Finding redemption at the bars | Huck

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Finding redemption at the bars

A film from
Directed by Spencer Murphy, The Bars celebrates a community that has grown up around bar parks made from knives recovered from the streets of London by charity Steel Warriors.

Passerby often can’t help but take a pause when they see bodies corkscrewing in the air or engaged in gravity-defying balances. When a freestyle session is ongoing, the energy and acrobatics are impossible to ignore.

A vibrant, supportive community is growing up around bar parks across London. It’s all thanks to charity Steel Warriors, which creates outdoor calisthenics equipment from melted down knives recovered from London’s streets. The free lessons Steel Warriors lead at three separate London parks each week provide a safe space and has drawn many young people away from the violence on the capital’s streets. Director and photographer Spencer Murphy created The Bars, as an intimate portrait of this diverse network of people supporting each other through outdoor exercise.

Everyone is accepted, the atmosphere is upbeat and energetic,” Spencer explains. It just feels like one of those rare occasions where almost all of London is represented and are interacting in one place. The skill level is also insane, I dare anyone who hasn’t tried body weight exercise to give even the most basic of their moves a try. When you appreciate what it takes, their strength and control becomes even more mind-blowing.”

Simone Ming has been training at the bars since 2012 and is now a Trustee & Trainer with Steel Warriors. Going to the bars has made me feel welcomed,” Simone says. It’s made me feel like I belong and that I’m appreciated and that I’m accepted for being who I am and admired for doing what I can do.”

“It's made me feel like I belong.” Simone Ming

The people who come to Steel Warriors street workout gyms come from all nations, races and social groups. Many come from within some of the communities most affected by violent crime in London. For those who have experienced violence in their lives, the openness, structure and support network found on the bars can be life-changing. The bars offer an avenue to channel energies towards a more positive path, while the community built around the classes offers love and encouragement.

But everyone comes to the bar for different reasons. What I most love about calisthenics is that everybody is so supportive,” Simone says. There aren’t any egos – maybe 1 or 2 – but in general, everybody is there to support everyone else. If you want to learn something then there’s always going to be somebody that’s going to help you to achieve your final goal: whether it’s just to jump a little bit higher or move your hands a little bit more over the bar. You don’t find that a lot in any other sports. Calisthenics and street workout is the only sport I found that really supports each other, regardless of who you are, where you come from.”

Coming from his background in photography, Spencer decided to shoot stills alongside the long process of making the film, showcasing a spectacular edit in an accompanying zine. I knew this was a story that wouldn’t be done justice through stills alone as it is so kinetic,” Spencer explains. “ I think the two things [film and photography] are intrinsically linked but also slightly different. What I’m pleased I was able to do with the stills project and the zine is not have to make it so character focussed for the narrative. So I got to include a lot more of the wider community and show more faces of the people I met and made friends with last summer.”

Spencer explains that his initial vision for the film quickly disappeared and instead he allowed the narrative to build over time as he and DoP Ed Andrews spent more and more time among the group. What I hoped to show was just what a positive effect this small charity has had and can have on a community. I wanted to show the athletes and to show off their ability. What I think shines through is a genuine and joyous community of friendly people.”

The Bars is directed by Spencer Murphy and shot by Ed Andrews.

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