text:
Kafka in Iran
Bhakti Shringarpure Mana Neyestani August 23, 2012
I first met exiled Iranian cartoonist Mana Neyestani at Etonnants Voyageurs, an annual literary festival of grand scale set in St. Malo on the rugged coast of Brittany, France. Neyestani was seated – or more accurately, hiding – behind a stack of his own recently published graphic novel, Une Métamorphose Iranienne (An Iranian Metamorphosis). Even his stylish signature fedora seemed equally a way to remain out of view. However, France is a country that celebrates serious graphic novels, and Neyestani made mandatory appearances on different panels where he spoke seriously and firmly about the state of censorship in Iran, the complex nature of the country's politics and ways in which cartoons make a difference.
It is unclear whether Neyestani was always painfully shy and anti-social, but it would not be a stretch to say that he is marked by his many months of solitary confinement in Tehran's Evin prison, notorious for housing political and intellectual prisoners. The innocent use of an Azeri word by a cockroach character in one of his cartoons led to rioting amidst ethnic Azeris in Iran. Police opened fire on the protesters, and some were killed. Neyestani was imprisoned without trial.
Neyestani's autobiographical graphic novel begins in the labyrinthine prison and continues with the cartoonist's journey to find refuge in a friendly country after fleeing Iran upon being granted a provisional release from prison. After endless paperwork, time and money spent on visas, he and his wife traveled from Dubai to China, and finally to Malaysia, where the graphic novel ends.
The visa rejections continued, however, until France finally accepted Neyestani's plea for asylum. He agreed to chat with me about his work and life from Paris where he now lives with his wife, Mansourieh, and their beloved cat. - Bhakti Shringarpure
Bhakti Shringarpure: Lets start with your graphic novel An Iranian Metamorphosis. Did you mean to evoke Franz Kafka's Metamorphosis in the title?
Mana Neyestani: Firstly, both stories have a beetle at their core, which plays an important part, but of course is not enough for choosing the title. I believe my story and the circumstances in which I was trapped was more or less a Kafkaesque situation. You know, you are sort of stuck in the system.
Bhakti Shringarpure: Yes, absolutely. I think your book depicts the tentacles of bureaucracy in Iran, much like the themes of Kafka's novel.
Mana Neyestani: You cannot control your fate. The system controls you. You desperately try to overcome the situation, and the situation becomes a mixture of comedy and tragedy. It's stupid, and at the same time, sad. It's more like The Trial than Metamorphosis, but I like the metaphor. If you notice, the theme of identity is important in the book, and how identity is attacked by the system. Not only the Iranian regime, you know. You try to keep your humanity and your identity as an intellectual, as a human being, and it's so fragile.
Bhakti Shringarpure: Your book captures that beautifully.
Mana Neyestani: Thanks.
Bhakti Shringarpure: Something about your graphic novel seems to suggest that censorship is almost arbitrary and not a centralized conspiracy to wipe out every form of opposition. How does it really work? And what do you make of the people involved at the most immediate level: "the small man" - interrogators, lawyers. Do they know what they are doing?
Mana Neyestani: Arbitrary censorship? Do you mean auto-censoring?
Bhakti Shringarpure: It felt that all the small characters involved in interrogation, policing, legal work, were not always aware that there is a bigger picture. They were sort of unthinking entities – following orders or just going along with things. When one thinks of nations with censorship, there is a feeling of Big Brother seeing/watching everything. But in your graphic-novel, I sensed a different representation of censorship.
Mana Neyestani: It is a compacted issue in a country like Iran. We are born with censorship. We grow up with censorship. They planted the "red lines" in our minds from the time we were children. When we start to work in Iran as artists or journalists, we already automatically avoid some areas. We control ourselves. Sometimes we control other people. It's a culture, a culture of censorship. I don't believe that censorship begins with authority; it begins with us, in our minds, and of course the authorities reinforce it.
Bhakti Shringarpure: This is what you mean by the term "auto-censorship."
Mana Neyestani: Yes. Let me give an example. Recently, an Iranian actress in exile, Golshifte Farahani, published some artistic nude photos. She was attacked by many Iranians, especially in social networks like Facebook. It was not the authorities. Sometimes, the authorities just watch the scene; they have done their job to perfection ahead of time. It is not easy for me to overcome the red lines in my mind even right now when I am living in a free society.
Regarding the people who follow the orders, I am not sure if they are seeking the financial benefits or doing their religious duties, it could be a combination of both. In a tyranny, people are trained to be feared and to follow. It is a paranoid situation: fear, hate, distrust. You know, it reminds me of little fish near a big whale. They try to get shelter and feel safe moving alongside the big brother.
Bhakti Shringarpure: For you, everything goes wrong because of the use of one Azeri word, "namana" which means something like "what." Let me quote from your book: "Only one cartoon or one journalist is not the issue. The problem is the history of ignorance that Persian intellectuals have always had towards Turkish-speaking Iranians. For many years, it's been there in all the jokes and TV comedies that belittle Azeris. They don't let us teach our mother tongue in schools. They replace the Turkish names of our streets with Farsi names. And a lot of other prejudice, too." Can you explain this a little bit more?
Mana Neyestani: About Azeris, yes, it's true. I was never concerned about ethnic problems before those things happened to me. I considered myself "an Iranian" living in Tehran. After the "namana" story, I started to be called a "Fars insulter" by some angry Azeris ["namana" was the incriminating word]. You know, "Fars" is a phrase that mentions the race, like "Turk." I never thought of myself as a part of a race. I don't know how to say this. It wasn't an issue for me. No wonder! Usually it becomes an issue when you've lived through a discriminatory situation. After the event, I started to be familiar with the situation and feel the hate, which is growing and caused by the cultural humiliation and governmental discrimination. I think when you are living in a society like Iran with a lot of complexities and paradoxes, it is expected that such misunderstandings will happen. Even when you make simple, innocent art work, it could acquire a different meaning or interpretation before a complicated background.
©Mana Neyestani
Bhakti Shringarpure: I think you take the theme of these internal racisms and prejudices within Iran very seriously in your book. You spend a few chapters on the Afghan detainees and how badly they are treated. What's their story? They seemed the most dehumanized.
Mana Neyestani: It is an old story in Iran and began with Afghans' immigration during the war in eighties. Most of the Afghans were doing cheap work or black work or the construction in Iran. They had been living in poverty and, you know, in this condition, the crime rate inevitably goes up. I try to explain why some of the Iranians do not feel OK about Afghans (I have always been against this perception), though the racism is not quite explainable. Racism is racism, after all. Anyway, there is discrimination towards Afghans on many different fronts. And I saw it even in the jail. Most of them were decent workers, some of them illegal workers. Their employers, who know this, use them and, after the construction is completed, they pass them to the police to avoid paying them. You can feel a "hierarchy of respect" in the prison. The Afghans, as far as I saw, were on the bottom. It was and is amazing to me how thin the border between oppressed and oppressor really is. People easily switch their positions.
Bhakti Shringarpure: But you always remained an observer? Were you afraid of who you might become as you saw prison life unfold before you?
Mana Neyestani: I have never been a "social guy" in my life. Most of the time, I spend my time in my room and work. Same story in the prison. I kept my distance and watched things, but sometimes being neutral means to accompany the oppressive side. I've tried, really tried, not to be neutral, at least. Sometimes you are not aware of the situation, but as you figure out, there is no excuse.
Bhakti Shringarpure: You have many characters that are part of your mental landscape while in solitude. Who is the starving eye-patch cat?
Mana Neyestani: That cat was a way to help the storytelling more than a metaphorical figure. There were a lot of cats in Evin yard, but I invented the eye-patch one. As you might remember, in a scene in front of the prison bakery I figure out that we were located just near Ward 209, which is supposed to be mysterious and, I think, a more hidden and secured place [in the prison]. All that was true. I dramatized the scene with the cat. But also I love cats. I have one, and maybe unconsciously felt freedom by seeing them. They freely come and go without any limits. Made me so envious!
Bhakti Shringarpure: Another question on style: In your book, there is this notion of "crossing the frame"; there seem to be images IN a frame and OUT of the frame? Also, sometimes references appear such as, "What an idiot, you've crossed the frame again" and "cockroach jumped off the page." What do these mean?
Mana Neyestani: Yes, kind of postmodernist play. I like to play with my media - its potentials and limits. It's a comic book, and I like my audience to feel a different experience from cinema or pure literature.
Bhakti Shringarpure: How do you want the experience to be different?
Mana Neyestani: How can I put it? Let me give an example. When you are watching a Fellini movie, you are seeing something that is impossible to experience in other art forms. Fellini made it just for film. Same is true when you read a Gabriel Garcia Marquez novel. This is because they were stories made for their media. It's untranslatable to other art forms. You could do it, but something would be missed. I would not claim that I am doing the same same, but I am trying to find the limitations and potential of my media: comics. I have frames, pictures, dialogue balloons – so I try to use them?. And I did it before in my "Persian" comic books, which I published in Iran. In one of them, the main character is strangled by a killer, and he takes the page number and throws it at the killer's face. These kinds of things are not that new. I remember in Looney Toons there were lots of jokes like that. The work of Tex Avery and his peers still seems so fresh and innovative.
Bhakti Shringarpure: Your depiction of UNHCR (United Nations High Commissioner for Refugees) seemed harsh. Are you criticizing UNHCR and how that system works? In your book, the UNHCR personnel only offer you a tiny sheet of paper to tell your life's story. Did this symbolize disrespect and disinterest in individual stories? Is that an accurate interpretation of this scene?
Mana Neyestani: I mentioned before about a tendency towards "dehumanizing" people, or having identity attacked by the systems and situations. And it is not just living in a dictatorship like Iran. As a "secondary citizen of the new world" you might face it many times, so it is not just about the UN. If you go to the Prefecture de Police in France, probably you'll see it there, or in other situations. People are simply treated like shit. They give you a number, then you are wandering in different rooms. Suddenly you turn to the number that you carry. You are just a number, waiting to be called...
Bhakti Shringarpure: True, it's really a sick state of affairs, and it's so well designed and the categories are so compartmentalized, it leaves no room for change or revolt.
Mana Neyestani: I am sure these feelings are not just for asylum seekers. Even ordinary citizens could experience it in different places. So I see the terms of metamorphosis as more than what is happening to us within tyranny. It is global. We all feel sometimes that our humanity, our identity, has been attacked – changed, distorted. Sometimes by bureaucracy. Sometimes in the name of socialism or communism. Sometimes capitalism. In short, I blame the situation, not just an organization. And we all are responsible for this situation being created. The regime which forces people to abandon their motherland, the people who lie and fake a case to get refuge, the organizations who view us suspiciously just because we are Middle Eastern, especially Iranian.
Bhakti Shringarpure: Can you speak a bit about your daily work? I see that you upload a new image on Facebook almost every day. It's something political. I don't always understand the captions because I don't read Farsi. What are you up to?
Mana Neyestani: I draw cartoons (mostly political) for two Iranian online magazines in the UK and the Netherlands – 10 pieces for each one – and I do it in two different genres. One is more sophisticated, without dialogue and description. Though the themes are inspired by Iranian affairs, they can be understood by a non-Iranian audience as well. The second is a comic series entitled "Dargir Family" (Involved Family). It is about an middle class Iranian family that is involved with social and political issues in Iran. They have dialogues that are more local and more popular?. And sometimes it's difficult to translate them – you have to know some stories, background, jokes. But for Iranian audiences, "Dargir Family" is easier to understand than the pure visual works?. And I am also doing another comic, which is fiction this time. It is a sequel to the books that I have published in Iran. Maybe I will translate this one if I find a publisher.
Bhakti Shringarpure: What were the books you published in Iran? What were they about?
Mana Neyestani: They were published between 2000 and 2004 (Khatami's period) in Iran, and the copies are all done. The authority did not renew the publishing permits. You know, you have to have permission from the Ministry of Culture to publish your book. They have a commission that reads it and censors it. So the permissions were canceled after Ahmadinejad came into power.
Bhakti Shringarpure: On Facebook, you have a fan page with over 68,000 "likes," yet another Artist page with many more thousands "liking" it again, and then you have had to make three different accounts because you are overloaded with friend requests. Why are you so famous?
Mana Neyestani: I am not sure if it is considered "fame" such as "fame" is applied in reference to Johnny Depp or Lady Gaga.
Bhakti Shringarpure: I think for a cartoonist, it is probably proportionate.
Mana Neyestani: If you are not interested in cartoons or political cartoons, or political issues in Iran, you are not likely to care about me. After the 2009 post-Presidential election crisis in Iran, I did tons of cartoons in support of the protesters resisting the fraud. I began to retell their stories, especially in "Dargir Family." Some people found themselves in my works. I think since 2009, the rate of the members [on Facebook] began to grow faster. I am not sure what percentage of these 68,000 are really active and see the work, especially the part living inside Iran with heavy [Internet] filters put up by the regime.
Bhakti Shringarpure: Right. You must feel some responsibility, though, if you can reach so many people.
Mana Neyestani: Responsibility? I don't need Facebook friends to increase my sense of responsibility. Especially when I made a cartoon that unintentionally ended up getting some people killed. Sometimes it is so hard to find balance – between feeling responsibility and doing my job and avoiding the self-censorship. I always say that an artist should be able to say everything freely without any limitations, insofar as he or she would not step on somebody else's rights, but I cannot do it myself. You know, my goal is to make my audience think, so I need to have an audience first. I want us to live in a better world, a peaceful one. This is just like the things that Miss Worlds say but I mean it!
Bhakti Shringarpure: These deaths weigh on you. It seems you will never recover from this?
Mana Neyestani: I will never be able to delete this thing that happened. The only thing you are able to do is to try to cope with the situation. To get along, feed your beetle and move forward. Ok that's very corny. I hope I win the crown with that last sentence.
Bhakti Shringarpure: Well, you certainly have my vote!
Bhakti Shringarpure is an editor of Warscapes.
Mana Neyestani
Bhakti Shringarpure
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Six-fold increase in flu cases: Queensland Health
By Marissa Calligeros
July 9, 2011 — 1.00am
Brisbane's flu season started earlier than expected this year with almost 1300 cases reported to authorities, the state's health department said.
There has already been six times the number of influenza cases, 1294, reported to Queensland Health since January, compared with 194 in the same period last year.
However, the number of cases this year pales in comparison to the number reported amid the 2009 swine flue outbreak, when Queensland Health was notified of 2441 cases of influenza between January 1 and July 8.
Queensland's chief health officer Jeannette Young said the flu season had hit unexpectedly early in 2011, with more autumn cases than usual reported.
"There has been a higher than usual level of influenza cases so far this year and we are not half way through winter yet," she said.
Australian Medical Association state president Gino Pecoraro said the average number of cases reported per month had increased by more than 50 per cent on last year, as a result of Queensland's wild summer weather.
"The wild, unseasonal weather the state has endured this year may be one of the reasons why we have seen such a large number of flu cases between January and May," Dr Pecoraro said.
"Queensland Health has reported more than 460 cases of the influenza virus in the past five weeks alone and almost 30 per cent of these were the pandemic H1N1 influenza virus or swine flu.
"It is unusual to see seasonal flu early in the year and we are asking everyone to observe good health and hygiene practices to avoid a further spike in illness."
Dr Young encouraged all residents to have a seasonal flu vaccination, which is based on strains of the virus detected in the latest northern hemisphere winter.
This years vaccination protects against an influenza A H3N2 strain, influenza A H1N1 strain and an influenza B strain.
There were 2838 notifications of influenza in Queensland between January 1 and July 4 this year, compared with 465 over the same period in 2010.
Dr Young said vaccinations were vital to protect from flu in the coming months.
"Not only does it reduce the chances of catching the flu, but also the severity of it if you do catch it," she said.
Queensland Health provides the influenza vaccine for free to people with an increased risk of catching the virus, including pregnant women, people aged 65 years and older, Indigenous people aged 15 years and older and anyone with a chronic medical condition or impaired immunity aged over six months.

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Home Politics and government Political milestones Political and constitutional timeline
Political and constitutional timeline
Explore some of the key moments and events that have helped shape the course of New Zealand's political and constitutional development. Follow the links for more detail.
James Busby arrives in the Bay of Islands as British Resident in New Zealand – a junior consular representative with little power. See Governing New Zealand, Frontier of chaos and Taming the frontier.
Northern chiefs gather at Busby's house at Waitangi to choose a Flag of the United Tribes of New Zealand to fly on New Zealand-built trading ships.
A Declaration of Independence of New Zealand is drawn up by Busby without authorisation from his superiors. This asserts the independence of New Zealand, with all sovereign power and authority resting with the hereditary chiefs and tribes. The declaration is eventually signed by 52 Māori chiefs. See also Background to the Treaty.
The British government appoints William Hobson as consul to New Zealand, with instructions to obtain sovereignty with the consent of a 'sufficient number' of chiefs. See Land and ideals – background to the Treaty.
The Treaty of Waitangi is signed on 6 February by about 40 chiefs. By September another 500 chiefs in different parts of the country have signed. On 21 May Lieutenant-Governor Hobson proclaims British sovereignty over all of New Zealand: over the North Island on the basis of cession through the Treaty of Waitangi and over the southern islands by right of discovery. New Zealand becomes a dependency of New South Wales, a British Crown Colony that is governed by Sir George Gipps.
News reaches New Zealand that it has become a separate Crown Colony, ending its connection with New South Wales. Communicating with London takes many months.
New Zealand is divided into two provinces, New Ulster and New Munster.
The New Zealand Constitution Act (UK) establishes a system of representative government for New Zealand. Six (eventually 10) provinces are created, with elected superintendents and councils. At the national level, a General Assembly is established, consisting of a Legislative Council appointed by the Crown and a House of Representatives elected every five years by males over the age of 21 who own, lease or rent property of a certain value. See The House of Representatives.
The House of Representatives' first 37 members are elected.
The First Parliament meets in Auckland.
'Responsible' government begins in New Zealand, with an executive that needs the support of a majority of the members of the House of Representatives. The governor retains responsibility for defence and Māori affairs.
The Waikato chief Te Wherowhero becomes the first Māori King, taking the name Pōtatau. The rise of Te Kīngitanga reflects the desire of many Māori for a leader to unite the tribes, protect land from further sales and make laws for Māori.
The colonial government asserts its responsibility for Māori affairs.
Wellington replaces Auckland as New Zealand's capital.
Four Māori parliamentary seats are created (initially as a temporary measure for five years), with universal suffrage for Māori males aged over 21. The first Māori elections are held in 1868. See Māori Members of Parliament and Māori and the vote.
The provinces are abolished, leaving central government as the single legislative authority. Hundreds of local bodies soon come into being.
Universal suffrage is introduced for all males aged over 21.
Universal suffrage is introduced for women aged over 21 (including Māori). New Zealand becomes the first self-governing country to grant the right to vote to all adult women.
New Zealand claims the Cook Islands. It annexes several other territories in the early 20th century.
The Commonwealth of Australia is established. New Zealand has declined on several occasions to become a member.
New Zealand adopts its official national flag.
New Zealand becomes a dominion. Prime Minister Sir Joseph Ward reads a proclamation announcing that New Zealand has ceased to be colony and is now a dominion.
New Zealand Coat of Arms warranted. On 26 August the first New Zealand Coat of Arms (officially the Armorial Bearings of the Dominion of New Zealand) is authorised by Royal Warrant.
The title of governor is changed to Governor-General. See The governors.
The Imperial War Cabinet (IWC) meets in London, attended by Prime Minister Massey. The IWC resolves to convene a post-war imperial conference to readjust the internal relations of the Empire on the basis of full recognition of the dominions as autonomous nations with a voice in imperial foreign policy.
Women gain the right to stand as candidates for Parliament. See Women Members of Parliament.
At British request, New Zealand extends its jurisdiction to cover the Ross Dependency in Antarctica.
The Balfour Declaration defines the (white) dominions as 'autonomous Communities within the British Empire, equal in status, in no way subordinate one to another in any aspect of their domestic or external affairs, though united by a common allegiance to the Crown, and freely associated as members of the British Commonwealth of Nations.'
The British Parliament passes the Statute of Westminster, which removes London's right to legislate for the dominions unless they ask it to do so. New Zealand declines to ratify the statute until 1947.
Waitangi Day is formally celebrated for the first time.
Britain appoints its first high commissioner to New Zealand; by early 1941 the last of the Governor-General's ambassadorial functions have been removed. See History of the Governor-General.
The New Zealand Centennial celebrates the signing of the Treaty of Waitangi as the nation's founding moment, but the celebrations focus mostly on material progress.
New Zealand signs the Canberra Pact with Australia.
New Zealand joins the United Nations as 'New Zealand', dropping the term 'dominion'. See Dominion status.
New Zealand finally adopts the Statute of Westminster 1931.
New Zealand citizenship comes into existence under the British Nationality and New Zealand Citizenship Act 1948.
An act is passed to abolish the Upper House of Parliament, the Legislative Council (with effect from 1 January 1951).
New Zealand's name changes in official usage to the 'Realm of New Zealand'.
New Zealand Coat of Arms updated. Changes include the addition of St Edward's Crown to symbolise Queen Elizabeth II as Queen of New Zealand.
The voting age is reduced to 20.
The Royal Titles Act 1974 gives primacy to the title 'Queen of New Zealand' in New Zealand.
Waitangi Day (then known as New Zealand Day) becomes a national holiday.
The Treaty of Waitangi Act establishes the Waitangi Tribunal as an ongoing commission of inquiry to hear grievances against the Crown concerning breaches of the Treaty (initially, only those occurring after 1975). See The Treaty debated.
Letters Patent 'patriate' the Governor-Generalship as a purely New Zealand office. See History of the Governor-General.
The Waitangi Tribunal is empowered to investigate Treaty claims dating back to 1840. Māori have since lodged numerous claims against the Crown, and a number of major reports have been released and settlements reached.
The State-Owned Enterprises Act is the first of many statutes to refer to the principles of the Treaty of Waitangi. This practice has given the Treaty far-reaching recognition in national and local government.
The Constitution Act finally removes the last faint provision for the British Parliament to make laws for New Zealand.
The Royal Commission on the Electoral System recommends (among other things) that a referendum be held on changing the voting system from first past the post (FPP) to mixed member proportional representation (MMP).
The Order of New Zealand is instituted as the country's highest honour.
Wide-ranging local government reforms drastically reduce the number of local authorities.
The Bill of Rights Act safeguards New Zealanders' democratic and civil rights.
A binding referendum changes New Zealand's voting system from FPP to MMP.
An entirely New Zealand system of royal honours is established.
The first general election held using the MMP voting system results in the first coalition government for more than 60 years.
The Supreme Court Act 2003 comes into effect, abolishing the right of appeal to the Judicial Committee of the Privy Council in London and establishing a New Zealand-based court of final appeal, the Supreme Court.
A consultative referendum supports the retention of New Zealand's MMP voting system.
A two-part consultative referendum endorse the retention of New Zealand's existing flag.
See also Women's suffrage milestones.
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We have 29 events in history, 22 biographies, 16 articles, related to Political and constitutional timeline.
'Political and constitutional timeline', URL: https://nzhistory.govt.nz/politics/milestones, (Ministry for Culture and Heritage), updated 28-Feb-2019
RELATED TO POLITICAL AND CONSTITUTIONAL TIMELINE
James Busby arrives in the Bay of Islands
First British Resident inaugurated
New Zealand's first recognised flag chosen
He Whakaputanga signed by northern chiefs
Treaty of Waitangi signed
Hobson proclaims British sovereignty over New Zealand
New Zealand officially becomes British colony
New Zealand Constitution Act comes into force
Parliament's first sitting in Auckland
Henry Sewell becomes the country's first premier
Parliament moves to Wellington
Native Rights Act declares Māori British subjects
NZ's first overseas diplomatic post created
Universal male suffrage introduced
First 'one man one vote' election
Women win the right to vote
New Zealand says no to federation with Australia
New Zealand Coat of Arms warranted
Statute of Westminster passed
New Zealand and Australia sign the Canberra Pact
New Zealand citizenship established
Legislative Council abolished
ANZUS treaty comes into force
Cook Islands achieves self-government
Waitangi Tribunal created
Privy Council rules on Samoan citizenship
New royal honours established
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William Colenso
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A history of New Zealand 1769-1914
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Support for my psychosis
Mental Health Resource
Serenity cafe
Reachout
Reachout Youth
Help in a crisis
6 ways of wellbeing
Reachout Youth's café style sessions are specifically aimed at young people aged 13-19, experiencing emotional or mental health difficulties. Our groups bring young people together to reduce stigma, share stories, develop coping strategies and make friends.
These groups are facilitated by trained staff and volunteers and provide a venue to share what's troubling you. You'll also meet other young people who've had similar experiences. You can find out what has helped others, and have a safe space to talk about things you might not usually share with friends or family.
What to expect from a Reachout Youth session
Sessions are informal and participants influence the topics covered, based on their individual needs. Whatever the topic, the groups will always offer;
Confidential, self-help support in a supportive, caring and non-judgemental environment.
Opportunities to make friends and share with people who understand what you're going through.
Tools and resources to build confidence and self-esteem.
Strategies to manage stressful life events.
Location & opening times
Wednesdays (term-time only)
Time: 4-5.30pm
Venue: Tonbridge & Malling Youth Hub, Tonbridge Adult Education Centre, Block C, Avebury Avenue, Tonbridge, TN9 1TG.
Thursdays (term-time only)
Venue: Tunbridge Wells Youth Hub, 39a Grove Hill Road, TN1 1SD.
Any questions? Get in touch!
Download our Reachout Youth Referral form
Name Phone Email
Anna (Reachout Youth Support Worker) 07545 208899 [email protected]
"I enjoy coming to Reachout Youth because I have made new friends and have a new place to rant and get out my frustrations." Reachout Youth client, Tunbridge Wells, 2018.
Donate to our Reachout Youth Appeal
Updated: 13th November, 2019
Location: Mental Health Resource, 2a Grosvenor Park, Tunbridge Wells, TN1 2BD
Reachout Youth appeal
Mental Health Resource are committed to supporting young people with emotional and mental health difficulties in West Kent. Can you support our work with 13-19 year olds by donating to our appeal?
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Target amount: £5,000.00
Amount raised: £908.42
TW Boorman run a pop up Hair Salon at the Hub!
Samantha and Tansy from TW Boorman Funeral Services recently came to the Hub to give free hair cuts to our clients, as part of their pop-up hair salon!
Sandersons UK raise £1975
Sandersons UK have raised an incredible £1975 for Mental Health Resource by completing a gruelling 12km Commando Run, complete with 48 obstacles!
Mental health training workshops
Mental Health Resource delivers Mental Health Awareness training workshops and is accredited to deliver Mental Health First Aid training. If you would like to receive mental health training organisations at your company, society or school, get in touch.
Mental Health Resource is delighted to offer on-site Mental Health First Aid (MHFA) classes, delivered by our approved Instructor who has been accredited by the Royal Society for Public Health, helping you to take a proactive approach to mental health issues.
Mental Health Resource runs 'The Hub', our vibrant wellbeing centre in the heart of Tunbridge Wells, Kent, where people can access wellbeing activities and a safe space to talk for as long as they need.
Mental Health Resource run a community outreach service called Reachout. These groups take place throughout West Kent. By joining a Reachout group you'll meet new people and make friends, gaining peer support and providing support to others.
Mental Health Resource run a "Serenity" Crisis Cafe for anyone experiencing a mental health crisis to prevent escalation. It is funded by the Kent Police and Crime Commissioner's 'Mental Health & Policing Fund'.
When a person is detained under the Mental Health Act it can be distressing. Sometimes patients who are being detained feel unable to ask questions or get information. The support of a trained Independent Mental Health Advocate (IMHA) can help.
Sandersons Commando Run
We are fundraising for Mental Health Resource because their small charity makes a big difference to people who live with complex, long-term mental health conditions throughout West Kent.
Reachout Youth is a free support service run by Mental Health Resource for young people aged 13-19 who are experiencing emotional or mental health difficulties. The project is currently part funded by the Brook Trust and BBC Children in Need.
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Mental Health Reachout Youth Young people
2a Grosvenor Park
TN1 2BD
Registered Charity No: 1049854 : Company No: 2826452


The science of stretching has long been debated. And if you've ever done Karate, Taekwondo or kickboxing, you'll know that intense desire to get your round kicks to head height.
Range of motion – stretching out your muscles will allow you to maximise your range of motion, which in turn will allow you to build strength.
Joint mobility – stretching isn't just about focusing your muscles. It also includes joint health and mobility. Tight, unused joints can start to freeze up and become stiff and sore.
Posture – tight muscles can leave us hunched and imbalanced. Stretching, alongside strengthening, can help us correct our posture.
Ease tension – a tight neck and back can lead to headaches. Equally tight muscles don't respond well to training.
Warm-up – dynamic stretching is great for warming up our muscles to prepare them for weight lifting as well as preventing injury.
Form – training correctly with weights requires good form, posture, stability and technique. All of these things mean being in the correct position when lifting weights, so you optimise your gains and minimise the risk of injury. A good example is the flexibility you need when doing squats – keeping your shoulders back, chest elevated, breaking at the hips and keeping your heels on the floor, all takes time to master.
The idea that you can permanently increase the length of your muscles is a bit of a myth. When we stretch, we're actually training the nervous system, so it knows what a safe range of motion is. You will have experienced that feeling of pain when you reach the limit of your stretch. But you haven't always had that pain. Babies are born with the ability to do the splits. As you learn to move around, you're teaching your body how to move. So, your body has learnt your basic parameters of what is safe and what isn't safe. Going beyond these parameters results in your muscles telling your brain that they have reached their threshold.
Your body learns these thresholds from what is normal for you. If you spend all day sat at a desk, your flexibility is most likely going to be poor.
What you need to do is tell your body that an extended range of motion from what it thinks is its limit, is actually ok. This involves regular static stretching, that pushes those limits a little each time. Stretching takes dedication so if you want good flexibility, you need to work on it regularly.
However, frequency is the key rather than pushing yourself too far so be careful not to hurt yourself.
Muscle tension is an issue here and getting those muscles to loosen off can be difficult. As static stretching isn't always appropriate, using a foam roller can really help fire up your muscles without weakening them too much.
This is ideal if you have muscle tension, sore muscles or are recovering from an injury and are in the process of strengthening a particular area of your body at the same time.
Yoga has been around for years and there's a reason for it. It is truly brilliant for helping you improve your range of motion and flexibility. Especially if you do a lot of weight training, tight sore muscles can be a regular problem.
Bikram Yoga is done in a special studio where the temperature is raised to around 40 degrees Celsius. Yes, you sweat and yes it's hard. But, being so warm and relaxed allows you to push yourself that little bit further when you stretch. A great resource if you can include it in your regime.
Static stretching after a workout is great for upping your flexibility levels. Once you've got your muscles nice and warm, stretch and hold for at least 30 seconds - or a minute if you can. Once the minute is up, take a deep breath and push a little further and hold. Do this for a third time and then stop. It will take time to develop your flexibility, as well as regular stretching. But if you really want it to improve, just know that a quick lunge after a long workout isn't going to cut it.
This is when you stretch while tensing the muscle at the same time. You may have experienced it with a personal trainer - when you lie on the floor and they stretch back your hamstring while you resist the force at the same time. This is particularly good for helping you to increase your flexibility, as it loads your muscles with more force while at a greater level of extension. Stretching is mainly about telling your nervous system what is safe and not safe to perform. By contracting your muscles while stretching them, you're showing your body that that muscle is strong and safe while being stretched.
Leg stretchers are great for helping you invest some time in a little PNF. Easy to use and fit into your routine, they don't take up much room and you can stretch while winding down in front of the TV.
More to the point, static stretching (where the muscle being stretched is still and relaxed) before a workout, doesn't actually help with your warm up, or with increasing your flexibility. Dynamic stretches (stretches while moving, e.g. forward and back leg swings or high knees) are much better for helping you to prepare your muscles for lifting weights. They also help you tell your body that you're no longer sitting still and that it needs to prepare itself for exertion. This in turn, helps reduce your risk of injury. A must for every pre-workout.
Sitting down all day can cause joints to stiffen up. Frozen shoulders, sore knees and tense necks can often occur when you sit still for too long. Remember to keep your joints moving and try and move around as much as possible.
Things like shoulder rolling, leg swings, gentle neck stretches and doing circles with your hips will all help maintain your range of motion.
And don't forget your back either. A tight lower back can make it difficult to stretch out your hamstrings so maintain a good posture and keep everything moving.
Tight muscles are often dehydrated muscles. Headaches are often a sign that we haven't drunk enough water and it's the same with the other muscles around the body. Stay hydrated and eat well. Good nutrition along with good fats and plenty of lean protein will help you maintain good muscle health.
Massage is great for aiding muscle recovery. And repaired muscles can be stretched more easily. Whether you prefer to see a sports therapist or just self-massage using massage balls and foam rollers, doing this can really help improve your flexibility. They can also help you fire up your muscles before a warm up.
Foam rollers can also help with joint mobility, especially if you spend a lot of time doing squats. Use them on your hips and ankles and behind your knees.
Although strengthening can tighten up your muscles, a strong muscle is a more capable muscle. And, sometimes, range of motion can be about having the support from strong muscles and using that strength for overall performance.
Strong, warm muscles are more pliable and will help reduce your risk of injury. Strong muscles also help your body feel safe when moving, so will ultimately help you in pushing past those pain thresholds.
Improving your flexibility takes dedication. It's always best done straight after a workout while your muscles are still warm. Remember to train regularly, eat well, hydrate and self-massage, for optimum results.
Any questions? You can find us on Instagram and Facebook @Mirafitofficial.


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Dealing With Suppliers to Buy Wholesale Sunglasses!
All that you should know about sunglasses for wholesale!


I've been a Billy Joel fan for 30 years. I've had the pleasure of seeing him twice at the Garden. Thanks to concert videos and YouTube I've seen nearly every song I love from his catalog live, one way or another. Except one. Does anyone know if Billy ever did Why Should I Worry at a concert? Has he ever made reference to not doing it for some reason? Seeing him perform it live is on my Bucket List and I'm morbidly curious if it's a possibility or not.


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Klopp said it was a "really, really good result". The Egyptian was alert to pounce on a loose back-pass and shrugged off the covering Felipe, only to slide the ball past Casillas and the post when he looked destined to score.
Firmino was on hand to take advantage of a cross from Trent Alexander-Arnold and made no mistake as he turned the ball home from close range.
"We hoped it would be like this because the last game he got better and better until the last minute so we wanted to build on that", said Klopp.
There were a few good performances around as Liverpool shut out the Porto attack, linked up well in midfield and were clinical in front of goal. His goal was lovely.
Porto: Tough task. A draw, especially one with goals, will feel like a win. It comes from a corner that Liverpool can't clear.
FW Divock Origi, N/R - The Belgian has played his way back into Klopp's thoughts and is getting fairly regular playing time of late. He obviously likes that position, so it was my fault that he played for one and a half years as a [No.] 6.
"Sorry about that, but we needed him there".
FC Porto won their previous match as they Boavista at home. Porto played their part in an entertaining game Tuesday and had numerous chances to grab a vital away goal, but having kept a clean sheet, the Merseysiders will now be strong favourites to go through to the last four.
So far have Liverpool come in the past year that a trickle of fans in red were still casually taking their seats with seconds to go before kick-off. James Milner played a attractive long ball out on the other wing to Sadio Mane, who dribbled past a couple of defenders before finding Firmino in the box, and the Brazil forward laid the ball off to the onrushing Keita on the edge of the area whose heavily deflected shot bamboozled Iker Casillas and went in to the back of the net.


Gorgeous little 14.5" Bespoke Merivale Saddle.
Saddle has suede insert for seat and is in excellent condition.
Wide gullet and nice wide chanel.
Would really love to keep this saddle but doesn't fit out XXW pony. Checked with saddler and can be widened but not much as we need.
Buyer will not be disappointed with the beautiful saddle.


Lital is involved in critical and literary writing, developing strategies for experimental artists to take over the world, and in launching a local electronic arts pop-up exhibition.
Lital Khaikin is an Ottawa-based writer + creative strategist exploring the intersections of contemporary art, urbanism and radical philosophy. She is especially interested in the applications of phenomenological theory to visual + performance arts and technology. Lital currently writes feature articles, interviews, and reviews, and does some freelance publication design. In Ottawa, she is developing a digital and electronic multimedia series to showcase local artists and feature visiting artists. In winter of 2013, Lital joined Tokyo-based Butoh dancer Tetsuro Fukuhara as an editor and creative strategist for Tokyo Space Dance. She has since developed publicity material for Space Museum development and leads for artistic collaboration, and is currently assisting in the redesign of the Space Dance website for international relaunch. She is also working on an experimental novella, which will someday make her [in]famous and finally sustain her addiction to coffee. Lital's article on Tuvan throat-singing, Tuva's Meridian of Musicality, Spirituality, and Cross-Cultural Place: A Primer On Tuvan Throat Singing (REDEFINE Magazine, 2013), was awarded for digital journalism at the 2013 International Symposium on Central Asian Khoomei in Kyzyl, Tuva. Most recently, she has been published in Seattle x Portland's REDEFINE Magazine and Ottawa's Guerilla Magazine. She can often be found haunting one of the many local music venues, seeking out underground, experimental, and independent concerts to review for Ottawa Showbox, and documents the shows using the revolutionary medium of lo-fi cellphone photography. Between 2010 and 2011, Lital contributed to the Carleton University-based independent watchdog journal, The Leveller, reporting on corrupt administration and the trial of Hassan Diab. Between 2012 and 2013, she helped found the digital creative agency of New York City-based Why Blue Matters, and contributed to the editorial role of the agency's blog.
WBM publications document the stories of leaders in creative realms and entrepreneurship through feature interviews. The creative agency develops interactive narrative-driven publications for commercial and branding purposes.
Tokyo Space Dance is a creative project, by Creative Director Tetsuro Fukuhara, which combines Dance, Architecture, Information and Design in an experimental performance installation. Space Museum Corporation is the project's collective, comprised of members from Japan Aerospace Exploration Agency and NEC Corporation.
Guerilla Magazine is an independent print publication local to Ottawa, which explores the landscape of Canadian arts and culture, including the avant-garde and the underground.
REDEFINE Magazine is an independent publication focused on exploring thematic parallels across the disciplines of art, philosophy and social science.
and moshing on the third.
[ 2 ] I appreciate excellent coffee and can probably exist on a diet of dark roasts and espressos.


Ben Dechrai · Articles · Am I a Geek?
On of those silly quizzes told me I'm definitely a geek, but my other half and a friend told me the other day I wasn't. So am I or not? It's a very serious issue!
That's four out of seven. The ones I don't identify with are General Electrical Engineering Knowledge, A derogatory term for one with low social skills and A person who swallows live animals, bugs, etc.
Does that make me 57.142857143% geek?