Monday 27th April 2026
Blog Page 1185

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.

"NHS crisis? What NHS crisis?"

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“There will be no NHS crisis this winter.”

The Business Secretary, Sajid Javid, made this bold claim recently on Question Time. It was met with unconvinced jeers from the audience, and how can you blame them? We are regularly told about deficits, cuts, increased waiting lists, targets not being met… the list is almost endless. We hardly ever hear anything good about the NHS. The idea that there won’t be an NHS crisis this winter doesn’t seem plausible.

Why does the NHS seem to be in a constant state of paralysis? The biggest reason is that it is underfunded. The government denies all charges; their critics protest otherwise. The government uses one set of statistics justifying their record; their critics use others condemning it. Consequently, we’re all left confused and unsure who to blame.

We can get a better idea, however, if we closely compare the government’s claims with the reality. Let’s take a few of their statements in turn.

“I can today confirm the NHS will receive – in addition to the £2bn we’ve already provided this year – a further £8bn. That’s £10bn more a year in real terms by 2020” (George Osborne, 08/07/2015)

This is correct. The Stevens’ Plan called for at least £8bn of real-terms spending into the NHS every year, and this is what the government are doing. They also just agreed to frontload £3.8bn of the money, which will help alleviate the pressure this winter. So does this mean problem solved? Not exactly. Despite increased spending, new figures reveal that the NHS’s overall deficit has increased to £1.6bn, and is predicted to rise to £2.2bn by the end of the financial year. Of the total 239 NHS England trusts, 156 of them are in the red. This is the biggest deficit in the NHS’s history. While the government are telling us they are increasing spending into the NHS, the reality is that the NHS deficit is getting bigger.

“Every penny we do not save on welfare means savings we have to find in the education budget, the policing or the health budget” (David Cameron, 28/10/2015)

This is also correct – but it’s sneaky. It is true that the government are not making any direct cuts into the NHS, but this statement gives off the impression that there will be no cuts in the NHS whatsoever during the course of this parliament. The reality couldn’t be further from the truth. The government are calling for the NHS to make £22bn of ‘efficiency savings’ by 2020 – just another way of saying “we’re not going to cut it, but we want you to”. A significant proportion of the NHS’s deficit is due to the cost of contracts with the private sector. Last year, for example, NHS trusts paid private agency firms £1.8bn because they didn’t have enough of their own staff – around double what they planned to pay. Considering they paid £900m more than they wanted to, and the deficit is £1.6bn, this is a significant factor. Deficits mean cuts, and cuts will hurt patients – even David Cameron is now complaining about the impact of cuts in his own constituency.

“We got rid of 20,000 bureaucrats in the NHS and put that money into 9,000 more doctors and 7,000 more nurses” (David Cameron, 02/04/2015)

We hear this line every week from David Cameron at PMQs. Yet NHS Workforce Statistics provide a slightly different picture: since 2010 there have only been 7,293 more doctors and 6,434 more nurses. Not exactly a rounding error. Also, proportionally, the number of doctors has increased by 16%, while the number of nurses has only increased by 2%. Is a 2% increase in nurses enough over 5 years? Since the NHS is increasingly relying on private agency firms for nurses, it doesn’t look like it. And since the employment of private agency staff seems to be having a negative effect on NHS finances, the lack of NHS nurses is an important part of the bigger problem. If the junior doctor debacle continues any longer, we might also have a lack of NHS doctors.

Of course, the problems facing the NHS are not all down to government policy. Britain has an ageing population: the number of over-65s is expected to increase by 12% by 2020. Increasing levels of child obesity and the rising consumption of alcohol and cigarettes are creating new problems. In addition, whereas in the past the NHS just had to cure ailments, it is now expected to provide additional services relating to mental health, social care, maternity, contraception, and much more. The crisis cuts far deeper than just government policy, and it would be naive to think otherwise.

But we should not ignore the role of government policy, because the rhetoric is not matching their actions. When the government tell us they’re increasing spending and increasing the number of doctors and nurses, they’re not really addressing the question. And when they tell us they’re protecting the NHS from cuts, they’re not really telling the truth. The “strong economy, strong NHS” sound-bite is meaningless. The NHS will not just be in a crisis this winter – it is in a crisis right now. 

Milestones: Leonardo DiCaprio’s head

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I get heart palpitations when I look at DiCaprio’s Wikipedia page. When I realised he has an entire separate one for his glistening filmography, my mum had to resuscitate me (the doctors said I was technically dead for seven minutes). No other actor can boast a trajectory like Leonardo’s: Critters 3, The Quick and the Dead, J. Edgar, and The Glorification of Cocaine and Investment Banking: I Know He’s a Bad Person but Am I Still Allowed to Empathise with Him? – he’s has a perfect record, always moving from strength to strength, and hasn’t had a single duff movie in his career. He is, I don’t hesitate to say, an actor so good that he has become a cinematic aff ront to the supremacy of God.

What’s that I hear his detractors (both of you) say? “Oh, Mr Culture Editor, but he’s never won an Oscar!” you shriek with captious, selfsatisfied smugness, like a child who’s just become aware of his own genitalia and wants to show off about it. Well, here’s some news for you from the inside of the world of culture (where I live): the reason they haven’t given Leonardo an Oscar yet is because they’re going to rebrand the Oscars as ‘The Leonardos’ after he dies. Now shut up and cry at the ending of Titanic like the rest of us.

So just what is the secret to Leonardo’s success? How can someone be so admired, so consistently plied with awards, so universally adored, that the words “Do you like Leonardo DiCaprio?” have become an idiom synonymous with “Is the Pope a Catholic”? How can any one person have become so mega-famous they have had to devise a series of elaborate disguises to avoid the paps, including wearing ridiculous masks, hiding his entire upper body in umbrellas and covering his face with tissues (Google ‘Leonardo DiCaprio hiding from the paps’ and thank me later).

Now, in a Cherwell exclusive, I wish to share with you a theory I have developed over the last few years working in close collaboration with the Film Studies department at Columbia University, as well as the Phrenology Department here in Oxford (surprisingly the only one remaining in the world), about the truth behind Leonardo’s juggernaut-like career.

Much like Samson’s hair, Leonard’s power lies entirely in his head – and not just in the sense that if you cut it off he will die. Through a careful comparison of the size of Leonardo’s head across his entire movie career, we can see a defi nite trend: Leo’s head has grown constantly as his career has developed, always in direct proportion to his acting ability. Soon, our researchers predict, his head will in fact become wider than his shoulders – it is at this point, the research indicates, that Leonardo will deliver an acting performance so powerful that merely watching the opening sequence could prove fatal, as anyone who watches it will shed so many tears of both joy and sadness their body will become dehydrated and hyponatremic, and they will shrivel up into a raisin-like shell of a person.

The more apocalyptically-inclined proponents of this theory have on occasion expressed their concerns that Leonardo’s head will one day become so large it may in fact cause a global disaster, as if the moon or another planet-sized extraterrestrial body were to collide with the earth. But even should this happen, there is always a silver lining: one man’s apocalypse is another man’s hope for a long overdue von Trier-DiCaprio collaboration. So there you have it: Leonardo’s continued success can be assured so long as his body continues to deposit fatty residues on the sides of his skull. Much like Gatsby, we live in hope.

Ditch the diet this January

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The period of December to January takes up only a little time, but marks a huge shift in mentality. December is the month for embracing gluttony, and we are encouraged to eat and drink to our hearts content. And then a little more. The point is to be not satisfied, but overstuffed.

Yuletide cheer and gorging fall away sharply on the first of January. People wake up, shake off their hangovers and grab the pair of running shoes they haven’t seen since this time last year. January is the month where diet culture takes over more than any other. New Year’s resolutions have homogenised lately, with a huge proportion of people holding the same goal: lose pounds, lose inches, lose lose lose.

Glossy magazines and advertisements telling you how perfect life will be at the end of your weight loss, are enticing. They promise, in a word, happiness. And that’s what we all want, right? But a certain number on a scale or the size of a dress doesn’t magically transmute into contentment. Magazines show dieters (usually celebrities; people who the rest of us admire) as ‘before’ and ‘after’ pictures, but it is difficult to reach a point where a person is ‘finished’ with weight loss. The rush of a fad diet can, for a small proportion of people, spiral out of control.

That is a genuinely life-threatening scenario. But the effects of fad dieting on the majority of people are also incredibly dangerous, and for the most part ineffective. Sure, you’ll drop a few pounds. You might drop a dozen. But the majority of it will be from water, which is lost as you eat less and become dehydrated. You’ll be tired and malnourished. But of course, you’ll be smaller and therefore ‘happier’?

Not quite. The majority of fad dieters regain any weight they’ve lost, and even a bit more, after the diet ends. Severe restriction isn’t sustainable. It will just make January colder and more miserable as you try to cope with the freezing temperatures without adequate fuel.

New Year’s resolutions can be wonderful. They can cause you to make a real change to your life, or to others. Don’t do what everyone else does. Use them to develop a passion or save the world, rather than try to make yourself less.

 

A view from the Cheap Seat

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Regular readers will know that this column is the space in Cherwell where one can find some of the dodgiest and (we like to think) most inventive satire in the paper. Our strategy is simple – we fabricate some sort of document whose patent absurdity, while fictional, is symptomatic of some element of stage life deserving humor.

It’s an easy and some might even say cowardly form of writing, for it risks no loss of its own and yet induces loss on another. In spite of how facile our position as satirists is, we do not have have any vitriol or ill intention towards our subjects.

But in the midst of cheap laughs, one thing we often neglect is the extraordinary effort and dedication that happens behind the curtain in the stage world. This Michaelmas has been an extraordinary term as regards the ambition and sheer bravery of many productions. The stress and pressure many endure from investing months of personal and creative energy into a project that represents an ideal worth fighting for, is truly admirable. This is to say nothing of the financial risks that this artistic bravery entails. As reviewers we have some small input in making people come and see shows. We have at points failed to bring out reviews on time and to attend every preview we have kindly been offered. For this we apologise and sincerely hope that whatever financial and or intellectual significance we possess has allowed everybody’s future endeavours to happen. 

We do not conflate the aesthetic with our sense of ethic. But we hope our reviews have done at least some justice to the work that goes on behind the curtain. Neither do we believe our endorsement represents a vindication or culmination of these extraordinary efforts, but we hope we can at least indicate to our readership what amazing things happen in Oxford. Tellingly, it’s perhaps what happens under our noses everyday that is also one of the most incredible things one can see on any day. Here’s to Hilary 2016.

Don’t forget your Valuables

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Do you remember the end of that summer before you came to university? You leave school behind and with it all the people and friendships you have forged since you don’t know when. Yet you were looking forward to a new chapter and – dare I suggest – you might have even felt like setting off on a journey to find yourself. And amidst all those high thoughts and expectations lies the naked truth that things will change. 

In Valuables, Ben Ray picks up on exactly this. Wales, today: four more-or-less close friends are on the verge of what comes after school. And he cuts right to it: what are the valuables? Is it, as Daniel would have it, the beauty and eternity of poetry, for which it is worth getting entangled with research into a supposedly Shakespearean folio he finds in an Oxfam bookstore? Is it, as the insecure but good-hearted Nye discovers, religion? Or is it, as the worse than lay-about Richard has to learn, drugs and all that comes with them? As so often in life, the boys are all wrong, and so it is a girl who supplies the fourth wheel to this wagon of self-doubt. Emma, as she is called, keeps the threads of their friendships somehow together.

It is she who sets the pace of action in this play and so she deserves special attention. Her character is always on the verge of the stubborn nine-year-old while at the same time portraying a forceful realism that pays tribute to the immense advantage of maturity that – let’s face it, boys – girls often still have even at our age. In dialogues of often cunning comedy, she keeps Daniel in check when it comes to his obsession with poetry and it is she who always rebuilds the bridge between the boys when they are about to lose each other. 

Yet it was more in the individual scenes rather than in its whole that the play was able to shine the most. Special commendation must go to the brilliant rendering of literary, theological, substantive (yes, as in drugs), and veterinary interests in an enticing quartet that showed how these seemingly contrary struggles with finding oneself all come down to the same risk and pleasure of losing oneself in something you really care for. 

The core cast, Leo Danczak as Daniel, Cara Pacitti as Emma, Haniel Whitmore as Nye and Turlough O’Hagan as Rich, must be applauded on a harmonious performance. Particular praise goes to Turlough O’Hagan for walking the fine line between tragedy and comedy on which the character of Richard forced him. Cara Pacitti displayed with passion her very coherent and convincing take on the crucial character of Emma, notwithstanding the occasional slip.

But just as much as individual scenes stand out, credit for which should be given to the direction of Mischa Cornelia Andreski, the evening as a whole couldn’t always live up to them. We witness a real spark of genius in a scene that has Daniel and Emma almost find their love for each other, when Daniel’s real ‘valuable’ – Shakespeare – tragically prevents this. But the enormous dynamic of this scene blows out, not least because of a lacking build up. Similarly, we seem to merely scratch at the surface of theology with Nye and Richard, whose relationship verges on the homoerotic and complicates the play with no particular purpose.

Valuables is not the least afraid to literalise – in a book, a crucifix, a chippie in south Wales – questions that are not easily grasped even in theory. What are we to make of the places we leave behind and what is valuable enough for us to move on with? As we should expect from a good play, we are never given a clear answer to this question. Instead the play ends on the restoration of the tranquilla ultima. It would be foolish to disclose the nature of this, however, because every one of us has their own experience of this ‘calm at last’, the point where we

Freak: Ah…Puberty?

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★★★★☆

Director Clara Davis’ new production of Anna Jordan’s Freak is an energetic and touching study of female sexuality. We follow the cast of two, Leah (Emily Albery) and Georgie (Lily Erskine), as they attempt to build their own identities and deconstruct them through new sexual encounters. But when does sex make you human, give you power? And when does it make you less than that: inhuman, subservient?

It is forgivable to come to the show with dark forebodings of awkwardly ‘gritty’ discourse on ‘daring’ topics. However, Freak is not gritty, but rather messy in its tone – more naturally real than self-consciously realistic – and there’s something commendable about a show that isn’t trying to shock its audience with its subjects, choosing instead to examine them closely and honestly. Everything, including masturbation, the watching of pornography, pubic hair, wanting to be objectified, fetishes, and loss of virginity.

The play is structured by interspersing monologues from the characters. Our first glimpses of them – Leah’s angst-ridden dancing, Georgie retelling her hyper-sexualised dreams – establish their personalities immediately. The two were able to sustain a high level of energy despite acting alone for the most part, working with a great dynamic.

Both characters are instantly relatable – in particular, Leah’s more light-hearted travails in the cringe-making world of adolescent sexuality prompted all-too-knowing laughter from the audience. These moments of humour were well-timed and well-executed. With Georgie’s storyline taking a dark and melancholy twist, Leah’s was able to juxtapose in a way that gave the audience relief at more emotionally taxing moments. The resulting pathos left the audience with a sense of female companionship, and raised questions about sexual authority and the importance of intimacy.

The show’s concerns were greatly helped by dance and the often-ironic use of music. Meghan Trainor’s ‘Dear Future Husband’ and Jessie J’s ‘Bang Bang’ deftly juxtapose an image of female sexuality in popular culture – supine, man-dependent, eager to please – with the grubby reality of womanhood. Both Leah and Georgie dance to music at intervals, using the opportunity to explore their bodies and build their sexual confidence. The mirror-effect of both girls simultaneously dancing or undressing or making themselves up was created by the set; a double bed to share and two distinct styles of décor on each side gave the impression of two sets split-screened. Having both girls on stage, acting or silent, gave a real sense of companionship throughout.

The only criticisms that could be noted were that there were a few very good but ill-fitting metaphors that were perhaps a little too high-flown for the characters (however, even here it ought to be noted that Albery and Erskine pulled them off smoothly enough to be convincing). There was also a moment of broken-action quoting of Beyoncé that slightly pushed the performance into something more trivial and quirk-for-quirk’s-sake. But that’s it. My only two complaints. Which is not bad going for a two hour show. 

Freak is a refreshing play, approaching its themes in an authentically brutal tone. Its cast is captivating, its aesthetic solid and supportive, its plot dynamic and heart-breaking; a very well executed and satisfyingly well-meaning production

Robert Harris elected Union President for Trinity 2016

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The results of yesterday’s Oxford Union elections have been announced.

The current Librarian, Robert Harris, New College, has been elected President for Trinity term, with current Secretary Ssuuna Golooba-Mutebi as Librarian-Elect, Nikolay Koshikov as Treasurer-Elect and Henna Dattani as in-coming Secretary for Hilary 2016.

The results were announced at around 5am this morning.

The top four positions were all elected unopposed with it also being a particularly successful night for their election slate, which saw all of their candidates elected except for two Secretary’s Committee member hopefuls.

On Saturday of Eighth Week, Stuart Webber will take over from Charlie Vaughan as President for Hilary term, following his elction victory in June 2015.

The results: (Those elected in bold, with first preference votes shown)

President-Elect:

Robert Harris – 957 

RON – 129 

 

Librarian-Elect:

Ssuuna Golooba-Mutebi – 932

RON – 104

 

Treasurer-Elect:

Nikolay Koshikov – 882

RON – 120 

 

Secretary:

Henna Dattani – 870

RON – 102

 

Standing Commitee:

Ellen Milligan – 187

Jaskaran Rajput – 183

Edward Grigg – 181

Frances Varley – 171

Tycho Onnasch – 161

Harrison Edmonds – 103

Elizabeth Webb – 89

Osuobeni – 72

 

Secretary’s Committee Hilary 2016:

Jensen – 114

Watson – 93

Kitchen – 91

Hopkins-Powell – 89

Stonehill – 83

Al-Yasiri – 81

Banerjee – 80

O’Sullivan – 78

Jonas – 66

Eva – 57

Dillistone – 49