Thursday 21st August 2025
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Oxford Dignity Drive launched

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Students across Oxford celebrated the launch of the Oxford Dignity Drive this week, a student-run project that aims to “increase access to sanitary products and feminine hygiene items for homeless people” in the city.

The week-long campaign driven by Dignity Ddrive reps has resulted in students in many colleges donating sanitary products and money towards the project, accompanied by a variety of talks and events that have sought to “raise awareness of this issue and the wider problems facing both homeless people and menstruating people worldwide”.

On Sunday evening, many JCRs passed motions allocating a portion of JCR funds, typically £100, to the Dignity Drive campaign. At least 13 colleges have so far donated to the project.

One of the organisers of the Dignity Drive, Rachel Besenyei, told Cherwell, “As privileged students at an elite university, it’s vital that we look beyond the walls of this institution in our activism. Oxford Dignity Drive has identified a specific problem, and aims to provide sanitary products for homeless people, who often have difficulty accessing them.”

Oxford Asylum Welcome, Oxford Homeless Pathways, Oxfordshire Women’s Aid and The Gatehouse have all expressed their desire to receive donations of sanitary products from colleges.

The campaign week began with an information stall at Wadstock on Saturday 2nd May, and concludes on Friday evening with a screening of the film The Moon Inside You. An open mic night at St Antony’s will also be held on 15th May in aid of the Dignity Drive.

Events over the course of the week have included several talks and panel discussions about the work of the charity Irise International in East Africa, abortion rights in Northern Ireland, period prejudice, and the wider problem of the homelessness crisis in Oxford.

Ready, Steady, Cook! Beef and tomato Pot Noodle

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★★★☆☆

Pot noodles… Even the name makes people think of students who can’t be bothered to cook anything. Whilst this brand is a British thing, even in America you hear jokes about students living off ramen, which is very similar. But what are they actually like to eat?

My method of preparation is basic: pour water in and wait till it softens. This is part of the appeal of the Pot Noodle, as even those with no experience of cooking can hopefully make tea. The flavour was Beef and Tomato, and I have to say, I was very impressed by the flavour of this simple meal. There are very few textures in the pot. The powder that they use to flavour the sauce and the small sachet of ketchup were more than enough to keep the flavour from getting old. However it definitely has a salty taste to it; I discovered a worrying amount of salt in the ingredients. My view is that Pot Noodles are good enough to eat regularly, but I would not recommend living off them.

A let down from Le Kesh

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Embarrassingly, I can’t cycle, so excursions to Cowley require a 40 minute walk. There are few things able to entice me enough to endure this, but the promise of good Lebanese and Moroccan food is one of them. The restaurant was strikingly pretty upon arrival, with art-covered walls, tastefully dim, coloured lamps, and snug cushioned booths. However, the choice of white upholstery made me immediately nervous. The fear of spilling food or, god forbid, red wine, haunted me throughout the meal, even inspiring me to order the house white instead. This was fine, if quite dry and bland, but anything else alcoholic was unreasonably priced, perhaps to deter rowdy students.

A significant part of the appeal of Lebanese food for me is that it is usually veggie-friendly, so I was gutted to see only one option on the Mains list with a bracketed V next to it – bamieh bziet, an okra and tomato stew with rice. I optimistically ordered it anyway, with a selection of starters to be shared among my group.

The wait for these to appear was unreasonably long, and somewhat torturous after our appetite-building walk. The complimentary tap water provided in chic but impracticably small glass bottles did not make it any easier and the quasi-ethnic instrumental music playing in the background was just a touch too unpleasantly loud for the otherwise quite chilled out atmosphere, yet due to the acoustics of the almost corridor-shaped room, did not drown out our conversation about penis folding and our younger siblings’ drinking habits for the other diners.

The glares we were starting to get, the waiting staff’s deft avoidance of eye contact, and my rumbling stomach encouraged me to go take advantage of the admittedly lovely paved smoking area hidden at the back (though not the various shisha pipes it boasted). When I got back, the starters had arrived – though the wait was extended for the guy to my left, who had to ask for cutlery three times before he could dig in. The halloumi was particularly exquisite, and their moutbal and tabouleh tasted homemade and better than anything I could manage myself, though they were very stingy with providing flat bread.

After another significant wait, the mains were brought out. Personally, I am not a fan of plating unless it’s well done, and the lazy trail of cinnamon decorating my dish was pretentious and contributed nothing to the actual meal. I was shocked to discover that it tasted worse than it looked – embarrassingly watery, and my tongue burned from the salt. I was unable to taste either the okra or tomato past the salt and cinnamon, and the pathetically small portion of rice that accompanied it only worsened this problem when I tipped it in. My friends reported that the roasted lamb and chicken they were served were reasonable, but it did not remotely resemble the tagine that the menu had promised and they, too, were short-changed on rice.

Despite all this, the bill came with a steep accompanying service charge. I’d recommend you avoid this by not going at all.

Campaign launches app to support sexual violence victims

It Happens Here (IHH), OUSU’s campaign against sexual violence, has partnered with Code4Rights and Oxfordshire Sexual Abuse & Rape Crisis Centre (OSARCC) to create a mobile app called ‘First Response’, which will provide Oxford University students with a straightforward way to report instances of sexual violence and access support.

Code4Rights is a non-profit organisation that aims to address the gender gap in technology by teaching women with no previous experience how to code apps.

Funding for the app was secured from Oxford University through the IT Innovation Fund and enabled Code4Rights to run sessions to teach coding to female students with no previous computing experience in order to build the app. The content was designed by IHH in collaboration with OSARCC.

Criticisms raised through feedback sessions will be addressed throughout Trinity Term, with the aim of having the app functional by Saturday of 8th Week and ready to be publicised during Freshers’ Week 2015. 

Speaking at the first feedback event on 4th  May, Eden Tanner, OUSU’s Graduate Women’s Officer, commented, “As someone who’s responded to a lot of sexual violence, I thought, ‘What do we really need?’ We need something accessible and convenient to support survivors of sexual violence in Oxford.

“There’s definitely a possibility to extend to Brookes and Ruskin and other interested educational institutions. Long-term, it’s likely that it will spread nationally and even globally. Code4Rights is an international organisation.”

Ellie Bennett, Volunteer & Outreach Co-ordinator at OSARCC, said, “This year there were 120 reported rapes in Oxford, up almost 82 per cent from last year. We know that only around 15-20 per cent of rapes are reported, so these numbers represent just a small proportion of survivors in our local area. Sexual violence removes our choice, our agency, our freedom to make decisions about our own lives – that’s why giving survivors back their options is so important to recovery, and it’s why one of our core principles at OSARCC is empowerment.” 

Anna Bradshaw, OUSU’s VP for Women, commented, “The lack of information about the services available to survivors of sexual violence, and to their friends and supporters, is a very real problem. We hope to close that information gap, and consequently to enable better support.

Merton disciplinary measure declared unconstitutional

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The Merton decanal team has come under fire over an amendment to its disciplinary measures.

The amendment comes in response to what the College perceives as an increase in the number of students smoking in their rooms.

An email sent on Tuesday from Merton’s Deputy Principal of the Postmasters (Junior Dean) to all JCR and MCR members stated, “The College takes this matter very seriously because smoking creates a fire hazard and a health hazard, for you and also for all the people living in the building.

“Owing to this increasing number, we have decided to be extra vigilant to this matter, and also to change the discipline measures; a smoking offence will now attract on top of the fine a four week ban to the college bar and the next bop, and on repeat offences can lead to students not being offered college accommodation in the future.”

According to some students, this change to the disciplinary measures runs contrary to regulations set out in the College handbook.

Particular
objections were raised at the fact that the JCR and MCR presidents had not been consulted in advance. Article 26.2 of the handbook states, “Any proposed amendments will be discussed with the Presidents of the JCR and MCR and reviewed and approved by Warden and Tutors’ Committee and Graduate Committee.” 

In addition, article 28.7 of the handbook states that suspension from college premises and facilities “is a precautionary and not a disciplinary sanction, and may continue during the investigation of any such allegation and any subsequent disciplinary proceedings”.

One student, who wanted to remain anonymous, told Cherwell, “Clearly they are trying to use it in a disciplinary way. We also dispute that a bop is a college facility. It’s a JCR-run event, the only way they could justify that move would be by banning people from use of the Sports Pavilion [where Merton bops are held] at all times.” 

Jonathan Thacker, Senior Dean at Merton, said, “Smoking in rooms is an issue that the college takes very seriously as it is a fire hazard. The measure reflects the increase of such events being discovered in college rooms this year, and it is based on a course of action which has proven effective in the past in various discipline contexts. 

“It is not, however, a suspension from college, as described by paragraph 28.7, it is a restriction to the use of college facilities which is covered by 28.3, ‘The Principal of Postmasters and the Deputy Principal of Postmasters are empowered to impose fines up to and including £250 and to restrict access to College facilities.’”

Daniel Schwennicke, Merton’s JCR President, commented, “I was surprised by the increased penalty on smoking in College accommodation, as I had expected that the JCR would be consulted about the problem in advance. While smoking indoors is completely unacceptable, the College’s decision is disproportionate and unprecedented. Additionally, there are substantial doubts about its legitimacy with respect to College regulations, any amendment of which must be discussed with the JCR and MCR Presidents and approved by several College committees. The JCR intends to fight restricting offenders from the college bar and bops, and a first meeting with the Principal of Postmasters has indicated that our concerns will be heard.” 

Chris Pike, OUSU VP for Welfare & Equal Opportunities, said, “As a student union we believe in the fundamental principle that students and their representatives (in this case, their elected common room officers) should be consulted on any changes of this nature.

“I have no issue with action being taken to prevent students smoking in their roomsIt is, however, often the case in scenarios like this that proper discussion between students and the college will solve more problems than simply using threats of harsh disciplinary action.”

Hertford Bursar recreates candidates out of Lego

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The Hertford College Home Bursar, Dr Andrew Beaumont, has created representations of all the Oxford West and Abingdon candidates out of Lego.

Dr Beaumont, who has a doctorate in Modern History and describes himself on Twitter as “a benign Lego obsessive”, made the figures during his lunch break after getting campaign literature and thinking that all the candidates “looked a bit the same”.

The electoral candidates met their Lego counter-parts during a Radio Oxford constituency debate.

So far, the reaction has been positive. The incumbent MP, Conservative Nicola Blackwood, told Cherwell, “Although I’m not known for wearing neck tie, Lego Nicola has fabulous blonde mane – DBeaumont gets my vote for innovation and light relief in the middle of a very hard fought campaign.”

Mike Foster of the Socialist Party was equally impressed, saying, “The Lego figures have been one of the highlights of the campaign for me, and seeing the article on the BBC website gave me a good laugh. When we hear the election results hopefully none of the candidates will go to pieces as easily as their Lego counterpart can!”

Sally Copley, the Labour candidate, was also pleased with her likeness, telling Cherwell, “My kids were impressed when they heard about it, but less so when they saw it! I quite liked it though.”

The Lego MPs are the latest in a line of projects undertaken by Dr Beaumont. He has also recreated the famous Bridge of Sighs in Lego, which was featured as part of the College’s open day events for access and outreach. This was followed (due to popular demand) by the Hertford College Chapel.

 

Other interesting projects include homages to Harry Potter, the Rocky Horror picture show and “the life of Vladimir Putin”, as well as a “more inspirational” version of the criticised “Lego friends” range, which instead features representations of important contemporary female figures such as Ruth Bader Ginsburg and Maya Angelou.

Regarding the election mini figures, Dr Beaumont told Cherwell, “The election mini figures which you’ve seen have been really popular, but they were honestly made in about five minutes on my coffee break last week, and I had absolutely no idea people would like them so much.

Several of the candidates have asked to keep them as lucky mascots. I’m considering this.”

Dr Beaumont has also disclosed details of his next project: the front façade of Hertford College, which would be up to five feet long and contain around 20,000 bricks – hopefully ready in time for the University open days in July.

When asked who he’d be voting for, Dr Beaumont replied by saying, “I’m not telling you my voting plans, although I think my Twitter feed might give it away a bit.”

For more designs, Dr Beaumont has an impressive
Twitter feed displaying his most interesting projects.

Students complain over Christian music event during finals

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In an emergency motion on Sunday evening, Exeter’s JCR voted in favour of complaining to Oxford City Council about the Love Oxford 2015 event, a concert hosted by three churches on Broad Street that morning. St Aldate’s Church, the Christian Life Centre Oxford, and Headington Baptist Church were the event’s organisers.

The event was advertised as an “open air service”, and 2,500 people took part. There was praying, preaching and singing, with the event starting at 11am and finishing at 12:45pm. However, students reported noise starting from 6am.

The Exeter motion noted the inconvenience to students and the early start of the noise, saying, “Oxford City Council was irresponsible in allowing this event to go ahead in a residential part of the City Centre.” The Exeter motion passed with 14 votes in favour, three votes against, and three abstentions.

The JCR resolved to mandate the President to send an email to the two City Councillors for Carfax ward as well as to the Council’s Environmental Services, describing the noise as “ear splitting” and stating, “I do not know how this event was granted a Undergraduate licence.”

Sam Slater proposed a motion to Exeter JCR stating, “Oxford City Council was irresponsible in allowing this event [Love Oxford] to go ahead.”

The proposed email further stated that “students from at least seven colleges (Exeter, Jesus, Lincoln, Balliol, Trinity, Hertford, Wadham) were affected.”

It ended by saying, “I strongly recommend that in the future it is moved somewhere else and the organisers are told to keep it quieter to avoid significant disturbance when people are trying to revise.”

Sam Slater, who proposed the motion, told Cherwell, “The noise started around 6am, when they were setting up the stage, and got very loud at around 9am when the soundcheck started. It was then pretty much constant until 1pm.”

Slater continued, “The single-pane windows, as well as the doors, were rattling because of the bass, and the singing could be clearly heard in the library too. Many students were studying for finals, others were trying to work, and History students were trying to sleep.

“It was irresponsible for the council to license the event for two reasons: firstly, the noise was completely excessive; and secondly, it is essentially a residential student area in exam season. We believe1 that College was given no prior warning of the event. The reason we put the motion to the JCR was to let the Council know of our complaint so that in the future students in the area can be at least consulted first, or else the event can be moved to a more appropriate venue. Also, one suspects that had this been your average rock band wanting to hold a gig on a Sunday morning they would have been instantly blocked by the council.”

Alice Nutting, a third year undergraduate at Exeter College, told Cherwell, “My finals start in two weeks and the noise outside woke me up early. It also made it impossible for me to revise. My windows and door were shaking. Broad Street seemed like a completely inappropriate venue in light of the noise disturbance; the music was unnecessarily loud.”

Slater reported, “A few of us who complained on the Love Oxford [Facebook] page on Sunday received cards in our pidges from one of the attendees. She says that she wasn’t an organiser, just an attendee, and she felt very bad when she heard that they had disturbed us. A very nice gesture, I think.”

Trinity College is also holding a motion at their upcoming JCR meeting to give the JCR the opportunity to formally express their dissatisfaction with the disruption caused by the Love Oxford event.

Trinity College JCR President, Eleanor Roberts, told Cherwell, “I have received over twenty written complaints about the Love Oxford event.

Overall, these reflect a dissatisfaction with the lack of consideration given to the hundreds of students living in close proximity to the event, and especially to those finalists whose work was disrupted for the majority of the day. The noise, lack of warning and intrusiveness are all subjects of complaint.

“In light of this, we hope to support the work of College to stop the event being held in a similar manner next year.”

The Love Oxford committee commented, “The event has moments of complete silence: this year a moving minute of silence to remember victims of the Nepal earthquake and to pray for their families. It can be also be joyful and exuberant as the crowd celebrates their life together. So Love Oxford can be noisy, but no noisier than the Oxford student balls of which residents receive notice at this timeof year, always asking for understanding as their noise rocks through the nights.

We do regret any inconvenience caused to our neighbours and ask for their understanding as we all try to live together in unity in our city.”

Oxford City Council did not respond to Cherwell’s request for comment.

Fashion Matters

In March, Dior made headlines for choosing Rihanna as the face of their new campaign. According to Rihanna, “It is such a big deal for me, for my culture, for a lot of young girls of any colour”. I guess it is. She is the first black spokesperson for Dior, ever.

But Rihanna’s appointment is not because she is black. She is a pop star and sex symbol whose face and body are already admired all over the world. She has worked for Armani. She has been graced with CFDA’s muchcoveted Fashion Icon Award. Even Anna Wintour has admired her “incredible style”. So, of course I am delighted that Dior have managed to see past her skin colour, but this hardly means that they have thrown open their doors to non-white ideals of beauty.

Rihanna is the exception, not the rule. Vogue UK has not featured a non-white woman on a solo cover for 12 years, and that’s despite Cara Delevingne being featured twice. As for the argument that there are not enough non-white models, that’s “BS” according to Jourdan Dunn. If designers want more non-white models in a selection, they only have to ask. Yet when it came to the 2015 Spring catwalk, 79 per cent of models were white. 79 per cent white, and 21 per cent everything else.

As Olivier Rousteing, director at Balmain, said a few months ago, “What the fuck, you put just one black girl in to make sure you’ve ticked a box? Like, do you go to London, to Paris, to New York? I think you see as many black and Asian people there as white people. Fashion wants to be modern and reflect the street and talk to people but at the end of the day they just talk to themselves.”

The industry keeps sending the message that Caucasian features are the norm, and everything else a deviation. It is a message received across popular culture. When Kendrick Lamar states in his new single, ‘The Blacker The Berry’, “My hair is nappy, my dick is big, my nose is round and wide / You hate me, don’t you? / You hate my people, your plan is to terminate my culture,” it is as if he is daring the world to look at him as a black man and tell him that it likes him.

But it can’t do it, not as far as Lamar is concerned. And not in fashion. Let’s face it, if River Island wants black mannequins, they produce Caucasian models in black, not mannequins with flat noses or afro wigs.

The industry needs to construct new beauty ideals. To become truly multicultural, rather than appropriating or attempting to fit black models into white fashion, we have to stop categorising women in such limiting terms.

In the words of Marlene Dumas,

‘It’s not the babydolls I want

nor the Amazons. It’s everything

mixed together to form

a true bastard race.’

Now that would be a catwalk.

The poet as performer

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How often do the highest compliments we can think to give poets and authors liken their writing to speech? Phrases like, ‘This writer has found his voice,’ or, ‘That writer speaks to me,’ have been so blunted by overuse that it is very easy not to notice the assumption they are predicated on: that the spoken word is more compelling than the written one. I think this is because we associate speech with performance, with joke telling, story telling, drama and mimicry. All of these activities demand our attention in a more immediate way than words on a page ever could, even though they may not necessarily entertain us more when they have it.

In A Short Introduction to English Poetry, James Fenton wrote, “Some decades
ago, it was considered bad form, in the world of poetry readings, 
to do anything that smacked of performance. That poets had once performed their works, chanting them in a manner which approached the bardic, was held against them. It was showing off. It was inauthentic.” Yet James Fenton is the poet as performer par excellence; in his work he reconciles poetry to song, the cousin from which it had grown so estranged by the middle of the twentieth century. In the manner of Byron via Auden, he writes for the ear more than for the eye, yoking together the most improbable rhymes for the sake of rhythm.

His poem ‘In Paris with You’, which has received the dubious honour of enshrinement within the AQA GCSE anthology, rhymes ‘Champs Elysees’ with ‘sleazy’, ‘wounded’ with ‘maroonded’, ‘embarrassing you’ with ‘In Paris with You’. The anarchic playfulness with sound on display in this poem does away with sense altogether in others. Take a look at ‘Here Come the Drum Majorettes’. “It’s the same chalk on the blackboard!/ It’s the same cheese on the sideboard! It’s the same cat on the boardwalk! It’s the same broad on the catwalk!”

This is the kind of poem which should be in GCSE anthologies, because it cajoles us into doing away with all those sanctimonious assumptions about poetry which school burdens us with: that is has to mean something, that it has to have themes! On the contrary, when did anyone demand the same of music? Breaking Fenton’s poems down into tricks and devices only does so much. It only explains how they are so enjoyable, not why. They demand we acknowledge that, like good music, there is something inexplicably, senselessly pleasurable about the way they sound.

Christian Richter: unearthing a past of architectural genius

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After stumbling upon Christian Richter’s photographs in the plethora of procrastination that is the Internet, I felt compelled to approach him to find out more about what lay behind these intriguing imges. The vibrant colours and almost illusional perspective made for fascinating viewing. It was his ‘Abandoned’ portfolio that gripped me the most and which provided the basis for our conversation.

Richter grew up in the German Democratic Republic, but after the reunification of Germany, he was able to explore further afield. He unearthed an abundance of timeworn, dilapidated buildings which he first explored without a camera. It was only a number of years later that a friend passed down an old digicam, having replaced his own, that Richter fell in love with photographing these mysterious architectural relics. By October 2011, Christian had an online presence, sharing his work with plenty of appreciative viewers.

Enthralled by the reality that lay beyond these photographs, I quizzed Richter on why he had chosen these edifices as his subject. While the buildings were for the most part barren, occasionally he would uncover, for example, a magnificent staircase – a feature of these houses that he is particularly captured by, as his portfolio illustrates. 

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Among the tumbling down facades and blistering wall paper, Richter discovered staircases that were spiral, square, asymmetrical; some still standing in all their glory, others derelict and impassable. Some of them act as a palette of colours, a spiral of yellows, greens, oranges, and deep reds, while for others the most enticing feature is their geometry, the angles, the alignment and lack thereof. The discovery of these unique staircases were some of the most rewarding findings for Richter. 

It is important to note that for every abandoned site worth capturing, the photographer must visit many, many more places and spaces; it takes a lot of hard work and exploration – something that those who are merely presented with the final product take for granted. Photography, though an enjoyable outlet for artistic flare, is no easy dalliance. It requires vision, skill and determination.

While enjoying the aesthetics of the images at face value, I was intrigued as to what had compelled Richter to capture this sense of abandonment.

He informed me that he had been struck by the neglected work of architectural genius from the past, by “the pattern and texture of decay – it reminded me how everything is im- permanent”. I can see how one can be lured by the ephemeral nature of architecture – the corrosion of the physical product as well as the transience of style – and Richter’s shots capture just this.

It is undeniable that Richter is highly adept with the camera. His images explore angles and arrangements in such a curious way so as to make some look almost like an optical illusion.

His use of doorways, crevices and crumbling floorboards provide the perspective, or lack thereof, to make some of his images far more complex and stimulating than most two-dimensional images.

The temporary nature and vulnerability of these architectural time capsules is emphasised when Richter informs me that after the locations are publicised on the internet, the buildings are often demolished. As a result, he is wary of sharing the actual locations of his subjects in an attempt to preserve of them what he can.

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Looking into the future, Richter plans to travel around Europe and continue adding to his ‘Abandoned’ portfolio, unearthing more shots of decay and architectural transience, as well as working on his collection of landscape photographs, which are similarly breathtaking. One can only look forward to seeing Richter cultivate his portfolio as he delves further into the depths of Europe’s architectural antiquity. 

What is most striking about Richter is his sheer modesty. His photography is his passion, not merely an exercise to pay his bills and fund his travels, and this is apparent in the manner of his response, in his humility, and in his genuine gratitude for my compliments which are surely well deserved. 

In the words of Christian Richter himself, “Greetings with tea in the cup”.