A deep psychological journey into a cosmic waltz (Buckle up)
So what is the value and nature of truth on earth? In asking this question with some research one realises that most people today are only equipped to run from it and have become inured to finding refuge in lies to protect the all important ego.
Richard Bandler is one of the fathers of Neuro-Linguistic Programming (NLP). He studies the natural communication between people, the psychological affect of the experience and how to consciously steer it to make the results more desirable for the individual. In his practice he often uses ‘Mirroring‘. Mirroring is a natural mimicked response to another’s way of communication towards them. Although one of the subjects is unlikely to be aware of mirroring, the action effectively causes a more harmonious interaction between the two parties because the point is to appease and magnify what is natural to the other party. Only this, in Bandler’s system, is achieved consciously by one person, leaving the other vulnerable, unaware of the actions towards them as the unsuspecting participant.This is almost always to the advantage of the user of NLP. Yet this is oxymoronic for the fact that the unannounced study of the character can also be seen as manipulative and lying by omission.
There is definitely an agenda. Yet there is truth in the actual reflection of the person evidenced by the harmonic result. Without external observation, we cannot easily know our selfdom, yet this reflection does appear subconsciously in subtle, peripheral ways within nature. Analogous to a rhythmic dance you can see the lovely tone is set and then nature follows.
Last Friday evening following the repulsive terror attacks, we were careful to limit the news in our household, mindful of the fears that might awaken in our 6-year-old.
From Beirut through Paris, and in so many other regions, people were going about their daily lives when horror erupted. Accompanying death were traumatic, chilling sights and sounds imprinted on survivors and transmitted to onlookers near and far.
We began to weigh-in on what to tell a young child: whether to share or shelter her from the news that was, after all, not on our shores. The question of the location raised its head and merits some attention.
The continued pervasive coverage of France’s tragedy is neither surprising nor an insult to other countries or populations that have equally suffered. This is not a competition. In the UK the coverage of 7/7 was intense and on-going for months. Last year the October shooting in Ottawa, Canada saw international coverage but nowhere was this coverage more concentrated and extensive than in Canada.
Paris is an international city; one of the most visited and well-known even to those that have only toured it via films and books. This fact is precisely why coverage of the tragedy here in Canada is more intense than the coverage of similar attacks. Paris is a relatable, familiar location where many of ushave participated in the exact activities, in the exact locations where these events unfolded. Familiarity breeds curiosity. The 2013 Westgate Mall siege provoked blanket media coverage. There have been attacks before and since in Kenya however that assault occurred in an everyday familiar location– a shopping mall – riveting global interest. Paris belongs not only to the French but is a global outpost which many call “home” whether they’ve taken up residence or not. The population of Paris is not simply French but vibrant, massively multi-cultural; where Eid and Diwali are as well-known as Hanukkah or Christmas.
Comfort must overrule the cynicism in the perception of preferential coverage. If anything, the coverage of Paris shines a light on bias and can, if allowed, frame an understanding of life in war zones and build empathy towards refugees fleeing these exact horrors.
So, recognizing that media will be intense and pervasive, does one shelter or share with a child? We all make our own choices as parents but for me open discussion should rule. Parents, families, friends, aunts and uncles are best placed to open this sensitive dialogue even in a selective, imprecise manner. Children, even the very young, are acutely perceptive whether to a news report playing in their home, a magazine, newspaper or iPad story left open. A media-blackout at home cannot control what is overheard on the streets, schoolyards and playgrounds. Far worse than having this delicate, uncomfortable conversation is a child being burdened with almost incomprehensible information from another child who may have been exposed to the horrible details without an opportunity for follow-up and exchange. So we sit with our children and tell them that some people were hurt in Paris and that this has made us and the world incredibly sad. We light a candle and take them to a memorial if they need comfort. We start a dialogue enabling them to come back to us should they overhear disturbing news, have questions or fears. Together, regardless of age, we open that interchange, held in unconditional love: we fumble, we improvise, we speak; we simply do our best to ensure the communication is there for solidarity, empathy and reassurance.
Ivanno Jeremiah & Zubin Varla in Measure for Measure at the Young Vic. Photo by Keith Pattison.
The Nineteenth Century essayist, poet and literary critic Samuel Taylor Coleridge couldn’t have been more effusive in his praise of Shakespeare. He once said of The Bard;
‘Shakespeare knew the human mind, and its most minute and intimate workings, and he never introduces a word, or a thought, in vain or out of place.’
I was reminded of Coleridge’s acclaim as I sat watching The Young Vic’s production of Measure for Measure last week. Even as Coleridge battled crippling opium addiction and debilitating episodes of self-doubt in life, he found joy and freedom in the world created by Shakespeare. He discovered a liberty from his own weak will, and a license to suspend his disbelief in order that he whole-heartedly enter into the dramatic world of the play unfolding before him. He said that incredible or fanciful work would break this spell and bring the ludic performance crashing down and that one must be able to give themselves over completely to the drama. And the writer he identified as the illusionist dramatist par excellence and most suited to this task was, of course, Shakespeare.
There were moments between Angelo and Isabella, Claudio and Isabella, The Duke Vincentio and Pompey et al, when discussions centred on the nature of human virtue, clemency and spiritual and corporal corruption, at such times it was as if I was watching and hearing a divine puppeteer interweaving all the thoughts and feelings of humanity, mixing the conflict between self-preservation and empathy, expounding the collision of desire and morality and underpinning all with a firm and sure depth psychology. Watching Shakespeare at these moments is a special kind of poetry, one that may grant the audience access to an exquisite divinity beyond their normal everyday human experience.
Joe Hill-Gibbins’ production of Measure for Measure is a rampant, cut-down, boisterous affair. The play moves along at a blazing comic pace, but as one of Shakespeare’s problem plays, it never moves too far from the darkness at its centre. Vienna is a city overflowing with brothels, pimps and scoundrels. The Duke Vincentio tells his advisors he’s leaving the city and then disguises himself as a friar and stays within the city walls. He leaves Angelo in charge, an unbending guardian of morality who instantly closes all the city’s brothels and sentences Claudio to death for the act of fornication with Juliet, whom he has made pregnant. Isabella learns of her brother Claudio’s punishment and goes to Angelo to beg for clemency. During the course of their meeting the morally incorruptible Angelo begins to feel lust and desire for Isabella and tells her he will spare Claudio’s life if she should yield to him her virginity. Isabella then goes to see Claudio, tells him of Angelo’s advances and expects that he will face death with dignity. Claudio begs his sister to give herself up to Angelo to save his life, and she refuses as she doesn’t want to sacrifice her immortality, or Claudio’s in the afterlife.
Hill-Gibbins’ and Miriam Buether’s radical exuberant production and design gives us swirling images of blow-up dolls representing the vice and corruption of Vienna, a Kardashian-style sex-tape of Claudio and Juliet, and dazzling camerawork, backgrounded behind closed doors, to show us the dark, ever existing underbelly of a city crawling with debasement and debauchery behind its moral veneer. I’m a fan of this seemingly, de rigour use of camerawork, as it compellingly captures and enhances human emotion, intensity and intimacy. The cast is uniformly strong, with Paul Ready’s cloying, convincing, bureaucratic Angelo and Tom Edden’s turn as an evasive New York Jewish gangster-pimp Pompey, complete with spectacles, suit and baseball cap, my personal favourites.
This thoroughly enjoyable and vivacious production ends with a startling image of The Duke, played by Zubin Varla, not only telling Isabella of his intentions to marry her, but lining up the entire cast of the play in couples, in a desperately awkward and dreadful tableau. This creates a striking image, although the characters may be saved from hell, are they any better off in the strange, mixed-up relationships and marriages they end up in, where they may succeed or fail, and advance through life in an utterly muddled human procession?
My initial reaction to Angelo’s lack of tolerance for the business of prostitution and sex was to think how antiquated that attitude has become in the modern world. Sitting in a diverse cosmopolitan audience in a multicultural London, it’s easy to forget the patrician attitudes and intolerance that exist in other cities and regions. However, the ingenious presence on stage of a couple of dozen male and female blow-up dolls at times piled-high, at others waded through by the cast, and then thrown in discarded fashion upstage, started to put me in mind of a slaughter, the Holocaust perhaps? But then I settled on the fanatical nature of those purporting to represent Islam and calling themselves Islamic State. Intolerance to human desire isn’t antiquated or out-dated, it is a very real and evil threat. The next night that threat would be foregrounded once again in the shocking pictures and stories pushed in a vile centrifuge from the blood-soaked streets of Paris. Intolerance of people trying to live free lives, people in bars and cafes, enjoying rock concerts, massacred by those, identified over four hundred years ago by Shakespeare, who deign to impose their dogmatic views and calcified opinions on innocent citizens. Therefore, once again Shakespeare proves his genius. This thoroughly pagan Elizabethan playwright always manages to remain relevant and timeless in all ages, and how does he manage this? Because, as Coleridge had it, he knew the minutest and most intimate workings of the human mind. And no matter how much we may progress, technologically and scientifically, no matter how much we innovate and evolve, we are still Shakespeare’s humans; coiled and contradictory, floored and mistaken, emotional and desirous.
The Company of Measure for Measure at the Young Vic. Photo by Keith Pattison
After our recent interview with Westway Trust, this conversation took place:
Tom (slapping table with hand): “I think we’ve written as much as we can about this Portobello redevelopment. Let’s move on…”
Angel Lewis: “Yeah, there are so many topics we can write about, (gazing in to the distance) the whole human experience is open to Urban Dandy…”,
9th November, two days before the Westway23/Westway Trust public meeting at the Tabernacle, text message Tom to Angel Lewis: “WT have now pulled out saying they couldn’t guarantee the safety of their staff”.
Reply: “Seriously? Or are you kidding?”
Reply: “That’s what a guy handing out flyers just told me”.
We were forwarded an email exchange between the parties that confirmed that Westway Trust had decided not to participate, one of the reasons being cited was indeed the “well-being” of the WT staff, and they had instead suggested meeting a small group from Westway23 in order to provide more detailed responses to their concerns. No explanation for the sudden security concerns was given, nor was an apology.
Toby Laurent Belson, Artist/Designer/Organiser at Westway23 told Urban Dandy: “It is a degrading statement for them to make. I am personally insulted by the suggestion that any member of the Westway Trust would be unsafe in the midst of a community meeting I have been a part of organising, taking place at one of this area’s most venerated and well-run venues. I have attended countless meetings in this community in which I have only ever seen a put-upon community respond to issues with consideration and passion”.
He explained that W23 still received no apology. “Neither myself, nor any other member of Westway23 or its supporters, have received any reasonable explanation, let alone an apology for it, despite clearly communicating the distress it has caused”.
We asked Councillor Pat Mason, who is the Labour Group’s representative on the Westway Trust board, what he made of the no-show decision and whether it was symptomatic of a deeper malaise at the Trust. He told us: “I advised the trust Chair and Chief Executive to attend the Westway23 Tabernacle public meeting, saying they should not operate in a vacuum without the input of local people and without giving people the right to ask questions, scrutinise their actions, and to suggest what strategies the trust should follow for the future.
“Unfortunately, they decided not to attend because they are locked into the belief that local people should be commenting on and suggesting improvements to the trust’s proposals and strategies, rather than accepting that local people do not support what they are doing and have a completely different vision for their area. So any kind of strongly-voiced opposition to what is being proposed is experienced as unpalatable by trust directors”.
“This disconnect with the community is a historical problem born from the hijacking of the trust by Kensington & Chelsea Council from its inception and used as a vehicle to advance Council regeneration policies and to prevent real community representatives and groups, who were always branded as trouble-makers, from managing their own assets and making decisions beneficial to their communities.
For several decades, the trust has been run as if it were a castle bordered by a moat and peopled by the Council’s grandees who have ingrained their philosophy of neo liberal top down decision-making on the organisation which is a hard mould to break. The trust now has less Community representatives and elected Councillors, and more professional appointees on its board than it had a year ago. It was set up to go down the corporate route and that process will continue unless the local community backs up its wish for an alternative vision with real actions”.
Westway Trust send Urban Dandy this statement: “We took the difficult decision to withdraw our attendance from the meeting organised by Westway23 as we believed attending would not lead to constructive outcomes. It is unfair to expect someone to attend a meeting not knowing who is presenting alongside you, what the agenda is, who the audience is, who is facilitating or how it will be managed.
Having a community meeting is very positive and we support the principle, if you know the details and what to expect. We were informed about some of the details of the meeting from the Press ahead of being told by the organisers. There was always an air of mystery to the meeting, which did not encourage staff to feel confident about attending.
Westway Trust regularly liaises with more than 70 local groups and working with a small group of leaders, who have proposals to discuss, has proven to be the most productive way to make progress. We remain keen to have a meeting with a group representing Westway 23 at their earliest convenience.
We are committed to working collaboratively and positively with all local groups, including Westway23, and want to encourage those that attended the meeting on Wednesday to bring forward their ideas for improving the estate so that we can find a mutually beneficial approach.”
W23’s Toby offers a different route forward: “At some point an organisation set up to consider and listen to the community must do just that. It cannot continue to play politics and bury its head in the sand as people’s lives are threatened ever more seriously by economic and environmental realities. It cannot continue to treat people as idiots on the subject of their own lives.
Wounds, injuries, pain and injustice do not disappear through ignorance or denial. They only bury deeper and spread wider. Without beginning a fundamental process of healing and reparation, the damage simply continues down through generations. In my opinion, that is what we are seeing here and a genuine healing process is what Westway23 have been set up to assist our community in going through. We are trying to be open and honest and shine a light on uncomfortable truths that will hopefully reveal a better, healthier, more nourishing future. I hope the Trust can come around to being a part of that future and put the skills they do have behind those of the local community”.
13th November email, Tom to Angel Lewis: “I’ve written it up, but what would be a good way end to the article?”
Reply: “I dunno…we can say anything, we’re Urban Dandy…”
“To bring high street chains in to the area would be commercial suicide”
Our burgeoning blog has been full of reports of high levels of gentrification anxiety in North Kensington recently. London in 2015 has seen a new strain of hypergentrification take hold, one in which the victims are expected to stand impotent and mute watching their communities being transformed in to something different in which their needs are not met, but those of other, wealthier, groups are. Fears abound that North Kensington is going the same way as Brixton.
In this climate, The Westway Trust published its proposals for the mile of land stretching under the brutal A40 which dominates and darkens the area from Acklam Road down to the riding stables at Latimer Road.
Westway Trust are custodians of the mile, entrusted with making it work for the benefit of the local population. But the community group Westway23 has accused them of an “abuse of power” and an intention to betray the area by accelerating the gentrification process.
We wanted to put W23’s concerns to the Trust and give them a chance to give their point of view. We also wanted to explore the context in which the changes will be made and look at the limits imposed on local people by global forces.
We sat down with Phil Dibsdale, Senior Development Consultant of Westway Trust, who is heading the Trust’s programme of changes. Phil explains that he is born and bred in the area and remembers watching from his bedroom window as the Westway was erected.
Phil was joined by Martin Oxley, Head of PR and Communications. Our questions were plucked from our articles on the Westway23 protests, as well as some that arose in conversation:
Q1. Will you build ‘tired, top-down developments that could be anywhere in the world’?
WT: ‘We hope not. We hope to avoid that. Of course, we have to abide by building regulations and standards to ensure safety. We also have to work with TFL, who have a vested interest in what we do. But we’ll ensure that what we build has lots of uses, including on the Acklam site, which is currently underused.’
Angel Lewis @ Urban Dandy: ‘With Acklam, I grew up with it being a hub of hip hop, parties and graffiti; bands came up there who went on to be big. I went to the US for a few years, and when I came back, it was fenced off’…
Q2. What became of Acklam Hall and the playground? Are the fears expressed of a repeat of this history justified?
WT: ‘The playground was closed for health and safety reasons.
Acklam village is not commercially viable, Monday to Friday. It only has a license until 9pm and no sound proofing. The skate park, which is very successful, creates noise that bounces off the motorway and the timber structures. It has a negative impact on its neighbours.
We want to see live music at Acklam. Our current plans for Acklam are to have four bays:
One will be used for market storage,
A second will be a shop unit,
The third, which will be one and a half units, will be for community and cultural events, a white cube where you can do anything,
The fourth will be similar to what is already there.
We want to protect our tenants in the shopping arcade. They will move across to Acklam while we refurbish the arcade. Then they can choose whether to stay there or return to the arcade. With the new arcade design, all the shops will have an outward-facing front. Currently, business is poor because very few people explore inside the arcade’.
Urban Dandy: Will rents increase?
WT: ‘Rents will resume at current levels, but we will introduce a profit sharing system to help Westway Trust recoup its outlay.
In the past, things have happened organically, but it needs to be organised with a business plan. There have been a lot of white elephants over the years.
But this is not about taking a capitalistic approach. All the money is reinvested in the community. Of our 120 tenants, only one, Sainsbury’s, is a big high street chain, and it brings in a lot of money’.
Urban Dandy: But isn’t a Waitrose going up right opposite Sainsbury’s?
WT: ‘The council controls that building’.
UD: What they were saying on the Westway23 protest was: “What’s happening within the language is what was happening when Acklam Hall was closed. Words like ‘regeneration’ should be a warning to the community.” That’s the most specific thing I have heard: it’s the same language again and they lost those two venues previously, so are the fears expressed legitimate?
WT: ‘Obviously I wasn’t around then, so I can’t comment on what was said back in those days but obviously what replaced those things wasn’t properly built buildings they were for temporary uses and made without a strong business plan. That won’t happen this time’.
Q3.How aware is WT of the social cleansing going on locally? Do WT’s plans include anything that will offset it and help unify the community?
WT: ‘There are limits to what Westway Trust can do. We maximise the number of opportunities we can give to local people. We are creating 200 jobs, we’re keeping local businesses going and we have an apprenticeship programme.
The area was actually originally built for the gentry, with those big Victorian houses but then became a poor area. There is a recognition that demographics are changing in the area again. Demographics are always changing and we have to serve everyone in the community’.
Q4. How will local people be involved, aside from attending consultations?
WT: ‘Westway23 were invited to meet with us but didn’t turn up. They can be involved, but we will listen to the ideas generated by the consultations’.
Urban Dandy: You mention invites to the community to take part in the planning process; are you taking steps to attend and become part of the community’s groups and events?
WT: ‘Our Head of Culture and Partnerships is Lynda Rosenior-Patten and she is very active attending events, meeting people and organisations in the community. We have lots of partnerships with local groups and we use as many channels as we can to gage opinion.
If we were private developers, we’d have started the building already. But we have a democratic governance structure which means that community groups are represented. Westway23 were encouraged to sign up’.
Q5. Which groups are your priorities?
WT: ‘Our priorities are the people most in need and supplementary schools. The original area of the Trust was to benefit Kensington and Chelsea as a whole, but I think everyone can see that it is the North of the Borough that receives all of the benefit.’
Q6. Why didn’t you consult the community before drawing up the original plans?
WT: ‘From 2011 onwards we held consultations to establish the tone and parameters of the changes. There has been a lot of consultation and we then chose to put something out there, rather than just a blank sheet of paper. It was the culmination of four years of consultations’.
Urban Dandy: It can seem quite cold, as a resident, to receive a document with artists’ impressions of the plans. It’s easy to feel indifferent about it.
WT: ‘If people are just angry or against us, they can’t have that influence they want. We have spoken to hundreds of people and our Cultural Manager is talking to people with heritage in the local area.
Dialogue has to come both ways.’
Q7. What kind of feedback have you received?
WT: ‘A huge range. From the traders’ survey, we saw that people are desperate for change. Although not all of them filled out the survey’.
Angel Lewis @ Urban Dandy: There is a perceived division between the trust and the local community; if that division is bridged it may feel more like one organisation. Myself, looking at your brochure, I don’t feel included in this, it appears done, dusted and complete.
WT: Well you’ve got to be in it to win it, you’ve got to have your say and this is your chance to have your say.
Tom @ Urban Dandy: I went to a public meeting with the Kensington Aldridge Academy and they wouldn’t answer any questions in a straight forward way, and people were getting angry – they felt that they were being given spin instead of answers, what has been coming back to you from the public?
‘There’s been a huge range of feedback from people saying “why haven’t you done this already?” particularly the traders and local business owners, to people saying “don’t do anything, absolutely leave it alone”.
Over the last nine months with seven months’ of consultations going on, most people have recognised there is a need for improvements and that the market needs to be supported. But they are mostly concerned with keeping the character of the area. It’s difficult, it’s evolved over 100 years so when you try to build something with that character from scratch it’s not easy, but if we can build something with the look and feel of Portobello then it should evolve and people will grow to taking it on board.
The last seven months’ of feedback has proved to us that there’s consensus for change locally’.
Q8. Will flats for the rich and retail units for the middle class be built?
WT: ‘It depends what you mean by rich. There will be 12 flats built to be sold at market rate. This is for financial reasons, Westway Trust raises money for its community projects this way.
As for the shops, they will all be really small. To bring high street chains in to the area would be commercial suicide. People can go to Westfield to get all that stuff’.
12 affordable units is not going to change the tide of affordability and won’t make a great amount of difference to the area. They will look like what is already here. If it were the development on a large scale, like 250 units, then it would.
Q9. How do you feel your ability to fulfil your original mandate is being affected by gentrification and capitalism?
WT: ‘Westway Trust has to represent the whole community democratically. We have programmes to target those most in need. The public realm should make everyone feel safe and welcome.
But there are limits. Health and safety regulations have sterilised children’s play areas and brought about a lot of banality. There’s less sense of adventure’.
Urban Dandy: And gentrification?
WT: I don’t feel constrained by it, it’s one of those waves you can’t stop unless you have government intervention. Gentrification makes my job more of a challenge, and I recognise that for local people it is a real threat’.
Q10. The idea of a ‘village’ is not popular with Westway23 and it does seem a bit tired – any comment?
WT: We found some references to the area as a ‘village’ in documents written 20 or 30 years ago. It was only ever a working title for consultation purposes and it definitely won’t remain’.
And our time was up, we had to vacate the room for more meetings. A conversation that could have run all day ended, but as we packed up we had time for one more question to Mr Dibsdale: ‘Do you still live in the area?’
His reply: ‘I don’t. I can’t afford it to be honest’.
What I want from a writing group I want fun, exploration, moments of hilarity Moments of solemness, moments of wonder Moments of grief, moments from trepidation And moments of bliss I want to hear of pain and grief mine and yours I want to feel joy and fellowship Co-created with our words I want to read aloud sounds that bare/bear me as I am I want to collaborate and develop public performance of poems Prose and tales that generate and give birth to W O W,u