Friday 27th June 2025
Blog Page 1138

An education: in search of my first rugby experience

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16:00 – The shame has been with me since 2002. Every time I pull out my passport, a tear of guilt forms in my eye. A Kiwi who claims to be an avid sports fan who’s never watched a rugby game in his entire 19 years of existence on this planet? Stop it. Those creatures don’t exist. But alas, I was indeed one of those pitiful beings, trapped in a whirlpool of self-loathing and indignation when it came to rugby.

But no more. As I sit on the comfy sofa in the Regent’s Park college bar, left hand nervously gripping a pint of questionable lager, I draw on all the national pride I have and brace myself for the Rugby World Cup semi-finals match between the mighty All Blacks and the Springboks. Rugby had never appealed to me before – I didn’t know any of the players or any of the rules. But the hiding had to stop and what better way to do it then to support the country that I unconvincingly call ‘home’ through its pursuit of glory? Of course, the chance to drink beer, watch sports and document my experience in the name of Cherwell made the venture a bit more appealing.

16:05 – I’m feeling comfortable, happily nursing my pint and still clueless as ever, when New Zealand concedes its first penalty of the day before I could even sip my beer. The kick is successfully taken by a man who can only be described as a Tony Kroos lookalike who’s been living in the gym since birth. Meanwhile, a bitter English fresher states that he lost interest in the tournament ever since England was disgracefully knocked out of the group stages, whilst the JCR president make an attempt at rugby related chat. No one is surprised or amused.

16:08 – Kaino scores a try for the All Blacks, sporting a very stylish headband. Unenthusiastic murmurs of “Oh hey, he scored” fill the bar. A bunch of big men start hugging on TV. Life is good, apparently.

16:24 – Slow motion replay of a tackle made on NZ’s no. 2 makes me glad that I never picked up the sport in primary school. God bless my childhood chubbiness. Conversation switches to the Premier League, which obviously means a standard check of football scores and fantasy team. Chelsea selling dreams. Vardy scores again. None of this is relevant.

16:28 – The guy with the Go-Pro next to the scrum must not have had any regard for his well-being when deciding on an occupation.

16:39 – Aforementioned reckless individual confirmed to be the ref. In other news, it has room ignores him.

16:42 – Commentator says exactly the opposite of what I said three minutes ago. I’m going to go with what I’m seeing. Screw that guy.

17:07 – Wrongly thinking that halftime is 15 minutes, I miss Carter scoring a drop goal to make it 12-10. Another indication that I know absolutely nothing about this game.

17:14 – Try for the All Blacks as super-sub Barrett dives towards the corner. Despite the fact that I haven’t been back to New Zealand since 2013 and I don’t actually remember the national anthem, patriotic pride is starting to sink in. My jubilation is shared with the ecstatic kiwi crowd on the screen, but not with the slightly confused people around me.

17:28 – All Blacks continue to pile pressure on South Africa. The thought of pressure triggers the sudden realization that I have an essay on twentieth-century American unionization due dangerously soon. Oh well. I love rugby.

17:48 – Five minutes left and it’s actually getting tense. All the players look exhausted, but the All Blacks look like they’ve got more to give than their SA counterparts, playing relentlessly as if they’re the team that’s behind. Commentator suggests that New Zealand’s experience gives them the edge, which would have made sense if the other team has never been to the semi-finals before. But from what I hear, South Africa is a powerhouse. Questionable commentating apparently is universal after all.

17:53 – New Zealand wins the match 20-18. I celebrate with a fist-pump, met with a chorus of “You don’t know anything about rugby.” As if that really matters.

After 113 minutes of confusion and exhilaration, my first experience of rugby concluded. Although my understanding of the game was not enhanced by much, it was nonetheless evident that this match was an immaculate showcase of skill and will. Needless to say, I can’t wait for the second part of my rugby education next week, when the All Blacks hopefully win it all. 

Stormy seas for Oxford yachting

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October is not traditionally thought of as a time for the seaside. This October, however, the Oxford University Yacht Club travelled to Le Pouliguen, France to compete in the annual Student Yachting World Cup. Now in its 35th year, this competition is organised by the students of École Polytechnique and features the best teams from teams all around the world. Oxford joined Southampton and Cambridge to represent England against a collection of teams from Europe, America, Asia and Australia.

The first day of racing began in perfect style, bright sunshine and a brisk ten-knot wind welcoming the competitors to the first race. The first set of races made the most of the picturesque bays and inlets which characterise this section of the French coast, with the Swiss team from École Polytechnique Fédérale de Lausanne racing to an early lead.

The Oxford crew featured veteran Oliver Glanville at the helm, Josh Bell on trim, Lulu Wallis on bow and Eric Topham on main and navigation. However, fate conspired against the Dark Blues as technical issues prevented them from racing on the fi rst day whilst Southampton and Cambridge solidified their positions at the head of the pack.

The second day saw even more the good weather, with the wind picking up with gusts up to 17 knots. The Swiss and Southampton crews maintained momentum to take second and third place, while the shock of the day was Cambridge cracking under pressure and finishing second to last. The Canadian team from Dalhousie University also surprised, finishing fourth successively and challenging consistently to break the Swiss/ Southampton hegemony. The final inshore race of the day was fiercely contested, with only four minutes separating first and late place.

The final costal race of the day saw Oxford race into a big lead after a fantastic start, but technical problems once again ate away at the advantage and the crew fell from third place at the half-way stage to a disappointing eighth position by the end.

The weather and the high standards of competition had set up the final day of the competition to be tantalisingly close, with the Southampton and Swiss teams leading the way. With strong winds preventing the usage of larger spinnakers, Canada won the first race after dominating from beginning to end. Southampton and the Swiss continued their competition even till the final stretch of the final race, regularly swapping between first and second. Though Southampton would clinch the race, the consistent excellence of the Swiss saw them gain the world title.

Oxford finished in eighth place, a slightly disappointing result, but entirely respectable given the high standards of the international competition. Battling against the best yachtsmen and women from around the world, as well as technical issues and inclement weather, fairer winds await OUYC. 

Stuck in the fanzone

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It’s happening again. It’s the 89th minute, and Paul Caddis has just slotted home what will likely be the winning goal. The whole ground erupts, and my dad runs towards the nearest Nottingham Forest fans. He leaps down three flights of stairs to celebrate in front of them, leaking f-bombs and lager before he’s dragged back to his seat by a team of hi-vis jackets. Not that I was embarrassed. No, I was shouting him on, virtually baying for blood. Those same away fans had had the audacity to turn around and celebrate when their team equalized just five minutes before, and this felt like justice.

You see, my family is infected, and has been for over a century. We are doomed to have our happiness decided by the fortunes of Birmingham City Football Club. My day is made significantly better, or significantly worse, by how they get on. There’s no reason for it, and I know as well as anyone how insane it is. I’ve tried to rationalize it before, to tell myself that it’s just a sport that should have no ramifications for how my life goes as a whole. But it’s no good; I have the bug. When I see we’ve lost, the bottom comes out from my stomach and despair trails me for the day. If the game is a big one, I sometimes feel it for days, like a persistent hangover or chesty cough that digs in and makes routine tasks a little harder.

In everyday life, my dad is an upstanding member of the community. He pays his taxes, waves to the postman and has never been in any serious trouble with the law. He’s a respected professional who’s reflective, rational and politically engaged. Yet here he was virtually attacking a stranger because his football team had scored a goal. It wouldn’t be the first, or indeed the last time. Just a year before, he’d celebrated Nikola Žigic’s winner literally in the face of a giant Villa fan, and would have had ten years knocked off him were it not the timely intervention of a few bystanders.

My uncle too, once had to write an apology note to former British tennis No. 2 Greg Rudeski, after he calling him a “traitorous cunt” in a pub in London when he celebrated a goal against England. He’s a retired civil servant, and now teaches guitar to children. I wonder if all the friends I made in my first weeks at uni would have still talked to me if they knew that in just ten months time I’d be sitting outside the JCR crying into my Beckham shirt as Luis Suarez sent England out of the World Cup. They certainly wouldn’t have guessed that someone who is usually introspective and left wing would get caught up in something so close to nationalist fervour.

For the layman, such passion about football can be perplexing. Among enlightened circles it is often seen as vulgar and crass. It is true that people in the frenzy of football have committed terrible crimes. Where such strong passions swirl, the wrong people easily harness them. For me now, it’s inescapable. I watch not because I find it interesting or enjoyable, but because I have a deep emotional investment. When I see a player on my team get sent off for the wrong reason, I’m not just annoyed because it goes against the rules of the game. I feel a genuine, intense sense of injustice. It’s the kind of feeling that makes my dad launch himself down the terraces at complete strangers, and my uncle verbally assault a tennis player. It’s never rational and often embarrassing.

Given the choice however, I could never sink back into the ranks of the casual spectator. There are some people that watch football for the spectacle, enjoying the wonder goals and great players. They can talk at length about who they think will win the league, or whether Messi is better than Ronaldo. But they’ll never feel real, seething anger at either. They’ll never be nine years old fi ghting back tears as Ronaldo gives his famous wink to the touchline, and for that reason they’ll always be missing something

Women’s Football kicks off

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Whether it is on-field success or strong social showings, Oxford football has consistently proven itself to be one of the university’s premier sports clubs. This year, more than ever, the Women’s Blues and Furies are at the heart of its success. Competing in the BUCS league and cup, the women’s teams boast burgeoning memberships, impressive results and exciting longterm prospects. Whilst this year’s campaign is in its infancy, an impressive 6-0 triumph away at the University of Derby has only served to heighten the Blues’ early season excitement. Braces from Colleen Lopez and captain Caroline Ward confirmed an emphatic response to a season-opening defeat to Nottingham Trent the previous week. Helen Bridgman and Christina Gough were also on the score sheet to ensure Trent’s last-minute winner was all but forgotten.

The women’s second team, the Furies, took on Staffordshire University (Stoke) on Wednesday 21st October. It was a physical encounter in which the Furies emerged triumphant, strikers Mary Hintze and Habiba Daggash peppering the Stoke goal line throughout the game. Hintze took the first goal, receiving a pinpoint-accurate cross from Lucy Balasz. The right winger Balasz followed up with another strike, with a third and fourth soon following for the Furies. A second half come back from Stoke, left the final score at 4-1 to the Dark Blues.

With rapidly improving team chemistry and a string of talented individuals, a repeat of the 2013/14 promotion winning season is certainly high on the agenda. Emulating last season’s three- and five-goal thrashings of the club’s Light Blue contemporaries is an equally important aspiration. For the Furies, last term’s victories over Brookes and BCU are this year’s benchmark for success.

At college level, the women’s football set-up is equally impressive; a four-division collegiate league system and a fiercely fought out Cuppers competition is testament to that. Whilst the campaign proper has yet to begin, last year’s champions Worcester will be hoping to mount another serious title challenge.

Mili Malde, this year’s incoming captain for Wadham/Green Templeton Women’s, knows the strains and stresses of a new season better than most. Wadham/Green Templeton had a tough season last year, finishing second last in the Women’s 2nd Division with three points. Though losing captain and goalkeeping inspiration Diana Greenwald to an American PhD programme, Malde is hopeful that the surge in interest at the college freshers fair will translate into a crop of eager new players. “I’ve seen so many talented new players its difficult to know where to start, but fresher Louise Nolan, and a second year, Lea Kambskarð-Bennett have particularly caught the eye.”

The influx of new players and rise in participation in women’s football as a whole, ensures this season will be the most exciting yet.

Interview: Jamie Phillips

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At the age of just 20, Jamie Phillips became the youngest ever assistant conductor of the Manchester-based Hallé Orchestra. Since this appointment, he has gone on to conduct orchestras across the world, recently being appointed the Dudamel Fellow of the Los Angeles Philharmonic. On Thursday 5th November, he will conduct Oxford University Orchestra (OUO) in a performance of Mahler’s 7th Symphony.

 

Are you excited about coming to Oxford?

I am indeed! I’ve been looking forward to this concert for a long time. The chance to be able to perform Mahler’s amazing 7th Symphony doesn’t come along very often, and I’m delighted to be able to debut it with OUO.

 

You became associated with the Hallé at a very early age, did you feel under a lot of pressure and how did you deal with being thrust into the spotlight?

 In all honesty, I wasn’t particularly aware of huge pressures. There was some media interest when I became Assistant Conductor of the Hallé, mostly due to the fact that I was the youngest person to hold the post. I’ve now been with the orchestra for over three years, and am doing some very exciting work with them, but thankfully I’m surrounded by very generous people who care greatly about using the Assistant Conductor post to educate young conductors, rather than to scare them and put them off for life! I’ve just been made Associate Conductor of the orchestra, which is a great honour.

 

Mahler is known for his monumental symphonies, what are the particular challenges associated with conducting his music?

 Conducting Mahler comes with many complications, but because Mahler himself was a great conductor, his scores are littered with instructions as to how to conduct the piece. Every other bar, there is a marking which says ‘not too fast here, careful not to rush’, or ‘the flutes are the most important instrument here’ – it’s like he’s left you an instruction manual for some flat-pack furniture, and you somehow have to piece it together! Of course in reality there is a great deal more interpretation to do with the music, but from the outset you undoubtedly have a very clear idea of how Mahler wants the music to sound, whereas with many other composers there is substantially more freedom to interpret. You really do feel he is sitting on your shoulder as you conduct his music.

 

For you, what individuates Mahler 7 from his other symphonies? 

It seems to be his least performed symphony, for reasons which are interesting to consider. The 8th symphony also doesn’t get performed very often, but that’s more for practical reasons due to the huge scale that it’s on and the vast number of performers required. The 7th symphony, however, is written for a much more conventional sized orchestra; although it does require quadruple woodwinds, it only calls for 4 horns, 3 trumpets, etc. It is very complex to play, which deters many orchestras from approaching it, and perhaps more significantly, is tricky to understand. It left the audience at the premiere more confused than anything else, with many describing it as incoherent. I think what makes this symphony stand out from Mahler’s others is that it is not always narrative. The two ‘Nachtmusik’ or ‘nightmusic’ movements (the 2nd and 4th) seem to create a mood and to trigger an emotional response, but you feel less like it’s to do with Mahler looking inwards to himself, but rather as a celebration of his compositional genius. We have come to expect Mahler’s music to be almost neurotic and triumphant in equal measure, but this symphony seems to do something quite different.

 

You’ve worked extensively with youth orchestras as conductor of the Hallé Youth Orchestra, what aspects of these collaborations do you particularly enjoy?

I’m very fortunate to work with some truly wonderful professional orchestras, but it has to be said that my work with young people is something that I find equally, if not more, rewarding. Performances which I do with the HYO are generally full of energy (admittedly, not perfect – what ever is?), and to see the progress which a group of non-specialist young musicians makes over the course of a year is a truly remarkable thing.

 

What are some of the highlights of your upcoming engagements?

I’m currently working as a Dudamel Fellow with the Los Angeles Philharmonic, which is a true privilege, and is giving me some great opportunities to immerse myself in the life of a really great orchestra. I get to do some concerts of my own with the orchestra in the Spring, which I can’t wait to do. I’m very fortunate to do quite a bit of conducting in Europe, and I’m looking forward to returning to the Orchestre de la Suisse Romande in Geneva, as well as the Luxembourg Philharmonic, Deutsche Radio Philharmonie, BBC Scottish Symphony Orchestra, and continuing to work with the wonderful Hallé in Manchester.

 

OUO performs Mahler’s 7th Symphony at 8pm on Thursday 5th November, at the Sheldonian Theatre.

Review: The Prophetess

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★★★★☆

Oxford reviews tend to fall into two categories – those that attempt genuine critical appraisal, and those commissioned from friends or spouses or family members who work for student publications: these tend not to be critical at all, but are part of the publicity of the show. Of course, the latter are not worthy of your time.

In order to prove, then, that this is not an exercise in back-scratching, I begin with the negatives. At certain points, injudicious glissando jarred with the style of the music; very occasionally, the singing felt disconcertingly unconnected to the orchestra; and, as with all student productions seen by this reviewer, the acting was of variable quality, with touches of sensitivity counteracted by awkwardness elsewhere: perhaps some finer points were left under-rehearsed. (But then this was the opening night.)

The triviality of these cavils may already have induced some suspicion of my position. But now I have done my duty, I can reveal how much I enjoyed myself. My prevailing impression was of a show professionally produced and executed with acuity. Nor was the task straightforward. The show is a curious hybrid of play and opera: Purcell’s music was originally intended as incidental. The libretto (if that is the right term here) was provided by Leo Mercer, and was commissioned for this production. While never really sparkling, it was always highly competent, capably meeting the demands of the score: where  pathos or levity was required, the libretto gamely rose to the task. The conceit was strong – the story of the opera provides an opportunity for Delphine to escape the mundanity of her everyday life (one identifies): we accompany her on her fictional voyage through Ancient Rome. In the final scene we see the effect that the story has on her.

Jasmine White was convincing as the nerdy Delphine, and Danny Scarponi brought a not unwonted Gallic swagger to the role of Dioclesian. The supporting cast was generally strong, with Raphaël Millière’s mellifluous bass worthy of particular praise. The orchestra, again, was generally excellent, seldom missing a note under the magisterial baton of Matthew F. Reese.

Special praise must be reserved for the director, Dionysios Kyropoulos, who injected considerable flamboyance into what might easily have been a static, drab production – opera of this period is tricky: its fondness for long arias sets a considerable challenge for any director. The movement, the set, the costumes: all was efficient without ever trespassing into the officiousness which lamentably characterises the majority of modern opera, student and professional. The slick ideas with which the production teemed seldom obscured the action or music, and often enhanced it. Quite an accolade.

So, despite some reservations, this critic was impressed. A difficult task – ambitiously assailed – efficiently executed.

Cultural appropriation is not OK

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Today is Halloween and, don’t get me wrong, I love it. I think fancy dress can be fun and hilarious and clever and a source of joy for a great deal of people – and, generally speaking, anything that makes a bunch of people quite happy is something I’m a big fan of, too.

What I’m not a big fan of, though, is cultural appropriation, and on no other night is it as common as it is on Halloween. Like a Union President’s ascent into politics, the sombreros,  Native American headdresses, blackface, and bindis are painfully predictable and easy to see coming as we look ahead to tonight’s festivities. Earlier this month the online retailer, ASOS, came under heavy criticism for labelling a range of bindis as Halloween items. Most people who don Native American headdresses, “Sexy Geisha” costumes, or “Islamic Terrorist” costumes tonight don’t actively mean to offend anyone – they probably just think it’s a bit of a laugh or a great look that would make a good picture.

Unfortunately, however, the ways in which we choose to represent ourselves often take on meanings we didn’t even consider when they are seen by others, and this is particularly true at Halloween. The issue is not if you belong to a culture and wish to express your cultural identity through clothing; the issue is when people take on costumed stereotypes of cultures that do not belong to them. If you are not a member of a community, particularly a marginalised or historically oppressed one, it is not okay to pretend you are for one night, only to return to your regular life in the morning.

Every culture has some really interesting clothes or concepts, of course – but you can appreciate them without needing to put them on your body. Cultural ways of presenting oneself such as bindis and headdresses look great, because that’s what they’re meant to do. They are important cultural signifiers that exist as part of important cultural rituals. They do not exist, and they never should exist, to be worn by someone who does not belong to that culture as part of a costume on Halloween. Clothing, make up, and other physical cultural signifiers are not costume playthings: they have significant meaning behind them on every day of the year, and not just on October 31st.

The issue of cultural appropriation is a very tricky one for a lot of people, and rightly so, particularly when you consider the fact that some of the groups that are most often victims of cultural appropriation were historically victims of much more serious crimes perpetrated by white people.

 It easy to think that your Indian Halloween costume, for example, is fine so long as your Indian friend says that they aren’t offended. But that’s the thing: feelings are subjective and not every member of a certain community, ethnicity, or cultural identity feels the same way about their cultural identity, and who can or cannot partake in or reference it. Just because one person of Native American descent, for example, isn’t offended by a white person donning a headdress doesn’t make it okay.

Yet while each person’s feelings about cultural identity are different and subjective, a history of oppression is not subjective. A society in which racism is institutionalised is not subjective. And these are the kinds of things that we really need to talk about when we discuss cultural appropriation.

Sci-fi classic? Not by a giant leap

Launching onto the big screen, The Martian is Ridley Scott’s most recent foray into the sci-fi scene. Assisted by NASA experts, there’s a touch of sincerity about this presentation. Not simply your run-of-the-mill space age flick, this is a movie with a mission statement. A cautionary tale, if you will – one whose action-packed sequences are tightly wed to the risks and rewards associated with an era of exploration, of SpaceX and Elon Musk.

And, if that weren’t enough, a star-studded cast boasting Matt Damon as lead, with Kristen Wiig, Jeff Daniels, Sean Bean and Chiwetel Ejiofor in supporting roles, The Martian has all the makings of a cult classic.

Glitzy gizmos, sensational cinematography – a sci-fi fanatic’s delight; what’s not to love? Well, quite a lot actually. And here’s the problem: subgenre. Space odysseys tend to gravitate toward one of two categories – the cinematic and the melodramatic. Take Gravity – it’s all about the cinematic thrill, the immersive experience of dazzling special effects and their mastery, not so much the script itself. Dialogue is sparse and character development is limited, whereas Interstellar revels in melodrama – a dense, fantastical script and soppy sentimentalism. This detaches us from reality, transports us to another realm.

The Martian is in between. It suffers from being too funny to be serious, but too serious to be funny. Rather than boldly going where no director has ever gone before, the movie industry seems content to tread in circles. We have yet to see a space movie whose audiovisual effects are matched by realistic, riveting storytelling.

Opening with another day at the office on planet Mars, Wadi Rum in Jordan provides the perfect backdrop for the Red Giant. Engrossed in some “Hey, look! We’re astronauts doing our thing” banter, Ares III is suddenly swept up in a spectacular dust storm. This leads to an emergency evacuation of the crew, leaving Mark Watney (Matt Damon) mistakenly assumed dead and stranded on Mars. After a convoluted explanation of his miraculous survival – courtesy of a video log cliché – Watney gets down to business. He has 300 days of provisions and needs to figure out a way of stretching what little he has out to 1480 days, all the while trying to make contact with Earth. No pressure. Eventually spotted by NASA, it’s left to Vincent Kapoor (Chiwetel Ejiofor) and Teddy Sanders (Jeff Daniels), the director, to begin piecing together a rescue plan, albeit covertly at first. After an impressive and rather liberal use of the word ‘shit’ by (American) rocket scientists, contact is made with the aid of the 1997 Pathfinder probe. The Hermes; that is, the escape vessel en route back home, makes a U-turn but will they get there in time?

Comic relief is ever present in The Martian. A running gag in the film is Mission Commander Melissa Lewis’ (Jessica Chastain) taste in music, 1970s disco – which is the only available playlist on the planet. Whether Watney is driving across the surface of Mars seated next to a decaying isotope listening to ‘Hot Stuff ’ by Donna Summer, or dismantling his launch vehicle to ‘Waterloo’ by ABBA , there’s a song for every occasion.

Reviewing this movie has not quite been analogous with watching Matt Damon farm potatoes in his own excrement for two hours and twenty minutes, but sadly it’s not far off . Watney never truly grows as a character; instead he takes everything in his stride. Likewise with the cast, despite being surrounded by “a galaxy of stars” [The Guardian], there are no breathtaking performances here. And while there were some memorable scenes, such as Damon being propelled into space ‘in a convertible,’ I fear that this movie has just been one small step for the genre, and one giant payout for 20th Century Fox.

RMF solidarity with fee protests

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Members of the Oxford and South Africa-based campaign group Rhodes Must Fall expressed solidarity this week with students protesting in South Africa against tuition fees.

Rhodes Must Fall commented via Facebook on the “magnificence of the students of South Africa,” expressing their sympathy for the cause. In addition, a solidarity meeting was held outside the South African High Commission in London last Friday.

Student protests took place in South Africa over the last two weeks, slowing down university operations. The protests were sparked by a proposed national 10.5 per cent tuition fee rise. The planned increases have since been scrapped after initially being suspended.

Oxford Law graduate Ntokozo Qwabe stated on Facebook on Sunday that “Education is a right. Rights are entitlements. People are right to feel entitled to education. Full stop.

“So YES. We are entitled to free education. And won’t stop claiming it until it is granted. Rights are not for sale. We refuse to be reduced to customers of our rights. The struggle continues this week.”

The protests originated in Johannesburg’s University of the Witwatersrand, and rapidly gained momentum. Protesters claim the higher fees would increase the number of young people unable to access further education, dividing the population based on income and along racial lines. In 2012, 53 per cent of academics in the country were white, despite only 8 per cent of the population being so.

Violence characterised the protests, with many universities shut down including the University of Cape Town and tear gas and stun grenades deployed against demonstrators. As of Wednesday 28th October, lectures were resuming in universities across South Africa.

 

Free drugs for Balliol students

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Balliol JCR has passed a motion in favour of reimbursing prescriptions charges for all undergraduates as of Hilary term. The scheme will be paid for through a £1.50 termly levy.

The motion noted that the current prescription charge in England is set at £8.20 and that the majority of students in the JCR are over 18. As a result, there are students ineligible for free prescriptions unless they are on the NHS low income scheme.

Although students may qualify for help with healthcare costs through the NHS Low Income Scheme (LIS), the complex application process, the motion said, acts as a barrier for disabled students in conjunction with the intensity and stress of Oxford terms. Under the LIS scheme, patients can receive ‘full help’ (HC2 certificate) or ‘partial help’ (HC3 certificate), depending on the individual’s financial circumstances.

The JCR noted that while Prescription Prepayment Certificates (PPCs) can reduce prescription charge costs, they still represent a challenging financial burden.

Caitlin Tickell, who proposed the motion, commented, “There are many different reasons that a student may not receive low-income support but still be unable to afford prescriptions, and we wanted to remove barriers to accessing healthcare for our students, especially those with longer-term health problems as the financial burden may otherwise prevent them receiving treatment.”

Balliol JCR further noted that prescription charges often force students to choose between medication and other living costs and are therefore a barrier to healthcare. The JCR stated that disabled students already face unique and unheeded challenges including hidden fees that accompany attending university, and that these additional charges for basic necessities are unfair.

Aisha Simon, Balliol JCR Vice-President, told Cherwell, “This is also of benefit to students who may prefer not to disclose their condition to their families, but would otherwise be unable to pay for their prescriptions. We believe that this will make students’ lives easier, especially those who already face significant hurdles, and that can only be a good thing.”

The JCR has resolved to mandate the Disabled Students’ Officer to reimburse prescription charges and PPCs for all members of the JCR. The Disabled Students’ Officer will be required to make information more accessible about the NHS Low Income Scheme, including assisting students who may wish to apply.

Duncan Shepherd, Balliol’s JCR President, told Cherwell, “As it stands, the system places an unfair burden on students with conditions that require multiple (expensive) prescriptions, whether that’s students with mental health problems or asthma, and we feel that a £1.50 levy is a low cost to improve the lives of those students.”

The motion follows a similar move by Wadham SU which passed in Trinity 2015. Wadham SU President, Taisie Tsikas, added, “Prescription charges are a problem because they turn healthcare into a privilege when it should be treated as a right… Disability is a liberation issue and it would be amazing to see other colleges put similar schemes in place.”