Monday 13th April 2026
Blog Page 1257

How to… go on a crew date

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As with every part of our damned society and miserable life, Oxford has a hierarchy. And the worst thing that could possibly happen to you would obviously be being stuck on the wrong rung of that fancy and elusive ladder. The first step into the esteemed and crucial heights of Oxonian hierarchy is a crewdate. If you don’t crewdate, don’t expect to be featured on VERSA’S Top 10 Coolest Students (now that is the real dreaming spire). Don’t expect freshers to know your name. Don’t expect anyone to attach any worth to you. 

Now. You’re on a crewdate. (Well done). If you want to fit in, there are several traditions you need to learn about. 

First is simple and must be followed with the utmost of casual and false spontaneity. This is pennying. Pennying derives from the unit of currency – a penny, and is used in crewdates. The idea is to throw a penny into someone’s drink when they have their hand clasped around the glass. They then must down their drink. This is in the hope that you will a) get bronze poisoning b) catch Ebola c) swallow the penny, and consequently throw up everywah (erupting both the penny and your dignity out of your mouth).

So that’s pretty easy. Make sure to go to the bank in advance, and change a couple of £20 notes into pennies. This will emphasise the root of the tradition, which is erudite debauchery. It’s often successful if you chuck the penny into someone’s drink whilst laughingly crying, “Ha! I have so much money! What to do with it all?”

Sconcing is a step up from pennying, because it relies upon more than just alcohol consumption. Sconcing is a game where the group try and ridicule others, and also find out what super banterous legendary events others have committed. The best advice for this is just consistent and unceasing dishonesty. Drink constantly. At every sconce down your drink. Make sure to drink at length, so that the whole table may see that you indeed have committed said named act. 

If people seem to be starting to doubt you, then give a little laugh and exclaim your disbelief that everyone knows your stories so well. At a few points in the evening, it will be necessary for you to sconce someone yourself. If you are not indeed friends with anyone on the crewdate, the best thing is to simply make up very elaborate and niche stories (my usual one is “I sconce anyone who had sex on the Cheese Floor whilst eating a kebab”). Then if no one else drinks, just drink yourself and say, “Whoops, I forgot that was me!”

These stories will be remembered, which means the more crewdates you go on, the more people can sconce you. And then it becomes less dishonest. I mean yes, admittedly you still didn’t do any of these things, but if they all believe you did, then soon you will believe it too. And that, along with the crewdates, will bring you one step closer to being cool.

Creaming Spires TT15 Week 3

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 An ill-fated night at Bridge, perhaps? Freshers’ week had seen no action for yours truly, a young gay man, whose few sexual experiences had previously entailed a Grindr-based, and wholly unsatisfying, series of sexts (oops, do you think the Tories will arrest me? Thank God for anonymity, eh?) and the odd kiss from a straight and questioning friend. I arrived at Bridge, surrounded by new Fresher friends – the week’s conversations had seemed to revolve around who Tina had pulled and what Sammy had gotten up to with that guy from Camera the night before. A series of complaints saw a large number of wing-men and women convincing me, reassuring me, doing their best. Telling me it will be alright; you’re not unattractive. Platitudes of this ilk seemed to have confronted me all week, as once again your author thought to himself, oh, if only if I was quiche. Your author is no longer the naïve fresher who went to Bridge with Tina and Sammy – he wouldn’t do either now. Oh Freshers’ Week regrets, eh – more to come. 

So, we’re in Bridge. I’ve downed a pitcher of Sex on the Beach – a cruel substitute, I thought. Suddenly, the rugby team from one of the colleges entered, having just completed initiations. This is the end, I thought. Bridge, this surprisingly tiny and inadequate club everyone in the year above idolises as a college tradition, was now overrun with the rugger lads – what hope is there for a potentially nice and friendly little gayman who will reconfirm my confidence? Oh, so little. Not that little, as it turned out. Suddenly, a new-friend approached, bringing along a rugby pal. It feels like a school-friend reunion so we all look on and think how ‘nice’ it is that at Oxford some people have half their school with them. (Lovely. Hmm.) We dance. We dance more and more – in fact, I catch the two talking. He looks at me and suddenly I can feel the sex on the beach flood through my veins. Coincidentally this is the date which made me realise that maybe a pitcher was too much. 

We dance together and kiss. He asks me to go home straightaway and naturally I assent – thank God, finally some action, I thought. We walk home and just outside Worcester (a red herring, perhaps?) we kiss again, only this time I start to realise that perhaps it wasn’t a very good kiss. Still hopeful we plow on and arrive back at mine where we go upstairs and get off a bit more before we decide mutually this was a mistake and move straight to sex. As he mounts, I suddenly realise there is no way this is going to work. No one is in the mood anymore. Him lying on top of me, I grab my phone. He continues to attempt some kind of oral pleasure on me, but I’m much more interested in Doodlejump. A high score. Perhaps the night wasn’t as wasted as I thought.

#NotGuilty: it’s not just strangers

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TW: Rape, sexual assault

On 24th December, 2014, I was raped by two men, both of whom I considered to be very dear friends of mine. All three of us went to high school together, and I had known them for four years. They were also ‘friends’ of my boyfriend, who also went to high school with us. All four of us had been hanging out together regularly for years, and I trusted them wholly. 

That night, Daniel* and Jesse* invited me over to Jesse’s house to drink with them. My family wasn’t celebrating Christmas Eve that night, and my boyfriend was spending the evening with his parents, so I agreed to go. When Daniel and Jesse picked me up from my house, they handed me a bottle of Jack Daniels and told me that I needed to “catch up” with them. I took a couple of swigs from the bottle on the way to Jesse’s house, and when we got there, we briefly spoke to Jesse’s family before heading upstairs to continue drinking. After taking a couple of shots with Daniel and Jesse, I began to feel very intoxicated. I told them repeatedly that I couldn’t drink anymore, but they kept telling me to take more shots and insisting that I needed to “catch up” with them. I remember taking one more shot, for a grand total of three shots, before I had to sit down on the bed and feeling like I couldn’t stay awake. I remember feeling someone get on the bed, and opening my eyes to see Jesse staring at me, watching me intently as if he was waiting for something. I closed my eyes again, drifting out of consciousness, and felt Jesse move in for a kiss before my memory goes blank (later I would conclude that I was drugged). 

The next thing that I remember is coming to, lying face down, with my pants around my ankles, while Jesse was on top of me. When Jesse finished, I remember laying on my side, pants still around my ankles, thinking, “Did that just happen? Is that what I think it was? Did Jesse rape me?” I felt so confused and disoriented; like I was dreaming, and I wasn’t sure if it had actually happened or not. Then, I felt Jesse lay down behind me in a spooning position, and start to touch me, initiating sex again. My memory goes blank again after that, and the next thing that I remember is hearing Jesse say, “Daniel, you can come out now.” After that, my memory becomes very unclear, and I just remember a series of flashes of what happened. I remember one of them being on top of me while the other one was shoving his penis in my mouth. I remember not being able to hold my head up, so whomever was in front of me seized a fistful of my hair to do it for me. I remember them taking turns on top of me and me not knowing which one of them was on top of me. I remember hearing them laughing, like they had some kind of inside joke that I wasn’t in on, and I remember hearing them moaning. I remember thinking, “I need to stop this,” but I felt totally paralysed and powerless; I felt frozen, like I couldn’t speak or move. At one point, I mustered up the strength to slur out “Stop! Stop! Stop!”, and one of them responded with something along the lines of “We’re almost done”. When they were finished, I laid face down on the bed, pants still around my ankles, feeling exposed, and burning with humiliation. I remember thinking “I need to pull my pants up” but, again, I felt paralysed. I’m not sure how much time passed, but sooner or later, I felt one of them pull my pants up. After that, I remember going into the bathroom and throwing up and then asking them to take me home. I don’t remember how I got home or how I even got inside my house, but my family told me that when I got home, I was crying and that I couldn’t sit up or stand; they told me that I had to be helped to the bathroom and held up to throw up so that I didn’t choke on my own vomit. 

My mum convinced me to report it to the police the next day, Christmas Day. After I made a police report and Daniel and Jesse were questioned, I was told that no legal action was going to be taken because there was no “probable cause” to make an arrest. Daniel and Jesse’s stories matched mine, except according to their versions, I took off my clothes and put them back on myself, and it was consensual sex. Because it was two against one, and there were no witnesses, there was no case. 

After doing some investigation of my own, I came to find out that Jesse had been charged with sexual assault in high school, and that he almost wasn’t allowed to walk at graduation for an incident in which he exposed himself at school. I also learned that another girl came forward and said that Daniel had raped her two years earlier. Upon presenting this information to the police, I was told that there was still no probable cause for an arrest. Today, my rapists walk free. 

*The names in this article have been changed

Picks of the Week TT15 Week 4

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Ashmolean LiveFriday: Social Animals – Friday, 7pm, Ashmolean Museum

If the opportunity to recreate stone age music isn’t enough for you, this event also offers performances, workshops and more. 

Mapping Motion: Impulse, Object and Trajectory – Tuesday, 5.30pm, Jacqueline du Pré Building, St Hilda’s

Leading British choreographer Kim Brandstrup gives a presentation on balancing music with the body in the choreographic process. 

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Kurt Cobain: Montage of Heck – Monday, 9 pm Ultimate Picture Palace

The controversial piece compiled from the Nirvana frontman’s home movies, recordings and journals comes to Cowley this week. 

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Mess at The North Wall – Thursday, 8pm, The North Wall Arts Centre

This funny yet poignant semi-autobiographical piece about anorexia comes to the North Wall in Summertown having gained rave reviews on its tour around England. 

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Milestones: Claude Cahun

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The Surrealists certainly didn’t shy away from metamorphosis. Salvador Dali’s The Persistence of Memory, with its dream-like desert scene, clocks melting and bending into the indistinct earth, remains one of the most enduring images from the early years of the movement. The Spanish innovator is instantly recognised by his eerie and ethereal paintings and of course, that ubiquitous moustache. At the same time there was a master of disguise quietly climbing through the ranks of the crowded surrealist scene in France. Claude Cahun refused to stay silent for long.

Born Lucy Schwob in Nantes at the turn of the twentieth century, the accomplished artist gained renown for her shape-shifting persona and the multiple aliases she assumed. From ‘Daniel Douglas’, drawing inspiration from the English author Lord Alfred Bruce Douglas, famously the lover of Oscar Wilde, to ‘The Unnamed Soldier’, an anti-Nazi propagandist on Jersey during the Second World War, Cahun was a chameleon.

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Just as irreverence and subversion characterised her photography and writing, frequent physical transformations ensured that she and her work consistently escaped comprehensive definition or the constraints of a fixed genre. Ever the enigma, Cahun revelled in reinvention, casting herself as the lead role in the series of self-portraits that she assembled into montages over the course of several decades. She makes the effortless transition from a shaven-headed gamine to a strikingly made-up Marlene Dietrich look-alike, never failing to surprise the viewer with her refusals of consistency and convention. It is for this reason that Cahun is widely credited for her defiance of traditional gender norms; her playful approach to the expression of the non-binary aspect of her self succeeded in rooting her firmly in the canon of intersectional feminist art.

Among her most well-known works is I am in training. Do not kiss me, an image which depicts her resting a pair of weights on her shoulders, sporting a slicked-back cowlick hairstyle and the melancholic gaze of a Pierrot clown. Adopting a role commonly perceived to be masculine while retaining some feminine aspects of her appearance, Cahun refutes the idea that gender identity is permanent, restrictive and assigned at birth, instead favouring flux and transience.

As well as conquering the visual arts with her creativity, Claude Cahun’s forays into prose were equally experimental. 1925’s Heroines was a tongue-in-cheek take on the presentation of female characters in myth and fantasy, rewritten to reflect the pressures of the contemporary period. Cahun inherited this voracious appetite for literature from her family, and found a supporter and collaborator in Suzanne Malherbe, who was to become her lover. The years that followed Cahun and Malherbe’s move to the Channel Islands were marred by the repercussions of their political engagement: they were imprisoned and sentenced to death by German forces prior to their eventual liberation. Cahun was tormented by her arrest and harrowing detainment until her death in 1954, and put her work on hold. Now, over a century after she began, Cahun’s oeuvre remains just as modern and influential as ever. 

Mexico’s changing faces: the surrealist work of the 40s

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It may be trite to say that Mexico is a country of change, but at the beginning of the twentieth century, it really did have to put up with a lot. World War Two sent a stream of Spanish-speaking European refugees its way, looking for a new home away from the oppression of fascism. Within its own borders, revolution bubbled away under the surface, exploding into the 1910 civil war, and again in various armed conflicts even after the appearance of peace in the form of a constitution in 1917.

The reaction to, or rather celebration of, this constant flux of change came in the form of the infinite bodies of the Mexican surrealist artists. While artists such as Diego Rivera were producing massive socio-realist murals to emblazon public spaces with messages of support for the revolutionary government, surrealism in Mexico went against the expressionist grain to embody everything ‘unembodiable’ about the country’s changing identity.

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Results came in the shape of Gilberto Navarro’s urgently colourful crowds, created out of bulbous circular shapes which defy delineation in their shared torsos, and scrambling disjointed limbs. José Luis Cuevas’ grotesque line drawings, where the bodies are larger than they are tall, and the giant Where-The-Wild-Things-Are-esque proportions of each character, are tragically confined by the limitations of the page. Rafael Coronel’s almost hyper-realist wizened old men look through their mask-like faces at tiny birds and insects, with a similar poignancy and nod to the distortions of ageing as in the more absurd scenes of King Lear. Alfredo Castaneda’s bleak landscapes and domestic spaces are populated by black bearded figures merged in sympathy, or disintegrating through acts of mitosis into multiple replica faces. Like fiction’s magic realism, surrealism’s lack of boundaries allowed Mexico to explore its own anthropology, with variably gruesome, comic and unsettling results.

In viewing Mexican culture as invested with an innate sense of the unreal, or seeing its art as dominated by themes of magic and mysticism, we might risk participation in the unwilling creation of a Mexico that wasn’t fully existent. André Breton, on hopping off a boat on his trip to Mexico, superciliously declared that it was “a surrealist country by nature”. He proceeded to set up an exhibition in Mexico City in 1940 under the general title of Surrealism and persuaded Mexican artists such as Frida Kahlo to show their work alongside his. So began the obsession within the Surrealist movement with the idea of ‘the Americas’, and pre-Columbian, pre-Hispanic artefacts and structures, such as Antonin Artaud’s misguided decision to join the ancient Tarahumara people. Breton’s disembarking in Mexico was the start of a kind of artistic colonisation, as he went with the decided view that he would find all of the visceral primitivism and surreal folklore that he required to complete his own preconceived vision of the city. Kahlo herself felt averse to being viewed through the lens of a movement alien to her own individual identity, as well as her nationality. 

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Despite this, the use of the surreal as an artistic technique, rather than as a sign of conformity to a particular movement, remained a method of exploring identity away from the rigid confines of socio-political doctrine. Mexican female artists in particular wielded the brush when all else failed them such as their marriages and their mental health in particular, with striking surrealistic results. While Breton patronisingly summed up Kahlo as “a ribbon around a bomb”, she actively evaded this objectification through her self-portraiture, stating, “Really I do not know whether my paintings are surrealist or not, but I do know that they are the frankest expression of myself.” The contemporary disregard for female reality is addressed in the witty commentary on expectations of beauty in the work of Remedios Varo, in the cosmic significance of the domestic in Leonora Carrington or in Kati Horna’s focus on dismembered female body parts in her surreal photography.

The changing faces of Mexico during this period of unrest can be seen reflected in these similarly disparate works. In its resistance to being homogenised into a singular body, the Mexican surreal refuses clear definition in the same way as the country that produced it. 

Early English opera: the failed metamorphosis

‘I have asked myself what is missing from this nation. Kindness, love of people, humour or aesthetic sense? No, one can find all these attributes in England… Finally I have found something which distinguishes English people from all other cultures to quite an astonishing degree, a lack which everybody acknowledges – therefore nothing new – but has not been emphasised enough. The English are the only cultured nation without its own music.’

Writing in 1904, Oscar Schmitz encapsulated the oeuvre of English musical criticism at the beginning of the last century. Despite the English nation’s love of music in the early modern period, we were arguably more a nation of listeners than creators. Our speciality was metamorphoses: of transforming established European genres into anglicised counterparts.

Consider opera. The English interaction with the genre in the mid-seventeenth to early eighteenth century is a tale of one such attempted metamorphosis. The operatic genre gripped the restoration court of Charles II. On his return to England, the exiled King brought with him an increasingly Francophile court. And as opera grew increasingly popular with the French aristocracy at Versailles, the English naturally wished to keep up appearances. If Louis XIV could have Jean-Bapitise Lully write beautiful scores and librettos for performance at Versailles, then Charles could have the same performed in central London. Taking its basis from Elizabethan Court masques, Samuel Pepys notes how the bourgeoisie and royals alike, of both English and Bohemian origins, attending a performance of William Davenant’s The Siege of Rhodes in 1661 at Covent Garden, gorged upon the emulated European decadence, “It is indeed very fine and magnificent, and well-acted, all but the Eunuch, who was so much out that he was hissed off the stage.” 

Using normative models of trends and fashions, one would expect Davenant’s production to have created a snowball effect, before either melting back to the European ether from whence it came or becoming an established genre. But the English language libretto had an extremely short lifespan. It melted like a snowflake, leaving little proof of its existence behind in the form of a few critical articles that have been written upon the subject. If one takes Ovid’s definition of metamorphosis to be a complete transformation of one entity into another, the transformation of European to English opera falls disappointingly short. To put it bluntly, it is a failed metamorphosis. To use one of the most famous of Ovid’s narratives, it is like Orpheus’ quest to return his dead lover from the underworld: he grasps her for a moment, but before she can be returned to a living body, she slips away once more.

But if Pepys’ diary depicts such a busy scene upon his own viewing of an opera in English, why did the genre fail to become established? The question is, of course, extremely subjective: how do we explain changes in taste in the modern period, let alone over three hundred years ago? The answer arguably lies in the both the staging of these productions and the socio-political ideology of the period.

Dealing with the former first, opera was not the most accessible genre. Other than The Siege of Rhodes, the only other publicly staged opera in English in the period was John Gay’s immensely popular The Beggar’s Opera (1728). Evolving from the court masque tradition, English operas remained mainly within the walls of the palaces of Whitehall and Windsor or in private home performances. It is no wonder the genre did not take off when works like Henry Purcell’s masterpiece Dido and Aeneas (1690) debuted at a girls’ school in Chelsea, whilst John Blow’s Venus and Adonis (1683) was restricted to a now unknown palatial location.

English opera may have produced works of musical and lyrical beauty in the vernacular, but they remained strictly closet dramas for the upper classes. With no complete scores of librettos published, many remained unheard and unread in manuscript form for hundreds of years.

As the audience of these works were restricted, so was their very creation. The 1670s and 80s were decades of intense religious dispute between Catholics and Protestants. The exclusion crisis of 1679-81 sought to dispel the Catholic Duke of York from the line of succession, resulting in both himself and his wife being forced into exile. But as a lover of Italian opera, the Duchess was the London champion of the genre.

Without the presence of her and her court, London was left without any staged operatic productions. Even upon her return, the works presented were restricted to private performance. Arguably, the Catholic and French connotations of the genre were too much for a nation living in fear of constant Catholic usurpers after the ‘Popish Plot’ of Titus Oates. Like the act of metamorphosis the bread and wine undergoes, becoming the body and blood of Christ according to the Catholic doctrine of transubstantiation, the British public appeared to deny the full transformation of the operatic genre.

In short, the surviving examples of the early English opera canon are few and far between. True, Handel was immensely popular amongst the English aristocracy in the mid-eighteenth century, but his librettos focused upon biblical narrative opposed to authorial creativity. There remains a vernacular libretto-shaped void in the cultural development of early English music when contrasted with our European counterparts. True, the extant examples we have are based upon typical French models and classical subject matters. But in their lyrical beauty and nuanced political allegories, they are masterpieces in their own right. Listen to the final act of Blow’s Venus and Adonis or Purcell’s Dido and tell me you do not weep at least a little. The genre may have been a failed metamorphosis in the long term, but while they were allowed to flourish, they touched the sublime: even if just for a brief instance.

CherwellTV: General Election – The Morning After

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Presented by Jamie Gardiner, Charlie Cartiglia, Clarissa Jones & Guy Bennett-Jones.

OxStew: Princess Charlotte expresses interest in Wadham

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The new royal baby, Princess Charlotte Elizabeth Diana of Cambridge, has announced that she will take up a place at Wadham in the near future.

In a break with royal tradition, the Princess, who is fourth in line to the throne, declared her intention to apply to the leftist college, telling Cherwell, “In my six days spent as a member of the British royal family, my eyes have been opened to the evils of consumer capitalist false consciousness that have been fed for centuries to the proletariat by the exploitative bourgeois intelligentsia. Conversing with my private staff, I realise now that embedded power structures within Western society have oppressed anyone who is not a cisgender heterosexual white male, including this staff; all 37 of them.

“I intend to use all means within my power to smash capitalism, the greatest bastion of inequality and prejudice that humanity has and ever will face, just as soon as I have learned to walk. I’m told I will fit right in at Wadham.”

Officially, the Princess will complete an MPhil in Women’s Studies, but sources within the royal household indicate she is still tempted by Oxford’s MSt in Economic and Social History, which will allow her more time to protest outside the Union, or to travel to Cuba and obtain a degree from the University of Havana. The Queen is reportedly unconcerned about her left-leaning great-grandaughter, with Buckingham Palace insiders suggesting her reaction amounted to a simple expression of “Fuck it”.

In the past, the royal family has been no stranger to educational controversy. Prince Harry was embroiled in scandal in 2005 when it emerged that his art teacher had completed his A-level art pieces, whilst the fact that Prince Charles was accepted by Trinity, Cambridge at all raised eyebrows and questions of the College’s integrity.

Wadham student Niamh McIntyre commented, “I think it’s really great to see students from all backgrounds expressing an interest in issues surrounding both the rights of women and indeed other oppressed minorities. Princess Charlotte is no exception, and I for one will readily welcome her into Wadham SU.

“I can’t wait to read her first post on Cuntry Living.”

When asked for her thoughts on recent revelations about Vice-Chancellor Andrew Hamilton’s £424,000 salary, the Princess was typically diplomatic in her response, telling Cherwell, “To punish the oppressors of humanity is clemency; to forgive them is cruelty. Pity is treason.

“Viva la revolución.”

Advertorial: Want to get more out of your time at Oxford?

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ADVERTORIAL

We often talk about living in an ‘Oxford bubble’ as students here. In the city of dreaming spires, it’s easy to let the problems that the Oxford community faces pass us by. After all, we’re only here for a few years. In the time you spend here, what kind of impact would you like to have on this city? Students have the power to make a real difference in Oxford, and that’s where Enactus Oxford comes in.

Enactus Oxford is a young, exciting university society that uses business techniques to solve social problems. If you give a man a fish, he’ll eat for a day. Teach a man to fish and he’ll eat for a lifetime. This is the approach we take at Enactus; rather than just donating money we look to tackle the root cause of the problem and improve lives for good. We operate by setting up businesses that sustain themselves and have positive social outcomes.

As our panel discussion (organised in association with OUSU’s On Your Doorstep campaign and the Homeless Action Group) on homelessness and the housing crisis demonstrated, the Oxford student community has a huge impact on the city we live in. We have the potential as students to make a real difference in Oxford.

From homelessness to gender inequality, our social enterprise projects are wide-ranging and we’re always looking for new ideas. For example, StreetView Oxford trains homeless people to give tours of Oxford, capitalising on the booming tourist industry in the centre of the city. Ox-Y-Gen runs coding workshops for female students in high school to encourage them to consider a career in the sciences. OxGives facilitates the donation and purchasing of unwanted products from students at other colleges, with the profits going to fund Enactus Oxford’s social projects.

As if that wasn’t enough, we don’t just aim to empower the beneficiaries of our projects but also the students who work on them. As applications for internships and graduate jobs open in the coming months, Enactus Oxford offers an unparalleled chance for the practical business experience that companies require. We work closely with advisors from Unilever, GlaxoSmithKline, Accenture and Enterprise, meaning we operate at the highest possible level. Enactus UK is sponsored by the likes of EY, KPMG, Amazon, RBS, Lloyds, Clifford Chance, Slaughter and May, AIG, GSK, Accenture, Centrica and Unilever (to name a few!) and offers incomparable networking opportunities. These employers all tell us the same thing: an Enactus student is the type of person they want in their company.

If you want to make a real, positive change in society while also meeting new people and developing your own skills, we’d love to hear from you. We’re looking for people from all degree backgrounds. So what are you waiting for? Apply now if you’d like to get involved with one of our projects or have an idea of your own.

Lastly, we’re having a free drinks event at Teddy Hall on Thursday 14th May – come along to find out more or just meet some new people!