Gendered face of London’s housing crisis

Photos and text by Cinzia D’Ambrosi

After years of documenting the lives of individuals in insecure housing in London, a clear pattern emerges: a significant portion of this demographic comprises single mothers in either no or low-paid employment. This raises the pressing question: why are so many women and their children being failed so profoundly?

Melissa fled domestic violence, seeking refuge far from her former home. However, living in a shipping container with her three young children has aggravated her depression and anxiety, failing to provide the safety and comfort she desperately needs.

Since 2006, Francesca recounts: “I have been evicted 3 times. The first time, I was living in a private rented accommodation through Hammersmith and Fulham council. I was living with my two children and expecting a third child when I was handed over an eviction notice. I was made homeless and then the council offered me a home in East London. My only financial support was my work as a mobile hairdresser and my clients, my children’s school and everyone I could ask any support to, is living in West London, however I had no where to go. I checked the place and it was rife with crime and I did not want my children to live there so I refused. Then they looked for a place for me in the private rented sector. I was told to go to Ealing Housing Team and at first they sent me to Willesden Green to live in one room. We had to move out and had to rent a storage for all my things. I could not live there with the children going to school miles away. Everyday they were late at school and getting detention so I went back to the council and told them of these challenges and that was when I was allocated a container flat in Meath Court in west London.”

Francesca and her three young children have been evicted many times before being moved to Meath Court.

Francesca has 3 children who in their entire lives have only lived in temporary accommodations. Living in the shipping containers is very difficult with no space for any privacy. One of the children, who has asthma, sleeps in the kitchen. On the very first day they moved into the container, he had an asthmatic attack.

Families that live in the containers report their shock when they first arrived at the site, some at first not realising that the shipping containers were to become their homes.

“How could it be humanly possible that containers could be offered as homes?”

Nathalie Bangama, from Congo, with three children, moved to Meath Court after a fire destroyed her home last year. Despite living in Ealing for over 15 years, she was shocked to be offered shipping containers as housing instead of promised flats. She couldn’t believe it, knowing even in Congo, women and children aren’t housed this way.
Nathalie is a single parent and she has had to strlie is a single parent and she has had to struggle with being on her own with three children and with the awful circumstances of her living conditions at Meath Court.

Similarly to many other women, Nathalie could not believe her eyes when she was given shipping containers as a home. “Even in Congo, we don’t house women and children in shipping containers.” Nathalie Bangama, originally from Congo, has three children 15 years old, 4 years old and 9 months and she ended up at Meath Court after her house caught fire. When she was given the keys to the container flat, she was crying and crying. She was told that within 6 months, she would be given a proper flat, but 2 years later she is still waiting.

Another resident of Meath Court is Melissa, a victim of domestic violence that was to be housed, in a different borough under the protection scheme. Melissa and her three small children were housed in the shipping containers. It has led her to depression and anxieties. Living in a container, it has not helped her to heal from her traumatic experiences. Instead, it is continuously making her feel unsafe and deeply anxious about herself and her children as the environment is characterized by rampant drug use, theft, and a pervasive sense of insecurity.

Like herself, many women in Meath Court have experienced sexual harassment and incidents of intimidation by drug users using the shipping containers as a space to deal, or to sleep for the night. “There was an incident of a woman falling down from the stairs and she is currently in coma – Melissa recounts. And my front door was tempered and broken, she continues- and I have taped it with a black bin bag and I am still waiting for someone from the council to come to repair it. I feel very anxious about my safety and that of my children.” Melissa’s broken door was not repaired at the time of my interview with her, weeks after the incident. Her rent is £370.55 + £19.05 service charge per week to live in shipping containers without a secure front door.

When Zara received the one-bedroom flat, she had just given birth. Her baby was only a week old. Given the top floor, she found walls riddled with bullet-like holes from the previous tenant’s mental health struggles. It was a frightening, lonely, and disheartening experience for a first-time mother.

When Zara was given the one bedroom flat she had just given birth. Her baby was one week old. She was given the last floor and one which all the walls were plastered by bullet like holes. She was told that the previous resident was suffering mental health issues and was using a hammer to bang the walls. “It felt scary, lonely and very disheartening for a first time mother who had just given birth.” Since living in the container, her wellbeing is deteriorating. She has pleaded to be allocated even in another one-bedroom in the containers, one without the violent markings on all the walls, but her pleas have gone unanswered.

Following the unanswered calls for the installment of security cameras or the placement of a security guard at Meath Court, women have resorted to create a WhatsApp group to ensure each other’s safety by sharing their whereabouts.

As policymakers and stakeholders seek solutions to London’s homelessness crisis, it is crucial to recognize and address the specific challenges faced by women. Failing to do so not only perpetuates the cycle of homelessness, but also deepens existing inequalities within society.

The question arises: why have so many women and their children been failed so miserably? Is it due to perceived vulnerability and social standing, perpetuating prejudices that hinder their access to decent living conditions?

All images ©Cinzia D’Ambrosi

Photojournalism Hub x Riverside Studios 22nd April

22nd April 2024, 7 pm
Riverside Studios
101 Queen Caroline Street
London W6 9BN

To join: HERE

Photojournalism Hub and Riverside Studios are delighted to announce Sascha Klamp and Valeria Luongo as the featured photographers for ‘In Focus,’ a captivating series of photography events. This series present photographers whose work engage with social documentary photo storytelling, using the lens as a powerful tool for engagement, exploration and raising awareness. The event includes presentations, live interactive Q&As and a social.
Our guests of this edition have a background or work with an anthropological approach, using documentary photography to present stories that capture and explore community and individual memory, archives and rituals.

Valeria Luongo is an Italian documentary photographer, filmmaker, and anthropologist who’s based between Mexico and the UK. Her photographic approach is characterised by working on long term projects. Her work explores stories regarding gender, spirituality and rituals and has been featured in National Geographic, The Guardian, BBC, GEO Magazine and exhibited internationally.

“When Women Fly” is a  project about a group of indigenous women from Cuetzalan del Progreso, Mexico, challenging gender roles by participating in a traditionally male ritual called Danza de los Voladores.
The ritual begins with a ceremonial dance. Five participants then ascend a 30-metre pole and jump off the top, head first, tied to ropes as they revolve around the pole towards the ground.
Historically, only men were allowed to partake in the ritual. However, a few women in Cuetzalan have recently joined the practice. The flying women defy traditional gender roles, symbolising transformation within their social context. Since 2022 I’ve been working alongside several women and girls who fly, documenting their everyday lives among their community.

Sascha Klamp is a British/German multi-award winning Documentary Filmmaker, Photo-documentary Journalist and Producer based in London, UK. He spent the majority of his career as an investor and entrepreneur which enabled him to travel across frontier and emerging markets. His photography practice centres on highlighting social impact and social justice affairs which is deeply rooted in his curiosity to learn more of the world around him. He tells frontline human and community stories based on empathy for the situation and the people involved. His thinking is informed by his interest in ethnology and social anthropology. Sascha exhibited a small selection of his The Art of Seeing, The Art of Remembering project in London in November 2022. His work was highly commended by the TPF Social Documentary Awards (Professional Category, Series) for his The Art of Seeing, The Art of Remembering work. Sascha completed his MA Photojournalism & Documentary Photography studies at the University of the Arts (Distinction), London. He also holds an MBA (Bayes Business School, London) and a Masters in Law, LLM (King’s College, London), and a BSc International Securities, Investment & Banking from Henley Business School (ICMA Centre). Filmography: “The Art of Seeing, The Art of Remembering” (2022), “The Blockade” (2023).

In a remote village in Kosovo, the past casts a long shadow. A single family of 2500 souls, now in its 13th generation, struggles to find its place in a changing world. Based on the Directors engagement with the community and renowned Community Archival work, KINSHIP tells the story of one family’s search for belonging.
We meet Rabit, the community’s Doctor, who recounts his heart-breaking tale of being ‘gifted’ to his uncle as a young boy. An all too common practice rooted in ancient customs. He grapples with the trauma of his stolen innocence. Meanwhile, Couple Mumin and Qamile Dermaku tell their moving story of how they met, the challenge he went through gifting a brother to a neighbour and his wife’s struggle to join the ‘jungle’ of a remote community. Expecting mother Florentina faces her own struggle. Pregnant with her first child, she dreams of a better future. But is that future possible here? Or must she also make the painful choice to leave everything she has ever known behind? The village Elders tell their stories aided by black-and-white photographs sourced from their family photo albums. They recount stories of happier times but also times of conflict and change. These memories contradict with the experience of the younger generations who cannot imagine a rural life with its limited resources and opportunities. Joining the diaspora is a potential way out to seek a fortune and future elsewhere. The cleric focuses on holding the community together. But his own story contradicts the ambitions of his community. The state looks away from the Kanun law/ tradition (Kanun of Lek Dukagjini). The honour code (vendetta in Italy) contradicts with the country’s ambition to become a full EU member. We engage with Child Psychologists who explain the harm done to children being gifted to family members and how that trauma informs their choices. Running away from it all sounds like a sound choice for many.

BECOME A PJH MEMBER
Consider becoming a member of the Photojournalism Hub and receive the benefits of free access to events, resources, premier editorial content, portfolio reviews, and discounts on entry to our photography exhibitions, training and in our shop, whilst you will be supporting our work advocating, advancing social justice and human rights, amplifying community voices and enhance access to media to those facing social, economic and structural challenges. If there were ever a time to join us, it is now. Support the Photojournalism Hub from as little as £1 every month. If you can, please consider supporting us with a regular amount each month. Thank you. JOIN US HERE

IN FOCUS

26th February 2024, 7 pm
Riverside Studios
101 Queen Caroline Street
London W6 9BN

To Join us: HERE

Photojournalism Hub and Riverside Studios are delighted to announce Denise Laura Baker and Etienne Bruce as the featured photographers for ‘In Focus,’ a captivating series of photography events. This series delves deep into the realm of socially engaged documentary photography, using the lens as a powerful tool for engagement and exploration. The event includes presentations, live interactive Q&As and a social.
Etienne Bruce will present us Xenitia, which is an archive, centered on displacement to Greece. It is framed by two motifs: “nostos” (Classical Greek; to return home, homecoming) and “algos” (Classical Greek; pain, grief). Together, these affect-laden words form the root of “nostalgia”. “Xenitia” itself is a Greek term that encompasses the state of being a foreigner, otherness, estrangement, loss, distance, and a profound yearning for home soil. And Dr. Denise Laura Baker will share Deeds, Not Words: motivations and methods of resistance from a photographer’s perspective, currently being shown until April 13th at Gallery 74, Waterside Arts in Sale, Manchester, which explores the myriad ways photography crosses into the realm of activism and the complex relationship between photojournalism and activism.

Denise Laura Baker is a socially engaged photojournalist and documentary photographer and storyteller, focusing on environmental and social issues, climate change, activism, and community. Through these she explores themes of connection, journeys, identity, change and transition. Denise’s photographic and creative work draws on influences from her career as a visual artist, and her previous career as an ethnographic psychologist where she interviewed and collected the stories of the people with whom she worked. In March 2020 she was featured as an emerging female photographer in film  https://analoguewonderland.co.uk/blogs/film-news/female-voices-in-film-denise-laura-baker and in 2021 and 2022 she won PX3 State of the World. She has published numerous photographs in the mainstream press as well as photo essays in magazines such as New Internationalist, Open Democracy and Novara Media. Her work has been featured in group exhibitions as well as solo shows most notably LLAWN Llandudno Arts Weekend in 2019, Galeri Caernarfon, North Wales 2022, Islington Climate Centre 2023, The Black E Gallery in Liverpool as part of The World Transformed 2023 and Open Eye Gallery, Liverpool 2023. Denise’s work is currently being shown until April 13th at Gallery 74, Waterside Arts in Sale, Manchester. 
Denise teaches and mentors, runs community arts workshops, and has received funding through the Arts Council for Wales, Creative Gwynedd, RBKC Creative Grants, The Westway Trust and Imaginary Millions. With Deeds, Not Words (Deeds, Not Words: motivations and methods of resistance from a photographer’s perspective) Denise explores the myriad ways photography crosses into the realm of activism and the complex relationship between photojournalism and activism. In this project she examines protest through the female eye, which has enabled her to connect with her own background in activism as well as others, and her relationship to photography as activism. @deniselaurabaker

Etienne Bruce is an Anglo-French visual artist, editorial photographer and educator currently based in London, UK. Her project-based work is a form of documentation driven by an engagement with the nature of the photographic image, which often includes an element of recording oral histories. A preoccupation with the relationship between form and content has led her to embrace different modes of expression including text, movement, sound, space, sequence and literary forms as portals through which to re-examine documentary image-making practice and embrace its inherent ambiguity. Through her work, Etienne seeks to challenge her perceptions and reinterpret things as she understands them while always striving to engage respectfully and collaboratively with the people and stories that are central to her practice. Etienne is a member of Women Photograph, she is Education & Training Manager at The Photography Foundation, and her book Xenitia was published by Zone6 Press in 2023. @etienne_bruce

BECOME A PJH MEMBER
Consider becoming a member of the Photojournalism Hub and receive the benefits of free access to events, resources, premier editorial content, portfolio reviews, and discounts on entry to our photography exhibitions, training and in our shop, whilst you will be supporting our work advocating, advancing social justice and human rights, amplifying community voices and enhance access to media to those facing social, economic and structural challenges. If there were ever a time to join us, it is now. Support the Photojournalism Hub from as little as £1 every month. If you can, please consider supporting us with a regular amount each month. Thank you. JOIN US HERE

CAPTURING CRISIS

In this new edition of ‘Capturing Crisis’ youth photography magazine, we present a special edition on a local coffee shop to learn of its championing and success. We present a photo essay on the charity Nourish Hub documenting its cycle of sustainability, healthy and free food for all.
Our young team also reported on Free Palestine local and national responses. And we present evocative images at Meanwhile Gardens, a photo story on volunteers creating a community garden at Factory Quarter in west London.
In the last pages, we present the world of teenagers and friends, and a few portraits from a series of portraits of staff at The Globe, the dedicated Shakespeare Theatre in central London. We hope you enjoy Capturing Crisis youth magazine!

Capturing Crisis is a youth documentary and photojournalism magazine. All features and photographs are created by participants of ‘Stories, Reporting Mag, Photography Course’.
The magazine provides the opportunity for youths who never had access to, to share their photography and photo stories to a large audience. Photojournalism Hub is committed to providing opportunities and support to youths, enabling equality in accessing opportunities for further education and work in the photo industry.
Capturing Crisis magazine is a testament of the great work and inspiring contribution of our youths.

The project is supported by the NHS west London trust, Hammersmith and Fulham Council and Sobus.