Saturday 23rd August 2025
Blog Page 1237

Let’s stop the stigmatisation of self-harm

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“Yes, but people shouldn’t have to talk about it…”

“…and do you really think everyone is like you, that they’ll want people coming up to them and asking about it?”

These were some good points.

This conversation took place minutes before I found out my article on self-injury had been published without my consent. It had started raining, so the discussion came to an end and my friend and I parted ways. It reminded me to send off a request, the third of that week, to ask if the edited version was ready, so I could approve any changes or not before it went to print. “It’s out!” the reply returned quickly. Up popped a grainy photo of a newspaper page: a large silhouette with cogwheels for a brain loomed beneath a small patch of text. What? It was already in print? I had been told the week before that the editors were concerned my original piece glamourised self-harm, something I disagreed with, but was patiently waiting to discuss once the sub-editing was finished. I zoomed in and began to read the familiar intro… It only took until the second paragraph to realise an article largely different from my own had been signed off with my name.

A key focus of my original article was about an experience I’d had at an Orthopaedics conference a couple of months before, because it framed the points I wanted to make about non-suicidal self-injury (NSSI) perfectly. One of the registrars, while fiddling with my arm, noticed the dulled scars on my shoulder and stopped in her tracks, remaining silent for roughly five seconds. Having moderate depression co-morbid with anxiety, I tend to be hyper attentive to body language and overthink things, so what may have been mild discomfort on her behalf appeared to me as disgust and embarrassment. For the rest of the day, I was quiet, mulling over that short scene until I was miserable.

Firstly, this highlighted the sometimes irrational thought processes common to mental illnesses such as anxiety and depression. Secondly, although I had blown it out of proportion, her response was clearly not helpful. But this article read differently. In this version, the registrar was a ‘horrible person’ who had said ‘something nasty to make me feel upset’. Albeit, my original text was ambiguous: “However, it only took one [of the registrars] for me to feel upset.” But my article emphasised that I was looking at their body language, and it is just common sense that doctors don’t whimsically say ‘horrible’ things that would jeopardise their whole career. Damn. The bit in about scars not causing long-term damage to my physical health, just as the ones picked up on the playground don’t affect non-self-harmers, was kept, but the context was lost.

They’re just scars. We all have them, whether from sports, accidents or as an expression of mental illness. Some look ‘cool’ and some don’t. Mine don’t, but they’re there to stay. My point is that superficially, the act itself is not a major problem (except for risk of infection, of course). The psychiatric condition from which it manifests is. Therefore, when someone reacts with discomfort to the obvious patterns of self-injury, I struggle to believe it is based purely on aesthetics. If someone has a series of disfiguringly large scars from a serious accident, I concede that aesthetics may come into play; however, without knowing the context in which those injuries were obtained, it is ludicrous to judge a person by them. In my case, where the context was evident, the non-verbal reproach to an outcome of my condition is therefore demonstrative of subtle but unmistakable stigma. As the aforementioned scenario was obfuscated in the published article, I shall turn to science, which is harder to obscure.

In 2007, researchers at Columbia critically assessed all previous literature looking into the epidemiology of NSSI in an attempt to come up with an exact figure for how many people have performed NSSI in their lifetime. The figures they derived ranged from 13 per cent to 23.2 per cent, depending on what level of severity or method (cuts, burns, high impact injury such as punching walls etc) of self-harm was assessed. Many studies over the last few years indicate that NSSI is on the increase, especially amongst adolescents, so it is likely that this number is now higher. So, at the lowest estimates, one in ten people reading this article will have had or are yet to have a personal encounter with NSSI.

In 2010, a questionnaire study of 73 psychiatric patients at a hospital in Derby found a significant correlation between self-harm and self-criticism, shame and self-persecution. Although a relatively small study, it illustrates the psyche of someone who self-harms. That is, it is the consequence of moral distortions emerging from a psychiatric illness.

This quotation is taken from a small, intense study of self-injurious adolescents in Ireland, and it sums up my concern perfectly about the stigma around NSSI. “A person might internalize the external stigma, subsequently leading to a sense of confusion and self-doubt… For many of the participants, this experience ultimately compounded a sense of emotional reticence, rejecting the idea that they would want help or indeed that they would want to break out of the spiral of self-injury” (Long et al, 2014).

What about those who swear such stigma does not exist? Unfortunately, there is little current evidence about NSSI stigma in the UK with which to argue my point. Instead, I present you with evidence from 2008, obtained from 157 finalists at universities in the West Midlands studying for careers in healthcare. Participants were given one of two vignettes: a young woman who self-harms because of drug misuse, and the other because of drug abuse. The former is deemed to be within the woman’s control, and the latter out of their control (analogous to self-injury as a result of psychiatric illness). When asked a series of questions gauging attitudes towards the vignettes, a significant proportion responded with a set pattern of beliefs: that self-harm was a manipulative act, worthy of anger, and something that we should be reluctant to assist with. This was least common amongst nurses, who reported the most familiarity with self-harm, but shockingly was the most common amongst medical students who would become the first point of call for self-injury cases. This pattern occurred only slightly more for the drug misuse vignette.

While a major criticism of this study is that self-reported attitudes and behavioural intentions may not translate to actual behaviour, it is clear that a significant number of healthcare students our age had very negative attitudes towards self-harm based on preconceptions about its purpose only seven years ago. I highly doubt such aversive opinions have disappeared in such a short time. The most important finding of this study, in my opinion, is that familiarity with self-injury leads to the best behavioural intentions.

Therefore, self-injury is common and a result of moral distortions. Stigma regarding self-injury is likely to exist even among those who are responsible for care-giving due to preconceptions, and can lead to emotional reticence, preventing someone with a psychiatric illness from seeking necessary help. Familiarity is the most beneficial factor in responding appropriately to self-injury. As such, I still believe that in my orthopedic scenario, the best thing the registrar could have done would be to ask about the scars. Become familiar with NSSI by asking about it, just as you would someone with scars from an accident; rid yourself of preconceptions and destroy this ridiculous stigma that can be so harmful to those with mental illness.

Before I conclude, NSSI does have an association with suicide and therefore the act itself may be indicative of a person at high risk. However, this is in the minority of cases. In 2011, after the Columbia report, 2,000 adolescents in China were asked about personal self-injury and suicide attempts; lifetime prevalence of self-injury was 23.2 per cent, while that of suicide attempts (SA) was 3.2 per cent. Self-injury and SA co-occurrence was 2.3 per cent – typically, those that reported SA came from significantly less functional families than those reporting NSSI, indicating the origin of such behaviours is dissimilar. This is supported by another report from Oxford and Bristol scientists published last year, who argue that vulnerability and motivational factors need to be better assessed if we wish to prevent such behaviours. In light of this evidence, we should be concerned about self-harm, given the links to suicide attempts. However, we should not assume that self-injury is predictive of suicide attempts, and therefore any approach to NSSI should not be of aggressive concern, but a gentle inquiry showing understanding and support.

Voices from the Past: Sylvia Plath

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Sylvia Plath’s life was tragically short, but she managed to produce some powerful and extremely poignant works. In this recording, she reads aloud her poem Daddy, the affectionate title of which contrasts ironically with the tone of the verse. Plath saw her father Otto, who died when she was eight, as an oppressive, authoritarian figure. The Holocaust imagery, “An engine, an engine / Chuffing me off like a Jew. / A Jew to Dachau, Auschwitz, Belsen,” has long been taken to suggest that her father held fascist, pro-Nazi sympathies, and in 2012 newly released FBI files showed that he had indeed been investigated on suspicion of entertaining such beliefs.

In this recording, Plath’s voice is strong and measured, with assured pronunciation of the German phases like ‘Ach, du’ that seems to contradict the poem’s portrayal of German as a ‘language obscene’. It indicates the powerful spirit of a woman who struggled with depression for much of her life, as well as an extremely troubled marriage to fellow poet Ted Hughes. Her use of so sensitive a subject as the Holocaust for a metaphor in Daddy is controversial, but it certainly achieves the effect of portraying her father as part of a cruel and terrible past that haunted the rest of her life, and from which she was never quite able to escape, “I have always been scared of you.”

Review: Captain Amazing

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★★★★☆

Four Stars

In the very first scene, Captain Amazing looks more like someone on drugs than a superhero. But in fact that’s precisely the point of the play, where the contrast between ambition and bravery on the one hand, and failure and frailty on the other is a central. The play starts off by following two separate storylines, or so it seems at least. Mark is an ordinary man, busy with his life in the shop and his relationship with his girlfriend. On the other hand, Captain Amazing is the classic ‘caped’ superhero, whose mission is to combat crime and fight against Evil Man. Things start to merge when Mark becomes a dad: it appears clear that for his daughter Emily he is a superhero, while for the rest of the world (his boss and his wife included), he is a bit of a failure. And even on the ‘other side’ of his life, we are shown that not even superheroes are immune to everyday problems; regardless of whether they are buying new headquarters or dealing with boring friends (such as the hilarious exchange with Batman). In the end, a conflation between the two roles occurs, showing that life is no fiction and is difficult for all of us, and real heroism lies in facing the challenges of every day with the means we have. As Mark says, everyone has to realise that their dad is not a superhero, but “that doesn’t mean he won’t be there” when we need him, in spite of all his imperfections as an ordinary human being.

The message behind the play is thus a powerful one, and we are also presented with real life issues such as divorce, firing, and illness. With some scenes more successful (and clear) than others, and with more or less rhetoric in dealing with thorny issues, the play also develops the idea of playing multiple roles in one’s life. Mark is at once sale-assistant, boyfriend, and dad. But since the play is a monologue, the actor is also girlfriend and daughter, baddy and boss. The play thus draws our attention on the fact that Mark and Captain Amazing are one and two at the same time. We are never sure whether they are the same person, because the actor plays a whole series of other characters – all of them in fact. This play is the right one with which to experiment with a monologue technique, as this allows exploring the notion of identity in a sophisticated way.

Moreover, the acting supports this choice. Andrew Dickinson proves incredibly talented, and able to credibly play three people at the same time. It takes a couple of scenes for the play to really get going, but once it does, we almost forget there’s only one actor on stage. Whether he is playing Evil Man, Batman, the wife, the curious Emily, the sick Emily, Captain Amazing, Dickinson is an amazing actor. The stage set is also appropriate. It is deliberately and unpretentiously simple: one chair, and a series of child-like projected drawings. The minimalism of cast and set does not prevent the play from working; rather, it gets the performance really take off, or rather fly – and it also teaches us to do so.

Captain Amazing runs at the BT until Saturday at 21.30.

Fashion Matters

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For all its innovation, the fashion industry has traditionally rebuffed diversity: the proportion of caucasian models remains overwhelming; major designers tend to be men; and the clothes showcased favour a particular (thin) body type. But this season, Jamie Brewer stepped onto the runway and a revolution was hailed. In Carrie Hammer’s show, the American Horror Story actress became the first person with Down’s syndrome to walk in fashion week and was closely followed by Jack Eyers, who became the first amputee to do so. At Desigual, Winnie Harlow, who has vitiligo, a skin pigmentation disease causing skin patches of different colouring, paraded in the house’s new season, whilst FTL Moda’s show featured models in wheelchairs. It would appear that diversity is very much in this season.

Accuse me of being plagued by cynicism if you wish, but that statement alone rings alarm bells as it nods to the fear that disabilities, in particular mental illness, are becoming the lastest fashion trend with Fiona McIntosh, founder of Grazia magazine, describing depression as “the new black”. In 30 minutes of eerie tinkling from an antique music box in a padded room with only a single flickering light bulb, the audience at Thom Browne’s SS14 show were transported into a stereotypical asylum. Subtlety is clearly not the artistic director’s strong point, with mannequins hanging from the ceilings by their necks. The most likely intention behind the provocative imagery is to shock the audience to ensure a memorable season. Nearly a million people worldwide take their own lives each year; this makes using suicide for a publicity stunt utterly repugnant. Indeed, it is morally questionable enough to exploit the phenomenon for one’s own gain but to do so when immersed in an industry where suicide is so rife is abhorrent. Each year, the industry gets faster, the schedules get fuller and the expectations on designers are building. This is all in addition to the culture of ‘perfection’ fashion cultivates. Last week marked the fifth anniversary of Alexander McQueen’s suicide, whilst John Galliano in 2013 told Vanity Fair in his self-proclaimed first sober interview, “I was going to end up in a mental asylum or six feet under.” Galliano, who was fired from Dior in 2011 for an antisemitic rant, offered one explanation for his behaviour. “I committed professional suicide because it was the only escape from the terrible pressures I was facing.” Creativity and brilliance have been linked both to depression and to schizophrenia for centuries, but it has long been the general approach to resignedly shake one’s head and express what a shame it was to have lost the archetypal troubled artistic genius without recognising the sheer pressure they were under to deliver. Thom Browne is an accomplished designer at the forefront of couture fashion and it is disappointing, if he is to connote suicide in his show, that rather than validly using his platform to raise awareness of this problem, he does so to spark a media storm.

New York, London, Paris and… Madrid?

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If you’re coming to Madrid with the intention of getting in on that relaxed Spanish vibe, you may want to think again. This is a city that never fails to contradict stereotypes and expectations, and nowhere more so than in the world of fashion. “Effortless” is not a word you would associate with the madrileño sense of style, and for good reason: the more imperious of Madrid’s fabulously-dressed older ladies would probably be horrified at the notion of looking like you hadn’t tried at all.

Madrid fashion subscribes to the idea of having a “style uniform” more than any other city I’ve seen: you can expect to see the older, wealthier ladies of this city in long fur coats and finely-tailored jackets, while their male counterparts tend to resemble a well-dressed Oxford tutor, with tweed and pocket square stealing the spotlight. For younger women, tall boots and trench coats are an absolute staple, their sleek long hair providing a generational contrast to their grandmothers’ aggressively set dos. Don’t even think about turning up without a collar – looking smart is essential for all genders – and remember that the key is in the details. Whether it’s a brooch that’s been carefully chosen to match the colour of a hand-bag, perfectly-done nails, or a stylishly-looped scarf, attention to the little things elevates these looks from standard to stunning.

However, not everyone agrees that Madrid is an intrinsically stylish place. Whether it’s because it isn’t particularly “cool” to have senior citizens as your fashion icons, or whether the younger generations are fighting to make their voices heard over the older, richer elite, those who work in high fashion, like designer and blogger Noelia Bennardo (pictured), don’t consider the supremely elegant ladies of the affluent Madrid district Salamanca to be truly representative of madrileño style, and thus still feel Madrid is inferior to places like New York and Paris. “I would like [our style] to be as well-established as in other cities, and it’s gradually getting there. Fashion shows and events like Madrid Fashion Week are gaining more and more ground.” Noelia feels that Madrid is heavily influenced by more prominent style capitals like New York, claiming that “trends [here] wouldn’t be what they are without taking inspiration from more fashionable cities”.

Whether or not this is true – younger madrileños are notorious for their obsession with Anglophone culture, occasionally a symptom of “greener grass” syndrome – it is hard to ignore the staunch pride visible on the faces of the more senior folk dressed to the nines as they gallantly stroll down the Calle Serrano (nicknamed the “Golden Mile”). And as much as the younger generation distances itself from the conservative older dressers, moving towards casual looks, this refined instinct never quite disappears: as her photos show, even the critical Noelia admits she enjoys “combining [sportswear-inspired looks] with smarter pieces, which come together to create – yes, I suppose you could call it my own Madrid style.” It’s hard not to be taken in by the attention that goes into dressing here: the looks you receive on the metro when dressed nicely are far kinder than those you get when you’re in your uni hoodie with messy hair. Still, the advantage of a visible sense of style means that it’s easy to become a part of it, if you so wish, and there is no more sure-fire way to feel at home in a new city than to tap into its aesthetic. Refined, elegant, proud: Madrid is just getting started.

Noelia blogs at www.noeliabennardostyle.com. Photos used with permission.

Fashion Week photo FOMO

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It’s a new season, and the city of New York is kicking off a month of Fashion Weeks around the globe. However, with another FROW invitation for Cherwell not making it to our pidges, we were depending on the usually relentless social media updates from our favourite and most followed FROW-ers to bring the catwalk to us and our essay crises. After all, it’s surely no coincidence that NYFW falls this week in time to battle the 5th Week Blues one beautiful Alexander Wang boot at a time! But, alas, our procrastination has been sabotaged. A quick click through Instagram reveals that the bloggers, eds, and celebs upon whom we can usually rely for photographic evidence of everything that they do, see and eat, or photograph and not eat as the case may be, have left their phones in their Charlotte Olympia clutches.

For a good few years now, the most coveted accessory on the FROW has been the iPhone, as proven by the influx of phone covers on the catwalk itself. Now no self-respecting designer would create a collection without matching phone cases.

So, if anything, we were expecting an increasingly greater flurry of blurry photos of the shows as they happened, but this season they’ve been sparser than a skinny jean. Why? Because apparently our reaction to them is like Anna Wintour’s side eye at a North West tantrum (they were some FROW photos we were glad not to have missed!).

As exciting as the first snap of the show from the FROW may be, it is never going to be a good photo. Bad lighting, shaky hands, and an iPhone camera just aren’t going to do the designer justice. If it weren’t for the fact that it was taken at a show it wouldn’t be deemed Instagram worthy, let alone double-tappable. This is just what bloggers, always with an eye on their social media performance, have noticed. Not only do these photos look bad themselves, but they make those taking them look bad too. Bloomberg luxury columnist Hannah Elliott describes it as a ‘“rookie move”. And no one, not even 18 month old North West, gets away with looking like a rookie at a runway show.

Keep up with what’s going on in New York and Oxford with Cherwell on Instagram (@cherwellfashion). We promise there will be no blurry catwalk photos, because – sniff – we’re not there 

Review: Macbeth

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★★★☆☆

Three Stars

Macbeth got off to a mixed start. Several actors in the first act spoke their lines in listless drones, although first-night nerves may have accounted for the woodenness. While it was immediately evident that the cast, and in particular its supporting acts, was strong, there were moments of weakness or incoherence. The very first scene sees the witches prepare their charm – but the three actresses seemed unsure whether to go for naturalism or histrionics, and wandered somewhere in between.

Still, Banquo’s (Stan Carrodus) easy banter with the various guards was very good, as was his doubting monologue – and the dynamic between him and Macbeth (Alex Hartley) was fluidly convincing. Macbeth himself proved brilliantly aware of Shakespearian verse diction, even popping the occasional diphthong in. His admission at lacking “spurs to prick the sides of my intent” finally saw the production come into its own. His guilt-ridden “There lay Duncan” showed good work on glances and tone between his interlocutors too. When Macbeth finally announces that “the crow makes wing to the rookie wood” – Shakespeare for “I must go on a murdering spree” – Macbeth finely cadences his psychological progression, complete with patronising forehead kiss to his bemused Lady.

This Macbeth demonstrated an intriguing conception of space in its character placements. The sometimes shaky acting was given precision and drive by the actors’ movements and alignments. When Duncan’s court first enters, post-battle, the clever blocking places the witches downstage, facing us with fingers to lips.  We get a sense of intimacy between the evil to come and the audience. More simple, smart blocking comes when the witches’ cauldron separates Macbeth from the morally uncorrupt characters, part of the production’s intention to visually isolate its antihero. In fact, Lucy Clarke and Tom Fawcett’s directing enhanced Macbeth’s visceral dependence upon Lady M, thanks to their staging of the Macbeths’ bloody-handed, post-regicide embrace.

As the play winds itself tighter, the acting strengthens. There is an amusing scenic remake of the final supper, where the guests appear wonderfully awkward while the cutthroat pair publicly lose it. And, in the infamous “double bubble” witch scene, the fake blood dripping an occult circle around the cauldron may be unoriginal, but it draws a pleasant, circular symmetry. Meanwhile, the witches seemed careful to vary tones in their incantation to avoid droning.

On the other hand, while Malcolm (Alex Christian) is appropriately young-looking, the casting choice was pretty dissonant when he came to feign lechery. His choirboy looks made declarations like nothing could “fill up the cistern of his lust” slightly startling. Likewise, Lady Macbeth’s (Francesca Nicholls) “unsex me here” diatribe came across as very forced. It lacked a build-up, and so seemed very abrupt, her passionate vibrations too suddenly hysterical. Lady Macbeth did, however, really kick into gear (and not a moment too late) with the “out damn spot” scene.

Overall, this Macbeth is full of good moments, and boasts a creative vision of stage space. It has pleasant cameos by comical characters, like the fantastically loopy night watchman or a Scottish priest. Nevertheless, lighting and pace are a little off, at times. For instance, a white spot shining directly onto the audience rather clumsily cues supernatural dealings – and Lady M’s solo plotting scene is unrealistically rushed. But minor characters often reveal themselves excellent: the mercenaries commissioned to kill Macduff’s family are suitably vicious & immoral. And by the final scene, the weird sisters are perfectly synchronised, all in catatonic states and eyes glazed. Most importantly, Macbeth’s unravelling scene (“Sleep no more”) is superbly spoken.

Oh, and a word of warning to all future Macbeth-goers: carry cardies, get gloves, bring blankets. Regent’s quad is a beautiful, monarchical-looking thing indeed, but by Act III scene 3 it might as well be Little Siberia.

Great setting, good but patchy acting, and intriguing visual patterns make for an entertaining, if uneven (and freezing) Macbeth in Regent’s quad.

Preview: Blood Wedding

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It was a rainy Valentine’s Day and a smug coupledom seemed to be all around. Therefore it seemed rather ironic to be attending a preview for Lorca’s play Blood Wedding – a tragedy of unfulfilled love.

However, the Valentine’s buzz was immediately shaken off me as I was shown into the rehearsal room by Amelia Cherry, the producer. There were three groups forcefully acting several different scenes, some of them dancing. My immediate impression was that I was disturbing the meeting of some sort of cult.

Speaking to the director, Connie Treves, she explains to me her vision for the play. “The play is abstract enough to synthesise dance and movement, which is one of my interests, the language is lyrical and yet the plot is very simple. It’s all about heat.” She laughs, “Although we aren’t setting our production in Spain as Lorca might have imagined, I want that heat to come across instead in the acting of the movement and through the music.”

Connie calls the three groups to present the scenes they had been working on to me and the other actors. “Like show and tell!” laughs David McFarlane, the musical director. He was joking, of course, but this is somewhat how it feels. I can’t deny that the passion felt by the acting in the room is tangeable: the heat Connie speaks of is certainly coming across in the scenes I observe. They are from different areas of the play and, thus, each have a very different feel. The first I might have said was realism, the second quite physical, and the third somewhere in between. It will be interesting to see how the scenes link together within the whole play. 

Talking to Bee Liese, who plays the bride, and Josh Ames-Blackaby, who plays Leonardo, I get a sense of how they are interpreting their characters. “Leonardo is three-dimensional, but the play tests how far the audience will sympathise with him,” says Josh. “They might see his actions as purely destructive, but they might also forgive him because he is acting on love. A bit like Heathcliff in Wuthering Heights.” I ask Bee how she’s trying to put across her female character in relation to this – is she passive or powerful? “She’s certainly a strong character and in many ways she’s in control, although she may not say much. There’s a constant feeling that she’s being observed, and I think that’s partly what they play is about.”

I slyly ask the pair what they think of Connie’s approach: Josh has already worked with her physical style last term on A Midsummer Night’s Dream. They are both fans. “She has a clear vision,” says Bee and tells me how paintings were brought to the early rehearsals which Connie asked the actors to respond to. She had them physically act out their lines rather than speak them. “It’s a really fresh approach. The fact she invites us to devise how we want the scenes to be encourages us to really engage with the play. It makes my work with Josh intimate and personal because we’ve come up with it ourselves.”

Overall, it’s great to see a student production that’s truly multi-disciplinary, outside of musical theatre. The group are full of life. Not something to miss.

Blood Wedding runs at St John’s College Auditorium from Wednesday 25th until Friday 27th February.