Monday 23rd June 2025
Blog Page 1224

“Many errors” in Oxford child abuse case

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A serious case review by the Oxfordshire Safeguarding Children’s Board (OSCB) has revealed that over 370 children may have been groomed and sexually exploited by gangs of men in the last 15 years in Oxfordshire.

The review into the abuse declared that there were “repeated missed opportunities” to stop years of sexual torture, trafficking, and rape, and that Thames Valley Police and Oxfordshire County Council made “many errors” in that case, although there was “no evidence of any wilful neglect, nor deliberate ignoring of clear signs of child sexual exploitation by groups of men.”

It stated, “The behaviour of the girls was interpreted through eyes and a language which saw them as young adults rather than children, and therefore assumed they had control of their actions. At times, the girls’ accounts were disbelieved or thought to be exaggerated.

“What happened to the girls was not recognised as being as terrible as it was because of a view that saw them as consenting, or bringing problems upon themselves, and the victims were often perceived to be hostile to and dismissive of staff. As a result the girls were sometimes treated without common courtesies, and as one victim described it by ‘snide remarks’.”

This report comes after seven men were convicted in 2013 of 59 counts of offences including rape, trafficking, and arranging or facilitating prostitution, following an inquiry called Operation Bullfinch.

In a statement at the press conference following the publishing of the review, the independent chair of the OSCB, Maggie Blyth, said, “There were repeated missed opportunities and many mistakes were made. The review concludes that the child sexual exploitation across Oxfordshire from 2005-2010 could have been identified or prevented earlier.”

She said the report outlines “an absence of acknowledgement amongst social workers, police officers, health staff and teachers that children were victims of child sexual exploitation by groups of men”.

Blythe coninued, saying, “The use of language by professionals that blamed the children for their plight” was one of the reasons for the delay in action and “systematic failing” in Oxfordshire.

In response to the serious case review, Chief Constable Sara Thornton said in a statement from Thames Valley Police, “We have contributed fully to the review and accept its findings. The independent review highlighted that agencies including Thames Valley Police could have identified the exploitation between 2004 and 2010 earlier than it did and many errors were made. The review acknowledges that we have been willing to learn and change. We have examined what went wrong and we are doing all that we can to put things right.

“We are ashamed of the shortcomings identified in this report and we are determined to do all we can to ensure that nothing like this ever happens again. Safeguarding and protecting vulnerable children and robustly and vigorously investigating those who prey on them, is the responsibility of every officer and member of staff in Thames Valley Police.”

Whilst speaking in the House of Commons, Labour MP for Oxford East Andrew Smith called on the government to set up an independent inquiry, insisting that “the 370 other children identified at risk, their families and the public, horrified that these crimes were allowed to continue unchecked for so many years are owed answers to crucial questions which this Serious Case Review could not address.”

Smith told Cherwell, “The public are rightly shocked that no one is really taking responsibility for these awful failures to protect children, and no one has been disciplined.”

Leader of Oxford City Council, Councillor Bob Price, commented, “The crimes inflicted on these young girls over several years were horrific and will have devastating life-long effects on the girls and their parents. This report shows very clearly that the girls were badly let down by the people and organisations that could – and should – have protected them.

“It also shows that concerns raised with the responsible authorities by some City Council staff were not listened to when they were reported. However, we are grateful that their persistence contributed to the recognition by those authorities of what was happening and to effective intervention, which eventually brought the criminals to court.

“The Bullfinch enquiry has led to a series of major changes in reporting and management processes. Now, there is much stronger collaboration and cooperation to make sure children and young people can live their lives in safety and security.

“The City Council has always been fully committed to supporting the County Council and the Thames Valley Police in delivering their responsibilities to protect young people.

“It is good news that since September 2014, the City Council’s role has been recognised and one of our Directors now sits on the Oxfordshire Safeguarding Children’s Board.”

Teddy Hall gym closed after student damage

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St Edmund Hall has closed its gym following an incident which may have caused upwards of £1,000 worth of damage to the college gymnasium.

In an email sent by the MCR President, David Severson, to the MCR body, the reason behind the gym closure was elucidated to students. “College has decided to close the gym for two principle reasons:

“1. The ongoing issues of disregard for gym etiquette with specific reference to weights left scattered, equipment moved out of place without return, and exclusive behaviours such as changing within the gym.

“2. They see that this context provided the climate for a recent incident, whereby one of the newly established radiators installed with the recent renovations to the gym was knocked off the wall.”

The College Welfare Committee held a meeting where the incident, and the context referred to in the first point, were discussed at length. The result of the meeting was that JCR and MCR representatives were informed by the College that over £1,000 worth of damage had been done to the gym, and that the Domestic Bursar had received numerous complaints for etiquette misconduct.

The College Domestic Bursar, Jayne Taylor, and the College Dean, Robert Whittaker, responded to the damage caused by proposing that the gym be closed for one week, beginning Monday 2nd March.

In Severson’s email, the reason for this proposed closure was cited “as an incentive for gym members in our community to hold one another accountable for the behaviour and resulting incident [seen in the College gym recently]”.

Severson continued, “Both the JCR and MCR representatives were not in a real position to ‘combat’ the decision, as it were, given the information that was laid on the table.”

He requested that all gym users “work together to exercise proper gym etiquette, and call each other out when improper behaviour occurs in order to facilitate a more cohesive and comfortable environment in what is a very small space.”

Severson told Cherwell, “I do think the closure was unfortunate, but probably appropriate, as my understanding is that such measures have been implemented by other colleges in response to etiquette issues (the damage to our gym being extra cause) like Wolfson to great effect.”

Wolfson College confirmed that it closed its gym five years ago, but did not specify the precise reason for this closure.

A statement released to Cherwell by Claire Hooper, the Communications Officer for St Edmund Hall, said, “The Gym was closed for operational purposes to complete essential maintenance, and has now reopened.”

The St Edmund Hall JCR President declined Cherwell’s request for comment.

Oxford Vice-Chancellor is third highest paid VC in UK

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Oxford University’s Vice-Chancellor, Professor Andrew Hamilton, is the third highest renumerated university adminstrator in the UK, according to a study published by the University and College Union (UCU).

The report, published on Tuesday by UCU, analysed 155 higher education institutes. It found that university leaders enjoyed an average salary of £260,290 in 2013-14. However, 16 per cent of institutions contacted either didn’t respond to the union’s Freedom of Information request or exercised exemptions. Oxford chose to use an exemption over travel and passed on redacted minutes of its renumeration committee.

Nottingham Trent University’s Vice-Chancellor, Neil Gorman, was found to be the highest paid administrator, receiving £623,000, including all accrued bonuses. Andrew Hamilton was ranked third, earning a salary of £442,000. However, once Gorman’s five years of accrued bonuses and pension are stripped out, Hamilton enjoys the highest base salary of any UK Vice-Chancellor. The University did not release the size of Hamilton’s bonus.

A UCU spokesperson told Cherwell, “What concerns us most is the utterly arbitrary nature of pay increases in universities and the complete lack of transparency. Why should one Vice-Chancellor enjoy an inflation-busting double digit pay rise while others secure more modest releases? What we need to see is a far more open system of governance. We want student and staff representatives on the committees that set senior pay in our universities and full disclosure of the minutes of those meetings.”

The study also found that Oxford has 396 employees earning between £100,000 and £399,999. Of these, 274 were in the bracket £100,000 to £149,000 and a further 88 in the £150,000 to £199,999 region. Only UCL employed more high-earning staff, with 429 employees earning in excess of £100,000.

Fergal O’Dwyer, Chairman of the Oxford Living Wage Campaign, commented, “We deal regularly with the University’s lowest paid members of staff, and hear about how difficult it is for them to make ends meet. The disparity in pay, in quality of life, between these workers and those, like Hamilton, on the highest end of the University’s pay scale makes me embarrassed to be an Oxford student.”

Hamilton emerged as the fourth highest spender on air fares of all university Vice-Chancellors. In the year 2013-14, £34,210.71 was spent on flights for the Vice-Chancellor. The University did not provide information on expenditure on Business and First Class flights, nor their proportion in overall expenditure. The average spend on air fares for vice-chancellors was only £9,705.75 and the percentage of overall flight expenditure spent on business and first class flights during 2013/14 was 67.6 per cent.

A spokesperson for the University told Cherwell that Hamilton’s salary reflects the high standing of the university as the top in the country.

When questioned on the Vice-Chancellor’s air travel, the University responded, “Given that Oxford is one of the great international universities, overseas travel is an important part of the Vice-Chancellor’s role in maintaining the University’s globally competitive position.”

Milestones: The Smiths’ Panic

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“Panic on the streets of London. Panic on the streets of Birmingham.” Thus begins The Smiths’ 1986 single, ‘Panic’, the band’s raucous lament of the state of the nation’s radio. It is a hugely powerful song, now recognised as a seminal anti-establishment anthem, but ‘twas not always so. 

Allegedly, Morrissey and guitarist Johnny Marr were inspired to write the song when they heard Radio 1 DJ Steve Wright cheerily follow a news bulletin about Chernobyl with ‘I’m Your Man’ by Wham!. “I remember actually saying, ‘What the fuck does this got to do with people’s lives?’,” Marr later commented. 

The story of ‘Panic’’s inception is almost certainly inaccurate. As Smiths biographer Tony Fletcher points out, given that ‘I’m Your Man’ had been off the top 40 for a good few months at the time of the Chernobyl disaster, it seems more likely that the episode was invented to fuel the feud between Morrissey and Wright, which was apparently fierce. 

The song was the subject of widespread criticism on its initial release. His lyric “Burn down the disco” was taken by some, not as the attack on pop music that it was intended to be, but as an obliquely racist and homophobic comment. 

Disco owed a lot to traditionally Black movements like funk, soul, and R&B, and it was a genre of music which was largely embraced by ethnic minorities and the LGBTQ community. The tension between disco-lovers and the typically white, male rock-enthusiasts that was engendered by disco’s success had erupted in America in the late 70s, when Detroit DJ Steve Dahl’s ‘Disco sucks!’ campaign had sparked rioting. 

Although not openly bigoted, there were observable racist and homophobic undercurrents to Dahl’s movement, and it is perhaps understandable then, that when Morrissey urges his listeners to “hang the blessed DJ”, not everyone sat entirely comfortably. In truth, Morrissey and Marr were instead expressing a thought that has plagued individuals since time immemorial, “The music that they constantly play, it says nothing to me about my life.” 

It is the nature of popular music that those who are left unaffected by its charms feel betrayed by their own era. Music is simultaneously ‘the shorthand of emotion’, ‘the food of love’, and ‘the strongest form of magic’, and to feel disenchanted with it is to feel bereft of something special. So, in advocating ‘Panic on the streets of London’, The Smiths were championing the cause of the lonely individual against the tide of mainstream culture. The delicious irony is that panic has eventually found a home amongst the very music it sought to disparage. What Morrissey saw as his ‘tiny revolution’ is instead a sickening paradigm of society’s ability to absorb any genuinely engaging anti-establishment sentiment. In January, David Cameron sighed that his love for The Smiths would “never go out”. Burn down the disco indeed, then.

Review: The Architect

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★★★☆☆

Three Stars

If you watched the BBC Two documentary The Secret History of Our Streets, or you’re just aware of British history, you’ll know the stories of the move in the 60s from slums to newly-built council estates, which catastrophically failed to solve any social problems.

The Architect, a 1996 play by David Grieg, imagines the story of an architect involved in one such project – a build ‘em high, build ‘em quick, build ‘em cheap’ endeavour, the tenants of which now call for its demolition – as a way of examining how things we attempt to build and re-build, whether structures or relationships, never succeed in eradicating the previous problems.

When Leo (the eponymous architect) insists his crumbling council estate is “perfectly structurally sound”, he is mirroring the doggedness with which he endeavours to hold together the disparate strands of his family unit. Both the appropriately named ‘Eden Court’ and his own home are paradise debased; the block of flats infested with damp and cockroaches, and his wife and children afflicted with various psychological hang-ups and neuroses.

Dom Applewhite brings his ability to create nuanced and watchable characters, displayed in his previous plays like The Pillowman, to the role. He perfectly captures the middle class, middle-aged, middle England preoccupations of Leo Black’s character, but also the endearing awkwardness of a father and husband who genuinely tries to care about those close to him. He transforms the show’s central character into a figure we can both criticise and care about.
The dynamics between the characters take time to set up, but, though the pace remains fairly steady, the audience’s interest is piqued as we learn more about the family and their ways of dealing with their various problems.

Dorothy has the unusual habit of late night hitch-hiking to wherever, Mattie engages in casual sex in public toilets, and Leo just wants to have an evening in with his wife. These scenarios are compelling, and neatly switch from one to another at critical moments, ensuring the audience remains rapt.

Difficulties arise when the second half, rather than building on the tension built up by the first act, seems to be equally slow moving, not aided by some lengthy gaps between scenes.

Occasionally, the naturalistic dialogue also seems to get the better of the cast. Words like ‘okay’ or ‘sorry’ are sometimes delivered unengagingly, which, counterintuitively, makes the piece seem less realistic. In this play, so much of what is actually being said lies in the very points that might seem the least important. The production would be even better if the actors made every word and awkward silence as vital and necessary a part of the play as a line in a Shakespearean speech.

The Architect is already a fascinating play, and could easily be even more so, the only real problems being pacing and occasional lapses in dramatic intensity. It’s definitely worth a watch, but just falls short of being essential viewing.

The Architect is on at the Keble O’Reilly until Saturday 7th March.

Panic at the disco: a night of trauma and regret

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Cultural nightmares begin in the most likely of places. Caught up in a maelstrom of booze and confusion, I stumble across the threshold and into a strange new world. For reasons unknown, I exchange my jacket for a paper stub with ‘No. 421’ on it. Will I ever get it back? No one is quite sure. I take a step, then one more, then another. And suddenly, people surround me. We bump and grind, and wave our hands in the air like we just don’t care. It all started so well. 

But then I’m shoved sideways by a careering drunkard, forcing me to take evasive action. I veer to my left, duck to avoid a headshot with a double vodka coke, and regain my footing. I stand up, and I survey, and I realise something. I’m on my own. Thirty minutes until Pokémon. In the sea of wavey garms, untucked shirts, patterned cardigans, and miniskirts, I see no friendly faces. I shout into the blaring loud, “Friends!”, and the echo responds, “Friends?” 

Anxiety rises in my chest at the knowledge I have been abandoned. No, not abandoned, forsaken. I resolve to find them, before the panic becomes too much. I pivot to check my nearest emergency exits, remembering that they may be behind me. There is an avenue of escape, though it is arduous and full of perils. I commit. I first shove the guy to my left, leaving him off balance and leaning to the side. I spin through the gap, only to be faced with a couple eating each other’s faces. There’s no way through. Round the edge I skip, and I’m away. Twenty minutes until Pokémon

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Search and rescue begins; the immediate results are not positive. The queue for the bar is a lost cause, packed full not of people I recognise but with a mob who resemble a real life depiction of the evolution of man in regress. The dance floor shows no signs of intelligent life either. The alcoholic halo is beginning to clear, my mind is slowing regaining lucidity. This is not good. There can’t be that much time left. 

An executive decision is made to use the stairs as a vantage point, yet instead of stopping and staring, I’m careered onwards on a tide of rave-seeking partyers. Welcome to Level Two. An alien expanse confronts me, all flashing strobes and aggressive bass. We’re the fuckin’ animals. Visibility has dropped from good to dangerous levels, from metres to millimetres. I am a lone speck in the great enveloping cosmic dark. I step, not forwards but onto someone’s previously white trainers. The auspices are not good. 

I retreat from the front lines to find imagined solace at the bar, cling desperately to a drink and begin introspection. Where is everyone? Why am I here? How did I end up in a Park, let alone the End of it? No time for that now. I have to look busy, otherwise my as-yet unnoticed solitude will become obvious and the sharks will circle. I take out my phone, and pretend to receive a call. I maintain the ruse with utmost professionalism. The previously judgemental eyes of those nearby swivel back to their own meaningless chit-chat. I’m safe (for now). 

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Only now do the realities of my surroundings begin to penetrate through my drunken exoskeleton. My cultural senses begin to tingle. Only now do I realise that the carpet was taken from the hotel in The Shining. Only now do I notice that the dance floor does not seem to want to detach from the sole of my shoe. And the flashing lights serve only to illuminate scenes best left unseen. And only now do I remember that I’ve been sat here too long. Alone. Staring gormlessly. I’ve been spotted. 

My position is too open, there’s not enough cover. I sketch out the route in my mind, and the manoeuvres begin with a slide to the left. A girl stubbornly blocks my path of least resistance. I am willing to sacrifice her. I half-squeeze, half-shunt past, and once again find myself on the stairs. Still no sightings. Five minutes until Pokémon. The tightness in my chest returns, the panic begins to strip the breath from my lungs. The room starts to spin, but I know that if I fall I may never get back up. I resolve not to die, not at 11:58 on Wednesday evening in this deafening Alcatraz. 

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Options are limited: meld formlessly into the dancing herd of Pokémon revellers, repeat my previous search circuit or emergency eject. I cannot get out. I hear drums, drums in the deep. I cannot get out. It is coming. I wanna be the very best, like no one… 

First I was afraid, then I was petrified. Memory fails me here. All that I can recall is the flailing of arms to make space, a potentially stifled scream and then the cool wash of post-midnight evening air on skin. The walls had dissolved, and left me on a bridge, finally free from my solitudinous inferno. I take the tentative steps of a child, leaving my brain time to recover. I stick my hands in my pockets to calm my nerves. But a familiar paper stub rubs against my shell-shocked thumb. 

No, I can’t go back. I can never go back. That godforsaken place adds another innocent victim to its list. Goodbye, dear jacket. Your efforts will never be forgotten. But I am away. And I shimmy to the beat of my own freedom, away into the moonlit and VK stain-streaked night. 

Review: As I Crossed A Bridge of Dreams

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★★★☆☆

Three Stars

As I Crossed A Bridge of Dreams is a student adaptation of a classical Japanese text recounting Lady Sarashina’s memoirs. The play follows her as she gets lost in the world of stories and literature to escape from this “all too solid world of ours”. Yet, as it continues, it acknowledges the futility of living through fiction as opposed to actually living through experience – something which, as an English student, I can relate to all too well. Her gradual descent into resentment, haunted by what her life could have been, is punctuated with ballet, physical acting, and a beautiful original score.

I have seen the BT Studio transformed a number of times but never quite as beautifully as the vine-decorated and dimly lit version I walked into. Katrin Padel’s lighting design cast shadows through the leaves, creating a mystical atmosphere which was to be substantiated throughout with composer Marco Galvani’s twinkling score. Somehow, the producers managed to make the usual blank space of the BT not feel incongruous with the world of Eleventh Century Japan. Also, who knew that the BT had a wooden roof?

Interwoven within the narrative of the piece were beautiful ballet compositions performed by the wonderfully talented Marta Valentina Arnaldi and Steven Doran. Ballet in such an intimate space was lovely to see and really helped convey the story and emotions told.

This flourished in the chaotic physical story-telling of the storm with the dancers circling the actors in the centre of the stage attempting to navigate their environment.

The extent of the success of the physicality was perhaps slightly detrimental to the performance, as it highlighted the weaknesses in the other sections; namely, the struggle with structure. The piece ran as an extended monologue; Lady Sarashina (Hannah Scott) narrated our voyage in and out of stories, both fictional and recalled. Scott was a very competent narrator conveying the emotions of her journey but the structural need for her constantly to be on stage meant a lack of variation between scenes.

The remaining ensemble of actors switched in and out of characters, notably with the talented Jacob Mercer playing Sarashina’s father, lover, and husband – don’t get the wrong idea, these are distinct characters. This worked with varying success; it allowed the introduction of many distinct stories but became slightly formulaic and disjointed.

Director Laura Cull creates an ambitious piece that is beautiful in its quiet intensity. However, when this was paired with a difficult story to follow, this intensity was at times broken.

As a story of loss, of fantasies that have been cruelly pierced through by the real world, the pain of the piece was well executed, exemplified beautifully in the metaphor that “no comfort may be found in icicles”.

It was just a shame that this powerful sense of tragedy could not be maintained throughout.

As I Crossed A Bridge of Dreams runs at the Burton Taylor Studio until Saturday 7th March.

OxStew: School outreach programme for Oxford University

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Rapturous applause resonated around OUSU Council this week after a coalition of three comprehensive schools committed to a landmark ‘outreach’ programme with the University. Labelled the ‘Real People Programme’ (RPP) and supported with £75,000 of government funding, the three state schools plan to “reach out” to some of the University’s most culturally inhibited students.

According to the official website, the programme’s three main aims are to widen social horizons, garner a sense of perspective, and encourage individualism. Trial runs were rolled out across Cambridge and Durham Universities in 2014 with great success, and now the state comprehensive missionaries have set up shop in the city of dreaming spires.

Programme leader Arnold Simpkins passionately told reporters, “The principal observation from our outreach work thus far has been a chronic lack of ambition. There are a number of students who are ambling down the same welltrodden path forged by their parents, attending the same Sixteenth Century boarding school, matriculating into the same Oxford college and ultimately joining them in the City for a career in finance.

“RPP is committed to ‘breaking the chain’ of innovation poverty and explaining to these young minds that there is a world beyond the Home Counties, that life’s journey can indeed deviate from the commuter belt and that there are jobs and lifestyles beyond those already explored by their parents.”

RPP’s second-in-command, Johnny Head, outlined some of the difficulties faced by the organisation. “Reaching out to the underprivileged presents a myriad of unique challenges. We find that many of the students we work with are the human equivalents of a Set Menu – extremely limited and often bland. Only yesterday I was asked, ‘Why think outside the box, when sitting firmly within it will earn me £28k a year, a free zones 1-2 travelcard and private healthcare?’ This type of candour is indicative of the humble backgrounds from which many of our mentees hail, though we feel we are making steady progress nonetheless.”

A representative from OUSU told us, “We’re delighted to be working with RPP and I really believe it will benefit many of our students to no end. Having travelled around India for three weeks last summer, I know better than most about the benefits of being open-minded and worldly-wise. In addition to RPP’s mentorship, I’d fervently recommend my peers spend a period of time travelling overseas – just make sure you go to a place where the people speak English.”

Not everybody shares OUSU’s positive view, however, and RPP has evoked its fair share of criticism. Terence Brush, a student with an opinion, told us, “Considering that 93 per cent of the UK population is state educated, it almost goes without saying that comprehensive schools and universities working together is undeniably valuable, necessary, and worthwhile – but shouldn’t this be underlined by a genuine sense of partnership? The rhetoric surrounding ‘outreach’ sounds more like handof-God interventionism than a mutually beneficial partnership.”

The second year History student was quickly shouted down by RPP, who this morning tweeted, “You don’t know what you’re talking about – outreach work is brilliant for your CV and highly valued by employers.” RPP’s first group workshop ‘How To Deal With Regional Accents’ is to begin in 1st Week of Trinity. 

We must end our love affair with the tutorial system

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Most people at this university are preoccupied with their own concerns and their own life goals. People can spend longer agonising over applications for nonsensical internships than they do speaking to their own grandparents. That Philosophy student poring over an Ethics book isn’t doing it to become a nicer person. Even when there are ‘big’ protests about some issue, the vast majority of the student rank and file is unaware (often wilfully so) of what is being done in their names. You need something big and personal to get students to the barricades.

Let’s scrap the tutorial system.

My modest proposal could mobilise anger here like nothing since tuition fees. A trawl of the student press will reveal that we have few sacred cows. Oxford is stuffed with absurd institutional practices, and whether it is high table at hall, our Vice-Chancellor’s ‘generous’ salary or the collegiate system itself. But everyone is terribly fond of the tutorial system. It makes us special, after all (along with the supervision system at Cambridge – our sinister doppelgänger). Let’s put this fiercely defended educational privilege up for review. It is ineffective and a waste of money. It makes us think we are special when we are not.

First, the money. Tutorials are expensive. The large college endowments which we enjoy here are used to cover most of the costs in a way not available to all but the elite institutions at the top of the Russell group. Extraordinarily, this system is then topped up with specially allocated public funds. In total, Oxford and Cambridge receive £6.9m of ‘special funding’ that is not available to other universities to support interviews and the tutorial system. If I were to write a list of things that the government should do with a couple of million pounds going spare, “enhancing the educational advantages of massively privileged institutions” would not be on it.

Tutorials are an essential part of the Oxford mystique. There is a happy vision of wisdom imparted by some wise old don in a very personal, tailored, and companionable sort of way. Here is one tutor’s description of a bad tutorial: “[if] they simply cobble together an essay before walking into the tutorial. What happens? The rather irritated tutor ends up taking the students through the basic material to achieve some sort of minimal understanding with no time for the more interesting material that digs deeper. The tutor talks too much, since the students have little to say apart from the odd clarifying question, so it’s not far off a lecture delivered in the most uneconomic way you can think of.” Sound familiar? That’s from Economics, a technical subject. In more humane subjects (and yes, Economics is very inhumane) I think the problem is when they go off-piste into wonderful tangents, which then leaves the student without any structured overview of the topic. Conversations are for experts, and undergraduates are certainly not that.

I am not saying that tutorials cannot be wonderful. I have had some excellent tutors and some enlightening conversations. But they are too often a way of teaching material that could be done in a class more cheaply and just as effectively (for the technical) or in a more structured way (for the introductory). And what the system makes up for in student-tutor ratios, it lacks in contact time. At the moment, Oxford humanities tutors are to their students as sailors are to their lovers: you hardly see them at all, but when you do it is fucking intense. I do not want to see the tutorial flushed down the toilet of history, but I do want the tutorial system scrapped as the default way of doing teaching here. Let’s teach with more seminars and have a couple of tutorials at the end of a term when we can argue back sensibly.

The existence of the tutorial system is also used to justify the frankly infamous ‘interview’, source of urban myth and a lot of damage to access from candidates intimidated out of applying. Oxford should be open to every bookish high schooler regardless of class, school background, and stage fright. We shouldn’t be recruiting performers, we should be recruiting nerds.

Debate: Should you keep who you vote for private?

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Yes

Tom Robinson

Voting is perhaps the cornerstone of our democracy. However else we want to furnish the concept, at its heart is a notion that the people can have their say at the ballot box. That say must be without qualification.

I understand why some people might wish for votes to be made public because it would force people to justify their decision. When it is so easy for people to selectively hear the news they want to hear, when the media can whip up resentment with such ease, we might be concerned that some people vote for a party or MP without really considering the consequences.

And why should we be reticent to tell people for whom we vote? Surely, if we are ready to vote for Labour or the Tories, we will have a set of reasons for doing so and won’t be afraid of telling others those reasons?

While this is a valid complaint, there are so many more important reasons to keep votes private, not only legally, but also in how we treat the subject in conversation. It’s not just the case that votes should be kept private, but rather that they must be kept so.

Asking for votes not to be kept private is akin to asking for people to justify their vote. But asking for this justification suggests that some votes are justified and others are not. We might say that the person is confused or has misunderstood an issue, and having to justify their vote might help them realise this. But this assumes that votes need to be based on fact. What if one votes on how they feel, or simply on their preferences (rational or otherwise)? Should we disallow motives like these because they don’t stand up to justification?

It may be disheartening when somebody votes for a party just because they felt like it. We may feel uneasy when someone votes out of fear or prejudice. But there really is no way to prevent this. Democracy and private voting is not perfect, but its probably the best option we have. We cannot and must not stop people from voting. It is that institution that ties citizens to the politicians who represent them and the democracy under which they live.

That doesn’t mean we can’t implore people to consider their votes more carefully. But changing the rules and norms around privacy is not the way to do this. Pragmatically, forcing votes into the open is going to be a disincentive for those already less inclined to vote.

It is precisely the engaged and politically active members of society who are less hesitant about letting people know for whom they voted. But for those who are less engaged, who don’t enjoy ‘talking politics’ the privacy surrounding the ballot box is probably a welcome break.

In essence, talking about politics is not the same as caring about politics. For whatever reason someone might want to keep their vote secret or private, we should allow them to do so. Voting is important and it should be taken seriously, but it should not be daunting or intimidating.

Furthermore, privacy sometimes allows you to make a more considered decision than if your vote weren’t private. Consider election privacy in JCR and society elections. If you have multiple friends running for the same position, it is difficult enough knowing for whom to vote. Privacy at the ballot box means that you can make a proper decision, without fear of upsetting anyone. The privacy afforded to you, both formally and in that you don’t feel pressured to answer when asked, enhances the democratic process rather than hindering it.

 

No

Tom Carter

In 1872, the secret ballot was introduced. Until then, voting was a public affair, with everyone – your boss, your spouse, your MP – knowing how you voted. The results of this introduction were dramatic, especially in Ireland, where the nationalist cause prospered as a result of the landlords no longer being able to intimidate their tenants. Change was in the air, and it felt good.

Fast-forward to 2015: a general election is less than ten weeks away and the question of which party to vote for is increasingly coming up. Are you a dastard Tory or a soft-hearted Lib Dem? A head-in-the-sands Labourite or a guilty UKIPer? The question will only get more pressing as the approaching election looms larger and larger.

However, in amongst all this election fever, there lies the possibility for an enormous social faux-pas; namely, asking people how they intend to vote. Such a question can induce instant scorn, and even a little a bit of outrage, that someone could ask such a personal question. It’s akin to asking about someone’s sex life or religion in terms of crassness.

But why is this the case? After all, voting is in many ways the most public act a person can carry out. It is certainly the act which most directly affects others: your vote helps to decide who gets to tax other people and who is in charge of vital services those people need to survive, such as health or education. It even decides who has the ultimate power over other people’s lives, whether on the battlefield or in the prison cells. The direct correlation between your actions and its effect on other people is abundantly clear.

As such, the notion that voting is a private decision is ludicrous. It is not something that you should feel entitled to conceal, especially when it has such an important impact on the lives of so many people. Rather, in the ideal world, it is something you should feel comfortable telling most people who ask, and indeed justifying to them why you voted the way you did. Such honesty is the start of political debate, which is healthy and necessary for a democracy to work.

This is not to say that we shouldn’t have a secret ballot, far from it. A secret ballot is necessary to stop voter intimidation. Indeed, historically it has been a great cause of liberation, allowing people to vote for progress, secure in the knowledge that they would be free from recrimination in the workplace or elsewhere.

But the fact that you are rightly not forced to tell people whom you vote for is not a reason not to tell people. In the vast majority of situations, slight judgement is the only possible adverse side effect, and, given that the decision you are making affects them also, such judgement is something you should be willing to endure.

Our right to vote is cherished as the hallmark of our society, and yet we exercise that right too lightly. The rhetoric of rights and responsibilities is clichéd to the point of self-parody, but as with every cliché, it holds a kernel of truth. We must honour the responsibility society has given us by thinking long and hard about how to exercise that responsibility. Part of this includes exposing our ideas to potential criticism, and justifying those ideas to fellow citizens, whose future every vote helps to decide.

So, next time someone asks you for whom you are going to vote, engage with them. This isn’t religion or sex, it’s politics. And remember, your vote affects them just as much as it does you.