0:00:02 > 0:00:05I feel I don't want to talk about the past.
0:00:09 > 0:00:11OK. Is it OK?
0:00:11 > 0:00:12Yeah.
0:00:34 > 0:00:37# God is good to me
0:00:37 > 0:00:40# God is good to me
0:00:40 > 0:00:44# He holds my hands and helps me stand
0:00:44 > 0:00:47# God is good to me
0:00:47 > 0:00:51# He hold my hands and help me stand
0:00:51 > 0:00:54# God is good to me. #
0:00:54 > 0:00:58# Ha-ah-ah
0:00:58 > 0:01:01# Hallelujah. #
0:01:17 > 0:01:19Long Headlam.
0:01:27 > 0:01:29Here we go.
0:01:39 > 0:01:44I came upon Byker, really, by chance, in 1968.
0:01:46 > 0:01:49Arrived on top of the hill on a Saturday morning
0:01:49 > 0:01:54and saw the streets full of people, music playing,
0:01:54 > 0:02:00amazing communal atmosphere and I just fell in love with the place.
0:02:01 > 0:02:05I decided I wanted to live there
0:02:05 > 0:02:09and I ended up just walking round knocking on the doors,
0:02:09 > 0:02:15asking if anybody knew of a flat coming vacant and eventually one did.
0:02:15 > 0:02:21So, I moved in and lived in Byker for seven years.
0:02:21 > 0:02:25I started photographing it because I thought it was such an amazing place
0:02:25 > 0:02:27and I wanted to tell everybody.
0:02:27 > 0:02:31And my way of telling things is through photographs.
0:02:41 > 0:02:46I would often just wander around with a camera
0:02:46 > 0:02:48and I would photograph children playing.
0:02:49 > 0:02:51In those days, you could.
0:03:06 > 0:03:12Although I didn't set out to do a long-term documentation of Byker,
0:03:12 > 0:03:14it did become that.
0:03:16 > 0:03:20And I decided to photograph families in their homes.
0:03:23 > 0:03:28By then, of course, I knew my neighbours pretty well, anyway.
0:03:28 > 0:03:29Or they knew me.
0:03:29 > 0:03:33'She comes from Finland, such a beautiful place.
0:03:33 > 0:03:35'Nice and clean.
0:03:35 > 0:03:37'And she chooses to live in Byker!'
0:03:37 > 0:03:40They knew what I was doing in Byker,
0:03:40 > 0:03:45so I wasn't a complete eccentric, any longer.
0:03:45 > 0:03:49'She goes around taking photographs and gives 'em away for nowt!'
0:03:53 > 0:03:57I'm trying to steady your nerves for you a little.
0:03:57 > 0:04:00'But I also felt the women,'
0:04:00 > 0:04:04certainly, took me under their collective wing.
0:04:04 > 0:04:08'But she's alreet. Canny, aye.'
0:04:08 > 0:04:13I think they felt that I was a little bit lost, maybe.
0:04:13 > 0:04:17'Poor little bairn. So far from home.'
0:04:33 > 0:04:34BUZZER
0:04:39 > 0:04:41BUZZER
0:04:45 > 0:04:49What do I do? I can't get in.
0:04:49 > 0:04:53'In this project, it's definitely by the invitation
0:04:53 > 0:04:55'of the person in the picture.'
0:04:57 > 0:04:58Oh, excuse me.
0:04:59 > 0:05:00Thank you.
0:05:07 > 0:05:11'I'm not going in just to be a fly on the wall.
0:05:13 > 0:05:17'But I'm really hoping
0:05:17 > 0:05:21'that the initiative comes from the subject.
0:05:22 > 0:05:26'Of course, that's a horrible word, "subject". That's just saying
0:05:26 > 0:05:29'what I don't want to do, which is to subject anyone to this process.'
0:05:32 > 0:05:3317?!
0:05:33 > 0:05:36'But I would like the relationship to get to the point
0:05:36 > 0:05:39'where I'm invited into their lives,
0:05:39 > 0:05:42'then they offer me whatever it is that they want to offer.'
0:05:42 > 0:05:44- Excuse me.- Uh-huh?
0:05:44 > 0:05:46Do you have any idea where number seven is,
0:05:46 > 0:05:49because it seems to be missing on this floor?
0:05:49 > 0:05:52According to this, you've got a seven here, a seven here
0:05:52 > 0:05:55and a seven here and, obviously, they'll have to look into that, like.
0:05:55 > 0:05:57They've put the wrong thing on.
0:05:57 > 0:06:00- Three number sevens.- Mmm.
0:06:02 > 0:06:03OK. Start again.
0:06:03 > 0:06:06- OK.- Thank you.- No bother.
0:06:11 > 0:06:14- Hello.- Hello. Yeah? She's gone now.
0:06:14 > 0:06:16She's gone now, yes, sorry.
0:06:16 > 0:06:18- Oh, have I missed her?- Hello.
0:06:22 > 0:06:23She's gone.
0:06:53 > 0:06:56When people asked me, "What are you doing it for?",
0:06:56 > 0:06:59I started thinking,
0:06:59 > 0:07:02"Well, maybe I could make a book one day."
0:07:02 > 0:07:07And once I saw that it was beginning to look like
0:07:07 > 0:07:13a documentation of a community in a wider sense, I also began to feel
0:07:13 > 0:07:18I owe it to the people who I have been involving in this project,
0:07:18 > 0:07:21a record of their own community.
0:07:26 > 0:07:29So, I'll show you a little bit about my project.
0:07:29 > 0:07:31Yes, all right.
0:07:31 > 0:07:35- So you know what you're letting yourself in for.- Yes!
0:07:35 > 0:07:37You can always change your mind if you think,
0:07:37 > 0:07:39I don't like what she's doing!
0:07:43 > 0:07:46That was Byker, long before you came here.
0:07:47 > 0:07:49The history, yeah?
0:07:50 > 0:07:51It's changing Byker.
0:07:53 > 0:07:54Really changing.
0:07:57 > 0:08:00That was how the old streets were.
0:08:00 > 0:08:03They used to come down from the hill all the way.
0:08:03 > 0:08:05- Up?- To Newcastle, yes. Yeah.
0:08:05 > 0:08:08They change.
0:08:08 > 0:08:09Yeah!
0:08:22 > 0:08:25Have you had any thoughts about the photo?
0:08:27 > 0:08:30You did talk about praying.
0:08:30 > 0:08:31Yeah.
0:08:31 > 0:08:36And I was wondering whether that's something
0:08:36 > 0:08:40you might want to show us?
0:08:40 > 0:08:45Or...is that too private?
0:08:45 > 0:08:47Or is it something that you...
0:08:47 > 0:08:50- Because religion is obviously very important.- Yes.
0:08:50 > 0:08:53Is there any other way that we could
0:08:53 > 0:08:58show that religion is important to you, in a picture?
0:08:58 > 0:09:01OK, like a Koran.
0:09:01 > 0:09:04- You've got a Koran?- Yes.
0:09:11 > 0:09:14I'm losing the spokes of my
0:09:14 > 0:09:20beautiful, home-made reflector stand here.
0:09:26 > 0:09:28CRACK OF GLASS
0:09:28 > 0:09:29Oh, God!
0:09:31 > 0:09:32It's all right.
0:09:38 > 0:09:40It's like a walking disaster.
0:09:42 > 0:09:44'It doesn't always work out the first time.
0:09:49 > 0:09:52'Sometimes it just doesn't work out at all.
0:09:52 > 0:09:58'But there's not really that many complete failures on my part.'
0:10:04 > 0:10:08I don't know if this is going to work without the missing spoke.'
0:10:18 > 0:10:19LAUGHTER
0:10:19 > 0:10:21CAMERA SHUTTER CLICKS
0:10:24 > 0:10:26They're proper lights.
0:10:26 > 0:10:30Yeah. I think it looks nice with a bit
0:10:30 > 0:10:32of bright light coming from there.
0:10:34 > 0:10:36CAMERA SHUTTER CLICKS
0:10:36 > 0:10:38SHE RECITES FROM KORAN
0:10:50 > 0:10:52It's like singing.
0:10:55 > 0:10:57This is Koran.
0:11:07 > 0:11:13Byker was demolished in order to make way for the new redevelopment.
0:11:15 > 0:11:19All my neighbours, all my friends there, were dispersed.
0:11:27 > 0:11:32'I used to go to the Hare and Hounds pub at the bottom of my street.
0:11:32 > 0:11:36'I remember the first time I went there, there was singing going on'
0:11:36 > 0:11:42and, as soon as I sat down, a drink arrived on my table.
0:11:42 > 0:11:44I didn't know who had ordered it.
0:11:44 > 0:11:47There were just smiling faces round the room.
0:11:47 > 0:11:50Just, you know, my neighbours.
0:11:50 > 0:11:54Just their way of saying hello.
0:12:05 > 0:12:09But one place that has remained is Pam's Hairdressers,
0:12:09 > 0:12:13where women who were moved out of Byker 30 years ago
0:12:13 > 0:12:18still come back to. And where I'm still remembered.
0:12:18 > 0:12:22Sirkka. Sirkka... I say Reeka.
0:12:22 > 0:12:25You're doing very well!
0:12:39 > 0:12:42'My hair's very fine, like a baby hair.
0:12:44 > 0:12:46'Old fashioned.
0:12:46 > 0:12:48'From the '50s it was.
0:12:48 > 0:12:49'I had this hairstyle.
0:12:51 > 0:12:55'So it's a good thing for me Pam's here.
0:12:55 > 0:12:58'She's only one that can do this style.
0:12:58 > 0:13:00'I mean, other ones can't do it.
0:13:00 > 0:13:04'The young ones haven't been taught to do this, you see?'
0:13:06 > 0:13:09- Oh, you can't see, can you, though? - I wish I could.
0:13:13 > 0:13:15Oh, yes.
0:13:17 > 0:13:18Is that right, then?
0:13:20 > 0:13:22So, where you going tonight, then?
0:13:22 > 0:13:24Nowhere. Stopping in.
0:13:46 > 0:13:51I thought that what would be nice, now that the old community has been dispersed,
0:13:51 > 0:13:56I could play a little part in introducing people to each other.
0:13:57 > 0:14:04I would invite people, in a way, to put themselves and their lives into just one picture.
0:14:13 > 0:14:17And then something totally surprising might happen
0:14:17 > 0:14:21that would be completely beyond my imagination.
0:14:27 > 0:14:29You seem a little tired.
0:14:29 > 0:14:32Have you had a tough day?
0:14:32 > 0:14:33So, what do you think?
0:14:33 > 0:14:36It's nice, it's very nice.
0:14:36 > 0:14:38Everything is nice.
0:14:40 > 0:14:41Is nice one.
0:14:42 > 0:14:46Maybe, following on what you were saying last time
0:14:46 > 0:14:49- about your concern for the children.- Yeah.
0:14:49 > 0:14:54You know, how westernised they've become and you would like them
0:14:54 > 0:14:57- to retain some of the values that you have.- Mm-hmm.
0:14:57 > 0:15:01- Yes!- I'm scared for my kids.
0:15:01 > 0:15:04Every day, I saw the kid is coming out with this.
0:15:04 > 0:15:08"Oh, my God. Help my kids, help!"
0:15:08 > 0:15:09I blow for you, OK?
0:15:09 > 0:15:11Especially Byker.
0:15:11 > 0:15:13You sit down smoking,
0:15:13 > 0:15:17drink, talking, the people, "You bastard..."
0:15:17 > 0:15:22Something like that. It's a different culture here.
0:15:22 > 0:15:26- That's nice, lovely light, actually. - Am I gonna get ice cream?
0:15:26 > 0:15:30- Yes, I get you it tomorrow, OK? - Do you want to be in the picture?
0:15:35 > 0:15:38That's OK. That's OK, Maryam.
0:15:38 > 0:15:39That's OK.
0:15:46 > 0:15:48Oh, damn!
0:15:51 > 0:15:54I'm missing all the nice moments.
0:15:54 > 0:15:56BOY SNEEZES
0:15:56 > 0:15:57Bless you.
0:16:04 > 0:16:07I draw inspiration from Renaissance painting.
0:16:09 > 0:16:13There you have tableaux of people's lives
0:16:13 > 0:16:17that are often mostly wealthy people, of course,
0:16:17 > 0:16:21who would commission a portrait that would show their status in society
0:16:21 > 0:16:24and their standing and their wealth
0:16:24 > 0:16:27and their servants or dogs or wives or whatever.
0:16:39 > 0:16:44I thought I would love to create portraits in these tiny little
0:16:44 > 0:16:52Byker flats, that afford that dignity to people and that self-expression
0:16:52 > 0:17:00and that feeling that they are in charge, this is how they want to present themselves to the world.
0:17:04 > 0:17:07Come on, my baby.
0:17:07 > 0:17:09Come see how mammy is.
0:17:09 > 0:17:12Oh, what a pretty girl you are, oh!
0:17:13 > 0:17:16You're gonna have your picture. You are.
0:17:16 > 0:17:18Come here, me puppy.
0:17:18 > 0:17:22There, my baby. There she is.
0:17:22 > 0:17:23Ah!
0:17:25 > 0:17:27What a good girl.
0:17:27 > 0:17:29Aren't you a good girl for mam?
0:17:29 > 0:17:31What a lovely girl.
0:17:33 > 0:17:35Oh, you're a lovely girl, aren't you?
0:17:41 > 0:17:43Good girl, come and eat this, then.
0:17:43 > 0:17:45Come and eat this, while it's nice and fresh.
0:17:48 > 0:17:50Here, baby.
0:17:50 > 0:17:53Come and see. There, on there, look. On there, for you.
0:17:53 > 0:17:54There.
0:17:56 > 0:17:57There.
0:17:57 > 0:17:59Come, come.
0:18:20 > 0:18:23There's room for you to get by. Room for a bus.
0:18:31 > 0:18:35See, she's eating the pieces I've put on the mat. Now come on, eat them up.
0:18:35 > 0:18:37There's a good girl. While they're nice and fresh.
0:18:37 > 0:18:39She's away for a drink.
0:18:39 > 0:18:40Wakey, wakey!
0:18:40 > 0:18:43# If I had
0:18:43 > 0:18:47# My way
0:18:47 > 0:18:51# You'd never grow old
0:18:51 > 0:18:56# The garden in May
0:18:56 > 0:19:01# Any day
0:19:01 > 0:19:07# You would reign all alone
0:19:07 > 0:19:11# Like a queen on a throne
0:19:11 > 0:19:14# If I had
0:19:14 > 0:19:17# My way. #
0:19:20 > 0:19:26I photographed a little girl with her grandmother, in a shop doorway in the 1970s.
0:19:28 > 0:19:32When I was going round in the new Byker, 35 years later,
0:19:32 > 0:19:38the mother of the little girl pulls me up and shouts, "Hello, Sirkka.
0:19:38 > 0:19:41"Do you remember me? I'm Audrey".
0:19:41 > 0:19:46And I got to photograph her with Kelly, the little girl,
0:19:46 > 0:19:48who is now a mother herself.
0:19:52 > 0:19:58Stevie was 16 when I photographed him, waiting to take his mother home from the factory where she worked.
0:19:59 > 0:20:04I captioned him in my book as a skinhead.
0:20:04 > 0:20:06Wrongly, as it turned out.
0:20:07 > 0:20:12Then, I was photographing Bill.
0:20:12 > 0:20:14Hello, Bill!
0:20:14 > 0:20:16I left the door open, cos I was upstairs.
0:20:16 > 0:20:19'And once he heard about my project, he said...'
0:20:19 > 0:20:21Hello, son. All right?
0:20:21 > 0:20:24"Oh, my daughter was in your first book!"
0:20:24 > 0:20:30And he brought out the book and showed me, and, of course,
0:20:30 > 0:20:33his daughter was Angela, who lived in my street.
0:20:33 > 0:20:38She was just a teenager then and she had her baby on her arms, Mel.
0:20:38 > 0:20:41I had no idea there was going to be this link.
0:20:45 > 0:20:48I couldn't tell how many grandkids, great-grandkids I've got.
0:20:50 > 0:20:54They all come to see me, clean the place, look after me.
0:20:54 > 0:20:58I've had a wonderful life, loved every minute of it.
0:20:58 > 0:21:01What a lucky bugger I am.
0:21:03 > 0:21:06Many happy returns, you little old bugger!
0:21:06 > 0:21:08- God bless.- Many of them.
0:21:09 > 0:21:12I'm not getting a kiss of you. I don't want a bloody kiss of you!
0:21:25 > 0:21:27You're not supposed to tell people!
0:22:57 > 0:23:01OK, the thing is, your model hasn't turned up.
0:23:01 > 0:23:05She's been in a fight, she's got a black eye, she hasn't turned up.
0:23:05 > 0:23:09- So, you are left to do it yourself. - So I've got to model.
0:23:23 > 0:23:26And if I turned like that and I went.
0:23:26 > 0:23:27There.
0:23:34 > 0:23:36I don't like that one.
0:23:36 > 0:23:39- Have you thought about it? - Yes, I have.
0:23:39 > 0:23:41It's just not me. Isn't it not me?
0:23:41 > 0:23:46Ah, now you're contradicting yourself here.
0:23:46 > 0:23:49Because you remember the last time you did say
0:23:49 > 0:23:51that you didn't like it because it was you.
0:23:51 > 0:23:54I know what you mean, but I wanted to be, like, more...
0:23:54 > 0:23:56The red picture's more me.
0:23:56 > 0:23:57Look at it.
0:23:58 > 0:24:01I don't want to look like that. I look all lost and I don't
0:24:01 > 0:24:04want to be looking like that. I want to be looking like this.
0:24:04 > 0:24:07But this is just a fashion shot.
0:24:07 > 0:24:13It's not, though. It's not like that, really, cos it doesn't matter what I had on, it was just that would be...
0:24:13 > 0:24:14- I like it.- Well, you look...
0:24:14 > 0:24:16I look thinking there, as well.
0:24:16 > 0:24:18- You look... Hang on. - I'm not even smiling.
0:24:18 > 0:24:22- You're grumpy.- I look thinking.
0:24:22 > 0:24:25What about the other ones inside?
0:24:25 > 0:24:28- You mean that one? That one?- No.
0:24:28 > 0:24:31I like that one. And you can see it all there. I think it's lovely.
0:24:40 > 0:24:42- You're not happy there. - I'm thinking.
0:24:42 > 0:24:45And that's what you wanted. I was thinking.
0:24:45 > 0:24:48- I look as though I'm a cracker there. - No, you don't.
0:24:48 > 0:24:53You don't. Look, I don't see what you see in there, at all.
0:24:53 > 0:24:54Well, what do you see?
0:24:54 > 0:24:57Like you're trying to look into your future.
0:24:57 > 0:25:01And the difference to me between
0:25:01 > 0:25:04these ones and that one is that these ones,
0:25:04 > 0:25:09you could just look at them as a pretty girl in nice clothes.
0:25:09 > 0:25:12They would be easily passed over as pictures.
0:25:12 > 0:25:15That's what this picture does for me.
0:25:15 > 0:25:18It actually is like the beginning of a story.
0:25:18 > 0:25:22Right. I understand what you mean about everything,
0:25:22 > 0:25:25- but every time I look at it, I think...- I just want to know you.
0:25:25 > 0:25:28- This is the picture that makes you...- I know what you mean.
0:25:28 > 0:25:31You want to get to know this person. It's compelling.
0:25:32 > 0:25:35It's intriguing and...
0:25:35 > 0:25:38it just draws you into it.
0:25:38 > 0:25:41You know, you can't take your eyes of it. You think,
0:25:41 > 0:25:46"I really want to know this story, what your life is about."
0:25:46 > 0:25:48- OK.- Or will be.
0:25:48 > 0:25:49Yeah. Yeah.
0:25:51 > 0:25:52I know where you're getting to.
0:25:52 > 0:25:55- I do understand.- Yeah?
0:25:56 > 0:25:58You can use it.
0:25:59 > 0:26:01I'll regret it when I see it.
0:26:01 > 0:26:03- No, you won't.- Oh, hello.- Hiya.
0:26:03 > 0:26:05- OK. Thank you.- OK.
0:26:05 > 0:26:09That's brilliant. I don't think you'll regret it.
0:26:09 > 0:26:11- God.- You won't regret it.
0:26:13 > 0:26:14Right.
0:26:15 > 0:26:17- Is this my story?- That's the story.
0:26:17 > 0:26:20Do you want to just have a look at it?
0:26:30 > 0:26:35# So, why won't they understand?
0:26:35 > 0:26:38# Oh, why won't they understand? #
0:27:00 > 0:27:04# I'm sure, but isn't it sad?
0:27:04 > 0:27:09# But who needs you? #
0:28:34 > 0:28:36But, bless her, I stayed with her.
0:28:37 > 0:28:38I stayed with her.
0:28:40 > 0:28:41And I've never been right since.
0:28:42 > 0:28:46It's a month yesterday.
0:28:52 > 0:28:55When I go out, I come in,
0:28:55 > 0:28:59I still expect to see her there, wagging her little tail at the door.
0:28:59 > 0:29:01But it's not going to happen, is it?
0:29:04 > 0:29:05And she made you happy.
0:29:05 > 0:29:07Mm-hmm. She made me very happy.
0:29:10 > 0:29:13I've even got a bit of her fur.
0:29:25 > 0:29:29Oh, you know, Sirkka, that I loved this little dog.
0:29:32 > 0:29:35# I wanna be around
0:29:35 > 0:29:37# To pick up the pieces
0:29:37 > 0:29:41# When somebody breaks your heart
0:29:41 > 0:29:47# Somebody twice as smart as me
0:29:47 > 0:29:51# And that's when I'll find revenge is sweet
0:29:51 > 0:29:55# And I will sit applaudin' from a front row seat
0:29:55 > 0:29:59# When somebody breaks your heart
0:29:59 > 0:30:02# Like you broke mine.
0:30:03 > 0:30:06# I know that living with you, baby
0:30:06 > 0:30:11# Was sometimes hard
0:30:11 > 0:30:15# But I'm willing to give it another try... #
0:30:17 > 0:30:19CLAPPING AND SINGING
0:30:55 > 0:30:59SHE SINGS IN HER NATIVE LANGUAGE
0:31:07 > 0:31:11SHE SINGS IN HER NATIVE LANGUAGE
0:31:18 > 0:31:21SHE SINGS IN HER NATIVE LANGUAGE
0:31:39 > 0:31:42SHE SINGS IN HER NATIVE LANGUAGE
0:31:56 > 0:31:58MIDDLE-EASTERN MUSIC PLAYS
0:32:32 > 0:32:36My son's friend died during the bombs.
0:32:36 > 0:32:40He was escaping with his mother
0:32:40 > 0:32:42and he was running...away.
0:32:42 > 0:32:48Then, one bomb fell
0:32:48 > 0:32:53and was very near, and a balcony fell over him.
0:32:53 > 0:32:55And the mother was behind.
0:32:55 > 0:32:59She couldn't move, she saw her son -
0:32:59 > 0:33:00he was killed.
0:33:05 > 0:33:08Well, I didn't tell Hadi.
0:33:18 > 0:33:20SHE SIGHS
0:33:28 > 0:33:30OK.
0:33:30 > 0:33:36I didn't tell him because I didn't want to put more pressure on him.
0:33:36 > 0:33:41I thought I might tell him that...he went somewhere,
0:33:41 > 0:33:45but unfortunately he saw it on TV.
0:33:45 > 0:33:49My mum don't let me watch it!
0:33:49 > 0:33:55When we came to England, Hadi started showing more aggressiveness
0:33:55 > 0:33:58and he wanted to go back.
0:33:58 > 0:33:59He was begging to go back to Lebanon.
0:33:59 > 0:34:01He wanted to fight.
0:34:12 > 0:34:14He was transferred to a psychiatrist because...
0:34:17 > 0:34:19..he had like a nervous breakdown.
0:34:21 > 0:34:23He was starting to imagine things
0:34:23 > 0:34:25like birds talking to him.
0:34:31 > 0:34:33And just sit in the corner of his room.
0:34:33 > 0:34:34LITTLE GIRL WHINES
0:34:34 > 0:34:37SHE SPEAKS IN HER NATIVE LANGUAGE
0:34:47 > 0:34:50- LITTLE GIRL:- Smiley!
0:34:50 > 0:34:53# If you're happy and you know it Clap your hands
0:34:53 > 0:34:55TOGETHER: # If you're happy and you know it
0:34:55 > 0:34:57# Clap your hands
0:34:57 > 0:34:58# If you're happy and you know it
0:34:58 > 0:35:00# Then you really want to show it
0:35:00 > 0:35:03# If you're happy and you know it Clap your hands. #
0:35:03 > 0:35:07WOMAN SPEAKS IN HER NATIVE LANGUAGE
0:35:22 > 0:35:24One!
0:35:24 > 0:35:27Hello!
0:35:27 > 0:35:29Oh, Mongolian music as well!
0:35:29 > 0:35:31How are you?
0:35:31 > 0:35:34I'm fine, thank you. Cooking, busy...
0:35:38 > 0:35:41Shall I put apron on you?
0:35:41 > 0:35:43When I began my new project,
0:35:43 > 0:35:49there were, I think, 28 languages spoken in Byker
0:35:49 > 0:35:53with refugees from all over the world.
0:35:59 > 0:36:05Byker has become one of the major reception centres in the UK for asylum seekers from Africa.
0:36:07 > 0:36:10LOTS OF CHATTER AND MUSIC
0:36:15 > 0:36:17About time! SHE LAUGHS
0:36:27 > 0:36:32CONGREGATION SING IN THEIR NATIVE LANGUAGE
0:37:09 > 0:37:12MANY PEOPLE PRAY ALOUD AT ONCE
0:37:41 > 0:37:45I lived one part of my life where...I couldn't go out.
0:37:46 > 0:37:48I couldn't, um...
0:37:48 > 0:37:53go out down the town. I'd feel this force in me, this force of fear.
0:37:53 > 0:37:56And it would be feeding me all these thoughts of like,
0:37:56 > 0:37:59"Oh, this might happen to you or that might happen."
0:37:59 > 0:38:00And it was "ifs" and "buts" and fears,
0:38:00 > 0:38:05and all these scenarios that go on in your mind before you go off and do something.
0:38:05 > 0:38:09With what happened to me asking Jesus into my life and...
0:38:10 > 0:38:15..after a while, my life started changing, totally started changing.
0:38:15 > 0:38:19Then having the supernatural experiences and all, and knowing that it was real.
0:38:20 > 0:38:23So your self-image is just an idea.
0:38:25 > 0:38:29And it's what you take from life and it forms that image.
0:38:34 > 0:38:39We came to Byker... only fear in our heart,
0:38:39 > 0:38:42myself and my daughter.
0:38:42 > 0:38:44Because we struggle all the way
0:38:44 > 0:38:47to save ourselves and now we are in a new place,
0:38:47 > 0:38:50we don't know entirely anything about the place.
0:38:50 > 0:38:52It's the first...
0:38:52 > 0:38:56bad experience, meaning the first time...
0:38:58 > 0:39:01Who is the person trying to enter inside the house?
0:39:01 > 0:39:05That's a very bad experience.
0:39:05 > 0:39:08We can survive anyhow,
0:39:08 > 0:39:10but anybody tried to attack us or...
0:39:10 > 0:39:12It's not me, for me it's my daughter.
0:39:39 > 0:39:42'I'd have the prints in my box of everybody I'd photographed.
0:39:42 > 0:39:47'And each time I met a new person I would open this box and say,
0:39:47 > 0:39:50' "Look, these people are all living here, too.
0:39:50 > 0:39:52' "They are your neighbours." '
0:39:54 > 0:39:59'And, of course, almost everywhere I went people would say, "Oh, does she live here?"
0:39:59 > 0:40:02'And in that way, you know,
0:40:02 > 0:40:08'I was already carrying an ever-increasing number of new acquaintances for people.'
0:40:09 > 0:40:13- CONGREGATION:- # This is my story
0:40:13 > 0:40:17# This is my song
0:40:17 > 0:40:21# Praising my saviour
0:40:21 > 0:40:24# All the day long. #
0:40:24 > 0:40:30It's a great encouragement that today other believers, even from the other side of the world,
0:40:30 > 0:40:32have come into this part of the country.
0:40:32 > 0:40:34Where we sent missionaries
0:40:34 > 0:40:37out to the Congo and places over there,
0:40:37 > 0:40:43we can now welcome back maybe those who are maybe the grandsons...
0:40:43 > 0:40:45Are you from Africa?
0:40:47 > 0:40:52# Count your blessings See what God has done
0:40:52 > 0:40:57# Count your blessings Name them one by one... #
0:40:57 > 0:41:01And here we have a little baby, and we welcome him in here,
0:41:01 > 0:41:04and we present him to all here tonight as a witness
0:41:04 > 0:41:09that the desire of the parents is that they will indeed bring him up
0:41:09 > 0:41:12in the fear and nurture of the Lord.
0:41:12 > 0:41:15# Till we meet again
0:41:15 > 0:41:21# Till we meet, till we meet
0:41:21 > 0:41:26# Till we meet at Jesus' feet Till we meet... #
0:42:28 > 0:42:31So, that was the bribery to get them to start to go.
0:42:31 > 0:42:33When I say...
0:42:33 > 0:42:39At Tommy's house, after his funeral, I found the photograph
0:42:39 > 0:42:42that I had taken of him at the Mission Hall.
0:42:42 > 0:42:46It was lying there on the mantelpiece, corners curling.
0:42:48 > 0:42:53He'd taken it everywhere with him and shown it to everyone he met.
0:42:53 > 0:42:56I was suddenly struck by this thought,
0:42:56 > 0:42:58"He forgot to take it with him."
0:43:10 > 0:43:13SHE SINGS IN HER NATIVE LANGUAGE
0:43:21 > 0:43:27The only person I actually just accosted in the street was Gerel and Ariunaa.
0:43:27 > 0:43:32They had such a feeling of benevolence about them
0:43:32 > 0:43:37that eventually I just walked up to them and I introduced myself.
0:43:37 > 0:43:40And they immediately invited me in,
0:43:40 > 0:43:43and sat me down at the kitchen table.
0:43:43 > 0:43:48And by the time I had explained what I was doing, Gerel said,
0:43:48 > 0:43:51"Oh, can we be in the book and can I make an order for it now?"
0:43:56 > 0:44:01I am from Mongolia and...
0:44:01 > 0:44:06we are living here about three-and-a-half years.
0:44:07 > 0:44:10Baby. Me-me, me-me, me-me. Me, me, me.
0:44:51 > 0:44:53In the morning,
0:44:53 > 0:44:56about 6 o'clock,
0:44:56 > 0:44:59somebody knocked at door.
0:44:59 > 0:45:01When I saw them I just...
0:45:01 > 0:45:04Straightaway I realised why they'd come.
0:45:07 > 0:45:09First...
0:45:09 > 0:45:15handcuffed me and took me outside and put me in the van.
0:45:17 > 0:45:22I could hear my children and my wife screaming,
0:45:22 > 0:45:27but I couldn't do anything because I was locked...
0:45:27 > 0:45:32And I asked them, um...
0:45:32 > 0:45:37"What's happening to my wife and children?"
0:45:37 > 0:45:43But they were saying, "It's not your business, just...
0:45:43 > 0:45:44"Just be quiet."
0:45:52 > 0:45:54Please help me.
0:45:54 > 0:45:57I'm like everybody see me.
0:45:57 > 0:46:00Because the Home Office is very, very danger.
0:46:00 > 0:46:03Every month, I go sign for Home Office. I'm thief?
0:46:03 > 0:46:06I'm robber?
0:46:06 > 0:46:10I don't know... Maybe Home Office think...
0:46:10 > 0:46:13I'm a thief.
0:46:13 > 0:46:16I come here for money, for house - no.
0:46:16 > 0:46:20I come here not for money, not for house, just freedom.
0:46:59 > 0:47:00Ah, Ariunaa.
0:47:48 > 0:47:50What are you doing? What are you doing?
0:47:52 > 0:47:54What am I doing? I have no idea what I'm doing!
0:48:08 > 0:48:10Oh, what a fine warrior.
0:48:10 > 0:48:13Oh! Just a moment.
0:48:18 > 0:48:20Oh, no, no. Don't touch the hat. No.
0:48:21 > 0:48:23Hee!
0:48:23 > 0:48:26Oh, that was nice.
0:48:26 > 0:48:28I'll do that again.
0:48:28 > 0:48:31- ARIUNAA:- It's nice, yes? You want more?
0:48:35 > 0:48:38Hang on. I'll take... That's a nice gesture.
0:48:38 > 0:48:39Please.
0:48:39 > 0:48:40Please.
0:48:43 > 0:48:45Please.
0:49:00 > 0:49:02Wow!
0:49:02 > 0:49:04Look!
0:49:04 > 0:49:07Yay-yay, yay!
0:49:08 > 0:49:09Whoa!
0:49:09 > 0:49:13'In the beginning, my overwhelming feeling was that
0:49:13 > 0:49:19'when I was photographing people they were making a gift of it to me.'
0:49:21 > 0:49:25I like the shoes and... Yes, everything.
0:49:25 > 0:49:28'By the end of the project,
0:49:28 > 0:49:31'I also began to get the feeling
0:49:31 > 0:49:34'that it was me who was making the gift.'
0:49:34 > 0:49:39This will stay in his life forever.
0:49:39 > 0:49:40My boots, mine.
0:49:40 > 0:49:42My boots!
0:49:47 > 0:49:49In my place,
0:49:49 > 0:49:52I don't how to travel about.
0:49:52 > 0:49:55But now, here, I know how to travel about.
0:49:56 > 0:49:58I know how to take the bus,
0:49:58 > 0:49:59I can go and come.
0:50:03 > 0:50:05Independent, more independent here.
0:50:06 > 0:50:08I never dream about it!
0:50:09 > 0:50:12It's a real change, today I'm with you.
0:50:54 > 0:50:57My mother was part of the Campbell family
0:50:57 > 0:50:59and they all lived on the same street,
0:50:59 > 0:51:01Kendal Street, where they were born.
0:51:02 > 0:51:05Then, when the new Byker came in,
0:51:05 > 0:51:08they were scattered all over the city.
0:51:08 > 0:51:11And it broke their hearts, the sisters.
0:51:11 > 0:51:13Um, they... You know, they said they didn't care
0:51:13 > 0:51:15that they had hot running water,
0:51:15 > 0:51:18they didn't care that they had an indoor toilet,
0:51:18 > 0:51:20they didn't care about all those things.
0:51:20 > 0:51:25They just wanted to still be together in their own world.
0:51:25 > 0:51:27They had no control over where they were sent.
0:51:27 > 0:51:30And er... Yeah.
0:52:02 > 0:52:05And now it's interesting to come back to Byker,
0:52:05 > 0:52:07which was such a white world,
0:52:07 > 0:52:13and...I had Liberian friend came to visit me shortly after my mother died,
0:52:13 > 0:52:15he came to console me, actually.
0:52:15 > 0:52:20And he said, "I've been here five days..." and this is in 2001,
0:52:20 > 0:52:25"..and I haven't seen a single black face," you know.
0:52:25 > 0:52:28And so now I'm trying to get him to come here in a couple of weeks,
0:52:28 > 0:52:30come up - he lives in Cardiff.
0:52:30 > 0:52:34I said, "Because Byker's changed, you'll see other black faces now."
0:52:34 > 0:52:37You know, "There's lots of people here from Africa."
0:52:37 > 0:52:39So to me, that's really rich.
0:52:39 > 0:52:44Like, I've got my Kurdish neighbour, I've got neighbours from Chechnya,
0:52:44 > 0:52:46there was people from the Congo downstairs,
0:52:46 > 0:52:53someone from Angola, and someone from French Congo, Edna.
0:52:53 > 0:52:56So to me, it's perfect.
0:52:56 > 0:52:58It's bringing the world to my doorstep.
0:52:58 > 0:53:01Maybe I won't have to travel so much! SHE LAUGHS
0:53:28 > 0:53:31Subtitles by Red Bee Media Ltd
0:53:31 > 0:53:34E-mail subtitling@bbc.co.uk