Monday, May 5, 2025
Blog Page 1059

Unheard Oxford: Utsav Popat, international student

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The food over here never gets spicy. Note to self: never mention this to the Indian guy selling curries at Gloucester Green. He will remind you of the reason why your mother never added chilli powder to your food. And never get a third helping of the spicy salsa at El Mexicana either. Your tongue will refuse to register any other taste for the next day. Ex­tra beneficial in the case of Hall food – not so beneficial when it comes to G&D’s ice cream. As a Mumbaikar, there’s nothing that gets on my nerves more than a lack of spices, not even government policies about cutting short my visa. I cannot stop grumbling about the lack of variety and spices. In fact, I was given recently a bottle of Nando’s Extra Hot Sauce and chilli flakes just so that dinner could be more peace­ful. But there are a lot of things that I wasn’t prepared for – or had not even considered even in the craziest notions. So here is my list of ‘oh-I-was-never-prepared-for’:

1. Cornmarket Street on a weekend.

I come from a city of 21 million people. I have travelled on local trains where I’ve had to stand on someone else’s feet for space (not really.) It can be said that I have experienced the ‘hustling and bustling and sweltering’ of aamchi Mumbai. But nothing – special emphasis on ‘nothing’ – could have prepared me for the Nightmare on Cornmarket Street. It is impossible, nay inconceivable, to find a path from Broad Street to Starbuck’s. That moving contraption of shop­ping bags manages to grab every square inch of the cobbled street from 9am on Saturdays. Any attempt to break through ensures that you land right on your butt in the middle of Broad Street. Resigned, you pick yourself up, whine about the tourists, and trudge to get instant coffee from Tesco.

2. Tesco hours on Sunday

It’s Sunday. The one day you can get up in the afternoon, next to a half-eaten box of chips and cheese, when you dare to open Netflix and binge-watch in pyjamas. By the time you’re finally bathed and dressed and want to grab some breakfast, Tesco is shut. At 5pm. Not only Tesco – it’s the whole of Oxford. Coming from an environment where Sunday is the one day every shop or restaurant extends its operating hours, the sight of silver shutters on a Sunday still man­ages to confound me.

3. Oxford vocabulary

I can understand five languages but the Oxford dialect is one that will eternally elude me. Starting with battels, sub fusc, matriculation and stretching to the big Latin ones which only Classics students understand, it seems like a new word is always there round the corner just wait­ing to jump at you. 

4. Being confused about home

This was least expected and the most welcome of the lot. Never have I been more confused. I can no longer exclude Oxford when I’m talking about ‘my home’ or ‘my city’. It has, in this very short time punctuated with ridiculously long va­cations, become an integral part of my identity.

A night at the Oscars: winners and losers

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Much has recently been made about the lack of diversity amongst this year’s Oscar nominees. This is not as much a surprise as it is another fervent reminder of the state of race relations in the USA. For all those decrying this as a storm in a teacup, it is emphatically the opposite. On a basic level, television and film represent a daily interaction between the individual and the representations of identity that society imposes upon their culture. The images that we see on the TV screen demonstrate to us how our own identities are perceived by society and how we are expected to act. 

Whatever your views on the concept of reverse-racism, and whether or not racism is predicated on the norms of the society in which it occurs, it cannot be seen as racist against white people to call for greater diver­sity on the screen, especially when the start­ing point is there being no African-American actors on the list. Charlotte Rampling, star of Dexter and Broadchurch, foolishly claimed that it was “racist to whites” to criticise the nomination list for its lack of diversity. She has since clarified the quote, arguing that she meant that she only wished every film was judged equally on its merits. In a roundabout way, this really gets to the heart of the issue. It is not only that no African-Americans were nominated for the Oscars this year. It is that African-Americans played an integral part in the past year in cinema, but their talent has been ignored. Every film is clearly not being judged equally on its merits. It is telling that somehow the Academy has managed to nom­inate the only white people involved in a film about gangster rap – the writers for the film Straight Outta Compton. Even more glaring are the omissions of Idris Elba from the Best Supporting Actor role and Michael B. Jordan in the Best Actor category following his spell­binding depiction of a boxer attempting to reconcile his family’s past in Creed. To imply that putting these performances on the nomination list is merely an act of tokenism is sim­ply pigheaded.

It is worth being clear as to how these nomi­nees are actually decided and how a winner is cho­sen. The members of the Academy of Motion Picture Arts and Sciences – more col­loquially known as ‘The Academy’ – choose nominees from their own field. The shortlists of nominees are collated and the whole Academy then votes. This illuminates one key undercurrent in this whole debacle – that the Academy, as an institution, is highly exclusive, unrepresentative and nepotistic. In order to become a member, you either have to have been nominated for an Oscar or be invited in by two separate members. And so, when entry into the elite and exclusive society is based on back-scratching and who you know, it is easy to see why accusations of an absence of diversity have been raised.

Many further accusations have been made of how the only times that an African-Amer­ican has been nominated for an Oscar is for depictions of slavery, or roles confined to the era of Jim Crowe. Take 12 Years a Slave, a most notable example of this. That being said, this critique is not strictly accurate, or true. In fact, as George Clooney recently pointed out, the Oscars did, in fact, make some progress in the period either side of 2000, with Morgan Freeman’s nom­ina­tions for his roles in Million Dollar Baby and in The Shawshank Redemption, respectively, as well as Will Smith’s for his tear-inducing performance in The Pursuit of Happyness.

Moreover, since the furore around diver­sity has erupted, the Academy has pledged to increase the representation of ethnic minorities and women as well as imposing slight restrictions on membership to ensure that all members have been working in their respective field at some point in the last 10 years.

Progress is admittedly slow. These rule changes may effect a small level of change, but the truth still remains that images and portrayals of race and culture have an impor­tant impact on the discourse surrounding race in America.

This is the year when Leonardo diCaprio might just receive his Oscar. Hollywood remains as white and WASPish as ever, unrep­resentative of its global and multicultural audience. It’s time to open up a conversation about the diversity of actors and filmmak­ers and start to breach the subject of the wealth of talent in the African-American community hitherto overlooked. This year’s Oscar season should be a wake-up call.

A vindication of the rights of girls’ schools

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It’s been a few weeks since Richard Cairns, headmaster of the co-educational independent school Brighton College, suggested that pupils attending girls’ schools are at a ‘huge disadvantage,’ and I am still seething. Cairns suggested that although girls may leave single sex education with a clutch of A*s, this achievement will mean nothing “if they cannot meaningfully converse and communicate with male colleagues”.

Cairn’s remarks amount to nothing more than low-level misogyny. The fact that girls attending state school single-sex education earn more than their co-ed counterparts counts for nothing; the increased uptake of STEM subjects irrelevant, if they cannot talk to men.

He has a point. Everyone knows what happens if you go to a girls’ school. It stops you from being funny, impedes your ability to communicate with the male gender, and turns you – God forbid – into a lesbian.

Despite the old dictum that men come from Mars and women from Venus, we do in fact speak the same language. Girls who attend single sex schools do not need extra classes to perfect their ‘manglish’, or a translator in the boardroom. In fact, research demonstrates that women who attended single-sex schools earn more than their co-ed counterparts, suggesting a perfect ability to communicate, and more importantly, the self-confidence to believe that their contributions are worthwhile. A study showed that girls who went to mixed comprehensives were earning an average of £7.92 an hour in their early forties com- pared with £8.33 for those who went to girls-only comprehensives. The difference between mixed and all-girl grammar schools were more marked, at £10.18 and £11.18, respectively. Another charge leveled against the girls’ schools is the fear that your daughter will morph into the stereotypical oversexed hockey stick freak, obsessing over every boy who happens to cross her path, from the postman to her male teachers. When I was at school, this was partly true. We would grab token boys for proms or parties. It didn’t matter how pimply guys were, how little they washed, how totally devoid of interesting conversation they were – we would secure them for prom. Girls without brothers or a life outside of school were intrigued by boys, only to arrive at university and realise within two seconds that not all men were inherently funny, dashing and charismatic. We often professed undying love for our male teachers; one girl even gave my best friend a life-sized cardboard cutout of the beautiful maths teacher for her birthday – surely every girl’s dream. Another got the name of her English teacher tattooed on her butt after a drunken night in Ibiza.

The ‘bitchiness’ myth – the idea that any building with too many women inside it will dissolve into a cesspit of cat-fighting – is part of an ingrained misogyny that rears its pale, male and stale head whenever we talk about single-sex education. Believe it or not, women can survive just fine without men before the age of 18. Teenagers are cruel. For many people, secondary school is the most miserable time of their life, as you are forced to navigate a toxic mix of hormones and increasing responsibility. But this has nothing to do with being in a single sex environment, and everything to do with the thorny process of transitioning into adulthood and finding your place in the world.

Are girls’ schools pupils oversexed? Well, yes, obviously. But so are all teenagers. And what’s fantastic about a girls’ school environment is that students become less afraid to embrace their sexuality, and less insecure about their bodies. Other girls at mixed schools lived in fear of a tampon falling out of their pencil cases and revealing their secret uteruses (usually so well hidden!), while in my single-sex school we were busy under the desks, casually popping them in and out in the middle of French. There was an openness around sexual desire, where girls spoke about how keen they were to lose their virginity, professing it as loudly as any stereotypical teenage boy would.

On the other hand, studies show that single-sex education can have a detrimental effect on boys. It shows that boys taught in single sex schools are more likely to be divorced or separated from their partner by their early 40s than those who attended a mixed school by. So, send your girls to girls’ schools, and your boys to mixed schools – I see no flaw in the plan.

Debate: ‘Is lad culture a problem at Oxford University?’

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Yes: Katt Walton 

Homosexuality is a disease,” “I want to put my face in your boobs,” “You’re so sexy when you dance,” “When our school used to play sport with state schools it was like community outreach.”

It’s just banter, lads, why are you getting offended? We are deep into a social ruling that has discrimination masquerading as ‘banter’, assault being ‘asked for’ and misogyny veiled as a ‘compliment’. We are in a lad culture epidemic.

If we play word association with ‘Oxford’ the most likely things to come up are: gowns, dreaming spires, rowing, intelligence and Harry Potter. There is actually a darker underbelly to Oxford, which creates an unsettling atmosphere that perpetuates victim blaming and hatred. This is lad culture. Many of you may be thinking: what is lad culture and is it something ‘radical feminist killjoys’ have invented to blame when ‘patriarchy’ is used too much? 

In reality, this problem has pervaded our community to the point where these ‘lads’ think it fine to grope a girl because they’re on a crew-date and ‘that’s what you do’ or when rugby initiations involve a stripper because ‘it’s tradition’. Since when did intelligent students forget morality and integrity, just to be hailed as a ‘lad’ with substandard and offensive banter?

There is a subcategory of lad culture at Oxford that encapsulates the main issues in our University. I’m talking about the public school boys, Rolex and Comme des Garçon ones, wearing vintage garms painfully sourced from eBay in an attempt to look wavy. This new grade of lads is arguably more dangerous.

Oxford is a melting pot for the elite, with a hugely disproportionate number of privately educated students being admitted. For example, 58 per cent of Christ Church’s admissions attended fee-paying schools. Given that they make up only seven per cent of England’s schools, Oxford is clearly not representative of reality.

Private, and especially public schools, are a breeding ground for lad culture, which is often drilled in to boys from preparatory age. Boys are told to ‘man up’ and not to be a ‘pussy’ or to ‘stop acting like a girl’, and they are brainwashed into believing masculinity is based on patriarchal elitism. 

The microcosmic environments of boarding schools help to perpetuate overwhelming social behaviours which see sexism and classism as second nature and become ingrained as normality. This spills over to university life when privately educated students are forced for the first time to interact with state school admissions.

The grating small talk I endured centred around my education. “Where did you go to school?” they would ask, and when I started to say it was a state school in Greater Manchester many people simply turned their backs eager to find their own social circle. Befriending this crowd is impossible: the second these ‘lads’ realise you don’t have a friend who owns a chalet or understand how to laugh at jokes about mining and ‘Northern yobs’ you’re cast out. When did it become standard for this level of offensiveness to be heralded as ‘normal’?

As a northern queer woman I am constantly reminded of my marginalised identity and how it is ‘taking up space’. I have been shut down in social situations when I’ve called people out for sending round pictures of disabled children ‘just for the bantz’ and that when someone says ‘homosexuality is a mental disease’ it is ‘just some people’s sense of humour’ and I need to learn to deal with it. I have become uncomfortable in my own college due to the proliferation of problematic views that are tolerated by the argument of ‘free speech’, and this so-called banter which seems to constitute law in our university.

I am sick of being assaulted in clubs when I kiss my girlfriend because a guy wants to ‘join in’ whilst his mates scream a chorus of ‘LAD!’ This is not what I should have to accept and it isn’t what you should either. Unsurprisingly the most common reason overall for not reporting incidents were that students did not feel that what had happened was serious enough to report. This is the epidemic we are in right now. Women are second guessing assault in clubs because lad culture indoctrinates us into believing that boys will be boys. State-educated students are embarrassed by their humble backgrounds after they hear of friends hiring castles for their birthdays.

I’m not saying that wealth and lad culture are synonymous but I am saying that the environments many privileged students come from cultivate the ideologies that contribute to this new class of lad culture. Oxford needs to stand up and realise it has an elite agenda which is contributing to the alienation of low income students, women and the queer community because our identities are not valid in the public school lad scene.

 

No: Bishan Morgan

The representation of lads in popular culture is hardly positive: boozy sports teams with beer-spattered bibs, chanting vulgarities and hurling misogynistic abuse around like rugby balls. Yet I want to challenge this simplistic understanding of ‘lad culture’ and demonstrate that Oxford’s ‘lads’ are remarkably progressive.

First of all, the term ‘lad culture’ is highly problematic. We should bear in mind that it suggests there is some kind of unifying, central movement, which is simply not the case. There is no solidifying ideology between different people, or even different times, that constitutes lad culture. It is a term crucially applied to certain kinds of behaviour rather than a driving force for that behaviour. As such, we should not understand ‘lad culture’ as a monolith: it has taken many different shapes and forms over multiple decades.

In the 1960s, the conception of a ‘lad’ was very different from today. It referred to a man of spirit and vigour, and was often used in phrases such as ‘a bit of a lad’, or ‘quite a lad’. This idea of bravado is still extant today – you only have to look at sites such as UNILAD or The LAD Bible. The word ‘lad’, then, was centred on acts of daring, and was largely free of the negative connotations it has now. 

If we fast-forward to the 1990s, lad culture was a promising, liberating ideal. It was a subculture associated with Britpop music – Oasis belonged to the era of the New Lad. Lad culture enabled men to express themselves, and women to behave just as freely. As well as the lads, there were ‘ladettes’, which the OED defines as “a young woman characterized by her enjoyment of social drinking, sport, or other activities typically considered to be male-oriented”. The lad culture of the 1990s was, then, an emancipatory ground for both men and women, lads and ladettes. 

It was only in the 2000s that lad culture was hijacked by the sexism with which it is now commonly associated. A primarily liberating movement gave people the freedom to act as they pleased, which necessarily entailed the misuse of this freedom. Boorish misogynists began expressing their boorish misogyny, and lad culture gained its new associations.

Yet, I argue, there has been a steady process of ironising and growing self-awareness within lad culture in the 2010s, which popular conceptions in the media have yet to catch up with. If you hear someone describing themselves as a ‘lad’, chances are it was intended ironically. People are starting to realise that branding themselves with the word ‘lad’ is too serious a mode of self-expression, or in other words, that it’s uncool.

The changing face of lad culture is symptomatic of subcultures in general, which don’t tend to last very long. When was the last time you heard someone describe themselves as a mod? The 1960s, most likely. Social groups move in and out of fashion, and the boozy, sexist lad is starting to head that way too. A straightforward patriotism for a particular subculture, such as lad culture, is not compatible with a society which increasingly prides itself on relentless irony. 

In this milieu of cultural reform, the link between lad culture and sexism, homophobia, and racism can be difficult to define. Is the subculture itself responsible for the actions of some of its members? We should start to view lad culture not as an inherently backward, misogynistic entity, but as something which promotes homosocial bonding and freedom of expression.

Lad culture’s transformation is exemplified by the latest marketing approach taken by The LAD Bible. In a recent interview with BBC Radio 5, Mimi Turner, the company’s marketing director, pointed out that a quarter of the ‘lads’ reading the site are women. The LAD Bible is updating itself to stay relevant, removing features such as Cleavage Thursday and Bumday Monday under direct pressure from university students.

Yet lad culture is not only transforming on entertainment sites, but also in Oxford. When compared to the rest of the country, there is strong evidence that Oxford is actually one of the most progressive places with regard to lad culture. Take ‘Good Lad’, an organisation that was founded in Oxford and run by Oxford students, which has now expanded to 14 other universities.

The organisation runs compulsory workshops once a season for every rugby team to promote ‘positive masculinity’. These workshops present a more nuanced approach to issues of sexism and inequality than, say, a simple reminder of consent laws: they facilitate intelligent conversation through open debate. They cover challenging issues, such as how to deal with a teammate who repeatedly makes intimidating, sexist comments.

Trinity College Rugby Captain Alec Fullerton attended a Good Lad Workshop at the end of Michaelmas term 2015 and described how “people enjoyed the platform for discussion – they responded seriously to the issues at hand.” This seems like an enormous step forward in challenging women’s inequality and pioneering ground for a new conception of ‘Good Lads’. In summary, the idea of what constitutes lad culture is changing towards something that promotes, before anything else, liberty and homosocial bonding. The positive changes made by entities such as the Good Lad Workshops and The LAD Bible are transforming perceptions of lad culture, to free the once-promising subculture of the 1990s from its sexist associations. Lad culture is not the by-word for misogyny it has come to mean: it is a complicated, heterogeneous entity, which is transforming as we speak, and Oxford is at the forefront of progressive social change. 

My Life on the Road

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Young women today are often reminded by older generations how far women’s rights have come since the beginning of the last century, and have sometimes been accused by the very same of squandering such advances. There often seems to be a gap between the ideologies of the newest women to enter the workforce and those of their mothers. A recent article in the New York Times explored the opinions of women of different generations on the current U.S. presidential candidates, specifically Bernie Sanders and Hillary Clinton. While younger women expressed less concern about the importance of having a female president if there were a potentially more promising male candidate, their older counterparts were eager to demonstrate the nation’s readiness for a female leader.

Though a women’s rights activist with an impressively long career and an ardent supporter of Hillary Clinton, Gloria Steinem consistently proves that feminism has no expiration date. At a time when terms like postfeminism, postracialism and postcolonialism are sometimes carelessly thrown around, Steinem’s autobiography, My Life on the Road, challenges the idea that the women’s rights movement reached its culmination in the previous century.

Steinem, who is the founder of Ms. Magazine and has spent her life as a freelance writer organizing and lobbying for women’s rights, centres her book around her love of travel, and begins by describing her unconventional parents and semi-nomadic childhood. Her most impressive skill lies in her ability to remain relatable to her readers despite the incredible range of experience she has had, discussing her own personal fears of public speaking as well as instances in which she could have done more.

Still, the sheer breadth of events and encounters that Steinem describes with such specificity sometimes verge on the unbelievable. In spite of this, her writing reads as honest and something like a series of selected entries from her own diary. Whether or not all the chance encounters, seemingly omniscient predictions made by perfect strangers, and intimate conversations with generations of America’s most famous and important figureheads really occurred in the way she describes, Steinem’s openness about her most emotional crises, from being called a “baby killer” after having an abortion and supporting reproductive rights to her absence at her own father’s death, renders her trustworthy in a way that perhaps counts more than anecdotal corroboration.

Each story in the book is succinct, often spanning only a few paragraphs, and liberal use of bullet points sometimes makes the whole project seem like more of a coffee table read even if its content is dense. A veteran storyteller, Steinem’s language is decidedly simple but not simplistic, smart but not unnecessarily intellectual. She purposefully maintains a humble tone through which she sets herself on an even plane with readers, avoiding specialized terminology and discourse that might be isolating to those unfamiliar with it. Steinem’s message is simple: every woman can and should be a feminist. She manages to extend issues surrounding the way that women are treated worldwide to other current and pressing issues like racism, climate change and LGBTQ rights, addressing simultaneously any claims that she is concerned only with “white feminism”. Her comedy is entirely situational and unforced, and she has a way of allowing events to speak for themselves, never pressing her reader to interpret things any particular way, a tactic she evinces also in her political activism in order to open up discussion with opponents.

As much as Steinem is not a politician and has expressly avoided becoming such, this book is anything but apolitical. Its release coincides in a timely manner with Hillary Clinton’s run for President of the US, and a large section of the book is an open endorsement of her candidacy. In an op-ed that she herself wrote for The New York Times, a portion of which she includes in the book, Steinem argues that gender was the largest deciding factor in Clinton’s loss in the 2008 presidential election, and she attempts to debunk a recurring idea amongst Republicans and Democrats alike that Secretary Clinton has been in politics too long to make a suitable president.

Political or not, My Life on the Road i s d efinitely worth a read and gives a lesson in paying attention to histories that often go untold. Her inclusiveness and optimism in spite of all the challenges she has faced is a reflection of the longevity of feminism in all its many incarnations and an invitation for readers to get involved in the causes that mean the most to them. Steinem herself writes, “When new people guide us, we see a new country.”

Picasso: Formalistic or Contextual?

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Orange. The orange makes me stagger. I see a blocked swarm of figures, clustered at either end of the piece of plywood. Grey, green, orange, orange and orange jump out at me. I am in the new Picasso Museum in the Marais distract of Paris. Or at least I was just a moment before. Now I stand in a world of rigid diagonal forms, irregularly cluttered in two blocks with a division of receding space between them. Behold, all you non-formalists; Picasso’s 1951 ‘Massacre en Corée’.

Despite depicting a brutal episode in Korean history, the attention this kind of painting elicits is, to me, to be moved over the picture surface, piece by piece, paradox by paradox. The figures and objects on the plywood are reduced and fractured into geometrical forms and then realigned within a shallow, relief-like space. The more I look at it, the less convinced I am that Picasso wanted the world to see a massacre at all, and that what he was displaying instead were the most perfectly arranged forms on a piece of fitting plywood. But then again, to a formalist, what Picasso wanted isn’t important.

I glance over at some of the other people in the room who go almost immediately to the plaque on the wall to see the date and perhaps glean some contextual information on the painting. I wonder if it is first and foremost the interest in the formalistic qualities of the painting that has led them to seek a contextual explanation, or if the first thing they see when they look at the painting is a group of American soldiers pointing their weapons at a group of naked, innocent women and children.

Wouldn’t it be a shame, I think to myself, if people allow this contextual analysis to wash over the formalistic qualities and to taint the interior style with exterior darkness. What they would see would be an explanation of what is both happening and about to happen in the painting. They would only see the content of the painting. Their mode of vision would unconsciously adapt to cubistic form, and they would read the painting as a photograph, a snapshot into a historical moment that would entirely abandon the lines, shapes and colours that have formed it.

Yet this, dare-I-say, touristic contextual approach is only important if you want to treat the painting as an object, a political pawn, a project of Picasso’s personal views. If you forget everything that the painting has become since its formation in the mind of others, and look instead at its abstract qualities, this contextual information is of no relevance.

To a slight extent, perhaps it aids the formalistic qualities. The shades of grey, sliced by dark outlines into separated forms of intertwined limbs, certainly inspire a cold, metallic sentiment to the picture. There is something very clinical, about it; something detached, yet desperate, tortured, empty, sad.

A contextual reading to the painting might help us to understand why the forms make us feel this way. But the painting has everything you need to know within its form, within its lines and space and colour. All you have to do is allow yourself to feel them.

Is This Art? Plate Convergences

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Theaster Gates is an American artist whose popularity is rapidly growing. His first major work, Plate Convergences (2007), fits in well with the series ‘Is this art?’, as at first sight it looks like the greatest hoax in the history art.

 

Gates was born and raised in Chicago, the South Side, that is to say the dodgy side. His hobby was to make ceramics. He always tried to sell his works at country fairs, but wasn’t as successful as he thought he could have been. He therefore came up with an idea that might allow his ceramics to receive the deserved attention. He gathered several of his pieces and put on an exhibition at Chicago’s Hyde Park Art Center, Plate Convergences. There, he presented his own ceramic plates claiming they had been fabricated by a legendary Japanese master, Shoji Yamaguci, for whom Gates devised an elaborate backstory. In his story, Yamaguci was a Japanese ceramist who fled Hiroshima and settled in Mississippi in the 1960s. Under the influence of his wife May, a black civil right activist, Yamaguci began to make ceramics devised especially for the food of black people. The couple died in a car accident in 1991, but their legacy was continued by their son John Person Yamaguci. John organised dinners in cities with extreme racial and social tension, with the goal of generating discussions of such tensions.

 

Gates feigned a ‘spiritual dialogue’ with the non-existent Japanese artist. Ignoring the real provenance of the ceramics, people were taken in by Gates’ story and went crazy for his works. They sold extremely well, and made him a local celebrity, soon to become an international one. Now an acclaimed artist, Gates has been given among other prizes the £40,000 Artes Mundi award in Cardiff, and received an honorary Doctorate of Fine Arts from San Francisco Arts Institute in May 2015.

 

This is not the first time a hoax raises issues about the status of art. In 1998 the UK had already witnessed Going Places, the first and best-known work by a group of arts students, The Leeds 13. The students staged a trip to Malaga, ostensibly paid for by a grant, and presented it as their end-of-year show. The idea of using money originally intended to make art for a leisure trip was shocking enough, and all the more so was the fact that such a trip was feigned. It turned out that The Leeds 13 had not been to Malaga at all, but had used the money for things like getting themselves a fake tan and buying souvenirs that may look vaguely Spanish. All this was done in order to draw people’s attention on what they were ready to call ‘art’: had the students really gone to Malaga with the grant, how would have the general public reacted? Were they ready to stretch the concept of ‘art’ to include experiences taking place outside an art gallery?

 

In the case of Theaster Gates, people started appreciating his ceramics only when they were embellished with a captivating (and fake) story. Does this mean that they were not art before, but only became so once they were made ‘interesting enough’? As Gates claims, ‘I realized that if I had the courage to make work outside the institution, then institutions might actually be interested in the work’. I think the key aspect of the whole thing is this idea of courage. In my view, making an exhibition out of a completely invented idea is daring and innovative. And I think that over the centuries, courage and creativity have always been defining features of artists. If Picasso and Braque hadn’t dared to go beyond mere appearances, we would not have had cubism and the avant-gardes. Nowadays, artists are increasingly being valued for their ability to innovate and thinking creatively. In a world where creativity is endangered by technology, we need to be reminded that, as humans, we have the invaluable ability to think outside the box, and yes, even to make ‘art’ in completely unprecedented ways.

Review: Thark

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★★★★★

Thark isn’t, you might think, the obvious first choice for a student play. A little-known farce written in the 1920s by Ben Travers, its script could appear outdated, even archaic. But then, I realised as we sat down in our seats in the Pilch Theatre and a two piece jazz band struck up behind us, this was no ordinary performance. Under the brilliant team of director Jack Bradfield, producer Claudia Graham and production manager Charles Pigeon, this old fashioned comedy has (rather appropriately for a haunted house mystery) taken on a life of its own and roared onto the Oxford theatre scene with a vitality and shout few other plays can muster.

The relentless nature of this play seems to resemble Wodehouse on acid. The audience’s laughter grows as the stage gradually becomes crowded with a host of characters with names like Sir Hector Benbow and Cherry Buck, who soon become irrevocably tangled up in endless misunderstandings. This is, of course, all accompanied all the innuendo and bad puns as you could possibly want. The first act is a frenzy of encounters and sparring dialogue full of quips and witticisms- with the subject of Thark, the haunted house, only appearing properly in the second half. The non-stop nature of this play, with characters constantly falling headlong into humorous and uncomfortable situations and even having to adopt different identities, is expertly dealt with in this production. Whilst being thrown into this maelstrom of a performance might potentially have been hard to follow, the cast work together to make sure they are only ever one step ahead of us- whilst giving the illusion that it could all collapse around their ears at any moment. The decision to set Thark in the round gives the dizzying impression that you’re sitting in some sort of Hadron Collider of events, whilst underneath the farcical nature of the play it is all tightly held together- there is very much order in the chaos here.

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The acting, too, is superb: the overblown pompousness of Adam Daiper as Sir Hector Benbow and the facial expressions of Seamus Lavan as the butler Hook, both draw the audience in and put them at ease. They fulfil that most difficult role in a farce- managing to be uproariously funny and believable at the same time. Together with the director they twist and play with Ben Travers’ script, keeping the audience forever on their toes. Where problems in the play could have arisen, such as the slightly worrying line “I don’t want a suspicious little wife for a wife”, they are offset masterfully with humour: here, Ronald Gamble, played by Barney Shekleton, has a tantrum and hides in the bed clutching a teddy bear. And as for Thark’s butler, Death, played by George Fforde- well, he seems to have stepped straight out of a Scooby Doo mystery, and has a nasty habit of appearing when you least expect him to. Amongst this utter madness, Amy Perkis and Niamh Simpson as Kitty Stratton and Lady Benbow subtly keep the play together- moving the plot along effortlessly and playing the ‘straight man’ to the other comics onstage, whilst still holding their individual, interesting personal depths.

This play is a hilarious romp through all that’s best of farcical theatre. The production’s attention to detail, such as putting props amongst the audience, means you feel intimately involved in the hilarious calamities unfolding onstage. The sheer joy and fun of it all is obvious. I agree with Michael Billington when he called Thark ‘sublimely irrelevant’- and what better praise could a farce get than that?

Summer school scandal

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Cherwell has learned that Varsity Education, criticised by members of the University last year, is continuing to off er a controversial £3,595 course and is advertising academics’ involvement without their knowledge or consent.

Varsity Education advertises itself on Twitter as being able to “hone your interview and application skills so you get into the University that you’ve always dreamt of,” as well as off ering “inside knowledge” if you enroll on their two-week course, which allows students to attend classes and workshops to develop “key skills”.

Cherwell published an article in February 2015 about the company, which was hosted by Pembroke College and which highlighted concerns over access to the University.

Pembroke is no longer involved with the company, although it continues to use photographs of Pembroke in its marketing and promotional video.

A spokesperson for Pembroke told Cherwell, “Pembroke expects all former clients of our conference and events business to update their publicity visuals to refl ect new locations as and when possible, and to remove all written references to Pembroke College on the termination of any agreement. We do not comment on the details of individual commercial relationships.”

St Cross College told Cherwell that it is considering hosting Varsity Education’s Oxford Summer course.

The College said in a statement, “Varsity Education is a potential commercial client of St Cross for summer 2016. Discussions have not yet been finalised. Our facilities are hired by them on a normal commercial basis, as with any other client, and St Cross is not involved in the organisation of their programmes.”

With regards to “inside knowledge”, Varsity Education lists the heads of the various subjects it off ers on its website, a number of whom are academics or tutors at both Oxford and Cambridge and whom it says “delivered key seminars to our students and had overall responsibility for the design of the course”.

When three of these “academic heads” from Oxford University were contacted, however, they suggested they were unaware of the extent of the position they held.

Dr Josephine van Zeben, a tutor in EU and Public Law at Worcester College listed as “Academic head” of the English Law course, told Cherwell, “I was not aware that my name, without my permission, was being used on the Varsity Education website… I have no link to Varsity Education in any capacity and have instructed them to remove my name from their website.

“My involvement with [Varsity Education] was restricted to providing four one-hour lectures on public law during a one-month period. At no point during that time did I speak to students about the admissions or interview process at Oxford. Nor would I have agreed to do so, if I had been asked to.”

Dr Lisa Walker, a tutorial fellow in Medical Sciences at Balliol, said, “I think the question here actually revolves around what the “Academic Heads” of the subjects actually know about the organisation. In my case, nothing. I had very little notice – I was asked to fill in as someone had apparently dropped out and they needed someone urgently.

“I confess to having been surprised to find my photo and blog on this website. What they have on there is not inaccurate – they have lifted it straight from the Balliol website.”

In addition to these, Dr Sally Bayley, an English tutor at Balliol and St Hugh’s listed as the “Academic head of English”, commented, “I only taught for the Access part of the course, in the fi nal week, where I spoke to kids from all over the country who had been given sponsored places. I can’t comment on anything else, I’m afraid, because I wasn’t part of it.”

On the issue of the company’s contract with Pembroke, James Gold, the director of Varsity Education, told Cherwell, “The contract between and Pembroke College was only ever an annual agreement. It is incorrect to say that either party terminated the contract. We use photos we’ve taken of our past courses to give prospective students a better idea of what to expect.”

“Most of our students come from overseas and haven’t visited Oxford previously. We don’t make any mention of Pembroke on our website and students are aware that we are not based in Pembroke in 2016.

“Our students do not usually have access to the expertise or admissions guidance provided to those studying at selective schools in the UK. Attending our course is one way in which overseas students can gain the same insight already offered to students studying at top UK schools.

“Many other education companies, most of which are run for-profit, operate similar programmes within Oxford colleges and have been doing so for some years.

“Varsity Education is a non-profit company limited by guarantee. This means that we do not have shareholders and we aren’t allowed to distribute profits. The company’s articles of association require us to promote British higher education internationally and to provide students from disadvantaged backgrounds with equal access opportunities.

“We achieve this through using the surplus made by the company to fund scholarship places which are open to academically gifted students from non-traditional Oxbridge backgrounds.

“We aim to make at least 25 per cent of the places on our courses available as fully-funded scholarships. Many of our scholarship students have gone on to successfully receive Oxbridge offers.”

A spokesperson for Oxford University commented, “Oxford University is aware that organisations approach our students and staff to work for them, and may use college premises (just as academic conferences and other summer events lease college rooms and facilities.)

“The University does not endorse any commercial operations or publications offering advice or training on our admissions process, nor do we guarantee the accuracy of any such company’s information.

“University admissions staff are always clear to emphasise to prospective students and parents that Oxford University provides an enormous amount of information, all for free, about the application and admissions process.

“This is the most up to date and accurate information students will be able to find, and we make every effort to answer any questions through Open Days, printed materials, the website, and our dedicated admissions enquiry line.”

At the time of publication, the Varsity Education website continued to display full profiles of the academics contacted by Cherwell.

Christian Union photo causes stir

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Oxford inter-collegiate Christian Union has run into trouble over the photo used for its ‘Everything in Colour’ series of talks. The photo depicted the Holi Festival, which is also known as the festival of colours or the festival of love.

Holi is of religious significance to Hindus and is celebrated for 16 days at the end of winter. Much like the Jewish New Year, it is a time to address past errors and debts and start anew with those in their life.

Some students who noticed felt that the Christian Union was appropriating the festival, despite its deep religious and cultural significance, just for its aesthetic aspect. The image choice received discussion on the Facebook race discussion forum Race Matters.

Shortly after this was brought to their attention, the Christian Union changed the event image and the picture in its other media.

When contacted, the group told Cherwell, “It was brought to our attention on Monday evening that the photo on our posters and social media branding is a picture of the Holi Festival in London. We did not design the posters ourselves, but asked a design company to create posters with colourful backgrounds. Foolishly, we didn’t think to check what the photo was of. We know this was wrong and ignorant, and we apologise for the insensitive and misguided use of imagery. In particular, we apologise to any Hindu people who have been offended by our use of the picture.

“We have individually apologised to those who have been in contact with us about the mistake. We also immediately re-branded our media when we discovered our error – our Facebook pages, Instagram and event website no longer use the image.”

A St John’s first year in the Christian Union told Cherwell, “I think it would be a real shame to let what is essentially an accident mar coverage of what has been an impressive logistical achievement by the CU. I’m sure the design was done with the best of intentions.”