Browse content similar to 30/01/2017. Check below for episodes and series from the same categories and more!
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Women living in fear because of their religion. | 0:00:01 | 0:00:05 | |
We meet the women who face abuse because they wear Islamic dress. | 0:00:05 | 0:00:10 | |
It's just clothes, it's just a piece of cloth. | 0:00:10 | 0:00:15 | |
It shouldn't give the people the chance to define you as worthless. | 0:00:15 | 0:00:22 | |
What's it like when you take over the care | 0:00:22 | 0:00:24 | |
of relatives and loved ones? | 0:00:24 | 0:00:25 | |
Who is accountable, do you speak to the agency, | 0:00:25 | 0:00:27 | |
do you speak to social services? | 0:00:27 | 0:00:29 | |
I was going around in so many circles, it was so frustrating. | 0:00:29 | 0:00:33 | |
And how a discovery in Norwich set the art world on a quest | 0:00:33 | 0:00:36 | |
for a missing part of a painting. | 0:00:36 | 0:00:39 | |
To be the person who discovered it is rather exciting, | 0:00:39 | 0:00:42 | |
it doesn't happen every day. | 0:00:42 | 0:00:46 | |
Revealing the stories that matter closer to home, | 0:00:47 | 0:00:49 | |
that's tonight's Inside Out. | 0:00:49 | 0:00:52 | |
Hello, welcome to Cambridge. | 0:01:03 | 0:01:05 | |
It's a sad fact that hate crime in this country is on the rise. | 0:01:05 | 0:01:10 | |
Now, the Government says it's putting more money into stopping | 0:01:10 | 0:01:14 | |
it, but what it really like for the women who stopped going | 0:01:14 | 0:01:17 | |
out and don't know whether they can follow their religion as they like? | 0:01:17 | 0:01:20 | |
Sophie Sulehria has been to Luton to see what can be done | 0:01:20 | 0:01:26 | |
to tackle Islamophobia. | 0:01:26 | 0:01:27 | |
Nishrat Islam is a student studying fashion and business | 0:01:27 | 0:01:29 | |
at Hertfordshire University. | 0:01:29 | 0:01:39 | |
She is Muslim and from Luton. | 0:01:46 | 0:01:48 | |
And she's at crossroads with her religion about whether to | 0:01:48 | 0:01:50 | |
cover her hair and her face. | 0:01:50 | 0:01:52 | |
I dress really modest, I make sure that buy | 0:01:52 | 0:01:54 | |
clothes are all baggy. | 0:01:54 | 0:01:55 | |
You can see, like, I wear baggy tops, I make sure | 0:01:55 | 0:01:57 | |
I wear baggy jumpers, I wear skirts so it | 0:01:57 | 0:02:00 | |
is covering stuff. | 0:02:00 | 0:02:01 | |
I really like dressing modest. | 0:02:01 | 0:02:02 | |
I'm still 18 and I'm still young so I am trying to find myself | 0:02:02 | 0:02:05 | |
and I don't know if I will find myself in the next three years | 0:02:05 | 0:02:08 | |
or probably four years, and I don't know whether I am | 0:02:08 | 0:02:11 | |
going to wear the hijab or the niqab, even. | 0:02:11 | 0:02:13 | |
With me, my family have come over from Pakistan in the '50s | 0:02:13 | 0:02:16 | |
and my dad's family are Muslim and I've made a decision not | 0:02:16 | 0:02:19 | |
to wear, not to cover but I also understand that debate and dilemma | 0:02:19 | 0:02:22 | |
about whether to or not. | 0:02:22 | 0:02:23 | |
It's a big decision for niche rat and part of the reason she's unsure | 0:02:23 | 0:02:27 | |
is because she went out wearing the niqab and three men | 0:02:27 | 0:02:29 | |
hurled abuse at her. | 0:02:29 | 0:02:30 | |
It's now put her off. | 0:02:30 | 0:02:34 | |
In a day, I experienced all that. | 0:02:34 | 0:02:36 | |
Imagine how the girls and the women who wear the niqab | 0:02:36 | 0:02:44 | |
every day must feel. | 0:02:44 | 0:02:45 | |
And they must ignore this, they must think its normal | 0:02:45 | 0:02:47 | |
but it's not normal, they shouldn't | 0:02:47 | 0:02:49 | |
experience that at all. | 0:02:49 | 0:02:50 | |
Members of my family cover their heads and I understand | 0:02:50 | 0:02:52 | |
that as a sign of devotion to their faith. | 0:02:52 | 0:02:54 | |
But what I want to understand is why the niqab and hijab are causing such | 0:02:54 | 0:03:03 | |
animosity and what can be done to allow Muslim women | 0:03:03 | 0:03:05 | |
to practice their faith without fear of abuse. | 0:03:05 | 0:03:07 | |
Some women wear a headscarf to cover their head and hair. | 0:03:07 | 0:03:10 | |
This is the hijab. | 0:03:10 | 0:03:15 | |
While others wear a niqab, which also covers their face. | 0:03:15 | 0:03:18 | |
They are worn as a symbol of modesty and devotion to their faith. | 0:03:18 | 0:03:21 | |
But recently, women who cover have been abused and this is on the rise. | 0:03:21 | 0:03:24 | |
In the last 12 months in Bedfordshire, there were over 800 | 0:03:24 | 0:03:33 | |
hate crimes reported, but police believe this is only | 0:03:33 | 0:03:35 | |
a fraction of the true number committed, especially when it | 0:03:35 | 0:03:37 | |
comes to Islamophobia. | 0:03:37 | 0:03:46 | |
Jahira has lived in Luton for over 40 years, but it is the escalation | 0:03:46 | 0:03:49 | |
of terror attacks abroad that has led her to receiving abuse here. | 0:03:49 | 0:03:52 | |
So have you noticed a direct correlation, then, between a world | 0:03:52 | 0:03:57 | |
atrocity like a terrorist attack... | 0:03:57 | 0:03:58 | |
Yeah, like after the Paris attack, I was in town, I was just doing | 0:03:58 | 0:04:02 | |
shopping for my children and this man came up to me and he picked | 0:04:02 | 0:04:07 | |
up my niqab, which is this, he picked it up and it really, | 0:04:07 | 0:04:12 | |
really did throw me, I was so scared. | 0:04:12 | 0:04:16 | |
For a very long time, I did not go to the town by myself. | 0:04:16 | 0:04:26 | |
And because I stopped, even now, I hardly, hardly ever go, | 0:04:28 | 0:04:31 | |
maybe twice a year. | 0:04:31 | 0:04:32 | |
It brought this fear in me and for a while, | 0:04:32 | 0:04:34 | |
I avoided it and then I got used to not going out so much. | 0:04:34 | 0:04:38 | |
But hearing that story, to me, it sounds like he violated you, | 0:04:38 | 0:04:40 | |
that's how I respond to that and for me, I think it is just | 0:04:40 | 0:04:46 | |
as important a crime as being attacked, punched | 0:04:46 | 0:04:47 | |
and whatever else. | 0:04:47 | 0:04:53 | |
You know, it was not expected, it was so unexpected. | 0:04:53 | 0:04:55 | |
Jahera didn't report it as she thought the police | 0:04:55 | 0:04:58 | |
would see it as trivial. | 0:04:58 | 0:05:02 | |
She has since learned to drive to avoid walking to places. | 0:05:02 | 0:05:05 | |
But even this is causing problems. | 0:05:05 | 0:05:12 | |
Say like, if I'm driving somewhere, you know, I do get abuse. | 0:05:12 | 0:05:14 | |
Sometimes I ignore it, sometimes it makes me cross and I do | 0:05:14 | 0:05:17 | |
open a window and I do shout back at them. | 0:05:17 | 0:05:20 | |
Because it is just so frustrating, it does frustrate you and I am | 0:05:20 | 0:05:23 | |
only human, you know? | 0:05:23 | 0:05:24 | |
As we chat, it becomes clear that this seems | 0:05:24 | 0:05:26 | |
to happen all the time. | 0:05:26 | 0:05:28 | |
So, Jahera, sorry... | 0:05:28 | 0:05:31 | |
Until we spoke just now, you are essentially telling me that | 0:05:31 | 0:05:34 | |
you didn't realise how much animosity you have come up | 0:05:34 | 0:05:37 | |
against wearing what you wear? | 0:05:37 | 0:05:40 | |
Yes, it seems like I am finding out myself. | 0:05:40 | 0:05:43 | |
Today? | 0:05:43 | 0:05:44 | |
Yes. | 0:05:44 | 0:05:46 | |
Because, you know, I haven't really spoken about it to anyone. | 0:05:46 | 0:05:51 | |
Like Jahera, Nishrat also didn't report what happened | 0:05:52 | 0:05:56 | |
to her to the police, but she has decided to give wearing | 0:05:56 | 0:05:59 | |
the niqab another try. | 0:05:59 | 0:06:01 | |
This time, she's going to ask shoppers in Luton | 0:06:01 | 0:06:03 | |
what they think of her dress. | 0:06:03 | 0:06:10 | |
It may help make her mind up. | 0:06:10 | 0:06:12 | |
Can I ask you what you think of this attire? | 0:06:12 | 0:06:15 | |
I don't agree with it. | 0:06:15 | 0:06:16 | |
OK. | 0:06:16 | 0:06:17 | |
Hi... | 0:06:17 | 0:06:18 | |
Oh, right. | 0:06:18 | 0:06:19 | |
SHE LAUGHS | 0:06:19 | 0:06:21 | |
Oh, God. | 0:06:21 | 0:06:22 | |
Can I ask you what you think of the niqab, what I wearing? | 0:06:23 | 0:06:28 | |
Can I ask you what you think of the niqab, what I'm wearing? | 0:06:28 | 0:06:31 | |
What you think of it? | 0:06:31 | 0:06:32 | |
It looks all right. | 0:06:32 | 0:06:33 | |
Really? | 0:06:33 | 0:06:34 | |
Because a lot of people hate on this. | 0:06:34 | 0:06:36 | |
So I want to know if I should wear this in the future or not? | 0:06:36 | 0:06:40 | |
Is this the right decision for me? | 0:06:40 | 0:06:41 | |
You don't want to hide your face, do you? | 0:06:41 | 0:06:43 | |
Huh? | 0:06:43 | 0:06:44 | |
You don't want to hide your face, do you? | 0:06:44 | 0:06:47 | |
Really. | 0:06:47 | 0:06:49 | |
Because what you're doing there, you're hiding your face. | 0:06:49 | 0:06:51 | |
I'm hiding my face? | 0:06:51 | 0:06:54 | |
What, I would be better like this? | 0:06:54 | 0:06:56 | |
Would I be better like this? | 0:06:56 | 0:07:03 | |
Course you would. | 0:07:03 | 0:07:03 | |
Hi, Nishrat. | 0:07:03 | 0:07:04 | |
How was that? | 0:07:04 | 0:07:05 | |
What were people's reactions like? | 0:07:05 | 0:07:07 | |
It was mixed. | 0:07:07 | 0:07:08 | |
It was mixed emotions. | 0:07:08 | 0:07:09 | |
Some people were OK and they were respectable, | 0:07:09 | 0:07:15 | |
Some people were OK and they were respectful, | 0:07:15 | 0:07:16 | |
but some people wouldn't even look me in the eye and wouldn't | 0:07:16 | 0:07:19 | |
engage with me at all, they just walked away, really rude. | 0:07:19 | 0:07:22 | |
Today, Daniel McHugh does his usual round of community policing. | 0:07:22 | 0:07:24 | |
Very good policing, excellent. | 0:07:24 | 0:07:25 | |
He's well-known across this part of Luton and sometimes | 0:07:25 | 0:07:29 | |
work with Rahana Faizal, who campaigns for women's rights. | 0:07:29 | 0:07:32 | |
They both deal with hate crime complaints. | 0:07:32 | 0:07:35 | |
Their focus is to get more Muslim women like Nishrat | 0:07:35 | 0:07:39 | |
and Jahera to report abuse. | 0:07:39 | 0:07:48 | |
It so important to report. | 0:07:48 | 0:07:49 | |
I think it's become so normalised for some women. | 0:07:49 | 0:07:51 | |
It's almost accepted. | 0:07:51 | 0:07:52 | |
Although hate crime conviction rates are going up, this isn't the case | 0:07:52 | 0:07:55 | |
for abuse against Muslim women. | 0:07:55 | 0:07:57 | |
Obviously, it's important to report these hate crimes, | 0:07:57 | 0:08:00 | |
but then once they are reported, are they ever brought to court, | 0:08:00 | 0:08:05 | |
are people ever convicted of a hate crime? | 0:08:05 | 0:08:07 | |
What happens next? | 0:08:07 | 0:08:08 | |
Well, the conviction rate for Bedfordshire | 0:08:08 | 0:08:10 | |
police is very high. | 0:08:10 | 0:08:10 | |
The people that report a hate crime, they went to court, 88% was how big | 0:08:10 | 0:08:14 | |
the conviction rate was, so it is almost nine | 0:08:14 | 0:08:17 | |
out of every ten. | 0:08:17 | 0:08:20 | |
We are talking about Islamophobia in particular and is that targeted? | 0:08:20 | 0:08:25 | |
They are hard to prove, as well, because often somebody | 0:08:25 | 0:08:32 | |
is shouted at in the street, a scarf taken off, so it is not | 0:08:32 | 0:08:35 | |
necessarily things that have been seen and when I speak to women, | 0:08:35 | 0:08:38 | |
I acknowledge that it's possible that this will never go to court. | 0:08:38 | 0:08:41 | |
But there is again a narrative saying that Islamophobia isn't real | 0:08:41 | 0:08:45 | |
and this is not happening. | 0:08:45 | 0:08:47 | |
What I've realised from my time here is that reporting hate crime | 0:08:47 | 0:08:50 | |
is important if we want to stop it from happening in the future, | 0:08:50 | 0:08:53 | |
but what's also important is raising awareness of Islamophobia, | 0:08:53 | 0:08:56 | |
because that is what will change people's attitudes. | 0:08:56 | 0:09:01 | |
The world is full of different people, different ethnicity | 0:09:01 | 0:09:04 | |
and different religious people. | 0:09:04 | 0:09:06 | |
I mean, my outfit shows that I'm a Muslim and you should | 0:09:06 | 0:09:10 | |
respect me for who I am. | 0:09:10 | 0:09:13 | |
As for Nishrat, she is still deciding whether to cover her hair | 0:09:13 | 0:09:18 | |
and face and whether she feels safe to do so. | 0:09:18 | 0:09:21 | |
At the end of the day, the niqab is just clothes, | 0:09:21 | 0:09:25 | |
is just a piece of cloth. | 0:09:25 | 0:09:27 | |
It may define you, who you are, but it shouldn't give the people | 0:09:27 | 0:09:32 | |
the chance to define you as something like | 0:09:32 | 0:09:37 | |
you are worthless, like you are not worth it. | 0:09:37 | 0:09:41 | |
Well, look, if that story struck a chord with you or you feel | 0:09:44 | 0:09:49 | |
there's something we should be really doing on the programme, | 0:09:49 | 0:09:51 | |
get in touch with me at Twitter or send me an e-mail. | 0:09:51 | 0:09:55 | |
You are watching Inside Out for the East of England here on BBC One. | 0:09:56 | 0:10:00 | |
Later on, we are with the experts unravelling and art mystery. | 0:10:00 | 0:10:03 | |
Later on, we are with the experts unravelling an art mystery. | 0:10:03 | 0:10:05 | |
There comes a time when some of us may have to make the difficult | 0:10:12 | 0:10:17 | |
decision about choosing a care home for say, Mum, | 0:10:17 | 0:10:19 | |
Dad, or even a partner. | 0:10:19 | 0:10:20 | |
But what if you want to look at that person yourself, | 0:10:20 | 0:10:25 | |
But what if you want to look after that person yourself, | 0:10:25 | 0:10:28 | |
your way, even in your home? | 0:10:28 | 0:10:30 | |
Jo Taylor has been to seek BBC radio presenter Sue Marchant, who decided | 0:10:30 | 0:10:33 | |
Jo Taylor has been to see BBC radio presenter Sue Marchant, who decided | 0:10:33 | 0:10:36 | |
to sort her mum's care herself. | 0:10:36 | 0:10:37 | |
She's found it difficult but also very rewarding. | 0:10:37 | 0:10:39 | |
The cosmic camper is here, 30th anniversary of Ely Folk Festival. | 0:10:39 | 0:10:41 | |
Sue Marchant is a busy woman, she's out and about covering folk | 0:10:42 | 0:10:45 | |
festivals and is a presenter on BBC radio Cambridgeshire. | 0:10:45 | 0:10:51 | |
And at the end of her day, she's caring for her | 0:10:51 | 0:10:53 | |
90-year-old mum Eleanor. | 0:10:53 | 0:10:56 | |
Hello. | 0:10:56 | 0:10:58 | |
Sue made the decision to move Eleanor in with her two years ago. | 0:10:58 | 0:11:04 | |
I daren't say this, but I did feel sometimes, | 0:11:04 | 0:11:06 | |
what is the point of living, you know? | 0:11:06 | 0:11:08 | |
But then, while there is life, there's always hope, | 0:11:08 | 0:11:11 | |
isn't there and that sensible thing always comes back to me, | 0:11:11 | 0:11:16 | |
do you know what I mean? | 0:11:16 | 0:11:21 | |
When Sue's father was dying from cancer, she promised him | 0:11:21 | 0:11:26 | |
Elinor wouldn't be left alone. | 0:11:26 | 0:11:27 | |
And I held his hand and just said, you know, look, dad, | 0:11:27 | 0:11:30 | |
And I held his hand and just said, you know, look, Dad, | 0:11:30 | 0:11:33 | |
don't worry, I'll look after mum and that is something | 0:11:33 | 0:11:35 | |
don't worry, I'll look after Mum and that is something | 0:11:35 | 0:11:38 | |
always stuck with me, so that's what I'm doing. | 0:11:38 | 0:11:48 | |
Sue's on a mission to provide care that really is caring. | 0:11:49 | 0:11:51 | |
It's about lifting her mum's spirits as well as looking | 0:11:51 | 0:11:54 | |
after her physical needs are particularly as Elinor needs | 0:11:54 | 0:11:56 | |
to pay for her care, so why shouldn't it be | 0:11:56 | 0:11:58 | |
exactly what she wants? | 0:11:58 | 0:11:59 | |
So Sue is now taking matters in hand and designing a bespoke care | 0:11:59 | 0:12:02 | |
package for her mum. | 0:12:02 | 0:12:03 | |
Hello, there, I'm just enquiring about care... | 0:12:03 | 0:12:05 | |
She phones around the agencies. | 0:12:05 | 0:12:06 | |
?20 in the week and 22 at the weekends, but it | 0:12:06 | 0:12:11 | |
would have to be, what, three one-hour calls or three | 0:12:11 | 0:12:13 | |
hours at a time? | 0:12:13 | 0:12:16 | |
One of them can only do a three-hour call at ?20 per hour | 0:12:16 | 0:12:18 | |
because of travelling time. | 0:12:18 | 0:12:20 | |
That will mean ?60 a call and Sue needs at least two a day. | 0:12:20 | 0:12:23 | |
That's unbelievable. | 0:12:23 | 0:12:25 | |
Right, let's try another one. | 0:12:25 | 0:12:29 | |
Some of the agencies are so expensive, she looks | 0:12:29 | 0:12:32 | |
at hiring an independent care. | 0:12:32 | 0:12:33 | |
at hiring an independent carer. | 0:12:33 | 0:12:35 | |
Her neighbour works as one but he is fully booked. | 0:12:35 | 0:12:37 | |
He is willing to give advice, though. | 0:12:37 | 0:12:39 | |
What about these checks, then? | 0:12:39 | 0:12:40 | |
Would they already have that? | 0:12:40 | 0:12:42 | |
Do you do yours annually or would I have to do that? | 0:12:42 | 0:12:45 | |
It is the employer's responsibility to get the checks done. | 0:12:45 | 0:12:47 | |
Sue will have to take on all the admin of an employer, such | 0:12:47 | 0:12:51 | |
as insurance or criminal checks. | 0:12:51 | 0:12:53 | |
Simon spent eight years working in a care home so he knows | 0:12:53 | 0:12:56 | |
all about paperwork, but not any more. | 0:12:56 | 0:12:59 | |
I was able to get rid of a lot of the administration, | 0:12:59 | 0:13:02 | |
the bureaucracy and I was able to just focus on my clients | 0:13:02 | 0:13:05 | |
and the family, 100% of the time from when I started | 0:13:05 | 0:13:08 | |
to when I finished. | 0:13:08 | 0:13:10 | |
And that kind of rekindled my kind of love for caring, | 0:13:10 | 0:13:13 | |
because I was actually caring, rather than being bogged down. | 0:13:13 | 0:13:17 | |
Having done the research, it's decision time. | 0:13:17 | 0:13:19 | |
Sue has worked out costings for all the options to come up | 0:13:19 | 0:13:22 | |
with a monthly figure. | 0:13:22 | 0:13:24 | |
Council? | 0:13:24 | 0:13:25 | |
The council was ?925.10p. | 0:13:25 | 0:13:29 | |
Next is agency. | 0:13:30 | 0:13:33 | |
And this is the one that only does three hour calls. | 0:13:33 | 0:13:36 | |
That comes to ?3360 a month. | 0:13:36 | 0:13:39 | |
Blimey, OKed. | 0:13:39 | 0:13:41 | |
Blimey, OK. | 0:13:41 | 0:13:42 | |
And personal assistant. | 0:13:42 | 0:13:44 | |
This is just for the hours Sue needs but some will only | 0:13:47 | 0:13:49 | |
want to be full-time. | 0:13:49 | 0:13:51 | |
And then we've got, finally, care home. | 0:13:51 | 0:13:53 | |
?3600 a month. | 0:13:53 | 0:13:56 | |
Your package? | 0:13:57 | 0:13:58 | |
My package... | 0:13:58 | 0:14:00 | |
So what is Sue's package? | 0:14:08 | 0:14:12 | |
She's found an agency that actually does hour-long visits | 0:14:12 | 0:14:13 | |
and because Sue is designing this | 0:14:13 | 0:14:15 | |
herself, she also built in some social calls from the Age UK warden | 0:14:15 | 0:14:18 | |
and a friend. | 0:14:18 | 0:14:19 | |
It's time to put the care package into action and Sue is keeping | 0:14:19 | 0:14:22 | |
a diary of how it's going. | 0:14:22 | 0:14:24 | |
At the end of the first week, it seems to have gone quite well. | 0:14:24 | 0:14:27 | |
The morning carer who has been coming is an absolute delight, | 0:14:27 | 0:14:30 | |
very caring. | 0:14:30 | 0:14:31 | |
When the bed was in a state, she had taken the sheet up and put | 0:14:31 | 0:14:35 | |
it in cold water to soak. | 0:14:35 | 0:14:36 | |
What did you have for your tea? | 0:14:36 | 0:14:38 | |
So far, so good, but there's still the odd niggle. | 0:14:38 | 0:14:41 | |
You've got quite a lot of potato on your plate. | 0:14:41 | 0:14:44 | |
That's what she's given me. | 0:14:44 | 0:14:47 | |
Having checked in the bin, she's given you a whole pack. | 0:14:47 | 0:14:50 | |
Of mashed potato. | 0:14:50 | 0:14:51 | |
You know, that normally does you two portions, doesn't it, | 0:14:51 | 0:14:54 | |
a whole pack of potato? | 0:14:54 | 0:14:55 | |
So that's a waste. | 0:14:55 | 0:14:58 | |
But on the whole, the care is good. | 0:14:58 | 0:15:00 | |
Because Sue is managing her mum's care, if her mum's health changes, | 0:15:00 | 0:15:04 | |
it's down to Sue to arrange any changes in her care package. | 0:15:04 | 0:15:07 | |
Suddenly, Elinor is taken to hospital. | 0:15:09 | 0:15:12 | |
My mum was brought in last night, Elinor Walker. | 0:15:12 | 0:15:15 | |
Elinor has severe stomach ache and got problems. | 0:15:15 | 0:15:19 | |
Elinor has severe stomach ache and gut problems. | 0:15:19 | 0:15:21 | |
Sue wants to find out when she can bring her home. | 0:15:21 | 0:15:23 | |
No, she's not OK on her own, she has to have care, | 0:15:23 | 0:15:26 | |
which is a package that I've put together. | 0:15:26 | 0:15:28 | |
Addenbrooke's Hospital in Cambridgeshire | 0:15:28 | 0:15:29 | |
is keen to discharge her. | 0:15:29 | 0:15:31 | |
Well, I would need to be here for her to come home, | 0:15:31 | 0:15:34 | |
quite honestly. | 0:15:34 | 0:15:35 | |
She hasn't got a coat or anything, she's only | 0:15:35 | 0:15:37 | |
got her dressing gown and stuff. | 0:15:37 | 0:15:39 | |
Thank you very much, bye-bye. | 0:15:39 | 0:15:40 | |
What's that? | 0:15:40 | 0:15:41 | |
They are going to send her home on her own? | 0:15:41 | 0:15:43 | |
Yeah. | 0:15:43 | 0:15:45 | |
Without you being here? | 0:15:45 | 0:15:46 | |
Yeah. | 0:15:46 | 0:15:47 | |
Are you kidding me? | 0:15:47 | 0:15:49 | |
Is there any problem with her coming home, | 0:15:49 | 0:15:54 | |
will she be able to get in? | 0:15:54 | 0:15:56 | |
I know. | 0:15:56 | 0:15:57 | |
There's no way... | 0:15:57 | 0:15:58 | |
Sorry, how old is your mum again? | 0:15:58 | 0:15:59 | |
90. | 0:15:59 | 0:16:01 | |
Is that them? | 0:16:01 | 0:16:02 | |
A few minutes later, the hospital called back. | 0:16:02 | 0:16:04 | |
Hello. | 0:16:04 | 0:16:06 | |
A rectal suppository, right. | 0:16:06 | 0:16:07 | |
Oh, blimey. | 0:16:07 | 0:16:09 | |
Elinor's medical needs are changing, which means Sue's care package | 0:16:09 | 0:16:12 | |
will have to change too. | 0:16:12 | 0:16:14 | |
Suppository is where you put it at the other end | 0:16:14 | 0:16:19 | |
Suppository is where you put it up the other end | 0:16:19 | 0:16:21 | |
and that is something to help reduce inflammation in the gut. | 0:16:21 | 0:16:24 | |
So that's quite a process, to do that. | 0:16:24 | 0:16:26 | |
Are you going to be doing that? | 0:16:26 | 0:16:27 | |
Well, I think it looks like it, doesn't it? | 0:16:27 | 0:16:30 | |
Because I don't see how the carers can. | 0:16:30 | 0:16:32 | |
And she's right, the carers tell how they aren't qualified to do it, | 0:16:32 | 0:16:35 | |
And she's right, the carers tell her they aren't qualified to do it, | 0:16:35 | 0:16:38 | |
so Sue needs the hospital to assure her that a district | 0:16:38 | 0:16:41 | |
nurse will come out. | 0:16:41 | 0:16:42 | |
She checks when she goes to visit her mum that evening. | 0:16:42 | 0:16:45 | |
She said, oh, it will probably be the district nurses that will come | 0:16:45 | 0:16:48 | |
in and I said I am not going to take mum home until I know | 0:16:48 | 0:16:52 | |
in and I said I am not going to take Mum home until I know | 0:16:52 | 0:16:55 | |
everything is in place. | 0:16:55 | 0:16:56 | |
The next morning and there's good news. | 0:16:56 | 0:16:58 | |
Sue's mum is coming home. | 0:16:58 | 0:16:59 | |
She's got to reorganise the care and fingers crossed | 0:16:59 | 0:17:01 | |
the district nurse will turn up. | 0:17:01 | 0:17:02 | |
She gets on the phone again. | 0:17:02 | 0:17:04 | |
It's about my mum, Elinor Walker. | 0:17:04 | 0:17:06 | |
And what I need to know from you guys is are you able to put | 0:17:06 | 0:17:10 | |
care in place again? | 0:17:10 | 0:17:12 | |
You are? | 0:17:12 | 0:17:15 | |
Addenbrooke's told us that the majority of patients | 0:17:16 | 0:17:18 | |
want to be at home as soon as possible, so they work | 0:17:18 | 0:17:23 | |
on a patient's discharge from the moment they are admitted | 0:17:23 | 0:17:26 | |
and that it should be explained clearly by a specialist team | 0:17:26 | 0:17:29 | |
what will be provided by the NHS and that where possible, | 0:17:29 | 0:17:32 | |
they use volunteer schemes to make sure elderly patients have someone | 0:17:32 | 0:17:34 | |
to welcome them home. | 0:17:34 | 0:17:42 | |
Managing this care for her mum is clearly wearing Sue down, | 0:17:42 | 0:17:45 | |
so what would help her? | 0:17:45 | 0:17:46 | |
I'd like to have had someone to talk to out of hours, | 0:17:46 | 0:17:49 | |
because I was working. | 0:17:49 | 0:17:50 | |
Who is accountable, you know? | 0:17:50 | 0:17:51 | |
Do you speak to the agency? | 0:17:51 | 0:17:52 | |
Do you speak to social services? | 0:17:52 | 0:17:54 | |
I was going around in so many circles, it was so frustrating. | 0:17:54 | 0:17:57 | |
Even though Elinor has to pay for care, it was still managed | 0:17:57 | 0:18:00 | |
by the local authority before Sue decided to take over. | 0:18:00 | 0:18:05 | |
Cambridgeshire County Council says it's made improvements since then. | 0:18:05 | 0:18:11 | |
In a situation where it's complex, a lot of people, what they actually | 0:18:11 | 0:18:14 | |
need is a conversation with someone who is knowledgeable | 0:18:14 | 0:18:16 | |
and so the idea that they can go through to our contact centre, | 0:18:16 | 0:18:19 | |
who can pass them onto a specialist team who can give them direct | 0:18:19 | 0:18:23 | |
advice, this is a service we've had in place for about six months | 0:18:23 | 0:18:26 | |
and the feedback we're getting is that it makes a real difference. | 0:18:26 | 0:18:28 | |
But the council is facing a planned budget cut | 0:18:28 | 0:18:31 | |
of ?6 million to care next year. | 0:18:31 | 0:18:37 | |
This is our biggest challenge, probably, is have we got enough care | 0:18:37 | 0:18:40 | |
to meet the needs and therefore it is always a constant | 0:18:40 | 0:18:42 | |
balancing act, really. | 0:18:42 | 0:18:44 | |
It's about three months since Sue started her mission to provide care | 0:18:44 | 0:18:46 | |
that really is caring. | 0:18:46 | 0:18:48 | |
So is it working? | 0:18:48 | 0:18:51 | |
The carers I talk more to | 0:18:51 | 0:18:56 | |
and I'm getting my voice back | 0:18:56 | 0:19:02 | |
know what I mean? | 0:19:02 | 0:19:03 | |
I'm looking upon them as friends more than anything, you know? | 0:19:03 | 0:19:05 | |
Elinor is now back from hospital and feeling much happier. | 0:19:05 | 0:19:08 | |
To cheer her up, Sue has got a new kitten. | 0:19:08 | 0:19:11 | |
I suppose in a way, I'm her mother now. | 0:19:11 | 0:19:13 | |
I've taken the place of her own mother. | 0:19:13 | 0:19:15 | |
New York, Stockholm, Norwich. | 0:19:21 | 0:19:25 | |
Three cities, wildly different, but now connected by an incredible | 0:19:25 | 0:19:28 | |
story from the art world. | 0:19:28 | 0:19:31 | |
Inside Out was given exclusive access to the Norfolk section | 0:19:31 | 0:19:34 | |
of a trail art experts hope will need them to solve the mystery | 0:19:34 | 0:19:40 | |
of a trail art experts hope will lead them to solve the mystery | 0:19:40 | 0:19:43 | |
of the missing Magritte. | 0:19:43 | 0:19:49 | |
It's Autumn 2016 and the couriers are at Norwich Castle Museum | 0:19:49 | 0:19:52 | |
to collect a painting by the 20th century Belgian | 0:19:52 | 0:19:54 | |
surrealist Ren Magritte. | 0:19:54 | 0:19:56 | |
Hidden in the crate, the picture is bound | 0:19:56 | 0:19:58 | |
for the Pompidou Centre in Paris. | 0:19:58 | 0:20:00 | |
It will form part of a major exhibition of an artist whose work | 0:20:00 | 0:20:03 | |
sells for as much as Picasso's. | 0:20:03 | 0:20:07 | |
This particular painting, The Human Condition, | 0:20:10 | 0:20:13 | |
has sent shock waves through the art world. | 0:20:13 | 0:20:17 | |
Beneath its surface, a section of a missing | 0:20:19 | 0:20:22 | |
masterpiece has been found. | 0:20:22 | 0:20:26 | |
And the discovery has led this man to jump on a plane | 0:20:26 | 0:20:29 | |
from New York to see for himself. | 0:20:29 | 0:20:33 | |
I think it looks beautiful, the surface is really, | 0:20:33 | 0:20:35 | |
really saturated, kind of nice, and you see all the nuances | 0:20:35 | 0:20:42 | |
of the brushwork, particularly in the flames. | 0:20:42 | 0:20:46 | |
Now that we know it's there, when you've got a bit | 0:20:46 | 0:20:50 | |
of light on it, you can just about see one of the legs... | 0:20:50 | 0:20:55 | |
The Human Condition is painted over one quarter of another Magritte | 0:20:56 | 0:21:01 | |
called The Enchanted Pose. | 0:21:01 | 0:21:06 | |
There is one in Norwich that we know in the collection, | 0:21:06 | 0:21:09 | |
The Human Condition, and now it contains part | 0:21:09 | 0:21:12 | |
of another Magritte, so it is made all the more special. | 0:21:12 | 0:21:15 | |
But how was the hidden quarter detected? | 0:21:15 | 0:21:19 | |
When an artwork is prepared for loan, it is standard | 0:21:21 | 0:21:24 | |
practice for it to be looked at by a conservator to see | 0:21:24 | 0:21:28 | |
whether it needs any restoration work or cleaning. | 0:21:28 | 0:21:30 | |
It was then that the discovery was made. | 0:21:30 | 0:21:32 | |
The Human Condition was sent here to the Hamilton Kerr Institute | 0:21:32 | 0:21:35 | |
in Cambridge to be inspected by specialist conservator | 0:21:35 | 0:21:38 | |
Alice Tavares da Silva. | 0:21:39 | 0:21:41 | |
The first thing I did was to just look at it generally, | 0:21:41 | 0:21:44 | |
take it out of its frame. | 0:21:44 | 0:21:46 | |
In this case, it's a canvas painting, so I was particularly | 0:21:46 | 0:21:50 | |
concerned with looking at the strength of the canvas fabric | 0:21:50 | 0:21:53 | |
and whether it is still robust enough to be moved. | 0:21:53 | 0:22:00 | |
And then also we look at how it looks, what its appearance looks | 0:22:00 | 0:22:07 | |
like, if it looks how it is meant to be, how the artist intended it | 0:22:07 | 0:22:10 | |
to look as much as possible. | 0:22:10 | 0:22:12 | |
Alice, what caught your eye to make you think there | 0:22:12 | 0:22:14 | |
was something else there? | 0:22:14 | 0:22:15 | |
When I turned the painting over and I saw the edges, | 0:22:15 | 0:22:18 | |
there was definitely paint on the outer edges of the canvas | 0:22:18 | 0:22:20 | |
and it was quite obvious, there was so much colour | 0:22:20 | 0:22:23 | |
and composition, that Magritte had reused a canvas, | 0:22:23 | 0:22:29 | |
an elder composition, to paint over. | 0:22:29 | 0:22:30 | |
Alice was curious to discover if there were other paintings | 0:22:30 | 0:22:32 | |
by Magritte where the edges didn't match with the picture itself. | 0:22:32 | 0:22:35 | |
I went and researched a bit more and quickly came | 0:22:35 | 0:22:40 | |
across the discovery that had been done previously in New York at MOMA. | 0:22:40 | 0:22:50 | |
In 2013, New York's Museum of Modern Art, or MOMA, | 0:22:50 | 0:22:52 | |
was preparing for its own Magritte retrospective when examining | 0:22:52 | 0:22:59 | |
one of the Magrittes owned by the gallery, | 0:22:59 | 0:23:05 | |
entitled The Portrait, they noticed the edges did not | 0:23:05 | 0:23:07 | |
correspond to the painting on top. | 0:23:07 | 0:23:08 | |
X-rays of the portrait were taken and revealed the hidden picture | 0:23:08 | 0:23:11 | |
was part of the lost composition The Enchanted Pose. | 0:23:11 | 0:23:13 | |
Painted in 1927, the painting was exhibited the same year. | 0:23:13 | 0:23:17 | |
Magritte said of the exhibition, | 0:23:17 | 0:23:22 | |
"It was the first to represent truly what I consider | 0:23:22 | 0:23:25 | |
"valuable in my work." | 0:23:25 | 0:23:26 | |
But mysteriously, The Enchanted Pose disappeared without trace. | 0:23:26 | 0:23:28 | |
Only a black-and-white photo was left. | 0:23:28 | 0:23:33 | |
By matching the photo against the x-ray, the team at MoMA | 0:23:33 | 0:23:36 | |
was able to confirm the portrait was painted over the upper left | 0:23:36 | 0:23:46 | |
Events moved quickly. | 0:23:52 | 0:23:53 | |
Another painting destined for the exhibition in New York, | 0:23:53 | 0:23:56 | |
once unframed, also revealed painted edges. | 0:23:56 | 0:23:57 | |
Called The Red Model, | 0:23:57 | 0:23:58 | |
it came from the Moderna Museat in Stockholm. | 0:23:58 | 0:24:00 | |
They had the experts in Stockholm to quickly look at it and look | 0:24:00 | 0:24:03 | |
at the edges and they also realised that they had another section | 0:24:03 | 0:24:06 | |
of The Enchanted Pose. | 0:24:06 | 0:24:08 | |
Once x-rayed, it was clear the second section was from | 0:24:08 | 0:24:12 | |
the lower-left quarter of the painting. | 0:24:12 | 0:24:16 | |
Three years after the first discoveries were made, the third | 0:24:16 | 0:24:19 | |
quarter was found in Norwich. | 0:24:19 | 0:24:23 | |
And it's time for Alice to show me the evidence. | 0:24:23 | 0:24:25 | |
There it is. | 0:24:28 | 0:24:30 | |
Yes, this is the x-ray image of The Human Condition | 0:24:30 | 0:24:39 | |
and what you're looking at, you can see the structure, | 0:24:39 | 0:24:42 | |
the wooden structure | 0:24:42 | 0:24:43 | |
that holds the canvas, with tacks. | 0:24:43 | 0:24:44 | |
You can see part of the composition, so you can make out the fire | 0:24:44 | 0:24:47 | |
here and the opening of the cave. | 0:24:47 | 0:24:49 | |
But then, can you see there's other shapes that you can make out? | 0:24:49 | 0:24:53 | |
Which are actually upside down. | 0:24:53 | 0:24:59 | |
So we have to rotate this image to be able to see the fragment | 0:24:59 | 0:25:02 | |
of The Enchanted Pose. | 0:25:02 | 0:25:03 | |
You can make out really well the hand and arm and the legs | 0:25:03 | 0:25:10 | |
of the standing figure, standing next to the pillar, | 0:25:10 | 0:25:12 | |
and of course, that then relates to this quarter | 0:25:12 | 0:25:14 | |
of The Enchanted Pose, so this is the whole composition | 0:25:14 | 0:25:17 | |
of The Enchanted Poseand you can see that this stunning | 0:25:17 | 0:25:24 | |
figure matches this one. | 0:25:24 | 0:25:25 | |
Oh, my word. | 0:25:25 | 0:25:26 | |
It is like something out of a movie, isn't it? | 0:25:26 | 0:25:29 | |
Yes. | 0:25:29 | 0:25:30 | |
And found by you. | 0:25:30 | 0:25:31 | |
Yes. | 0:25:31 | 0:25:32 | |
Yes, to be the person to have discovered it is rather exciting. | 0:25:32 | 0:25:34 | |
It doesn't happen very day. | 0:25:34 | 0:25:36 | |
It doesn't happen every day. | 0:25:36 | 0:25:37 | |
The man who discovered the first quarter of the hidden painting, | 0:25:37 | 0:25:40 | |
MoMA conservator Michael Duffy, just had to get on a plane and get | 0:25:40 | 0:25:43 | |
to Norwich to see the picture before it was put back in its frame. | 0:25:43 | 0:25:49 | |
I could immediately see which bit of composition it had to come | 0:25:49 | 0:25:52 | |
from and then from that, it was very easy to then follow | 0:25:52 | 0:25:56 | |
that this must be the arm for modelling and this | 0:25:56 | 0:25:59 | |
was the modelling of the torso and going that way, | 0:25:59 | 0:26:02 | |
you have the shadow that the figure casts on the wall and | 0:26:02 | 0:26:04 | |
then that is the wall. | 0:26:04 | 0:26:06 | |
There is much more of the original composition visible in your painting | 0:26:06 | 0:26:11 | |
than in the MoMA painting or the Stockholm painting. | 0:26:11 | 0:26:19 | |
We know from this colour here that the background is not brown, | 0:26:19 | 0:26:21 | |
as I initially thought, but as you know, we only really | 0:26:21 | 0:26:24 | |
discovered the left part. | 0:26:24 | 0:26:27 | |
And now this gives us clues, obviously, to the rest | 0:26:27 | 0:26:30 | |
of the composition, which is really excellent. | 0:26:30 | 0:26:33 | |
Now we have further clues, thanks to the colleagues here in Norwich, | 0:26:33 | 0:26:39 | |
about the original colours of the underlying composition. | 0:26:39 | 0:26:42 | |
That's one of the more significant findings. | 0:26:42 | 0:26:46 | |
A painting that lay hidden for more than 80 years has | 0:26:46 | 0:26:49 | |
finally been unmasked. | 0:26:49 | 0:26:50 | |
Well, nearly. | 0:26:50 | 0:26:51 | |
So where do we look for the last missing piece of the puzzle? | 0:26:51 | 0:26:55 | |
We have some clues. | 0:26:55 | 0:26:56 | |
The other three were painted in 1935. | 0:26:56 | 0:26:58 | |
We know that the fourth quarter is pretty much likely to be the same | 0:26:58 | 0:27:01 | |
size as the other three and the edges were all painted, | 0:27:01 | 0:27:05 | |
none of them were white. | 0:27:05 | 0:27:06 | |
The others were found in New York, Stockholm and here in Norwich. | 0:27:06 | 0:27:10 | |
So where is that final piece of the painting? | 0:27:10 | 0:27:14 | |
It could be anywhere. | 0:27:14 | 0:27:16 | |
It could be in a private collection across the world, | 0:27:16 | 0:27:20 | |
across the globe, in a museum, we have this one in a museum, | 0:27:20 | 0:27:29 | |
we just hadn't looked in the right way to find this section | 0:27:31 | 0:27:34 | |
of The Enchanted Pose, it could be in any collection, | 0:27:34 | 0:27:36 | |
so hopefully a lot of publicity now with this latest discovery | 0:27:36 | 0:27:39 | |
will maybe alert people and remind people to look. | 0:27:39 | 0:27:42 | |
This is one part of the story I really love. | 0:27:42 | 0:27:47 | |
Magritte said, "We are part of a world which is itself | 0:27:47 | 0:27:50 | |
a mystery," but perhaps we are on the brink of solving | 0:27:50 | 0:27:53 | |
the mystery of The Enchanted Pose. | 0:27:53 | 0:27:54 | |
And art galleries around the world will be hoping to make a find just | 0:27:54 | 0:27:58 | |
like the one made here in Norwich. | 0:27:58 | 0:28:00 | |
So where is that final missing piece? | 0:28:01 | 0:28:07 | |
What a discovery that would be. | 0:28:07 | 0:28:10 | |
Now, it's 80 years since the first-ever radar station | 0:28:10 | 0:28:13 | |
was officially opened. | 0:28:13 | 0:28:15 | |
But can the historic buildings nestling in the Suffolk | 0:28:15 | 0:28:17 | |
countryside be saved? | 0:28:17 | 0:28:19 | |
Well, that's next week. | 0:28:19 | 0:28:20 | |
In the meantime, you can get in touch with me | 0:28:20 | 0:28:22 | |
on Twitter or e-mail. | 0:28:22 | 0:28:26 | |
But that's it from Cambridge. | 0:28:29 | 0:28:30 | |
I'll see you next week. | 0:28:30 | 0:28:32 | |
Bye-bye. | 0:28:32 | 0:28:34 | |
Also next week, we are on patrol with the police in Essex, | 0:28:34 | 0:28:37 | |
catching people driving under the influence of drugs. | 0:28:37 | 0:28:42 | |
You're under arrest on suspicion of driving with a drug level over | 0:28:42 | 0:28:45 | |
the prescribed limit. | 0:28:45 | 0:28:53 | |
And how one community took over the running of their daycare centre | 0:28:53 | 0:28:56 | |
and it's a big success. | 0:28:56 | 0:28:57 | |
That's next Monday, 7:30pm on BBC One. | 0:28:57 | 0:28:59 | |
Hello, I'm Riz Lateef with your 90-second update. | 0:29:06 | 0:29:11 | |
Hello, I'm Riz Lateef with your 90-second update. | 0:29:11 | 0:29:13 | |
Protests in Downing Street tonight against Donald Trump's travel ban | 0:29:13 | 0:29:15 | |
on several Muslim countries. | 0:29:15 | 0:29:16 |