purchase has been consumed.

Increasing levels of loneliness in cities are being reported across the world. It’s difficult to find space to just exist without having to make a financial transaction, to simply socialise with friends and build new relationships. How many of us have found it hard to make new friends as an adult outside of work? It’s especially hard when many public and private spaces are not safe or welcoming for people of colour, particularly women of colour.

The last time I was in a pub, I had a stranger, unprovoked, repeatedly tell me “I’m going to f- kill you” until the pub owner threw him out. I have been in or had to help people in situations where they were stalked in a park, up-skirted or had their photos taken without consent.

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Where are the places that people can regularly come to, regardless of income, without demanding anything of them, that are safe

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and allow space for joy? It’s not a business model that makes a profit, but it’s a model that creates a domino effect of good and creates momentum for other projects, businesses, collaborations, partnerships, fundraisers, etc. Also, it simply makes people happy, and aren’t we allowed that?

These few spaces left must be protected - the developer of flats right next to HCCS wanted to buy the land and demolish the centre to turn into more flats, but due to laws preventing it, they lost interest.

Fung says, “If you give people, especially young people, the space to do something that they really want to do, then fantastic communities will come out of that”. That’s all it takes. A space that allows people to come together, care about each other and have something fun to do.

programmes in the form of free training to leaders, funding to create larger events or to compensate the volunteers for their time and labour, and recognition for their efforts?

What often brought members to the centre was HCCS’s active Instagram presence. Helping spaces to improve and maintain their online and social media presence will in turn help them be used to their full potential by people of all ages.

Four Winds Mahjong Club has regularly brought a new generation of people into the community centre, helping us recognise the value of spaces like this and encouraging us to protect them. The club demonstrates how community action and solidarity can be rooted in joy and the simple love of a game.

A young people’s mahjong renaissance is beginning in a little centre in Hackney.

Currently, Four Winds Mahjong is run by volunteers, and most do not come from leadership backgrounds. Fung is a train operator on the District Line, Monica is a lawyer, Isabel is a university lecturer, and Connor is a freelance creative and recent community organiser. They’re supported by a team of volunteer tutors to help teach beginners. However, maintaining, organising, growing, planning, collaborating, teaching, and having lives outside of the club is hard work.

The team have had offers for private work and sessions but want to focus on community work.

They have dreams of setting up two big themed charity events each year and a merchandise line of t-shirts, tote bags and even a Four Winds mahjong set. HCCS are trying to move into a bigger space, which will be welcomed as Four Winds are at capacity each week.

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BY CHRISTY KU

Imagine what could happen if communities like these were given support from organisations or

THE MA HJ O NG R E NA I S SA NCE I N HAC K N EY

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Two More Years, Hackney Wick and Fish Island: the pioneering spirit of ‘meanwhile use’ spaces

BY LENA MOHAMMAD (SHE/HER) @journolena

In the bustling heart of London's Hackney Wick and Fish Island, a fascinating urban transformation unfolds in tension with rapid regeneration and development. Once characterised by derelict industrial units and vacant lots, these areas have evolved into thriving hubs of creativity and community engagement. This metamorphosis is largely attributed to investment in creative spaces and networks and cultivation of locally-led meanwhile spaces, which have played a pivotal role in nurturing the area's unique self-build culture and

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fostering the growth of beloved local institutions.

One shining example is the community space 'Two More Years', an ex-industrial space turned community hub providing a breeding ground for artists, business owners, and creative practitioners, unleashing their potential and contributing to the area's rich self-build culture. The canal-side bar, restaurant and creative hub (formerly hub and gallery Stour Space) was rescued from demolition by founders Josh Bowles and Dan Howells and named after the time on the lease before the

property was due to be redeveloped (there are plans for new high rise mixed-used residential developments on the Vittoria Wharf site in Fish Island where the hub is situated).

The hub, which has just had a further two-year lease extension, houses community studios and workspaces for local creatives and serves food and drink from sustainable vendors alongside live music and exhibitions.

Dan, who was behind Michelin-starred Silo in Hackney, the world's first-ever zero-waste restaurant, highlights the importance of bringing community and culture together and offering affordable space for local artists.

"Our main goal was to open a successful bar business that also honours the local culture and community," says Dan. "We provide free space for artists to display their work and offer affordable studio spaces on the upper floors to support local businesses. Our aim is to not profit from high rents but to create an inclusive space that benefits both warehouse and new-build communities."

so can make developments more attractive and inviting to residents.

"My opinion differs from the business facts. I would prefer to halt all development in Hackney Wick and maintain it as it is now. Although much has been demolished for new buildings, preserving some of the remaining culture would be amazing and ideal. I believe one significant aspect, and it's clear I have a bias here, is that whether you reside in a warehouse or a new build, everyone wants a taste of Hackney Wick when it comes to this area."

"I believe that we are the last commercial property on Fish Island that is in an old warehouse-style building. You know, we provide a free workspace in the daytime, we have got affordable office to rent upstairs, we have a place for people to socialise in the evenings and come celebrate at the weekends.

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"I think when you spend more time with different people, you learn to understand them more and their mentality. There is more of a realisation that everybody is real, people with emotions, feelings and motivations. And so, I guess it would, by default, bridge a gap.

There are a lot of places that claim to be inclusive, but I think we have, just by default, ended up coming that way, so everyone feels comfortable here. From a personal perspective, I wished development had halted about 5 or 10 years ago to preserve the area's unique creativity in art, music, and more. However, from a business standpoint, we knew we had a two-year lease from the beginning."

Dan believes it is important that regeneration and development hubs like Fish Island do more to preserve the culture, heritage and, in turn, soul of the areas they are transforming - and that doing

Whenever this gets demolished and built into new builds, there will be no more public spaces in a warehouse.

It will all just be cafés and bars in the basements of the new-builds, which I personally think lack soul, they lack history, they lack the culture, and they lack what people are looking for when they move to Fish Island, regardless of whether they live in the new-builds or the warehouses.

You can't just knock it down and build something that looks like it has got a similar brickwork on the front of them because it is not the same thing".

At the heart of this ecosystem is a local creative, Jack (not his real name), a tenant and staff member at 'Two More Years' who lives in a nearby warehouse.

Jack is a living testament to the transformative power of Hackney Wick and Fish Island's cultural evolution, but like others, he is concerned about the loss of this tight-knit community.

TWO MO R E Y E A R S, HACK NE Y WI CK A ND F I S H I S L AN D

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PICTURE CREDIT: ROMAN ROAD LONDON

"I live in the Black Gates warehouse directly next to the bar, and as far as I know, it is all on the same lease as the bar. We as tenants were also served a piece of paper informing us that the warehouse is going to be turned into a seven-storey luxury flat complex, likely starting in two more years, similar to the bar. I mean, obviously, I am pissed off at this. As is everyone I live with and everyone I have spoken to who lives in and around Fish Island.

It is not just our homes being destroyed but the culture we have created for ourselves as artists and non-conformists. There is no way anyone in these spaces is going to be able to afford flats in the new builds because the rent will be extortionate."

The impending threat of gentrification looms large over this tight-knit community, but Jack sees a pathway towards shared understanding through conversation and interaction at Two More Years.

"I enjoy working there because we have a predominantly local staff team, with a fair few of us living next door or within Fish Island/the warehouses. It still feels like a community space during the week where it tends to be locals drinking coffee and getting work done. These are a mix of warehouse people and newer people living in the new builds. I feel lucky to be able to interact with the people moving into the new builds because it gave me a chance to voice the opinions of the Warehouse community to these people who are, not to be rude to them, inadvertently destroying and speeding up the redevelopment of the area."

Jack emphasises the importance of dialogue and understanding between the existing community and newcomers to the area. He believes that 'Two More Years' serves as a bridge where people from diverse backgrounds can come together to share their experiences and foster a sense of unity.

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"This is the only way we are going to preserve this culture, to show that we are not the bad guys, and neither are the people who happened to have move into the bougie apartments. It's about showing them how much this means to us and letting them in (metaphorically and literally) into our lives."

Despite the challenges, he recognises that 'Two More Years' plays a vital role in maintaining a sense of accessibility and community in the neighbourhood.

"Two More Years did raise the price of beers and coffee and all their drinks recently, which I don't like.

That was a move made, I think, to cater more to the new build people than the warehouse people. It's the most accessible and community-feeling bar around the area, so you have to give them that. That is down to the staff and how integrated we are in the local area."

In the face of change, Jack and others have created the 'Fish Island Community Network' on Instagram as a platform to share information about the ongoing redevelopment and as a rallying point for those who want to protect the area's unique culture.

The Fish Island Community Network is not just a platform for sharing information. It's a catalyst for change. It amplifies the voices of those who are determined to preserve their culture and resist the tide of gentrification. The page encourages users to share its content, effectively turning every follower into an advocate for the cause.

As you scroll through the Fish Island Community Network, it is merely impossible not to be moved by the passion and resilience of this community. It amplifies the voices of those who are determined

PICTURE CREDIT: TWO MORE YEARS

to preserve their culture and resist the tide of gentrification. The page encourages users to share its content, effectively turning every follower into an advocate for the cause. It is a digital oasis amidst the urban transformation. A place where art, activism, and community spirit unite to create a powerful force for change. Whether you are a resident, an artist, or an empathetic supporter from afar, this Instagram profile invites you to join the fight and be a part of history in the making.

'Two More Years' and Fish Island's journey from industrial wasteland to vibrant creative hub is a testament to the power of creative investment, collaboration and locally-rooted meanwhile spaces.

Hubs like Two More Years have empowered local communities, nurtured creativity, and preserved cultural institutions. The stories of individuals like Jack, highlight the importance of preserving community, culture and the spaces that foster them. By highlighting this transformation, we celebrate a model of urban revitalisation that prioritises inclusivity, affordability, and the spirit of self-build culture. As these neighbourhoods continue to evolve, the lessons learned from their success can serve as an inspiration for other communities seeking sustainable solutions to their urban challenges.

BY LENA MOHAMMAD

TWO MO R E Y E A R S, HACK NE Y WI CK A ND F I S H I S L AN D

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The community space in Brixton that’s breathing new life into waste

BY FLORA MEDFORD (SHE/HER) @medford_flora

Hidden away in a disused car park, nestled between Camberwell and Brixton, is a collective of makers.

From carpenters to mushroom growers, this cooperative workshop, known as The Remakery, houses an eclectic mix of skilled creatives. The thing that ties them together: zero waste.

This ethos is built into the building itself. A mixmatch of discarded materials has been lovingly repurposed to bring life back to this once unwanted space. There are walls made from old gym floors,

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windows taken from disused buildings and art made from what can only be described as rubbish that brings joy to every corner.

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Being part of The Remakery means being dedicated to breathing

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new life into waste, creatively.

Everyone involved holds this at their core. Whether that's the resident remakers, the community-run garden or even the co-working area that's open to the public.

"We're lucky that this place is cheaper, because nobody wants to work in a dingy car park," says Mark Ovenden, one of the founders of The Remakery. They got the ball rolling after the local community voted to award £100,000 from Lambeth Council to what was then an upcycling project. Since then, the National Lottery's Community Fund, in association with Together for our Planet, has been its largest charitable funder.

Mark notes that while this funding has been crucial, time-consuming applications aren't always easy when you're starting out. Although the money is out there, fundraising capacity can be a barrier for local enterprises.

Rental revenue from the Remakery's resident makers has been key to the sustainability and resilience of the collective so far. While there are a few hobbyists, the workshops are mostly used to carry out business, whether that's rebuilding furniture, creating new products from surplus plastic waste, or even discovering the packaging possibilities of mushrooms. After about a year, renting workshops gained popularity and provided The Remakery with a consistent income to keep them afloat.

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Finding the rental potential of your space, or even a service you can provide regularly, is vital for establishing economic stability, particularly in the nascent stages of your project.

It’s also no surprise that most councils offer benefits, such as discounted rent, for groups that engage young people, particularly under 16s. For any collective looking to make a change in their local area, whatever their aims, a strong educational and empowerment offer is key. But how to engage young people in important, potentially unengaging topics such as zero waste? The Remakery’s collaboration with Iconic Steps is a truly innovative example of youth engagement. The creative agency, which aims to ‘raise diverse talent’, produced a series of short films showcasing the space and its makers. This was an excellent example of how to involve young people in a unique way simultaneously supporting these aspiring creatives while giving the space itself some professional publicity. The Remakery have some exciting ideas in the pipeline for how they plan to engage more young people in their mission for zero-waste, with plans to start involving local 16 to 18-year-olds in its governance. They’ll have a say in how the space is run and what its aims should be. This is an exciting project that any organisation wanting to serve its community authentically should take note of.

Documentary: The Remakery: Sustainability and Creatively Working with Waste While The Remakery's community of interest is reuse and repair, they've always made the needs of the local residents one of their core priorities. Mark talks about the success of working with groups that are already established in the area: "We've run some successful energy saving workshops after being approached by a local space in Stockwell.

This group is already really connected to their community." Tapping into these existing groups and figuring out what you can offer to help them thrive is an essential part of serving your community. It's one way to hit the sweet spot of combining community engagement with solving urgent issues.

Mark and the team are keen to make The Remakery a more connected and cohesive space. They want to ensure that any waste makers produce is put to use elsewhere, either within the workshops or out in the community.

THE CO MMUNI TY S PACE I N B R I X TO N THAT ’S B R E ATHI NG NE W LI F E I NTO WAST E

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PICTURES: REMAKERY

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Even if your group's focus isn't sustainability, it's good practice for any organisation to aim for zero waste. Take a step back and think about what opportunities are there for you to reduce the rubbish you're producing. Do you have a cafe that's throwing away used coffee grounds that could be used as fertiliser to help your herb garden grow? Or is there someone with the skills and knowledge to make use of the old electronics local residents are throwing away?

Places like The Remakery provide those of us with eco-anxiety some peace of mind about consumerism and the unimaginable amount of waste that's ending up in landfills. Their ingenuity and innovation are providing real solutions to build the circular economy we desperately need. So much can be learned from a group that's incredibly focused on their collective purpose but still manages to put a primacy on serving the needs of the people around them. On their website, they note that while businesses have a responsibility when it comes to tackling environmental issues, "communities need to continue to build resilience and find a 'way-in' to green sector employment."

They're not only remaking things but remaking the

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community with powerful skills and knowledge to combat the climate crisis together.

If you're running or thinking about starting a community group, here are some key points to remember: • Consider how you're going to involve young people authentically - this could help you with funding and is the perfect way to engage your community • Tap into existing groups to ensure commitment to your space • Get creative with your space: use the skills of your collective to build your space meaningfully • Sustainability - consider the circularity of your space. Is there a waste product that someone else could make use of

BY FLORA MEDFORD

Unit38: imagining different futures in the fight against gentrification

BY JABIR MOHAMED (HE/HIM) @j.a.mmmm

London is a patchwork of different cultures embedded within its centres and edges, often forming their own centres. We can observe these varied urban tapestries formed by immigrant communities through places like Little Portugal in Camberwell or Edgeware Road, with its scents of Arabian oud, to the famous bagels and curry houses of Whitechapel, a testament to the layers of migration from Jewish and Bengali communities.

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Brixton is Little Jamaica. Southall is Little India, and Shepherds Bush is Little Mogadishu. Shops, restaurants, cafes, and barber shops act as quasicommunity centres, expanding the warmth of the home, where the domestic is evident in relational architectures of care and healing.

With the demolition of the Elephant and Castle shopping centre in 2021, Latin Village, an indoor

In 2004, Haringey council and the developer Grainger signed an agreement to transform Wards Corner into a commercial and residential development. A compulsory purchase order was issued on the market and the social housing bordering the site, and the plan was devised in 2008, with the planning application granted in 2012. However, following a 17-year antigentrification campaign against developers and the local council – through the Save Latin Village campaign – Grainger withdrew from Wards Corner in 2021. There is now council backing for an alternative vision and community plan for the site. A rare and unprecedented win against gentrification, it is a beacon of hope for communities in the city facing displacement.

Unit38, a design collective led by David McEwen, Ben Beach, and Jamie Highnet, first became involved in 2014, bringing their architectural expertise to the campaign against the development of the shopping centre. There were strong personal as well as professional motivations; David settled in Reading as a child after leaving his home country of Columbia. He describes his experience as “…very divorced or isolated from a sense of Latin American cultural identity. And it’s something that I missed, but particularly my mum found incredibly difficult to deal with.” Moving to London for university, he was drawn to London’s smaller, community-centred spaces, particularly those in Elephant and Castle and Seven Sisters.

He met Ben at university and found they both share specific interests in Tottenham. When the previous planning permission lapsed in 2018, the traders approached David, Ben, and Jamie for their help in attaining planning permission on a more viable alternative scheme than what was being offered by the developers.

One of the traders offered the team a space on the mezzanine level above a nail salon (unit 38). “Maybe we should have called ourselves pretty nails. That would have probably been a fairly unique name for an architectural practice,” David jokes. Sharing the space with a masseuse and a Latin-American lawyer they began by fundraising.

“We ran this Crowdfunder, and originally they were asking for something like £9,000,” recalls David.

“We had spoken to the Architectural Heritage Fund, and they were willing to match whatever we raised in the crowdfunding. So, we managed to raise approximately £16,000 to £18,000. The majority of the money went towards hiring someone to assist us with governance and creating a financial plan, as well as investing in community organising. A small portion was used to fund the design work.”

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market in the Edwardian TFL-owned department store on the Seven Sisters Road in Tottenham is one of the last remaining hubs for the Latin American community in London.

Unit38 collaborated with the traders to develop a proposal that was both viable and reflective of the values and needs of the Latin Village and its traders.

Their skills and knowledge as architects were crucial in creating business plans, capital funding strategies, and costs to be taken seriously by the council. But as Jamie points out,

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“As much as our skills and knowledge as architects were important, it was the energy and tenacity of the people involved in the community that served as a driving force.”

“Working with the traders, you could sense their level of imagination and scale,” continues Jamie.

“It’s something that we may be conditioned against in this country or in London because of the high cost of land. But it was explicit in the design and the management of the market; it was managed by the traders themselves. There is an alternative, and it can be joyous, fun, and it can support the community.”

“All the aspirations for the community fund and what we want to achieve with the units themselves are something that the traders had already created within the market. It was already an incredibly successful space. So, it’s really building off of not only that sense of imagination for an alternative proposal but also how the spaces themselves can be used.”

The new Wards Corner Community plan includes provisions for improved trading space for all existing traders and new small businesses. It will celebrate and protect the culture and heritage of

UNI T38: I MAG I NI NG DI F F E R E NT FUTUR ES I N THE F I G HT AG A I NST G E NTR I F I CAT I O N

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PICTURE SOURCES: HJUK AT EN.WIKIPEDIA AND WARDS CORNER COMMUNITY PLAN

the market while establishing the area of Seven Sisters as a community ‘gateway’ to Tottenham.

The business plan identifies the potential for a significant surplus each year, subject to securing a long-term lease from Transport for London.

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David and Jamie emphasise the design ethics that inform their practice and the role that architects should take in activism.

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“Architecture is inherently political because you’re dealing with space,” says David. “When you’re drawing and designing for something, you’re imagining a future possibility. And sometimes, being able to actually visualise that can help galvanise support and build excitement around a campaign.”

Jamie adds: “Architects have the ability to illustrate the vision and imagination of the community and what the shape and form can be. And for that to become a rallying point for further organised efforts. It also helps address power dynamics that exist in massive developments. That is perhaps the responsibility of the role that architecture can play.”

By utilising their skills and knowledge in architectural design, along with their ability to learn and adapt to carrying out work that architects don’t traditionally do, Unit38 created a proposal through participatory design that was both viable

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and reflective of the values and needs of the Latin Village and its traders. It serves as a framework for future projects and campaigns, demonstrating the importance of community involvement and alternative visions in the fight against gentrification and displacement.

The new plans are a testament to the power of collective action and the impact that small, community-driven initiatives can have. As London continues to grow and evolve, it is important to celebrate the diverse cultures that make it unique and to fight for their preservation in the face of gentrification and urban development.

Jabir is an architectural assistant and a graduate of the AA, a Photographer, writer, researcher and Oral Historian who has worked on projects with the Museum of London, the UNDP and Numbi Arts. He is interested in human approaches to architecture and post-war rebuilding and heritage conservation in Somalia. He received a traineeship from the Commonwealth Heritage Forum, learning to employ LiDAR and photogrammetry techniques to create a conservation plan for a world heritage site in Barbados. He is currently using these skills to preserve heritage in Somalia to aid in rebuilding.

BY JABIR MOHAMED

PICTURE SOURCES: OPEN CITY

The People’s Museum: reviving the working-class histories of ‘radicals, reformers and rebels’ in Somers Town

BY STARR CHARLES (SHE/HER) @starr.chitecture |

Starr Charles

In the face of rapid urban change, how can communities preserve local histories, memories and spaces? A community museum in London's Knowledge Quarter has begun unravelling such questions.

Nestled between Kings Cross, St Pancras and Euston, on the grade two listed Ossulston Estate, the residents of Somers Town have established 'The People's Museum': a community-led initiative to revive working-class histories, document local

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change and reclaim space for local residents.

Tucked away from the bustle of Euston Road, the space offers respite for locals and passers-by alike and an opportunity to engage with the radical histories of the area around them. The project was pioneered by designer, artist and community activist Diana Foster to preserve a sense of place for local residents in a time of change - as with change often comes a sense of loss.

A Space For Us

The community-led collective has produced 4 books and 2 films and hosted 200 events. Since its opening in 2022, the initiative also actively engages with local schools and young people and hosts workshops, walking tours, and visits - all of which are free for locals. Through these new opportunities, people can engage and connect with one another through a shared history. During the pandemic, the collective held an outdoor exhibition in collaboration with local primary school Edith Neville, highlighting historical themes on women's rights, medicine, and railways in the area.

The exhibition was featured on the hoarding of a neighbouring demolition site - previously home to a beloved local nursery that is now fatefully destined to become private student accommodation.

It is this type of community engagement that reflects the museum's role in creating a sense of togetherness particularly during a time of distance and uncertainty.

Reminiscent of the 'anarchic and activist histories' of Somers Town, The People's Museum continues to tackle socio-economic and political issues impacting the area. Much like many urban areas undergoing gentrification, the local area of Somers Town has succumbed to large-scale developments, including HS2 - a high-speed rail development that will destroy 900 homes and 1000 businesses in its development, at an estimated cost of £100bn. For countless communities across the city, beloved local spaces and homes have been torn down

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The People's Museum has worked to create a space for preserving working-class memories by recording written and oral histories and restituting lost or stolen artworks for display in their public exhibition space. Upon visiting the museum, one can expect to encounter a community exhibition featuring an array of local historical treasures.

The exhibition consists of salvaged ornaments, historical photographs, and maps that decorate the space. Each piece nods to a different moment in Somers Town's fascinating working-class history and tells a story of the area's 'radicals, social reformers and uncommon people'. A collection titled 'Lost/Found' features ornamental sculptures made in the 1930s by local artist Gilbert Bayes - some of which had travelled as far as Florida and back. Another wall is covered with posters for campaigns - evidence of the area's history of working-class activism - addressing issues of racism, LGBTQ+ rights, and housing crises, to name a few.

at the socio-economic expense of the working class to make way for private and commercial developments in the name of "progress". The resulting influx of middle-class populations into these areas often leaves existing communities marginalised and without a say, raising the question of who inner-city regeneration projects are truly benefiting if not the existing local communities.

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By creating a space for community congregation - just as the People's Museum has done - locals are given a voice and platform to campaign against developments that threaten their community, identity and livelihoods.

And where campaigning may not always be enough, this valued archive gives the Somers Town community a space to record and commemorate the changes in their neighbourhood.

A Call for Change A space for sharing, storytelling, campaigning, making and learning, the museum has grown from a shared community need for unity.

Operating as the only entirely resident-led activist organisation in Somers Town, the museum is in every sense a space for the community, by the community. With the rich cultural heritage of Somers Town under threat, The People's Museum - small but mighty stands as a beacon of hope for the future (and history) of the community, and as a representative case of sustainable urban development for the preservation of marginalised communities across London.

BY STARR CHARLES

THE PEO PLE 'S MU SEU M

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Community and artistry at The Space theatre

BY MARIA TELNIKOFF (SHE/THEY) @mariatelnikoff

If you were to type "theatres" into Google Maps in East London, few results come up. Unlike central and north London, East London's theatre scene is relatively sparse, save for some notable exceptions, such as the Little Angel Theatre, the PEN Theatre and Royal Stratford East Theatre. My local east end theatre, just a ten minute bus ride away, is The Space Theatre. On a road on the Isle of Dogs, in a largely residential area, The Space Theatre is hard to miss. Wrought iron gates preface a grand, almost regal, 19th-century façade that is incongruous with

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the modern structures of nearby Canary Wharf, which loom large in the backdrop. Originally a Presbyterian church, the building was erected in 1859 and enjoyed a full life as an active religious hub until the closures of the London Docks heralded a decline in its use. Through the help of the London Borough of Tower Hamlets and other funding bodies, the building was acquired and converted into a place for arts and culture, now known as The Space Theatre. With its bright red doors,

My own personal experience with The Space Theatre has also been similarly defined both by my status as a local resident and as an emerging theatre maker. The first show I attended at the theatre was "Des Fleurs" by Gabrielle Silvestre, a play about unspoken, intergenerational queerness and the difficulty of moving on from places we love. It beautifully articulated The Space's interest in championing new writing, especially from underrepresented or marginalised voices. Written and performed by recent drama school graduates, the show emphasised the need for up-and-coming artists to be supported in their first steps into the professional world.

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The Space prides itself on programming work that is exciting, socially engaged and boundarypushing rather than simply going for what sells. It's a wonderfully refreshing outlook in a time plagued by budget cuts, venue closures and an increasingly bleak approach to arts funding in this country.

Through the hard work of staff members, volunteers and crucial sponsors, The Space renews its commitment to “art for arts sake” every season with a new and exciting range of theatrical endeavours.

I sat down with Matthew Jameson, deputy director of the theatre, to discuss his role and the wider place of The Space in the Tower Hamlets area.

Matthew talked with great passion about the theatre’s attitude to creating “as open a building with as much going on as possible”, with not only a full programme of shows but also workshops, coffee mornings and board game nights, which make The Space more than a theatre venue – it’s a social and artistic hub.

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The Space stands as a testament to the importance of socially engaged creativity, combining excellence in theatre with a commitment to fostering connections with the local community.

The Space bar/café is open seven days a week, welcoming local people to sit and use it as a workspace or meeting point in the day and as a place for a post-work pint in the evening. In the bar and courtyard, local residents and visiting artists mix together, talking, sharing ideas, discussing their work and broadening perspectives.

Matthew shared how, post-pandemic, The Space has been cognisant of the need for free, accessible, social spaces to unite people, as a cure for the loneliness we experienced during Covid and as a statement that the arts are well and truly back (and for good). Matthew also spoke with love about The Space's participatory programme, SpaceWorks.

Comprised of "mainly Islanders", the programme is a group for local, passionate amateur actors that has been running consistently every Monday for the past decade. They stage two productions a year, which is often a first step towards being a part of the Space's professional programme. Another example of the theatre's recent engagement with not only the local community but also the local landscape, is a project entitled "Who Ate All The Pies?" run by Radhika Aggarwal and supported

by The Space. It is an upcoming audio experience for local Tower Hamlets families to explore nature at the nearby Mudchute farm by going on a guided walking tour developed by actors, artists and storytellers from the borough. It encourages young people and their parents to learn about the history of the place they live in and honour east end institutions. Radhika first got involved with The Space, however, during the pandemic, as she

CO MMUNI TY A ND A RTI STRY AT THE S PACE THE AT R E

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PICTURE: SPACE THEATRE

says she felt an immediate kinship with the place, as not only a theatre venue but also a proper local bar. She loves that "they cultivate new ideas, are not scared of different things and are up for artists to experiment with them".

When I asked Matthew what The Space meant to him, he returned to the history of the building itself, one of the longest-standing edifices on the Isle of Dogs, somewhere that represents the richness of the East End community which blends old and new, a place for people of different ages and backgrounds to rub shoulders. He made a parallel between the lessons and teachings shared by the religious preachers in its original context as a Presbyterian church and the ideas and stories shared by artists on the stage today.

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The thread of community has held strong in the heart of the building's four walls through the efforts of people like Matthew, who believe that art and creativity still have an important social function and that bringing people together is an aim in of itself, one that shouldn't be lost sight of in an increasingly dislocated world.

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The Space Theatre shows the power of grassroots organisations when they are backed by human determination and an unwavering commitment to openness, kindness and imagination. There is good reason to be optimistic about the future of theatre in Tower Hamlets – just pop by The Space and see for yourself!

Maria is an actor, writer and interdisciplinary artist based on the Isle of Dogs. She is passionate about community theatre as a force for change and creating spaces for young, emerging artists in East London.

BY MARIA TELNIKOFF

Reflections on community, creativity and resilience with creative arts changemaker Writerz and Scribez

BY THEMBE MVULA (SHE/HER) thembemvula.com |

@themberain

Writerz and Scribez is a London-born Community Interest Company (CIC) that grounds itself in the communities it serves. Pioneered in 2014 by awardwinning poet and former youth offending officer Jemilea Wisdom-Baako, and led by black artists, Writerz n Scribez's mission is to make art accessible for all.

That purpose has inspired a range of creative initiatives over the years; most recently, WE DEYA, a multi-artist interactive performance piece

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exploring and showcasing Windrush stories in the London borough of Newham, in honour of the elders of Caribbean heritage within that community, and as part of the celebrations to mark the 75th anniversary of the arrival of the Windrush generation.

WE DEYA was developed by second-generation Caribbean artists who gathered stories from local elders through one-to-one interviews and group workshops. They focused on how and where joy

was found during a hostile environment and how communities are built, sustained and celebrated.

2023 marks the 75th anniversary year of the HMT Empire Windrush arriving in Britain on 22 June 1948. At a time when public consciousness of the legacies of the Windrush generation has been marred by the injustices of the Windrush scandal, these stories of joy, resilience and community are extremely valuable.

"It's so important to feel seen, and to have these stories recognised in a way that honours our elders' voices," said one audience member at WE DEYA. "If we don't write them, they'll be written for us."

In showcasing WE DEYA, Jemilea highlighted the importance of the community being able to attend Hibiscus Community Centre where the Caribbean elders meet bi-weekly.

"The elders came out in their numbers, with their walking sticks, zimmer frames, friends and family, to a familiar space, and were greeted with ital soup and jerk chicken and rice," reflects Jemilea.

The project demonstrates the power of putting the community at the centre of making and sharing art. It's been a principle at the heart of Writerz and Scribez project work. It inspired the arts organisation's SWITCH project, where artists were supported and empowered to take up residencies in barbershops as part of Wandsworth Art Fringe 2021. Writerz and Scribez's poetry writing sessions at a women's refuge in Croydon, sparking kinships and connnection, is another success story.

Writerz and Scribez have navigated a range of challenges on their ten-year journey as a social enterprise: a lack of resources, primarily finances and, as they've grown, a lack of a physical base to run things from. The latter provoked the arts organisation to transform how they work with artists and creatives.

"I think that traditional institutions are built on a concept that people should come to them," says Jemilea. "I want our work to go to where people already are and to let them know that it belongs where they already gather."

Seeking to level the playing field has been a guiding principle for Writerz and Scribez since Jemilea was first inspired to use creativity to break down barriers with a hard-to-engage young person she worked with as a youth offending offer.

As a recent graduate, Jemilea's first job, based in Hackney, involved supporting young people who had been arrested, often for drug offences or possession of a weapon. She interviewed the young people to help provide context and add to their character references in court.

"A lot of them didn't feel safe in their borough," she says. "Fear of attack and danger was really present.

I think many judges don't understand what it feels like to walk in that fear, they don't have to think about it."

A lightbulb moment hit Jemilea as she was struggling with a boy who refused to engage in their one-to-one interviews, letting hours slip by sitting in silence. Frustrated and running out of time to develop his character reference, Jemilea decided to switch things up in her next session with the young person by getting him to write rap lyrics.

"No we're not", was the initial response when she posed this, the young person's first proper sentence spoken out loud to Jemilea after several sessions together. But this reaction was a green light for Jemilea, who encouraged him to engage by meeting him at his level and writing raps herself so they could both go back to back.

"He was furiously writing, telling me things that, had I just asked him normal questions, wouldn't have come out," she recalls.

This breakthrough left Jemilea buzzing. She had discovered a tool for breaking down barriers and connecting with the young people she worked with.

"He didn't see me as the authority, we were both just writing," recounts Jemilea. "I wanted to create more opportunities for young people to feel heard and to express themselves."

The excitement was short-lived after her pitch for orienting her sessions around creative writing was shut down in place of following proper policies and procedures. So, she decided to develop this work outside of her nine-to-five.

Early small wins included building a team with five friends and admired poets, convincing them to join her in the venture over a Nando's chicken. A successful six weeks of self-run poetry workshops at a Hackney community centre for children at the local estate shortly followed. Jemilea recalls receiving several no's in the early days of writing funding bids, with funders citing a lack

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PICTURES: WRITERZ AND SCRIBEZ

of experience in workshop delivery. Then came a big breakthrough, what Jemilea attributes to a combination of "fate, emails and persistence" when she secured a meeting with the then producer and now artistic director at Hackney Empire, Yamin Chowdhury. For Jemilea, this was as much about backing and belief as delivery.

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"Once you have someone big behind you, it's easier to make people believe that what you're doing is of good value," she says.

This helped Jemilea launch Writerz n Scribez orgainsationally and establish it as a CIC. Writerz n Scribez ran twelve weeks of drama and spoken word workshops with young people. The team honed their work by learning in practice.

The workshops culminated in a showcase event attended by the young people's friends and families.

"There are lots of things now that if I was doing it again, I would change because I have more experience," reflects Jemilea. "But for what we did and what we had, it was really good."

The project helped Jemilea join the dots between her passions: community, youth work and giving people access points to creative writing. The decision to leave a job that she loved to pursue running Writerz n Scribez full time, came about after a maternity leave break and frustrations she

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faced with bureaucratic setbacks upon returning to the workshoplace.

Jemilea eventually left her role, turned down a new job offer, and went to run Writerz n Scribez full-time, taking her problem-solving capabilities, resilience and optimism with her.

In 2017, Jemilea secured a place on a School of Social Entrepreneurs course called Trade Up. There, she started to develop the skills for increasing Writerz and Scribez's revenue and sustainability as a business. Six years later, Writerz and Scribez has sustained and broadened their impact. They've expanded their work into other regions, using National Lottery funding to support six Manchesterbased artists to develop their creative ideas, alongside knowledge sharing and mentorship.

When asked what excites her about the future of Writerz and Scribez, with a twinkle in her eye and easy grin, Jemilea's answer comes full circle.

Recalling the conversation with her friends over a coffee that started it all, she says, "That led to almost ten years of Writerz and Scribez. I want to create spaces for that to happen for other artists at the start of their journeys."

What can artists and creatives at the start of their journey learn from Jemilea?

1. Be led by your passion and principles.

When encountering endless barriers in a fiercely competitive and often underfunded sector, a genuine passion for making, facilitating and sharing art will carry

you through. From securing funding for their first major project to convincing an entrepreneurship judging panel about an enterprise built on the foundation that 'art changes lives', passion played a key role in opening doors for Writerz and Scribez. So seek to make work that inspires you, underpinned by clear values.

2. Become an expert through trial and error.

Innovation is a creative process that comes by taking risks to try something new, whether developing skills outside of your comfort zone or embracing a fresh approach to addressing a problem. In the case of Writerz and Scribez, understanding what didn't work and listening to feedback propelled them to grow and become a valuable resource to upcoming artists. Failure is a valuable teacher and worth building tolerance for.

BY THEMBE MVULA

3. Work with and build on what you have.

There are so many hurdles to overcome when trying to be an artist, more so when you're from a low-income or otherwise marginalised background. Rejections, lack of finances and the right networks to help you actualise your dreams can be extremely discouraging.

Jemilea built Writerz and Scribez by rallying friends to run workshops where there was a need locally. Not having a headquarters fed into an innovative approach of bringing art to the people, fostering inclusivity. How might you reframe the challenges you face into possibilities?

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The creative industries are enjoying a ‘boom’ period in the UK. How can organisations support emerging talent?

BY REESE CAMPBELL (SHE/HER) reesewithans.my.canva.site/ |

@rarely.reese

A film accompanies this article: Voices of Waltham Forest: How do we support people into the creative arts?

In 2021, the creative industries sector contributed £109bn to the UK economy, equivalent to 5.6% of the economy that year. More recently, the government has proposed to boost the UK creative industries by £50bn, provide £77m in new funding for the sector, and support a million more jobs by 2030.

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Despite the ambition to amplify the economy through the creative industries, there is an overarching question that lies beneath the grandeur of the proposal: Who are the people benefitting from it all, and where does this leave individuals who are seeking a career, and have entry-level or little experience within the creative industries?

Studies have shown that there is an all-round diversity gap when it comes to employment and the makeup of the creative industries. According to research by the Creative Industries Policy and Evidence Centre (PEC), 52% of workers are, on average, from high socio-economic backgrounds, compared to 27% from working-class backgrounds.

Whilst efforts to make the creative economy more inclusive and accessible are developing through methods such as Positive Action schemes and training bursaries, many individuals still find it difficult to get their foot in the door, an issue recognised by Paul and Liza Fletcher, co-founders and directors of the Walthamstow International Film Festival, and E17 Films & Emerging Talent CIC. The company's mission is to 'support emerging talent through film exhibition, community projects and careers development, whilst improving accessibility and diversity in the film, TV and creative industries'.

Eventually, Monday decided he felt more 'comfortable' shooting sports content and decided to 'make a move' towards a company that did so.

Despite his success, Monday admits that he was apprehensive when pursuing the world of camera.

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This, paired with their annual Future Film Focus careers event, exemplifies the possibilities of what can be done to tackle the socio-economic gap within the creative industries so that organisations can support those at the start of their career.

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"That was really elusive," reflects Monday. "But I managed to get it and finished an apprenticeship in junior content production. I stayed there for about a year before being brought on full-time."

Whilst there are no easy answers when tackling a concept as large as social stratification and intersectionality, the efforts of small organisations within Waltham Forest suggest that it starts with community.

For German-born Ghanaian Monday Adjetey, a twenty-three-year-old camera operator and editor for a sports production company, his pathway into the creative industries began traditionally at school.

Wanting to produce football boots, he initially studied product design but was recommended by a friend to take media for his A-Levels.

Monday went on to complete a degree in digital film production before returning to his initial idea of starting an apprenticeship, a task made difficult by the coronavirus outbreak.

"The elephant in the room is race," he says. "But I think that it's mainly because, in the world of camera, it's usually a particular type of person from a background who not only has access to equipment but people. It's not what you know, it's about who you know - and looking into my background, I didn't have that starting out."

Networking is at the core of E17 Films' values.

It is widely said to be the key to getting into and maintaining a career. Monday is grateful for the opportunity to meet and connect with creative professionals as he started out in the creative sector. "[Liza] had an eye for young people who also have an eye for filmmaking," he says. "If it wasn't for Liza being proactive, we would not have gotten to know her network of people."

Monday was part of Future Film Focus 2019, which, since its inception in 2018, has seen over 15 young people go onto training, apprenticeships, and recruitment with companies such as BBC, ITN and MTV and has engaged with around 950 young people from across Waltham Forest.

Outside of providing entry-level opportunities and mentorships, the platform provides young people with relevant work experience, helping them prepare for careers within the sector.

There are similar initiatives which operate within the borough. 'Future Programmes', commonly known as 'Future Formed', was a legacy project from the 2019 London Borough of Culture and was initially focused on younger people. Future Programme's new project lead, circus performer Kaveh Rahnama, has broadened the initiative to support and empower young people aged 16 to 30 in their creative careers.

"The aim was to work with younger people in Waltham Forest, residents from backgrounds underrepresented in the arts and creative

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industries, to try and get them into the industry," says Rahnama.

"My predecessor did a great job, but it was quite contained. I really try to see things in the long term - like genuinely try to maintain a relationship with someone, and try to make Future Formed a support programme to provide people with more pathways to connect them to people and opportunities within the industry to help them grow," Whilst programmes like Future Formed and Future Film Focus have considerable success through partnerships and individual passion, there are often constraints.

"It comes down to time, money and resources," says Rahnama. "Essentially when I started, it was just me running the program, so partnerships are important to me."

Funding is available from large organisations, such as Arts Council England, as well as smaller London funders, such as Foundation for Future London, but it isn't guaranteed, nor is it always enough.

"The industry in particular - performing arts for example - doesn't have a lot of money," says Rahnama. "Sometimes, we're talking about quite small organisations that we're trying to get people to support. They haven't got the money to support them, and they're struggling to give enough jobs to people with years of experience. How are you going to support the next people with no experience and very little money or safety net?"

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PICTURES: @PAULTUCKERSTUDIO (INSTAGRAM)

Local efforts to provide creative career assistance highlight the place and importance of communal, altruistic approaches to supporting people in the industry that tap into founders' networks. But these initiatives are far from sustainable.

Ultimately, supporting young people cannot fall just upon individuals or organisations but should be viewed as a wider cultural, industry-based call to action.

Many individuals with lower socio-economic backgrounds do not feel the arts are for them due to the sector's history as predominantly led by white and upper-middle-class interests. With this at the root of the problem, it is almost impossible to support every potential artistic talent without challenging the diversity of the arts as a whole.

When asked what organisations could do to better support individuals in the creative industries, Joshua, a poet and recent film studies graduate, said, "It's difficult for me to say because I'm very privileged in many ways - I'm white, I'm a man, and I'm cisgender. You don't want to, but you have to look around you [at university] and make assumptions. It's very, very middle class."

With issues such as 'hustle culture' within the industry coming under scrutiny and its ties to poor pay and long hours, money should be considered by organisations and the industry. Solutions such as accounting for expenses in travel or food or reducing the prevalence of unpaid internships as a whole can have a wider impact in supporting creatives as a whole, relieving some aspects of financial pressure.

"The privilege of being in the arts is the privilege of having parents who have enough money that you aren't forced to go into a job that makes money immediately," says Joshua. "The arts don't make money immediately."

BY REESE CAMPBELL

Efforts from larger organisations such as Barbican and BFI through Young Producer schemes and filmmaking grants for those from underrepresented communities make an impact, but more can be done.

"They [Barbican and BFI] do really well with grants and such," says Joshua. "But it can't be enough. It will never be enough. It'll always be getting loads of responses - but one or two people get in. This is stuff that pales in comparison to nepotism and the freedom of financial stability.

It's a cultural problem."

THE CR E ATI V E I NDUSTR I ES A R E E NJ OY I NG A 'BO O M' PE R I O D I N TH E U K

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liveprojects We are a small London-based research bureau providing impactful and creative research, (social value) evaluation and storytelling, community engagement and planning for creative and community changemakers, placeshapers and SMMEs. We fuse research and consultancy methods with storytelling and impact journalism to bring about positive change. We exist to be of service to creative leaders and changemakers – bringing the strategic awareness of an agency with the attentiveness and flexibility of freelance. www.liveprojectsolutions.com