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Back to the Future 8th May Conference Videos

The Tears in the Fence one-day conference on Saturday 8th May 2021 promises a dazzling selection of readings and conversation and we greatly look forward to welcoming you.

In between our sessions, we would like to offer this video intermission. You will find below a list of poetry films that has been collated by the festival team. In between sessions and after the festival, please feel free to continue your poetic explorations by dipping into as many of these as you like.

This blog post is a collaborative space. We invite you to add comments with recommendations of any poetry films you think should be a part of this list.

Warmest wishes,

The Tears in the Fence Festival team.

Special thanks to Andrew Henon for collating this list.

Poetry Films

Short history of poetry film introduced by Chaucer Cameron

‘Hooked’ Chaucer Cameron

‘Kobe’ Chaucer Cameron & Helen Dewbery

‘Solitude’ Karen Dews / Benjamin One

‘Working class riots’ Karen Dews / Benjamin One

‘I think about your hands’ Marina Kazakova

‘Neap tide’ Abegail Morley filmed by Helen Dewbery

‘Vellatthinu Mukalile Thavala/ Paani Par Mendhak’ Rajesh James

A selection of poetry films from Andrew Henon including ‘New levels’ ‘Admirable red’ ‘Summer solstice black Lives Matter 2020’ ‘Summer Solstice 2018’ ‘The art of memory’ ‘Swim Lanes’ ‘Dynamic flow form’ and a selection of interviews.

Wild Whispers transnational project

The Snow Q Project: Maria Jastrzebska

The Great Margin Poetry Films:

Hari Marini’s Poetry Films, in particular Spirals: Autoportret:

‘Playground of Learning’ by Beth Calverley with Lyra Festival or

Marvin Thompson’s Triptych for The Outposted Project

‘Hove Lawns to Brighton Pier’ – Joanna Nissel

A Series of Poetry Films and Readings by Dialect Writers for International Women’s Day

Environmental Arts Therapy

Environmental Arts Therapy

Ian Siddons Heginworth’s Environmental Arts Therapy and the Tree of Life (Spirit’s Rest Books 2009) explores the natural cycles of each month in relation to the Celtic, Christian, Norse and Greek mythological traditions of trees. It connects the human heart to woodland and cites therapeutic experience stemming from this historical outlook and association.  This development in drama therapy, part of a growing awareness of the therapeutic benefits of woodland, is well worth reading.


It offers a general guide to the forgotten connections between human emotions and woodland. It points to the possible therapeutic and healing qualities of extended contact with the natural cycles of woodland and develops an eco-psychology.


The emphasis on mythology as opposed to more practical experience of orientation, senses and communication perhaps overshadows the diverse and untapped potential for learning from trees and woodland life. Similarly the Book of Revelation’s comment that ‘The leaves of the trees are for the healing of nations’ is to be found in folk and Romany customs, legends, poems and songs. Whilst there are some practical and useful exercises, such as the making of mobiles, bridges, and lying down looking upwards as a technique for centering and grounding, I wanted more of the potential of woodland interaction to emerge to complement and supplement the mythological input. One thinks of the number of instances when people sit beneath a tree in order to solve problems, find peace or inspiration as a kind of base line of common sense association to realize that there is something tangible underlying Heginworth’s approach. A wood, like a city, carries within it old stories, history, botany, openings, wild and counter places and has a psychogeography that can be engaged.  A working wood as opposed to one that is left to its own devices and growth is similarly quite distinct and would presumably have different therapeutic potential.

David Caddy









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