Sunday 26th October 2025
Blog Page 1136

Early nights for Merton interviewees

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Merton College has decided to impose a two-week curfew on current and prospective JCR members still in college.

From the end of 8th week, the North Lodge gate and the Late Gate will be closed from 18:00 until 06:30.

The Lodge will also not be accessible from 22:30 until 06:30.

Merton’s Vice President, Monica Gupta, announced the restrictions to the JCR via email, stating that neither she nor the lodge had “any involvement” in the decision and that they did “try and ask them to change the decision”.

She told Cherwell, “We had no notice and were only told on the night because I specifically asked; otherwise we wouldn’t have been notified. It seems very sudden. It has been adopted only for the two-week interview period to cause less hassle in college during the interview season. I’ve had lots of complaints from both the JCR and MCR at Merton.”

A second year lawyer who is helping with interviews and consequently affected by the restrictions, commented, “For many interview candidates, this measure could give them the wrong impression of what life at Oxford and Merton in particular is all about. Whatever the motives behind the decision, it does no good to the reputation of the college if they are perceived to be treating their members like children.”

A Finalist still living in college said, “It’s pretty ridiculous that they’re imposing the curfew. Considering how many students, particularly finalists, live on the main site and are staying for work reasons, telling them they have to be back when all the seventeen-year-olds have to is pretty patronising.”

“Moreover it just doesn’t make any sense – it worked without a curfew for the last few years so I’m not sure why they are imposing one now. The College’s communication has been non-existent – only people helping with interviews were told so the rest of us had to find out through word of mouth.”

This is not the first time that Oxford colleges have imposed restrictions on when you can leave and enter college during interviews. Alex Shickell, a second year at University College who interviewed at Exeter, said there may have been a curfew imposed when he was staying over for interviews.

He told Cherwell, “What we remember there were rumours of having to be back by 10, because no-one had a bod card or fob to buzz in – but we were not sure. I definitely went to the pub one night and rang the buzzer on the front gate to get in, but I was just given a stern look but no telling off.” Cherwell is yet to hear of other colleges imposing a similar curfew during this interview period. Merton College and the JCR President have been contacted for comment.

Review: Julius Caesar

(Note from the Stage Editors) As Brutus himself says: ‘No, Cassius; for the eye sees not itself, But by reflection, by some other things.” What follows are two ‘other things’. We hope to experiment further with this dual reviewer format to give more diversity of opinion on theatre at Oxford. 

Rose Taylor

★★★☆☆

With carefully choreographed scenes, a cast-cum-crew crossover and a new score, Gruffdog Theatre’s production of an abridged Julius Caesar was an innovative, if slightly muddled, take on one of the most renowned plays in English literature.

Ben van Leeuwen’s score is a diverse mixture of electric guitar riffs, untuned percussion and Gregorian chanting. The guitar was especially prominent during transitions and quicker scenes, providing low, repetitive, dirge-like melodies which contributed to the sense of foreboding. However, while the cast were confident in their singing, the undeniably atmospheric chanting nevertheless posed a bit of an issue: why the Dies Irae and the Agnus Dei? Although the funereal connotations were comprehensible enough, the inextricable Christianity of the text felt jarring in what is, whatever period the production is set in, undoubtedly a play about pagans.

The visual aesthetic was clearly defined and consistent. The use of light was interesting and an effective way of focusing attention, but as the cast point beams at other members this became an issue with actors tripping up over the bulky lights left in their path. Again, a real shame, as this was very effective without the untidiness of a stumbling cast. Notably, the puppetry was very good and the movement of Caesar’s ghost was brilliantly eerie. Despite its short appearance it left a real impression. The use of the ladder (the only real piece of set) was interesting and imaginative, as well as symbolic of the scrabbling competitiveness of Roman ambition. However, scenes without it seemed lacking, as there was little focal focus on stage. This was most noticeable during Caesar’s funeral, which was completely still and surprisingly conventional. The lack of the ladder, or in fact any of the previously-employed physical movement or music, broke the tension these aspects had built. It’s natural that the focus in this scene, of all scenes, should be on the extraordinary language (although with a few strange omissions – where was ‘the unkindest cut of all’?), but having been so playful hitherto, what should have been the crux-moment of the play felt just a little anti-climactic.

Overall the cast were strong and delivered dialogue confidently with few slip ups. There was not a weak character among them and they supported each other very well and maintained their unique mannerisms – Brutus’ stony self-sacrificing, Cassius’ prickly conniving, the languid moroseness of Casca. However, some played their characters in a more grand-theatrical style while others took a more naturalistic approach, leaving some scenes and interactions imbalanced. Many of them also suffered from occasional lapses into ‘Shakespeare voice’ – an arbitrarily-paced, meticulously enunciated mode of delivery (à la Laurence Olivier), which sounds more learned than understood and risks crushing the individuality of characters and actors’ interpretations. Of the cast here only Casca was completely immune to this, and this clearly helped him win over the audience; the others, despite their generally strong performances and distinctive physical portrayals, did have a few lapses with their delivery.

As for the abridged script, it was well cut despite missing a few big lines. In particular, intercutting Calpurnia and Portia’s scenes with Brutus and Caesar respectively was a great way to draw attention to the similarities between the two women and their marital influence (as well their helplessness in a man’s word). More editing could have been used as there were some discrepancies between action directed in dialogue and what was actually carried out on stage, but it had a good balance of being concise while maintaining the grandness of the original script.

Julius Caesar had the potential for a unique and engaging show, but felt untidy in places. However, with so strong a cast and such interesting direction it remains a passionate, inventive and well-played rendition of Shakespeare.

 

Matt Roberts

★★★★☆

I escaped a bitingly cold November night this week into the newly renovated Michael Pilch studio to see Gruffdog Theatre’s production of ‘Julius Caesar’ directed by Pete Sayer. A cast dressed in a rag-tag assortment of militaristic garb stood around a ladder, recalling the crucial speech of Brutus, who speaks of “young ambition’s ladder, / Whereto the climber-upward turns his face” in finally choosing duty to Rome over loyalty to Caesar. My initial reaction to this ladder was wariness – it felt too heavy handed – an unnecessarily vigorous nod towards ‘what the play’s about’, and more importantly left the actors quite constricted in the tight, thrust stage of the oddly claustrophobic Pilch studio. My fears were not immediately allayed when a contorted mass of the cast bore an intricate model sailing boat up the ladder – representing… the tempestuous atmosphere of the city? Caesar’s triumphant return? It felt out of place in a production that otherwise prioritised performance and

Once the play got into its stride, all of my prior qualms gave way in their entirety. This was primarily thanks to the absolutely stellar performances that carried me utterly into the world of the conspirators and the politics of the Eternal City. The ferociously camp-cum-perfidious Harry Lukakis gave us an apple-chomping schemer in Cassius who was an absolute pleasure to watch, chewing on what little scenery there was available in the best possible way. The ladder (which I’d feared would be a passive gimmick pointing us towards a theme) took an active role in this production, being used variously as battlement, litter, doorway, and portico – under which the conspirators sheltered from the storm portending the assassination.

Another standout performance was Calum Jacobs’ Casca, whose effortless comic timing had the audience in fits of giggles at the tension of the sumptuous vagaries of the politicking and scheming. The production was carried by Fred Wienand’s Brutus, in a particularly hubristic characterisation of a man who believes himself to be the true arbiter of justice, and is convincingly destroyed in his defeat and the death of Alethea Redfern’s superb Portia. My one criticism of Brutus’ journey was that his complete u-turn from loyal friend of Caesar to revolutionary assassin effectively happened over the course of one speech, but such issues are almost impossible to avoid when cutting Shakespeare to 100 minutes without an interval.

The most impressive part of this production was Ben Van Leeuwen’s sound design which created the feeling of the world of Rome outside of the tight square of the stage – a combination of humming, Latin chanting, air horns and dustbin drumming, usually emanating from behind the audience itself, lent a weight to the threat of the mob that whimsically switched from demagogue to demagogue. In one particular scene, the dulcet tones of Tom Fawcett’s Mark Antony swayed the crowd yet again in a manner reminiscent of Monty Python’s Life of Brian. Producing the sinister paradox of the infantile alterity of the violent mob as they impressionistically fought and danced their way through the production. The biggest victim of the cuts to this play was John Lynbeck’s Caesar – who, despite his best efforts, was left without enough stage-time to build that arrogant tyrant into a more complex portrayal. Equally, the assassination of Caesar felt a little bit clumsy – particularly when Lynbeck was unable to pronounce the most infamous line of the play as “Brute” cut him off with a dagger. Overall, this was an admirable production that was unafraid of testing new waters and was (primarily) successful in walking the tightrope between innovation and gimmick. 

Review: Onlife

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★★★★☆

Onlife, the new play by Leo Mercer, is a one-man show following Felix (Felix von Stumm) as he deals with the aftermath of a breakup on the eve of pitching his new technological invention, ‘Onlife’, to potential funders. Exploring Felix’s concerns about the demise of human interaction, the play centres, ironically, on technological means of communication, video chats, emails, blog posts, only allowing Felix’s isolated responses to be heard.

Felix interacts with another human only once. Unfortunately for the impartiality of this review that human happened to be this reviewer. Therefore, as much as I would have liked to talk of Felix’s characterisation blooming, I cannot judge this interaction objectively. However, the fact that I was at ease and forgetful of the audience probably means he was convincing up close, but I must hold up my hands and skip past this really quite pivotal part of the play.

Onlife does not have a thrilling narrative, the pace fairly steady throughout with little by way of climax. Instead the focus remains on characterisation rather than plot, something that may have caused more of an issue if it weren’t for von Stumm. Excluding the scene mentioned above, the dialogue consists entirely of one-sided conversations, Felix’s answers, so his physical and vocal reaction to unwritten and unspoken responses is relied on to carry the discourse through. This is a big responsibility, but von Stumm held the performance together, swinging dramatically between a genial, eccentric manner and quite sudden and aggressive outbursts. Despite Felix ultimately being a big, operatic character, von Stumm made him a convincing one. He pulls off the lofty metaphors and philosophical contemplations (that sound perhaps just a little too poetic), as well as occasionally blunt thematic statements; something a weaker performance might not be able to achieve.

Other than these blips, Mercer generally writes in a consistently hyperactive voice which remains naturalistic, with the exception of moments where the dialogue ‘loops’, creating a vocal-glitch effect that mimics the more surreal moments of repetitive action. Under the direction of Will Stevens, this repetition is unnervingly mechanical. It is a physically demanding role and it is a feat that von Stumm manages to maintain so much energy throughout. In particular, the aggression Felix displays when typing shows frustration when dealing with insensitive technology through physical theatre. Rather than beating his (invisible) keyboard, Felix begins to beat himself. While the absence of a physical laptop seemed an odd choice, it was actually quite effective. It exaggerated the strangeness of speaking into nothing, and the oddity of typing – the jerky, unnatural hunched position we adopt. It also shows how emotions can be glimpsed not just in what we say online, but how we punch the keys with our fingers. It is perhaps more discomforting that even without a keyboard Felix’s aggressive backspacing is recognisable. Although this physical violence works well, ending the play with a contrasting gesture – Felix’s typing gently turning into wing-like flapping arms – didn’t work. Despite the clear symbolic intention, it was perhaps a step too far in the direction of kookiness, and risked abandoning the end to silliness.

Stevens makes good use of a small space: not only did the fixed set (Felix’s room) puddle out with a mess of clothes that seemed to suit Felix’s muddled character absolutely, but allowing movement around the BT Studio – facing the audience, lurching, spinning and wandering around – made the most of the intimate space. It is admirable that it felt like von Stumm was infiltrating the audience’s space, not the other way around, and it is this quality, and his performance, which really elevates the production.

Students hold vigil in response to Syria air strike decision

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A vigil in solidarity with the Syrian and Iraqi peoples was called last night on Cornmarket Street. It was organised in response to yesterday’s vote in parliament for Britain to join the coalition of nations conducting airstrikes against Isis militants in Syria.

The vigil was was called by the Oxford Students’ Arab Cultural Society, Rhodes Must Fall Oxford, Oxford Campaign for Racial Awareness and Equality, Oxford Students’ Palestine Society, and is being supported by Oxford University Labour Club and Momentum Oxford, a successor organisation to Jeremy Corbyn’s Labour leadership campaign. 155 people clicked ‘attending’ on the vigil’s Facebook event, with a further 197 ‘interested’.

The event description on Facebook declared, “Tonight we stand in solidarity with the people of Raqqa, Deir Ez-zor, Aleppo, Sinjar, Mosul, Haditha, Kirkuk, Kobane, Al Hassakeh, Baiji, Idlib, Mayadin, Al Anbar, Homs, Latakia, Mar’a, Ayn Isa, Nineveh and all the cities and towns across the Arab world facing bombing, with those who have been made homeless fleeing tyranny and those who struggle against it.”

Dan Iley-Williamson, a spokesperson for Momentum Oxford, told Cherwell, “We wanted to express our solidarity with those in the Arab world whose lives and families are now threatened by coalition bombs, and to show that many people across Oxford – residents and students alike – condemn Cameron’s race to war as unjust and counterproductive.”

He added, “With Jeremy Corbyn, we call for a fundamental change our country’s policy towards the Arab peoples. We also join with the wider labour movement in honouring our duty to welcome those fleeing for their lives to our country.”

A spokesperson for OUSU’s Campaign for Racial Awareness and Equality (CRAE) told Cherwell, “CRAE stands in solidarity – always – with brown and black bodies under attack. We stand in solidarity with the people of Raqqa and all cities bombed by the coalition – in whatever capacity we can.

“The decision taken by parliament yesterday shows that brown bodies cannot co-exist with imperialism. We must fight this logic on all fronts. They, the ones with the bloody hands, will hear us, because the humanity of people of colour is louder and brighter than them. They will hear us because we will make ourselves heard. We will make ourselves heard because we must – to recognise, celebrate and protect the humanity of the brown bodies in the Middle East against the imperialist coalition that would see them destroyed. They will not win because we will not let them win. The vigil tonight is an opportunity to stand in solidarity, for the dignity, humanity and courage of all people under attack by the coalition.”

A demonstration against the bombings was also held last night by the Oxford Stop the War Coalition.

Rhodes Must Fall and other organising groups have been contacted for comment.

 

Yazoo shake-up Eighth Week

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Oxford RAG has been given 250,000 bottles of milkshake by Yazoo’s Belgian manufacturer, FreislandCampina to distribute around Oxford. The milkshakes are set to go out of date in two weeks’ time.

RAG itself is taking two pallets of milkshakes, with the number of bottles totalling around 3,500. One pallet will be taken to Radcliffe Square on Thursday, where the milkshakes will be distributed to students between 12 and 5pm.

The milkshakes will be handed out to students in return for registering with RAG, signing up to the Jailbreak mailing list, or making a small donation.

RAG are distributing the remaining bottles to food banks, charities in Reading and Oxford, as well as to local hospitals.

Bridge, the bar and club popular with students on Thursday evenings, is also set to receive two pallets. Milkshakes will be handed out to those waiting in the queue. Any leftovers will reportedly be given to college JCRs, where they will be given to students suffering from hangovers.

Asked why FreislandCampina had chosen Oxford to receive its surplus of Yazoos, Chris Williams, RAG President, told Cherwell, “To be honest I have absolutely no idea.”

He added, “Yazoo rang the Student Union, and the receptionist said that RAG was down for it. Things have just escalated from there. It’s been a busy few days.”

The RAG Secretary, Harry Bush, also expressed RAG’s bemusement. He explained that RAG are “still not exactly sure why the company ended up with so much milkshake spare,” adding, “but we’re hardly complaining.”

A representative from Yazoo told Cherwell, “We’ve been busy handing out a few donations of Yazoo Milk Drinks to different charities across the UK this Christmas, supporting events such as Santa Dashes with local hospices, supporting disadvantaged children and pay as you feel cafes throughout England, as well as providing stock to food banks.

“Oxford RAG was offered the donation as Yazoo Milk Drinks have high appeal with young adults, so it’s the perfect combination of supporting the student union and reaching our target audience.”

Celebrity Children Restored my Faith in Humanity

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Celebrity children are literally the best thing. Like, the best. Hailing from the hip-happening streets of Hollywood’s gated communities, these cutie patooties are quite clearly the most highly evolved type of human imaginable. Imagine having nothing but the DNA of two gorgeous, pouty famous people replicating inside you forever and ever ad infinitum! Imagine being super fucking wealthy and infallibly popular just ‘cos everyone wanted to bang your dad in the 80s! What an honour, what a way to live!

When first-generation celebs have babies, they bestow a gift upon the world. They’re creating an ideal of what human beings can and should be. New ‘normal’ (not on my watch!) parent: look down at your own troubled tyke and realise all the ways in which that little scamp will never ever, not even once manage to measure up to a second generation Barrymore or third generation Arquette. And it’s all on you and your poor life choices, you crusty, infamous, asymmetrical mess. LOL!

No wonder the world’s gone celebrity baby crazy. In these dark times of moral relativism and overstimulated apathy, we need these bright young things just to make it through the days. Personally, I know that if I have had an awful time at work, if I’ve fought with my loved ones, or if Mercury’s in retrograde, I just gotta know what’s up with Patrick ‘Pattyboy’ Schwarzenegger or Kate Hudson. Even an update on Bryce Dallas Howard will do if I’m really in a pinch. I’m serious! Just let me know that these glowing, dewy-skinned beacons of humanity have had a great day grabbing lunch at Nobu and maybe stopping by a Wholefoods on the way to the gym. How’s Dakota Johnson doing? Well, I hope! When I know that these more highly evolved beings are doing fine, it gives me a content feeling inside and makes the ceaseless suffering of my disgusting existance seem worthwhile. They help me just get through the days. Shoutout Gavin and Gwen, cos lil’ Kingston Rossdale and his bleached crop of hair saved my life! I wonder how he feels about Blake Shelton?! What a fascinating kid!

The best thing for me about 2015 has been that we don’t even really care who the famous parents are anymore. Literally any former C-lister’s spawn will do. Sure, we’re still obsessing over Willow and Jaden Smith, who are the offspring of two bona fide A-listers (even if one of them mostly just works in TV, blech!). But now we also get to worship Bella and Gigi fucking Hadid! These ladies are my girls! Well, technically not, ‘cos they’re actually Yolanda Foster’s girls, but I like to feel that Yolanda can rely on my protective gaze to stay trained on these lovely young ladies whilst she’s off doing whatever ex-models do. Imagine being the daughter of a Real Housewife of Beverly Hills. It’s almost too much to fathom. The first time the world got some good quality, clear pap pics of Kendall Jenner and Gigi Hadid hanging out, I literally had to stop for a hot minute ‘cos I couldn’t even breathe.

OMG, remember The Simple Life? That show was the best! When Paris and Nicole pretended to date those small-town hicks I totally lost it! Just imagine?! Gross! Ahahaahahaaaaa!

Ooops, I’ve wandered from the point! Soz. The roundabout point is definitely that given the proven track record of celebrities to produce super hot, super chill kids with sass and panache, what the hell are we doing allowing these deified beings to mate outside of their own superior gene pool? I reckon once a hot young celeb has had their fill of the limelight we retire them to safari parks, where they roam the landscape procreating with one another as us normals gawp on from our jeeps (which are locked to protect the celebrities from us, rather than us from them). That way we get to feel bad about the boring, repellent sex we’re confined to in our mortal lot, whilst ensuring that our glistening, long-limbed overlords are safely entrenched as constant reminders of our inadequacy.

I’d also like to add the caveat that none of this applies to Angelina Jolie, who I’m not convinced is not just a nipped and tucked Jon Voight, star of Holes. Anyway, her kids just seem a bit boring really. Sure, they’ll be hot and live a charmed life, but they’ll also have seen things, you know? In my opinion, she should’ve banned them from going on any of her humanitarian missions. Why sully perfection and light with such darkness, Angie? Let celebrity babies SoulCycle in peace goddammit!

And you, Brad – you’re just gonna stand by and let her rob your kids of their God-given sense of entitlement? Jeez

Between Paris and Oxford: climate change in 2015

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With talks ongoing at the COP 21 in Paris this week, now seems like a good time to talk about one of the most pressing issues of our generation: climate change.

Indeed discussion of this issue has not been confined to Paris; November saw the annual Oxford Climate Forum – a student-run conference that invites leading thinkers, campaigners, journalists and academics to discuss climate change and its effects. The theme of the forum this year was ‘climate connections’, with a focus on why everyone should be thinking about this issue, not just activists. A range of people spoke throughout the weekend, from lawyers working for ClientEarth to veteran Friends of the Earth campaigner Tony Juniper, to venerated diplomat and academic Sir Crispin Tickell. This conference brought together this disparate set of people behind a common banner of concern over our warming climate.

What was striking about this event was the sheer diversity of views on offer from the speakers. Considering that all the speakers had the same goals in mind, namely decreasing emissions and limiting the warming of our climate, there was a surprising lack of consensus. This debate isn’t over whether or not humans are causing climate change. For all serious scientists and observers, that question was settled long ago. Instead the discussion continues over what the best agenda for action is.

Kirsty Gogan, founder of Energy for Humanity, maintained that nuclear energy is vital for efforts to decarbonise our global economy and that we can’t rely on theoretical improvements in renewable technology to meet the growing demand for energy. In contrast, Tony Juniper, when asked about the nuclear industry, dismissed it as “irrelevant” without hesitation. He professed that it is too expensive and too slow to develop for it to be of any use. However, despite these differences of opinion, there are things that everyone agrees we could be doing now to try and meet the, possibly unsafe, target of 2°C warming. These include developing renewable energy generation capacity as quickly as possible and stopping the policy flip-flops that prevent progress in this sector. As Nina Klein, the coordinator of this year’s forum, commented, “I think focusing on the issues which are debated has allowed politicians and businesses to stall year-on-year. Now we are in a position where it is going to be a much more significant challenge to implement these changes soon enough and feel their positive effects.”

There also appears to be a polarisation of opinion regarding the rhetoric surrounding climate change. George Marshall, a co-founder of the charity Climate Outreach, insisted that much of the current dialogue surrounding climate change is unhelpful and actually drives people away from being interested or caring. Climate change rhetoric grew out of the environmentalist movement, but this wasn’t inevitable. It could have grown out of academia, economics or a range of other areas. Environmentalism is fundamentally tied to left wing views and opinions and the fact that climate change is so embedded within this movement has meant that conservatives have almost automatically been alienated. Without engaging conservatives, the movement has a much tougher job of forcing significant action in the UK and around the world.

The same goes for corporations and big business, especially the fossil fuel industry. Confrontational slogans which cast these organisations as the enemy only serves to push them further away. As the Forum committee put it, “we have to make the climate change story personal to different people based on their values so it engages them”.

George Marshall’s opinion showed a deep divergence with the viewpoint that Bill Mckibben revealed during his recorded video. He asserted that we need to ‘break’ the power of the fossil fuel industry and on more than one occasion thanked the audience that we were on his side in the ‘fight’ to save the planet.

For a movement that professes to be safeguarding the future of the planet and humanity itself, are these differences in opinion detrimental to the communication of their message? Just as divided political parties will struggle to get elected, surely divided activist movements will experience the same problems. It becomes very easy for governments and lobbies unsympathetic to the cause to cast those campaigning to make changes on emissions and climate change as confused and at odds with each other. It then becomes much easier to justify inaction.

The other major theme of the conference was the COP21 Paris Climate Conference that is taking place this week. The Conference’s attitude towards the talks was one of cautious optimism. Many were stung by the unmitigated failure of the international community to reach any kind of agreement during the last COP talks in Copenhagen in 2010. The disillusionment that followed has still not quite gone away among this community so it seems like they will not let themselves hope for a significant agreement lest they are disappointed again.

As the committee commented, “we believe the forum has helped raise a greater awareness of the effects of climate change, that it goes far beyond polar bears or a distant future and it is affecting real people all around the world today. We hope that holding the forum means that when the students go on to be the next generation of leaders we will one day have world leaders who consider climate change and give it the appropriate significance in their decisions and plans for the future.”

With talks ongoing at the COP 21 in Paris this week, now seems like a good time to talk about one of the most pressing issues of our generation: climate change.

Indeed discussion of this issue has not been confined to Paris; November saw the annual Oxford Climate Forum – a student-run conference that invites leading thinkers, campaigners, journalists and academics to discuss climate change and its effects. The theme of the forum this year was ‘climate connections’, with a focus on why everyone should be thinking about this issue, not just activists. A range of people spoke throughout the weekend, from lawyers working for ClientEarth to veteran Friends of the Earth campaigner Tony Juniper, to venerated diplomat and academic Sir Crispin Tickell. This conference brought together this disparate set of people behind a common banner of concern over our warming climate.

What was striking about this event was the sheer diversity of views on offer from the speakers. Considering that all the speakers had the same goals in mind, namely decreasing emissions and limiting the warming of our climate, there was a surprising lack of consensus . This debate isn’t over whether or not humans are causing climate change. For all serious scientists and observers, that question was settled long ago. Instead the discussion continues over what the best agenda for action is.

Kirsty Gogan, founder of Energy for Humanity, maintained that nuclear energy is vital for efforts to decarbonise our global economy and that we can’t rely on theoretical improvements in renewable technology to meet the growing demand for energy. In contrast, Tony Juniper, when asked about the nuclear industry, dismissed it as ‘irrelevant’ without hesitation. He professed that it is too expensive and too slow to develop for it to be of any use. However, despite these differences of opinion, there are things that everyone agrees we could be doing now to try and meet the, possibly unsafe, target of 2°C warming. These include developing renewable energy generation capacity as quickly as possible and stopping the policy flip-flops that prevent progress in this sector. As Nina Klein, the coordinator of this year’s forum, commented, “I think focusing on the issues which are debated has allowed politicians and businesses to stall year-on-year. Now we arein a position where it is going to be a much more significant challengeto implement these changes soon enough and feel their positive effects.

There also appears to be a polarisation of opinion regarding the rhetoric surrounding climate change. George Marshall, a co-founder of the charity Climate Outreach, insisted that much of the current dialogue surrounding climate change is unhelpful and actually drives people away from being interested or caring. Climate change rhetoric grew out of the environmentalist movement, but this wasn’t inevitable. It could have grown out of academia, economics or a range of other areas. Environmentalism is fundamentally tied to left wing views and opinions and the fact that climate change is so embedded within this movement has meant that conservatives have almost automatically been alienated. Without engaging conservatives, the movement has a much tougher job of forcing significant action in the UK and around the world.

The same goes for corporations and big business, especially the fossil fuel industry. Confrontational slogans which cast these organisations as the enemy only serves to push them further away. As the Forum committee put it, “we have to make the climate change story personal to different people based on their values so it engages them”.

George Marshall’s opinion showed a deep divergence with the viewpoint that Bill Mckibben revealed during his recorded video. He asserted that we need to ‘break’ the power of the fossil fuel industry and on more than one occasion thanked the audience that we were on his side in the ‘fight’ to save the planet.

For a movement that professes to be safeguarding the future of the planet and humanity itself, are these differences in opinion detrimental to the communication of their message? Just as divided political parties will struggle to get elected, surely divided activist movements will experience the same problems. It becomes very easy for governments and lobbies unsympathetic to the cause to cast those campaigning to make changes on emissions and climate change as confused and at odds with each other. It then becomes much easier to justify inaction.

The other major theme of the conference was the COP21 Paris Climate Conference that is taking place this week. The Conference’s attitude towards the talks was one of cautious optimism. Many were stung by the unmitigated failure of the international community to reach any kind of agreement during the last COP talks in Copenhagen in 2010. The disillusionment that followed has still not quite gone away among this community so it seems like they will not let themselves hope for a significant agreement lest they are disappointed again.

As the committee commented, “we believe the forum has helped raise a greater awareness of the effects of climate change, that it goes far beyond polar bears or a distant future and it is affecting real people all around the world today. We hope that holding the forum means that when the students go on to be the next generation of leaders we will one day have world leaders who consider climate change and give it the appropriate significance in their decisions and plans for the future.”

Preview: Proximity

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I have to start by admitting I know nothing about contemporary or classical dance. I was however fortunate to be invited to the run through of this very different offering at the BT. It is not often we see shows dedicated solely to showcasing dance. In part I guess this is due to a scarcity of dancers in Oxford, but also because of a scarcity of audience. Being myself part of the philistine mass, I was apprehensive about the prospect of finding words or indeed even thoughts to apply to what I was to see.

The question of relating to an audience is one which is central to choreographer Emily Everest-Phillips’s approach. Indeed when I confessed my ignorance, I was even reassured, that this was precisely what they wanted from a previewer. Fortunately I was also given an impromptu dance lesson – the insights from which I hope will make this preview a little better than an exercise in the blind leading the blind.

The first thing I learnt is that dancing is really very difficult. I was instructed in the execution of a sort of pectoral thrust while pulling one’s open palmed hands backwards. The result was akin to Disco Stu’s pelvic solicitations. But I gleaned something of the nature of the sort of expression dance affords. The choreographer gives you a movement, and then you mirror this movement while imbuing it with an expressive embellishment of your own. Thus what in Maddy Walker’s capable performance became an enigmatic and ethereal whisper was in my rendition a sort of mathematically constructed pick-up line.

The sense that the interplay of gestures is equivalent to constructing a phrase was confirmed when I was told the audition process was designed to initiate a conversation. The dancers were given some moves and then asked to dance with each other in the hope of a dialogue emerging. This sense of conversation was I think most clearly seen in how the dancers used space and time in relation to each other. In the opening dance, the pair engaged in a persistent game of moving behind and in front of each other in small and subtle ways. They sort of mirrored each other but along both the x and y axes. This created an almost contrapuntal relation between each other in space. The connectedness but also fragility of the relation between the two was thus very eloquently expressed in this shifting and mirroring of positions. 

Mirroring was not the only type of relation expressed however. In another piece, one of the two dancers started on the floor and moved slowly while the other moved frantically on her feet. By the end the one who started on the floor was dancing and the one who started by dancing was lying on the floor in the same spot as her counterpart. Asymmetry seems to be just as an important a relation. But what I think both this symmetry and asymmetry have in common is a very architectonic concern for balance and harmony. From what I saw, this architecture was concerned with constructing a sense of oneness. This oneness came about by either conclusively separating or uniting the pairs. In this regard, I was reminded of intertwining musical strands searching for a definitive synthesis in a fugue. I think the im/possibility of unity (such as in a fugue) is what happens in the space between two bodies in close proximity to each other. It is this which I think the production is trying to get at. 

This reading however forgets the other side of the story. The dances were not a formalistic staging of spatial relations; this was after all a conversation. The dancers were smiling a lot; they were enjoying it in a way that suggested more than just the delights of Cartesian geometry. The best expression of this I think always came about 75% of the way through the routines. It’s the point at which the dancers, having already impressed with their ability, somehow kept on going. This excess of energy is very compelling for you wonder: how and why can they keep going? This I suppose is the content that corresponds to the form, the drive and the energy that informs the expression of their carefully choreographed movements.

In the attempted synthesis of form and content, some moments really take your breath away. I’m still not precisely sure what is being said. It is  however being said in a way that suggests so much, tenderness, fragility, violence and poetry. It is indeed very compelling and strangely moving. All in all, I very much look forward to seeing if as Hegel said of love, the production can ‘propound and resolve the contradiction’. If the dances will ultimately manage to move from the proximity they seem describe to the unity they seem to be toying with. 

Or the above is a load of nonsense. In any case it’s certainly very enjoyable to watch and I highly reccomend you go and watch. 

The problem with cultural appropriation

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People throw around the term ‘cultural appropriation’ a lot, and discourse about it has reared its bindi-wearing head in Oxford again recently. Lincoln publicised its ‘New Orleans’ themed ball last week, after earlier this year LMH themed a bop ‘Arabian Nights’. Pembroke put on an ‘Indian Summers’ ball last Trinity and Queens have announced their ‘A Night on the Orient Express’ ball theme. There has been criticism, much of which has been quite sympathetically heard by planning committees (even if little real action was taken in consequence), and a vast amount of confusion and angry debate over exactly what the problem is.

Let me make it clear: cultural appropriation, at its most basic level, is the use of elements created by one culture by members of another. The problem is that in some cases – especially when there’s an imbalance of power or strength between those cultures – there can be negative consequences, and it’s this that the term generally refers to nowadays.

The point I’m getting to is simple. Interaction and exchange between cultures is a beautiful, exciting, important thing. There are reliefs of the Buddha being guarded by Hercules from ancient Afghanistan; the remembrance poppy hijab is a thing and a great one, or how about ‘Bride and Prejudice’, the London-made Bollywood take on Jane Austen?

Breaking down perceived barriers between cultures is clearly a wonderful thing. More importantly, though, it could not be more necessary in today’s political climate: division is a weapon of war in the hands of only the most deluded and hate-loving groups, and benefits no one except them. Cultural division and closed-mindedness is also, unsurprisingly, one of the greatest generators of the pitiable individuals who join these blinded groups.

The problem is that interactions between cultures are not always positive and healthy; when there is an imbalance of power between societies, and when it’s assumed that one culture is somehow superior to another, they can easily cause great harm. Not all interactions between cultures generate understanding, and cultural appropriation is the opposite of friendly, respectful, curious cultural exchange. However, as the exceptionally respectful, open-minded and humble white guy who started yelling at me on the Race Matters Facebook page a few weeks ago made all too clear, coverage of this issue can have a lack of focus on exactly how cultural appropriation is destructive, how it actually causes harm.

You can break it down into two parts: repeated personal hurt, and the perpetuation or reinforcement of often invisible, awful ways of seeing the world and other humans.

The question of personal harm is easier to explain. People of colour in Europe are forced to abandon elements of their culture or cultural heritage, to assimilate, simply to survive – they can’t risk the employability bias against them being made even worse, for example, or may even be afraid of direct physical violence: ‘Go back where you came from’ attacks have not disappeared. In a climate of increasing Islamophobic attacks against Middle Eastern and South Asian people of all religions, the situation is darkening for many. Immigrant communities shame those who haven’t assimilated enough yet: the worst insult I could offer my Dad when he buys a new pair of shoes is that they make him look like a ‘freshie’ (fresh off the boat, that is).

When white people – meaning no harm – wear bindis, saris, decorate themselves with Hindu symbols, the message we hear is clear: ‘We can wear these things and enjoy them, be praised for them.’ How is that supposed to feel, when we have been forced by prejudice to abandon these things? To feel ashamed of them, and hate ourselves by proxy? Yet you can toss them on and toss them aside whenever you wish, free only because of your skin colour.

People of colour suffer a barrage of trauma, from physical violence to micro-aggressions like these. Cultural appropriation, however well-intended, however un-thought-through, can be yet another blow on vulnerable minds. I understand that no harm is meant, but this is hurting us. We are not just ‘offended’.

Cultural appropriation as a source of micro-aggressions is not all, however. It is ugly to think and difficult to accept, but it’s true: contemporary Western culture normalises whiteness and assumes European superiority. I desperately wish that wasn’t true, but the proof is everywhere. Black, Asian and minority ethnic people are wildly overrepresented in British prisons, low-income groups and practically every other marginalised group. They are equally under-represented in university and school syllabuses, high-status jobs and the media that saturates our culture.

One of the patterns of thought that sustains this is strongly linked to cultural appropriation. Non-white, non-European cultures are seen through an orientalising lens: we see them partly as a compressed, reduced stereotype of what they really are, and part of our perception of them is that they are Other, different, not normal. By homogenising and reducing the thousand cultures of a region with a population greater than Europe, comparable cultural heritage and arguably more cultural diversity to a party theme or costume, for example, we are reinforcing these outdated narratives.

What’s the problem with that, then? The charming young man from Facebook phrased it rather more strongly, but it’s an important question. Keeping stereotypes alive, continuing to see foreign cultures as exotic and mostly sources of exciting aesthetics, strengthens two things. First is the dehumanisation of people of colour – stereotypes encourage us to see people as caricatures, as essences, not as actual individuals or humans. When and if a group is already marginalised, that is toxic.

Second is the subtle perception – underlying too much Western thought even today – that non-European cultures are not as culturally rich, diverse, important as European cultures; in short, that non-white cultures – and inseparably from that, non-white people – are somehow inferior. If you cannot see how dangerous, oppressive and violent this idea is, then you have completely lost the plot, and I am afraid.

Reconsidering Israel

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“We welcome every drop of blood spilled in Jerusalem,” President Mahmoud Abbas, the leader of the Palestinian National Authority, said on September 16th. “This is pure blood, clean blood, blood on its way to Allah.”

The attacks might not have come immediately after Abbas’s words, but come they did. Since the beginning of October, Palestinians have initiated over 65 stabbings, mostly in East Jerusalem, eight shootings and eight car rammings. Over a dozen Israelis have been killed, and more than 150 wounded. The shooting dead of two Palestinians by Israeli forces, after one of them allegedly stabbed a policeman, on November 30th reflects a much broader problem.

Maybe you’ve seen some of the videos: a man mowing down civilians, then hopping out of his car to continue chopping at one with an axe; two teenagers boarding a quiet bus and stabbing an 80 year-old woman in the neck; an encouragement released by Palestinian authorities that depicts a man heroically chasing down and killing two caricatured Jews.

But probably not. Instead the media response has been subdued, and reporters have taken measures to present an equivalency between attackers and victims. Headlines especially, do not paint a representative picture. CAMERA, an organisation that focuses on pointing out biases in Middle East reporting, points to examples: CNN’s “Palestinians shot boarding kid’s bus”; BBC’s “Palestinian shot dead after Jerusalem attack kills two”; the Wall Street Journal’s “Two Palestinian Teenagers Killed, Two Injured by Israeli Police.”

In none of these does the reader get a clear picture of what actually occurred: that armed Palestinians tried to board a bus and kill its passengers; that a man was shot after he killed two Israelis; that the teenagers, one of whom had just stabbed a 13 year-old on a bike, were killed because they were attempting themselves to kill policemen and passersby in the street.

All this serves to epitomise what is a greater bias in the media and the international community—one that castigates Israel and often glosses over or downplays Palestinian wrongs. A poorly conceived comment by Prime Minister Benjamin Netanyahu that called the Grand Mufti of Jerusalem the instigator of the Holocaust rather than just an instigator was lambasted across the globe. The fact that the Palestinian Authority, under its law of the prisoner, pays the salary of Palestinians who have committed violent acts against Israelis flies mostly under the radar outside of in Israeli journalism.

It would be folly, of course, to attribute this imbalance to anti-Semitism. Anti-Zionism and anti-Semitism are often assumed to be closely linked, and while it is probably true that at least some Western commentators opposed to Israel are also anti-Semitic, the large majority certainly are not. Israel is, undeniably, a flawed state and rightfully warrants censure at times.

Actions such as their expansion of the West Bank settlements and racist statements by government figures like the former Foreign Affairs Minster Avigdor Lieberman deserve all the ire they have provoked. They are indicative of a right-wing government under Netanyahu, a highly abrasive figure himself, which has worked less hard than many of its predecessors to protect the rights of Palestinians and Israeli Arabs.

But we also need to understand the circumstances that have brought Likud and the Jewish Home, among more conservative parties, into power. They are circumstances that should be eminently understandable to us in the wake of the horrific attacks in Paris: those of being unsafe in one’s own home, under siege, with the threat of death poisoning the air. And for Israel, such a position is augmented all the more by an existential threat—one that has existed since its conception. A slip-up, and the Israeli state has the potential to be no more.

Look, too, at how France has responded to one terrorist attack: with the declaration of a state of emergency, a bombing campaign, and a surge in Islamophobic sentiment, towards both French natives and Syrian refugees. The doctrine of state security has superseded all others; one would not be amiss in surmising that any action that President Francois Hollande could take to secure French safety would be welcomed by most of the electorate.

It is this mood that has driven Israel to the feelings of isolation and anger that pervade the public space. This mood, but magnified by what is perceived as discriminatory international opprobrium—between 2006 and 2015, the United Nations Human Rights Council published 62 condemnations of Israel, more than on the rest of the world combined—and by repeatedly spurned attempts at peace—like in the 2000 Camp David talks, where Ehud Barak offered Yasser Arafat an almost complete reversion to the 1967 borders just to have Arafat walk away from the table without a counteroffer.

Israel must hold itself to a higher moral standard than its enemies, and so ought the rest of the world—it does have advantages that put it in the driving seat, relative to the Palestinian Authority, and as a country with the same values as most Western democracies, it cannot forget its calling to be liberal and fair to all.

But nor can we forget that Israel has taken long and hard measures time and again to be as perfect a democracy as it possibly can, given the constraints upon it; even now, it provides hospital care to Palestinian assailants. And before we jump to criticise, we must keep in mind how the United States, or the United Kingdom or France would respond to a constant security threat—and question if we really think that Israel has done any differently than the best among us would have done.