Through the financial support of CHASE – the Consortium for the Humanities and the Arts in South-East England – which part-funded the printing of this book, each participant received a free copy. I was also able to distribute the book for free to local community groups and spaces, libraries, some residents on low income, and campaign groups. Profits of the sold books were donated to local community organisations helping those in need.
The book has 260 pages, is 280x210mm in size, is printed in colour and contains essays, interviews, poetry, song lyrics, hand-written comments, drawings, paintings, models, maps and artworks of all kinds, as well as 400 photographs – all in response to the changing face of Deptford. The content was produced in dialogue with over 160 residents, some of whom produced their own contributions to this book. It is a book that documents and critically analyses the struggles that local residents are up against due to unjust social change and regeneration, but it also celebrates the amazing community spirit in the area that speaks of an ethics of care and social solidarity that is so typical of Deptford. The idea was to provide local residents with a platform for their voices and experiences and give people the opportunity to define for themselves what Deptford and life in Deptford means to them. I wanted to create an alternative history and a counter-narrative to the one we are used to from the council, property developers and the media, which is a narrative many local people do not identify with.
I’m excited to showcase Deptford is Changing at the first UAL* Intercultural Zine Exchange and Publishing Fair at Peckham Levels today. It’s been organised by Adam Ramejkis (Intercultural Communication at UAL and founder of ual.amazines) and Annie Loebig (UAL student communications and campaigns). Come along! More info on the link above and poster below.
I’m pleased to announce that a visual essay I submitted to Visual Studies has been published on Taylor and Francis Online. The visual essay is based on a paper I presented at the RGS-IBG conference in 2021 (Royal Geographic Society with Institute of British Geographers). On the back of that, I was invited to submit an article to a Special Issue of Visual Studies, which is set to be published as a printed version in December 2023. On the link below, you can read the essay online (it’s open access so everybody can access it):
Detail of original Love Over Gold Mural. Photo: Anita Strasser, 2019.
In early 2023, I was very saddened to see that the original ‘Love Over Gold’ mural on the wall just outside Cockpit Arts on Creekside had been removed. I knew this was coming as part of the transformation of Cockpit Arts Deptford. They needed to make a more accessible entrance and the wall was crumbling. The mural had been badly graffitied as well in the year before. But I felt sad anyway to see it go. I have always loved looking at this mural, stopping in front of it hundreds of times, admiring the wonderful details depicting important and still very relevant issues. The mural came about after Dire Straits, the rock band who lived and performed on the Crossfields Estate opposite, named their 1982 album after graffiti on that same wall which read ‘Love Over Gold’. When this graffiti was removed, Dire Straits part-commissioned a mural in its place. The creation of the mural was led by local mural artist Gary Drostle and involved other mural painters such as Ruth Priestly and local primary school children. It depicted issues relating to wealth distribution, disability, equality of opportunity, and the environment. It was completed in 1989.
Detail of original Love Over Gold Mural. Photo: Anita Strasser, 2019.
Daisy has a close connection to the mural. She is the daughter of Ruth Priestly, who was Gary Drostle’s creative partner and painted the original ‘Love Over Gold’ mural with him. Now Gary, who wholeheartedly supports the efforts to recreate the mural, will be working with Daisy and Ellen on the new mural. Daisy also made a film with director Sasha Denny about Daisy following in their mum’s footsteps and which features the original mural. The film made the top 8 in the Straight 8 filmmaking competition and was screened at Cannes Film Festival in May 2023.
Daisy and Ellen are now crowdfunding to make the new mural happen so if you want to chip in, please go to their page: https://www.gofundme.com/f/31818jes4o
Detail of original Love Over Gold Mural. Photo: Anita Strasser, 2019.
So, I’m really looking forward to seeing those changes in Deptford: Daisy and Ellen’s new mural with a new interpretation of the original, Amber Khokhar’s new artwork inspired by the sentiment of ‘Love Over Gold’ and by her work with local people, and the new public garden featuring remaining pieces of the original mural.
Detail of original Love Over Gold Mural. Photo: Anita Strasser, 2019.
Image 1: The Jack in the Green procession going down Creekside. Photo: Anita Strasser
The beginning of this month saw the return of the Jack in the Green, a revived English folk tradition stemming from the mid-17th century to celebrate May Day. The tradition was revived in Deptford in 1984 by Blackheath Morris and grew with the support of friends and local musicians, especially drummer and performance artist David Aylward (see image above, with David on the right). Every year on 1 May, there is a procession through Deptford led by The Fowlers Troop and the Jack – an animated bush, covered in greenery and a crown of flowers, evoking the spirit of Spring. The Jack’s attendants include David’s character Tired Tim, musicians, Morris dancers, milkmaids, chimney sweeps and the Oss (horse), who are joined by the local community with everyone welcome to take part in the procession.
This year the procession had a following of more than 400 people (my rough estimate), with people dipping in and out at various points, while others awaited the arrival of the Jack to pass by their homes, park or pub. It was a beautiful day of music, dance and supportive sociality. The Deptford Jack in the Green is a very local, grassroots and organic event, organised, kept alive and performed by local volunteers, folklore enthusiasts and musicians.
Image 2: The Oss outside the Dog and Bell. Photo: Anita StrasserImage 3: Dancers performing by the anchor on Deptford High Street. Photo: Anita Strasser
Only a few days after this year’s fantastic May Day procession, I received a message from David, informing me that the grassroots musicians organisation SILO SE8 to which David belongs is under threat. He told me the rent of their studio under the railway arches is being increased to levels the group cannot afford. They are facing potential displacement and extinction.
You may not recognise the name of this group or names of its musicians, except perhaps David Aylward, who has also featured on this blog many times. SILO SE8 do not really have a public profile. However, if you live or have lived locally and/or attended local music events and festivals, you are bound to have come across SILO SE8 musicians. They partake in organising, supporting and playing at local events and festivals, including Jack in the Green. They are thus a vital organisation that help keep the local music and performance scene alive. Losing this group would be a huge blow to Deptford.
They are asking for help: emails of support to evidence their importance to the cultural landscape and local community (for their landlord with the hope the rents won’t be increased), suggestions on how they might be able to fight this increase and/or suggestions of possible alternative affordable rehearsal spaces. Their email address is: quobsilose8@gmail.com
Below is their plea. Please read it and help if you can. SILO SE8 will appreciate it very much.
SILO SE8 has been self-supporting for over 30 years and our members have performed for local venues and events but have seen no reason up to now to seek a public profile for the group as a whole.
We are not a label, we don’t specialise in a genre, we are just a group of disparate musicians who trust each other to share the rent and running of a rehearsal and storage space. No one is paid, all the work to keep it going has been voluntary. Over the years the membership has slowly changed as musicians have moved on and been replaced by new members, but the ethic has remained the same.
Unfortunately, our survival is under threat, our landlord is seeking to double our rent, so we are looking for help. We have legal advice but if someone could suggest how we could gain support for our cause, perhaps write a letter of support or point us toward an alternative secure tenancy in the Deptford area, please do.
As a group we have been so low lying that we easily qualify as a real grassroots organisation. We do not advertise; we are just known by word of mouth among networks of musicians. SILO SE8’s whole purpose is to share rent in order to make it affordable. Over time we have learnt that the maximum number of members who can share one space and give everyone enough rehearsal time in 7 days of 24 hours is about 27. Rehearsal time is obviously of the highest priority for musicians.
Having already reached this number of members, a doubling of rent by the landlord will mean a doubling of membership fee for each musician in SILO SE8. Plainly, some of us will not be able to afford this, not just the younger members but others who have to juggle their priorities, when UK music events and venues are suffering economically. This is why the rent increase, while not yet signed off, is looking like a fatal blow.
We need support to show our landlord that we really are a non-profit organisation worthy of a non-exploitative rental space among their tenancies.
Because of the nature of our membership, our community contributions have been an inevitable consequence. SILO SE8 Musicians have played in street bands celebrating the annual Deptford Jack in the Green and for the Deptford Anchor Campaign. We have also been involved in Fordham Park Festival, Lewisham People’s Day, Deptford X Arts Festival, Deptford Festival, Party in the Park, and Lewisham – London Borough of Culture 2022. People within SILO SE8 have organised benefit shows for Survivors Poetry, ALD Life, and supported the visit of the MS Stubnitz from Rostock Germany. SILO SE8 musicians have performed in all of these events.
Image 4: David and others taking part in the Deptford Anchor procession in 2013. Photo: Deptford Is Forever
On the one occasion that we did secure a small amount of grant funding, by dint of an extraordinary amount of work from one member in particular, we were able to network internationally and provide space for international acts to perform locally, with bands from Finland, Japan, France, Ukraine, Israel and other countries.
If you think ours is the sort of non-profit organisation that could do with some help, please share this news of our plight among your friends and social media and perhaps we can shake out letters of support to pass on to our landlords, or someone may have a secure space with a viable rent with 24-hour access we could move to.
If you would like to send a letter of support or have another helpful suggestion, please email: quobsilose8@gmail.com
If you want to support and you are not sure what to say, something along these lines may suit:
“SILO SE8 is an essential part of the arts ecosystem in South East London. The demise of this non-profit, modest, self-organised association of musicians would have repercussions way beyond just its membership, which is why I’m writing in support. I would like to urge, whoever sets the rent to really consider whether they wish to support the local culture or damage it.”
It would really help if you could give your name and at least a postcode with your email.
I’m so pleased to announce the publication of my podcast interview with Professor Les Back. To hear the podcast, click here! Les has been working on an ongoing and super-interesting podcast series and Deptford is Changing is the latest in the series. Les has been incredibly supportive of my work and my activities as a PhD student at Goldsmiths and I’m so grateful I’ve had the chance to work with him.
Screenshot from the Street Signs blog
The podcast starts with David Aylward’s drumming – a live recording from how David opened the book launch in January 2020. Following this, Les reads a short extract from David’s incredible statement during the launch. You can read the full version here. After that we chat for about 20 Minutes. I hope you enjoy it!
In March 2022, representatives of the Achilles Street Stop and Listen Campaign and me met with Green Party member of the London Assembly Sian Berry and her Research and Support Officer Dr Faith Taylor for a walkabout in the Achilles Street area in New Cross. Sian Berry is doing important research on the effectiveness and fairness of estate ballots across London and has found many issues with regards to how estate ballots are being conducted. The research included residents from the Achilles Street Estate in New Cross, south-east London.
Detail of the Achilles Street estate
For those unaware of the regeneration plans in the heart of New Cross, the Achilles Street development involves the demolition of 87 homes (the council blocks on Achilles Street, the row of shops on New Cross Parade (by the Marquis of Granby bus stop) and the flats above the shops referred to as the 363s). The plans propose about 450 new flats, most of which will be private. Although tenants, leaseholders and shopkeepers are offered the right to return, we know from other developments (e.g. Heygate, Aylesbury, Pepys) that it is not a straightforward process. For some tenants, new and existing, the new home will be a huge and much-needed improvement to their quality of life. For other, existing tenants, leaseholders and shopkeepers, redevelopment is a time of upheaval, trauma and displacement. Rents and service charges in new developments are usually higher than before and unaffordable to some. Even if costs start off on the same level as before, they tend to increase very quickly. We need to remember that for some people, even an increase of £10-20 a week may mean having to skip meals, not heat the flat in winter or go into debt. Tenancies are also less secure, meaning these homes are not necessarily homes for life. For leaseholders, chances of moving to the new development are even lower as replacement properties are much more expensive than what they are being offered for their old flats. Many leaseholders purchased their flats through the Right to Buy scheme or many years ago, meaning homes cost a lot less than they do now. Some may even be forced to become renters again or enter the dubious Shared Ownership scheme. We also know that proposals and promises change over time and that in the end, far more residents are displaced from their homes, community networks and neighbourhoods than originally estimated, not to mention the long period of upheaval, insecurity and uncertainty, as well as the emotional trauma of displacement. It is yet unknown how these processes will play out on the Achilles Street development but facts and figures from other sites do not paint a pretty future. For further information about the Achilles Street campaign, please visit the campaign blog, and for stories of residents and shopkeepers experiencing displacement and not agreeing to the demolition of their homes and shops, please see lists of links at the end of this article.
Screenshot of Berry’s report front page
Sian Berry’s research concentrates on how estate ballots are being conducted. In 2018, the Mayor introduced a new policy, enabling estate residents to have a vote when it comes to the demolition of their homes. Although the introduction of the estate ballots was a significant step to give people a say over the future of their homes, Berry’s research has found that the balloting process is an undemocratic affair with local authorities deploying persuasive tactics and spending large sums on securing a ‘yes’ vote (see Guardian article on this research). It has also found that the process silences critical voices and treats those against the demolition of their homes as adversaries, unwilling to listen to other views. This was also experienced by representatives of the Achilles Street campaign and other resident and campaign groups across London and the report draws on their experiences (see right screenshot below). It also draws on my research on how residents in Deptford/New Cross are experiencing estate regeneration and displacement, citing from my book Deptford is Changing (see right screenshot from Berry’s report below).
It is an insightful report that reveals the undemocratic process of estate ballots which needs to change. It is telling that out of 21 estate ballots only one resulted in a ‘no’ vote. While there are people who are in favour of demolition, considering the issues raised in Berry’s report, these results need revisiting. The full report ‘Estate Residents Ballots: Are they working well?’ can be read here and here.
The end of April 2022 saw the film premiere of The Battle for Deptford, a feature-length documentary film by local campaigner and film-maker Harriet Vickers. It was shown in St Nicholas Church in Deptford as part of the New Cross and Deptford Film Festival (the online premiere took place a week later).
Hat Vickers introducing the film at the premiere. Photo: Anita Strasser
The event attracted a 200+ strong audience. It was the first big event since I launched the book Deptford is Changing in January 2020. Then Covid-19 hit and large gatherings were no longer possible. Now that we seem to be at the end stages of the pandemic (hopefully), this film premiere re-opened the season of gatherings. It was, in a way, a reunion of London-wide activists, campaigners and friends and a celebration of solidarity, community and friendship, as well as the achievements during the struggles of inequality. The film documents the struggle to save Tidemill Garden, a community garden, and Reginald House, a council block, in Deptford south-east London. As reported in previous blog posts, the campaign argued for community-designed proposals which would keep the garden and Reginald House and build the same amount of housing units and 100% social housing, not 11% as the council initially offered. Although these proposals were thrown out by the council, local pressure achieved 56% social housing in the planning proposals – an achievement for which the campaign is never officially credited. The campaign continued the fight to save the garden and block until the very end. Sadly, the garden has been destroyed and is being built on as I write this. Reginald House is still on the cards for demolition.
The main focus of the film, however, is on what the garden, the garden community and collective resistance meant to people. It gives an emotional account of the friendships, love and care and social solidarity this space and community activism enabled and what can be achieved through affection, loyalty and commitment. The photographs from different decades and taken by different people depict people of all ages, ethnicities and socio-economic backgrounds, engaging in activities such as gardening, making music, doing art and socialising; the music is from local performers and musicians who accompanied the resistance all the way; and video footage covers all the events, protests and processions; the interviews zoom in on valuable details that elaborate on resistance, community and friendship. Altogether, the beautiful film gives an indication of the collaborative element of this campaign and community and how much it meant to be part of it.
Deptford Carnival in summer 2018 as featured in the film. Photo: Hat Vickers
One thing comes across really clearly in the film: the value of Tidemill Garden and the people who made this space; people from all walks of life who found meaning, purpose and affection. How could the council get it so wrong? How could they say the garden wasn’t used and had no value? Paul Bell’s comment in the film of it not looking like Kew Gardens or the Hanging Gardens of Babylon and therefore not having any value is telling. Although the campaign lost the fight to save the garden, the film shows that people can affect social change through resistance. Resistance is not only fighting against social, spatial and environmental inequalities, housing schemes that favour the few and not the many, decided by those that favour the aesthetics of landscaped Kew Gardens and uniform high-rises than that of truly socially-mixed housing and a community garden made by local children, parents, teachers and artists. The campaign achieved an increase in the percentage of social housing (from the ridiculous 11% to 56%), better communication with “decanted” residents and better relocation offers for some. Resistance is also about combating attempts to break up social solidarity, community and mutual support in a neoliberal environment that pits groups and individuals against one another in the fight for scarce resources. And this is the most beautiful thing that has come out of resistance in Deptford: it has strengthened social solidarity.
Heather Gilmore, local campaigner and one of the main protagonists of the film, speaking at a rally. Photo: Hat Vickers
The film is a beautiful depiction of community, solidarity, love and affection. The film premiere itself reignited the same feelings. And I feel so privileged to be part of it and to count campaign members and garden supporters as my friends and peers. Never before have I been part of such a solid, committed, inclusive and creative community. It was wonderful to be together again in the same room, to watch this amazing film and to see the community is still going strong despite all that’s happened. The premiere and the subsequent Q&A with Hat, some interviewees from the film and representatives of Catford Against Social Cleansing and the Achilles Street Stop and Listen Campaign, as well as engaged members of the audience, showed that Deptford still aint avvin’ it! Discussions focused on how we can continue resisting. There is more resistance to come with lots of loud, creative and vibrant noise.
An engaged audience during the Q&A after the film. Photo: Anita Strasser
If you have missed the premieres, there will be further screenings across London and the film is now also available to watch on youtube (click here or on image below) . It’s a “must watch” for all those interested in Deptford life past and present, housing and green space campaigns and resisting the social, spatial and environmental inequalities of our times.
It’s been a while since I last posted on this site. But today I have exciting news: Hat Vickers, fellow Deptford campaigner, is releasing her feature-length documentary film about the fight to save Tidemill Garden and Reginald House in Deptford. Hat writes:
I’m really pleased to invite you to the premiere of The Battle for Deptford, a feature length documentary about community, gentrification and resistance in south east London. Click the image to watch the trailer.
A beloved community garden and block of council homes in Deptford, south east London, are under threat from redevelopment. Lewisham Council want to push through demolition, but local people fight back, to try to influence the plans and have a say in how their communities are changing.
This documentary delves into how by changing our city we change ourselves, and the forces which can take this collective right away from us. It explores gentrification, air pollution, the importance of green spaces, and what it means to be part of a community.
There will be a IRL premiere at St Nicholas Church, Deptford, on Thursday 28 April.
This image shows a summer festival taking place in the children’s playground in Charlotte Turner Gardens in 2018. There are now plans by developer Aurora Apartments to construct a three-storey block of flats at the top end (where the trees are – mid-centre of the image), which would completely overshadow this playground. The building would be a tight squeeze between an already narrow road (McMillan Street) where cars get stuck constantly due to lack of space and end up on the pavement endangering pedestrians, and the playground. It would block out light from flats in the opposite block only constructed a few years ago, it would block out the light from, and overlook from close proximity, the outdoor space of Armada Community Hall, which is often used by playgroups, it would block out the light from the playground, and it would allow the new residents to watch children playing at extremely close distance. During construction, neither the playground nor the Armada Hall yard could be used. Just for these reasons it seems crazy to squeeze in a block of flats in this small piece of land. I’m very pleased to hear that Greenwich Council have rejected the proposal for these reasons. But there are also other reasons, which are clearly outlined in the latest newsletter from Deptford Folk, a constituted park user group representing Deptford Park & Folkestone Gardens. Rather than me repeating their detailed newsletter, you can click on this link to their newsletter, where you can find all the information and also click to object. You can also sign a petition here if you click on this link.
I’ve signed the petition and objected to the plans for the reasons above but also because Deptford is so desperate for safe, green and open spaces, as well as playgrounds (and this one is on grass rather than the usual rubber flooring). This park has become particularly important since lockdown, with many families using Charlotte Turner Gardens as their only accessible green space. I have never seen the park and playground so busy as this summer and it’s really helped local residents trying to cope with the current situation. I myself have come to use this park much more and its open feel has really helped me through lockdown. The sunsets have been especially lovely, with the last rays still reaching the park due to its open design. The new building would overshadow this open feel by significantly narrowing the currently wide and open entrance, and park users and residents would feel much more closed in. Another reason why I object is that the proposed building does not meet any of the criteria for affordable housing or social housing, and as we all know, Deptford needs more of that and less homes for sale.
Below is a screenshot of part of Deptford Folk’s newsletter (the links on here don’t work as it’s an image. To object or read more, please click on the link above).
After the book Deptford is Changing was published, I was contacted by Lewisham Ledger journalist Anviksha Patel for an interview about my motivations for the book. The interview took place in February but was only published this week due to lockdown and the Coronavirus situation in general. See article below:
This August/September 2020 issue of the Lewisham Ledger is stocked in many places in south-east London, including these local places: The Moonshot Centre, Isla Ray, Deptford Does Art, The Greenhouse, The Royal Albert, The Bird’s Nest, Art Hub Studios, Hop Burns & Black, Little Nan’s, Taproom, Job Centre and The Word Bookshop (the book is available there for £20). For a full list of stockists, click here. Look out for this front cover:
Photo: Petra Rainer
Deptford is changing 