Ruhullah Aramesh was a 24 year old refugee from Afghanistan. He was attacked in Thornton Heath on 31st July, 1992, by a gang of twenty yelling racist epithets. They beat him with iron bars and wood planks until his skull was crushed.
Sampler from Spectacle’s Archive
He died on August 2, 1992. Barry Hannon (17), his brother, Paul Hannon(18), and Joseph Curtin (17), were sentenced to life for murder. Richard Turner, (19), and Jamie Ware (19), were acquitted of manslaughter and murder. Another boy, seventeen years old, whose name was not released, was acquitted for attacking Mr. Aramesh but convicted for assault for having previously attacked a friend of Mr. Aramesh. Barry Hannon and Joseph Curtin had also attacked an Asian family only an hour before killing Mr. Aramesh, hitting a man, sixty-five years old, on the head with a bottle.
It was recorded as racially motivated. Barry Hannon, Paul Hannon, Joseph Curtin were given life for murder. One other was convicted of manslaughter through diminished responsibility, and three were acquitted. Curtin was freed on appeal after 3 years, due to the judges’ failure to summarise the police interview.
His death was just one of multiple killings that happened near to the BNP headquarters, as well as Stephen Lawrence and Rohit Duggal.
We have footage of the march and speakers representing:
The speakers are announced but it is difficult to work out exactly their names or how to spell them, so if you have any idea of who they are please let us know at archive@spectacle.co.uk or comment below.
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In honour of the anniversary of the 1990 anti-poll demonstration on March 31st, Spectacle hosted a free screening of Despite TV’s film Battle of Trafalgar. This was followed by an online Q&A with filmmaker Mark Saunders.
The discussion brought out the many ways that the public order policing tactics captured by the film are still in use and can readily be seen in the policing of the #KilltheBill protests against the Police, Crime, Sentencing and Court Bill, and recent public order policing at Clapham Common of the Sarah Everard Vigil.
The Protest and the Making of the Film
Despite TV was a filmmaking collective based in Tower Hamlets that operated through the 80s and 90s. Working as a co-operative, sharing resources, and making all editorial decisions through consensus, the collective published magazine videos.
The main aim of Despite TV was to revert hierarchies commonly reproduced in the media industry, promoting video production as inclusive, non-hierarchical group activity, and shared authorship and editorial control. Everyone in the group, in fact, had access to equipment and initial training, could propose what to film, contributed to the technical realization of the initial ideas, and was co-director of the final films. In order to enhance participation and avoid the exclusion of marginal voices in the group, all decisions were taken by consensus and all tasks and roles -such as chairing meetings, but also interviewing, operating cameras, sound recording, or carrying out runner’s tasks- were shared in turns.
In 1990, Despite TV was working on a special issue on the poll tax called Despite the Poll tax. The proposed poll tax was despised throughout the country. It was a blatantly extortionate tax which required all individuals, regardless of wealth, to pay the same amount, and anti-poll tax chapters sprang up across the country. Despite the Poll Tax was not so much focused on the inequities of tax, but how the law would necessitate ID cards, which were the origin of infamous SA pass laws during aparthied. The tax would offer a great deal of social control and create a data blackmarket. The tax itself was therefore a colonial instrument. It was actually the second time that the British government had tried to institute such a tax. The first time was in the 14th century and led to a famous peasants revolt.
The magazine was nearly finished. Three camera crews went to the protest to get some shots for the end credits. They stationed one camera near the front, one in the middle, and one at the back. Their expectations for filming a peaceful joyous mass demonstration quickly went out the window.
Violence against protestors by the police left many bruised and bleeding. Hundreds were arrested. Police horses and vans repeatedly drove through the crowd, trampling people underfoot – all in the name of public order. However, none of this violence was reflected in the narrative on the evening news which depicted the demonstrators as violent and the police as responding to life or death violence.
Despite TV managed to persuade Channel 4 to commission a film based on the footage to create a film showing the events in the order they really happened. The documentary was broadcast on Channel 4 in Sept 1990 and resulted in the upending of the accepted narrative of that day.
The film was also used in court as a part of a common defence of protestors who had been arrest that day, showing many were acting in legal self defence.
Connections to the Current Moment
In policing of public events in the last year including at the George Floyd BLM protests in 2020, Sarah Everard vigil at Clapham common, and Kill the Bill protests happening currently in Bristol.
In the Battle of Trafalgar we see police vans driving through crowds, and the same tactics were used in Brooklyn 2020. Police vans were driven into crowds of BLM protesters who were protesting the murder of George Floyd. The Battle of Trafalgar demonstrates that the police were not “out of control” but following a dangerous and near secret tactic which was very likely to cause a crowd to react violently. During the anti-poll tax demonstration, the film argues, the protesters gained no benefit from violence, but the state did benefit because it allowed them to paint all protestors as criminals.
This narrative is easily created when media sources uncritically present police statements as their only coverage of such protests. Again there is an uncanny similarity between the commentary of a mounted police woman in 1990 and one in 2021, both who claim to have never seen such violence directed at police in their entire lives.
Jump to 1:30 for the report on Bristol protests
The use of provocation by police including the use of vans, attacking women, collective punishment, kettling, creates a large dragnet of offenders and erases the divide between peaceful and violent protests. The criminalising of protesting creates an excuse for the use of violence which paints the entire cause (whether it be BLM or anti-tax demonstrations) to be viewed as criminal in the court of public opinion.
April 3rd – National Day of Action
The 3rd of April has been designated as a national day of action against the Police, Crime, Sentencing and Court Bill. Over 40 cities and counting across the UK will see #killthebill demonstrations, and they will be joined by those supporting the #ReclaimTheseStreets movement which grew from the murder of Sarah Everand and the policing of the vigils in her honour.
In the demonstrations the week before violence from the police in Bristol created headlines of “violence against police” and “rioting,” but, as in 1990s, from the point of view of those on the ground the papers seemed to have switched around the subjects and objects of their sentences.
It will be interesting to see what policing tactics will be employed and what narrative the media will offer after April 3rd.
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In August 2020, in collaboration with the Rostock based group Lichtenhagen im Gedächtnis , Spectacle developed and ran an archive-based two-day participatory workshop. This project is part of the run up to the 30th anniversary of the Rostock Pogrom in 1992.
The project’s events, which were held online due to the pandemic, included a public premier of a new fully German version of ‘The Truth Lies in Rostock’. The screening was followed by a Q&A with director Mark Saunders, which focused on the participatory production process through which the film was created. For more about the process or the archive footage, see the bottom of this post.
This screening also launched a unique workshop designed to connect Rostock’s past, present, and future.
The Truth Lies in Rostock
This 1993 film depicts the events which occurred in August 1992, at the Lichtenhagen estate in Rostock, in the former East Germany. Over the course of three nights, a fascist crowd assembled. The police withdrew as the mob petrol bombed a refugee centre and the home of Vietnamese guest workers while 3000 spectators stood by and clapped.
The film uses material filmed from inside the attacked houses and interviews with anti-fascists, the Vietnamese guest workers, police, bureaucrats, neo-nazis and residents. Through these perspectives, a story of political collusion and fear unfolds.
Thirty years later the question has become, how can the memory of the ‘Lichtenhagen Pogrom’ help fight new waves of fascism in Germany?
Participatory Video Workshop
This two-day participatory video workshop offered the chance for young adults from Rostock to dig into the film’s questions about the nature of fascism, racism, and the roles and responsibilities of the city, state, and federal governments.
By working with archive footage and filming a live commemorative demonstration, the workshop was designed to bridge the past and present issues of racism and anti-racism in Rostock. The workshop’s second aim was to offer new skills in media and filmmaking to these young adults.
The workshop launched the weekend of August 20th. A group of young Rostockers were split in two groups, one working with archive footage, and one filming the live demonstration.
Before the workshop began, Spectacle digitized a portion of our extensive archive footage from 1992. The material selected was of the anti-nazi demonstration that followed the pogrom. This group worked with Spectacle to edit a new short film from the material.
Meanwhile, the rest of the participants went as a small group to film an event which echoed the archive material – the Lichtenhagen Commemorative Bicycle Demonstration. This group of participants learned about filming techniques and edited footage from the demonstration into a short film which focused on the landmarks which have been built to commemorate the events thirty years before.
Read more about the project from the German perspective.
The Aims of the Project
Provide a safe space for reflection about the events in Lichtenhagen, specifically for different groupings that were involved in the events at the time. This includes, but is not limited to the Vietnamese community in Rostock, some of whom had to fear for their lives and lost their homes in the events, and Rostock residents, some of whom were appalled at the unfolding events and other who were cheering at, or maybe even participating in the attacks.
Provide skills training in workshops, teaching participants how to use video cameras, record sound, and conduct interviews.
Potentially encouraging dialogue between diverse groups and contributing to a more sustainable community through a process of reconciliation.
Preserving the oral history of the 1992 events by creating Zeitzeugen (witness/bystander) documentation for future generations, through the production of a series of films including original as well as new footage. These footage shot in these workshops will be made available online as well as on DVD and can be used to educate younger generations.
The Archive
Spectacle has an extensive archive of footage from Rostock between 1991-93. The archive grew out of a programme of participatory video workshops run by Spectacle. After the unification of Germany, all the East German media outlets were taken over or replaced with Western media. Spectacle’s series of open workshops were designed to establish an independent, community-based media group in Rostock and to document the effects of unification on the city.
All participants in the workshops were beginners, with little experience in photography or filmmaking. The practical exercises concentrated on how the unification was changing the physical urban landscape. At the close of the first sessions, each participant was interviewed about their experiences as well as their hopes and fears of “Die Wende” the unification of Germany.
One of the objectives of the workshops was to establish a community media group to that end we formed the Jako Media Co-op. Just six months later Jako E.V. and Spectacle would rejoin to make ‘The Truth Lies in Rostock’.
The production process created over 200 hours of footage that did not appear in the final edit of the film. These scenes of daily life in 1991-1993 have become an historic archive of the city at that volatile time. The aim of the 2020 project was to re-work and revisit this archive together with a new generation of Rostockers who were not even born at the time of the pogrom.
Last May, the Battersea Power Station developers opened what they announced as a Pop-Up Park, that would receive visitors from all over the world every weekend and host several events. The so called public park, that was even added to Google Maps, ( how did that happen?) soon ‘popped off’ and in late September closed its doors.
The Power Station is one of the few obstacles preventing walkers from strolling along the south side of the Thames Path. For years this path has been blocked– a fading sign claimed it was a “construction site” even though really it was a very agreeable and exclusive river front office for construction company Berkeley Homes. The Berkeley Group (Berkeley, St James, St George, St Edward ) are responsible for ”delivering” many of the ugly and soulless developments despoiling the south bank.
In a new sign hanging on the now closed door, the developers claim the reason why they are shutting access to the park is related to the beginning of restoration works of the Power Station. In fact phase 1, which has barely started, is the building of monstrous flats in the slither of land along the rail track, forever obscuring the wonderful views from the west. “Restoration” (or desecration depending on your view of art deco architecture) of the power station is phase 2.
The sign also states that they have had “a great time hosting over 55,000 guests” in the pop up park. Are they are including in that number the more than 30,000 people that visited the building during the London Open House weekend? If so the pop up park was already closed then. Or do they count those attending the numerous events they have hosted, regardless of the alleged danger of the chimneys falling, on the south side of the site?
Finally it suggests you write to zkelly@bpsdc.co.uk if you would like to discuss putting on an event- It would seem danger from the chimneys only affects the non-paying public but not private, paying guests.
Perhaps “PR Park” would be a more appropriate name than “pop-up Park”.
The new owners of Battersea Power Station may not know much about property development, but they do have excellent PR. The hugely successful Open House London day attracted tens of thousands of visitors who queued for hours to catch a brief glimpse of this much loved building.
However, in PR terms, it was a bit of an own goal. As only a few days later, the World Monuments Fund listed Battersea Power Station as an endangered world heritage site. See our blog on this.
This very significant listing was hardly commented on in the media. Despite its big PR it was’nt even mentioned in the very slick newsletter of the owners. The inclusion was only visible in some mainstream media:
”Battersea Power Station ‘at risk’ says the heading of an article in the Times. And according to the the Express:
”The Grade II listed London landmark is among 67 heritage
sites that are at risk from natural, economic, social and political forces according to The World Monuments Fund (WMF). The decommissioned coal-fired power station was joined on the list by the beautiful Italian city of Venice and the little known Hong Kong village of Pokfulam.”
”WMF have said they aim to keep a spotlight on the current redevelopment plans for the station, particularly focusing on the re-building of it’s four chimneys.”
Noticeably, they claim it to be one of the best-loved landmarks of the capital.
The Evening standard did not mention this embarassing listing either. Since they recently made Battersea Power Station a front cover image as part of their association with “The Power 1000 – London’s most Influential People” critical reporting of Battersea Power Station from the Standard, which was always weak, has been significantly lacking.
See our full article about the owners’ pro – active approach to media management.
Interestingly, the owners were unable to provide visitors with updated information about the new phasing of the demolishing of the chimneys. This was left to a small group of local volunteers of the Battersea Power Station Community Group.
Watch our video about the demonstration against these plans during London open house.
Despite these obstacles, they are still winning the PR – war as many people believe they are going to start to renovate the Power Station “at last”. However, phase 1 is only building ugly greedy soulless flats for investors that will block most of the views. And phase 2 involves demolishing the chimneys and, they claim, replacing them with replicas.
The current agreement is that they have permission to take down one, and that is including the art deco brickwork on the top. They will rebuild the first one to 25 meters, which is about halfway. When they have reached that point, they can take the other three chimneys down and then they will continue rebuilding the first.
So it’s essentially one plus three. Now at some point down that route, if there’s a default, the developer either refuses, or claim they ‘cannot put them back up’ or they run out of money, the chimneys, like the roof, will not be put back. The cost of putting back three and a half chimneys is massive- far more than the “bond” being asked.
They are also not keen to draw attention to their recent request to dismantle the two listed cranes that are disgracefully being allowed to rust away, in order to provide a jetty for taking underground extension tunnel soil out via the river. They have a very long water front it is typical that they should insist it can only work by demolishing the cranes.
To us and any one interested, except English Heritage and Wandsworth council who collude in the hidden master plan, the owners are pursuing a policy of demolition by stealth.
The Camden New Journal yesterday uncovered plans to erect a statue of Christ the Redeemer on Primrose Hill. The statue will be a tribute to the one overlooking Rio de Janeiro, to celebrate passing on the torch (pun begrudgingly intended) to Brazil for 2016.
The Brazilian government would fund the project, and a planning consultancy based in London has been employed by Brazil’s tourist agency to hold a public meeting to display the designs before applications for planning permission are submitted.
The Camden-based design company See Me, Hear Me, Feel Me did not want to discuss the plans, and the Brazilian government was unavailable for comment, but Primrose Hill Lib Dem councillor Chris Naylor said he wasn’t sure a 30ft statue of Christ with his arms outstretched was quite what the area needed.
Other statues to celebrate the Olympics have been erected around Britain, often to the displeasure of residents. The ‘Jurassic Stones’ statue, by Richard Harris, has been greeted with horror by residents of Weymouth, Dorset. The Stones’ £335,000 bill pales in comparison to the £19m spent on Anish Kapoor’s ‘ArcelorMittal Orbit’, on site in Stratford.
Many people question why so much money is being spent on statues to celebrate the Olympics, and whether it is appropriate in the current economic climate. The term ‘Legacy’ has always been used to describe the impact of mega-events like the Games: urban development, social, economic and cultural changes are words often thrown around in relation to the Legacy. However, the term has been re-appropriated by critics of the Games and become somewhat of a joke. The Legacy that does seem to be taking shape is symbolised in the statues cropping up around the country – abstracted, distorted, and expensive.
“Cities across the globe are using mega events to catalyse urban development and social, economic and cultural change. Here we present insights and analysis of these events, examining their impact upon city-building and exploring their contribution to the design and shaping of place.
Our research is policy focused and practical. Our approach is focused upon the social impacts and legacies of mega events. We use interdisciplinary analysis to discover new ways of comparing and thinking about the mega event city.
We are interested in receiving comments on the site and suggestions for relevant material or links to be placed on it. The site will be dedicated primarily to housing academic work on the social legacies of mega events, particularly those referring to London 2012 or Rio 2016. We would also welcome links to our site being placed in sites addressing similar themes.”
The International Olympic Committee (IOC) is holding a meeting in London on April 5th. They will be discussing reports on their latest activities as well as making preparations for the forthcoming Olympic Games including London 2012 and Sochi 2014. A number of groups are planning to take this opportunity to form pickets outside were the meeting is being held.
Campaigners for Playfair 2012 intend to demonstrate at the IOC meeting to persuade Olympic bosses to make London 2012 a sweatshop free event. They want to ‘make decisive change for workers’ rights and ensure sweatshop-free conditions for workers making Olympic goods and sportswear.’
Click Playfair 2012 for more information about the picket.
The Counter Olympics Network (CON) are also planning on holding a picket alongside Circassian people who are campaigning against Sochi being chosen to hold the 2014 Winter Olympics despite the fact that this will be the 150th commemorative year of the Circassian Genocide.
Tuesday, April 5 · Assemble 1.30pm
Park Plaza Westminster Bridge 200 Westminster Bridge Road SE1 7UT London
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See our Olympics project pages for more information and videos.
Or visit PlanA our general blog on urbanism, planning and architecture.
The Welfare-to-Work Programme has been described as “set to fail” by Sir Robin Wales, Mayor of Newham – the host borough for the 2012 London Olympics. In a fortnight, the winners of contracts are due to be announced, putting the unemployed and people on disability benefits back to work. However, Sir Robin believes that there is “a serious risk that some of the best prime providers may walk away”. Out of 11 bidders for the East and South London contract, 3 will be appointed in order to provide competition. Sir Robin said that he is yet to be convinced that ‘three prime contractors each delivering across 17 boroughs will do anything other than lead to confusion amongst job seekers and contractors’.
The rules the work programme has in place could themselves prevent people from taking one of the 100,000 jobs that the Olympics are meant to create. This is because providers will be paid the majority of their fee once they have managed to provide individuals with sustained work for a period of up to 2 years. However, given the short-term nature of most of the Olympic jobs on offer, the possibility of people taking jobs, becoming unemployed again and having to re-start the work programme a year later may prove discouraging.
Sir Robin believes that the government needs to ‘ensure that working in an Olympic job does not disadvantage the indivdual’ to avoid losing out on ‘the single greatest opportunity in Newham’s history to get our residents into work’.
Click London Olympics for more blogs
See our Olympics project pages for more information and videos.
Or visit PlanA our general blog on urbanism, planning and architecture.
In a new sign hanging on the now closed door, the developers claim the reason why they are shutting access to the park is related to the beginning of restoration works of the Power Station. In fact phase 1, which has barely started, is the building of monstrous flats in the slither of land along the rail track, forever obscuring the wonderful views from the west. “Restoration” (or desecration depending on your view of art deco architecture) of the 
