Article

Change

Community

Politics

8 July 2024

6 min read

Camden: what’s up in Keir’s backyard?

The new Prime Minister’s constituency has valuable lessons for the country.

Simon Walsh

Simon Walsh is a communications consultant, journalist and non-stipendiary priest in the Diocese of London.

Kier Starmer walks along a residential development's path with two other people.

Starmer and local councillors in Camden.

‘What good ever came out of Nazareth?’ was asked of Jesus. The same might now be said of Camden, which lies at the heart of the Holborn & St Pancras constituency. A safe Labour seat since the 1980s, its present incumbent is Sir Keir Starmer who has been handed the keys to Downing Street in the General Election.

His wallet apparently has on it ‘Take me home to Kentish Town’. Two buses link Kentish Town, where he lives, with Whitehall – a route of about four miles. He will go into government with a very full in-tray, and many of them are issues he knows first-hand from his own constituency. I know them too, having lived there for 20 years.

Sometimes I cover services for a clergy colleague in the nearby parish of St Mary’s, Somers Town. The church is on Eversholt Street which runs along the eastern side of Euston station, incidentally the capital’s first mainline railway terminus. Last year, as I arrived for a mass one rainy Saturday morning, a random group of people sheltered in the doorway. They were, I discovered, addicts waiting for a drugs drop. Towards the end of mass, one of the group – a young woman – came into the back of church and found a pew in which to start preparing her fix. Once I had disrobed, I asked if she wouldn’t mind doing it somewhere else.

Another time, in the same church, a young woman from Spain was asking for money. She had answered a job advert on social media to come and work on a chicken farm. Having arrived and paid her accommodation for a week, she found there was no chicken farm, and trying to find other work was almost impossible because of paperwork. What could we do to help? The church itself is in dire need of financial support too.

St Mary’s Flats... were among the first examples of public housing in the country to have electricity and Jellicoe became something of a social housing celebrity.

Somers Town was transformed 100 years ago when its energetic parish priest, Fr Basil Jellicoe, created the first housing association. Dismayed by the squalor of Victorian tenements, he set about raising funds for The St Pancras House Improvement Society. Jellicoe was only in his mid-20s but had a solid Anglo-Catholic background founded on mission and a heart for the poor. The cramped and filthy conditions with extreme poverty were ‘an outward and visible sign of an inward and spiritual disgrace’ – for him, the opposite to the sacraments.

By the time Jellicoe moved from the parish in 1934, the slums had been cleared and a number of the new blocks built, the first being St Mary’s Flats, with others given saints’ names. They were among the first examples of public housing in the country to have electricity and Jellicoe became something of a social housing celebrity. Tragically, having worn himself out he died at the age of 36. His legacy is one of praxis – active Christianity meeting social problems where they are – and his model became the blueprint for many other housing associations since.

No surprise, therefore, that families struggle to afford to live in the area and migrate further out. As a result, schools have started to close.

The area remains a swirl of social problems in addition to the drugs. Mental health issues are rife. There are plans to redevelop St Pancras Hospital which houses mental health services. The area suffers from traffic and noise pollution, and lacks communal spaces. Camden Council recently saw fit take one corner of a public green in Somers Town on which to build a tower block of multi-million pound flats, handy for nearby St Pancras Station. Crime rates are high with muggings and mobile phone thefts a daily reality. Last year, as mourners left a funeral one Saturday afternoon at St Aloysius Church just a few streets down from St Mary’s, a drive-by-shooting injured six people. Starmer called the incident ‘appalling’ and spoke of ‘extra patrols and community support’ after a conversation with police.

The area has become highly expensive. Local businesses are being priced out by increased rents. Very little social housing has been built this century. The average house price in NW1, which encompasses the Nash terraces of Regents Park, the council blocks and social housing of Somers Town, is £1.3 million. A two-bed flat is in excess of half a million quid. No surprise, therefore, that families struggle to afford to live in the area and migrate further out. As a result, schools have started to close – four in as many years recently. In his acceptance speech in Camden Council’s offices near St Pancras station, close to the world-renowned Crick Institute and Facebook’s UK headquarters, Starmer namechecked the mythical ‘girl from Somers Town’ and his hope for her future.

Charles Dickens went to school around here and knew these streets well. His 1848 novel Dombey & Son detailed the destruction and chaos caused in the area by the building of the railway line through it. 175 years later, it has been HS2, the great White Elephant which has dug up streets, seen whole blocks of accommodation and hotels demolished, diverted roads, and axed much-loved institutions like the Bree Louise pub. There has been no benefit to locals so far (quite the opposite, in fact) and it is a stain on both Labour and Conservative administrations. Sir Keir says he is furious at the ‘big hole’ left by the down-tools project. There is fear now that the redundant land will be subject to a ‘gold rush’ as developers circle to pick up some prime real estate.

Interviewed in June by the Camden New Journal, Starmer said: ‘The government has earmarked money for Euston. I want to see that money and obviously, if we come into power, we’ll see through all this money – and not stripped away from other projects which is the usual trick.’ He also said: ‘The other thing is we need housing. Camden desperately needs housing as many places do. So we will use it – if we are privileged to come into power – as part of our plan for 1.5 million homes.’

His manifesto has five pledges:

Kickstart economic growth

The cost-of-living crisis is biting hard here and the inequalities are stark. People need real money.

Make Britain a clean energy superpower

It’s going to need more than a few on-street charging points for electric vehicles. And the carbon footprint of that HS2 project?

Take back our streets

He wants to halve crime rates but London has around 106 crimes per 1,000 people and his own constituency feels less safe than it used to.

Break down barriers to opportunity

Camden already ranks highly in the deprivation index where barriers are concerned: schools, homes, jobs…

Build an NHS fit for the future

Again, the hospitals and GP services are cracking – high demand combined with under-investment is deadly.

A prophet is not welcome in his own country, it was said. Although the new Prime Minister was elected with a majority in his home seat, it was down to 18,884 votes from the 2019 endorsement of 36,641 votes – a drop of almost 50%. In this election, an Independent candidate called Andrew Feinstein polled 7,312 votes with his pledge to improve life for local residents. Starmer’s constituents will be counting on him to fix the nation along with the problems on their own streets. Otherwise, safe seat or not, he may no longer be welcome in Camden either.

Review

Art

Community

Culture

12 March 2025

5 min read

Ceremony's superpower is on show at Berwick Parade

Reinventing historic touchpoints between faith and community.

Susan Gray

Susan is a writer specialising in visual arts and contributes to Art Quarterly, The Tablet, Church Times and Discover Britain.

A projected image of a person dressed as a mermaid being pushed on a trolley falls on the wall and windows of an old barracks.

The Maltings (Berwick) Trust, Jennifer Charlton Photography.

Watch the parade

Ceremony is beating a retreat. Although wheeled out for major life events: naming newborns, marriage and bidding last goodbyes, and for grand state and civic occasions, standing on ceremony is frowned upon in day-to-day life. Ritual is treated warily, in case it creates an ‘us and them’ chasm between participants, seen as elite, and spectators, presumed to be condemned to disempowering passivity.

But what if, far from alienating people, the power of ritual, ceremony and spectacle could be a force for engagement? The church and military both have a history of creating, reinventing and refreshing rituals to meet changing social needs. The army chaplaincy is an invention of the late eighteeneeth century, responding to the move towards more settled communities of soldiers, requiring spiritual support. Drumhead altars, a centrepiece of November’s Festival of Remembrance, have origins going back into the mists of time, but quite how far back it is hard to say with certainty.

Processions and festivities for holy days are more apparent in Catholic countries, with Seville’s Semana Santa parades springing to mind, but well -dressing, May Queens, harvest festivals and Remembrance Sunday reveal a continued desire for entwining of church and community rituals, across faith traditions.

Art’s ability to step into the ceremonial space and create moments of communion, as well as giving voice to underrepresented groups, has been evident since Surrealism. British Surrealist Eileen Agar’s crustacean strewn ‘Ceremonial Hat for Eating Bouillabaisse’, 1936, attracted collective gasps when she wore it in London. In Sao Paolo in 1931, Brazilian modernist Flavio de Carvalho had to be rescued by police when he walked, hatless, in the opposite direction of a Corpus Christi procession, and the crowd wanted to beat him up.

Artists can also create spectacles of togetherness and joy.

Berwick Barracks is a challenging site for community arts. The massive walls and monumental stone-grey interior of Britian’s first purpose-built barracks is reminiscent of eighteenth century experiments in prison design. Even the windows on the living quarters, confirming it is not a prison, are tiny-paned and meanly spaced, like an afterthought dotted reluctantly on the overbearing grey expanse.

But over the weekend of Berwick Parade, the barracks’ forbidding walls turned into a living portrait of the border town. Under a piercingly brilliant starlit sky – it was the night of the six planet alignment – an audience gathered in the middle of the parade ground to watch themselves, neighbours, friends and family members move across the barrack walls. Artist Matthew Rosier’s projection at x10 magnification transformed the townspeople into giants, and the forbidding military structure of Berwick Barracks into a canvas for joy and creativity.

Berwick Parade shows you can draw community from a stone, forbidding, large grey stones at that. Paraders and audience were dazzled and dignified, seeing themselves anew.

The dancing, riding and processing images were soundscaped by music from the repertoire of the Kings Own Scottish Borderers, who have their ceremonial base, and museum, at the barracks, accompanied by the Melrose and District Pipes and Drums. Positioned by the main gate, the musicians set the expectation of spectacle with the rousing music associated with marching bands, as Scotland the Brave gave way to Mairi’s Wedding, and then a medley of upbeat, om-papa outdoors tunes.

Over 30 minutes, topped by veterans of the Kings Own Scottish Borderers and tailed by hi -vis vest wearing Berwick Parade production staff carrying metal barriers, a parade including processing clergy and the Bishop of Berwick, conga-ing medics in scrubs from Berwick Hospital, brownies, boys’ and girls' football teams, civic leaders in mayoral regalia, Morris, Highland and flamenco dancers, and midlife wild swimmers, shimmied across the walls. Berwick Riders Association were filmed on small ponies, so the magnified projection would not crop the riders into headless torsos. A wheelchair user crossed the expanse of barracks wall wearing a mermaid’s tail. Everybody involved was simultaneously true to life and larger than life.

Consisting of 850 characters, some of Berwick’s residents played more than one role. “Ooh there’s Cheryl again” commented a spectator next to me, as another pageant of figures travelled across barracks’ perimeter.

Speaking to Rossier the following morning, he revealed Parade participants had been filmed in the barracks, travelling across a10 metre stage. Magnification made these sequences large enough to cover one wall of the rectangular parade ground. Editing and projection created the appearance of participants entering at one corner and disappearing around the next.

Movement filmed across short distances opened up participation in the Parade to people with mobility and health issues, in a way that physically journeying around the whole parade ground, repeated over three nights, never could.

Filmed over six bitterly cold days, choreographer Chloe Sayers had to keep participants’ spirits and energy up as they devised ways of travelling across 10 metres that represented their personality, role and creativity. Sayers specialises with creating events with the public rather than professional dancers, and says that enabling people to express themselves through movement in spaces not always thought of as welcoming, breaks down barriers and creates a sense of ownership.

Some of the funniest moments in Berwick Parade were rare breeds sheep hogging the limelight like divas, and children clowning around with policemen’s helmets and clipboards. Rosier says primary school years are a sweet spot for performance. ”I love the energy kids bring. We had all age groups, but the six- to 10-year-olds bring so much energy. They just bounce. They have no inhibitions but are good at following instructions. At 12 or 13 heads start to drop and they become more self-aware.”

Rosier drew on his Irish Catholic mother’s tradition of ceremony and celebration with food and drinking, whether for a wedding or a funeral, to make Berwick Parade a fun place to hang out - food stalls included - beyond the performance. “I want people to have a nice time and not be subservient to the thing they have come to watch.”

Berwick Parade shows you can draw community from a stone, forbidding, large grey stones at that. Paraders and audience were dazzled and dignified, seeing themselves anew.

At King Charles’ coronation, the church’s ceremonial superpower was on display to the world. And as artists demonstrate, ceremony does not have to be confined to great occasions. Churches in all traditions can draw on their legacy of historic touchpoints between faith and community, to reinvent, reinstate and refresh rituals to engage with people’s contemporary concerns and hope.

Community groups taking part in Berwick Parade.

A projection of a horse and rider against a barracks wall.

Clergy process as they are filmed for a projecton.

A projection of a parade of young people dressed theatrically against a barracks wall.

A projection of soldiers marching and carrying flags.

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