Sunday 8th June 2025
Blog Page 1301

Oxford tour guide hopping mad at City Council

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An Oxford tour guide is protesting on Broad Street against Oxford City Council and Visit Oxfordshire over what he claims to be a monopoly funded by taxpayer money.

Alasdair de Voil, known locally and to tourists as the “Mad Hatter”, claims that Visit Oxfordshire do not offer unbiased or impartial information on walking tours in Oxford and that council tax is being used to prop up a monopoly and undermine local tour guide operators.

He believes that Visit Oxfordshire gives preferential treatment to the tour run by the Guild of Guides, which he says does not pay the fee of £360 plus VAT a year for the partnership scheme to which tour guides in the city can join for standard membership.

This membership includes benefits such as having leaflets on display in the Tourist Information Centre on Broad Street.

Mr de Voil says that this is a private company and yet is funded by £250,000 per annum in council tax funds.

He claims that 98% of the adverts on their website are for their own “official” tours, despite not paying the partnership fee. Due to this, he believes that Oxford City Council and Visit Oxfordshire are unfriendly, inept and corrupt.

He said, “The visitor information centre does not operate for or on behalf of either the interests of independent tour operators or the general public.

“If the visitor centre were run fairly and professionally without their own blatantly gross conflict of interest to do not much else than market their own selected ‘Official Oxford walking tour’, then the marketplace would be much more accessible to us.

“Like nearly all other enterprising local individuals who have paid Visit Oxfordshire a partnership fee, we are extremely unhappy with how Visit Oxfordshire delivers the visitor information service- which is supposedly a public function tendered to them by the local council.

“Tour operators like myself have paid them partnership fees and seen almost no return on investment at all. We have also sent random people inside to check out what their staff are telling the public. They usually won’t tell you about any other tours unless you ask them to do so and because the centre’s signage and windows and reception counters only offer you one choice, most people never realise to ask otherwise.

“In any business, one has competition and as guided tours is an unregulated industry, there’s also unfortunately lots of false advertising dominating our marketplace opportunity today too.

“Oxford’s small businesses are struggling enough without having to compete with a publicly funded public service, whose remit, almost anyone would have assumed, is to support and benefit businesses like ours. Instead, we have to compete with them. This is not fair and it’s corrupt use of public money to be propping up a monopoly interest.”

Giles Ingram, chief executive of Visit Oxfordshire, said in response to the allegations, “We are not in any way corrupt and we are very open in the way our policies and procedures work, which have been examined and all been found to be above board. We have been totally above board in all our dealings.

“Our website reflects our policies and the way in which we work, which again has been scrutinised thoroughly by exterior bodies. All of these issues have been set out in our policies.”

He said in regards to the Guild of Guides not paying the partnership fee “They do subscribe.”

A quality charter has been introduced on the recommendation of the Local Government Ombudsman to which all tour operators have been asked to sign up and all other recommendations have been met in full.

He reiterated that Visit Oxfordshire had been unable to come to an agreement with Mr de Voil and he has been offered a refund of his membership.

Old members out of order at Keble bop

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An investigation is underway at Keble after a group of former members of the Keble rugby team attended a college bop and behaved in an inappropriate and sexist manner. Some of the offenders have since been banned from any similar occasions in future.

The bop took place after the annual match between old and new members of the Keble rugby team, and all the inappropriate behaviour is thought to have been caused by the old members.

Shortly after the bop, the JCR’s Welfare Officers circulated an email stating, “We are writing to you about the events of the bop on Saturday night. It has come to our attention that some of the ex-members (“Ghosts”) who were present behaved inappropriately. This behaviour is unacceptable and an anomaly at Keble.”

The email continued, “If you were made to feel uncomfortable in any way at the bop, please contact a member of the Welfare Team…the college is fully supportive and wants to create a safe environment for its students.”

Meanwhile, JCR President Rosie Petersen commented, “Up until this year
there have not been any incidents which have resulted in these kinds of
complaints. The complaints that have been made about the behaviour of the alumni at the bop are highly unsettling,and action is being taken.

“We are putting in place welfare provisions with the co-operation of the welfare team, the decanal team, and the peer supporters to make sure that anyone who was affected by the incident gets the support that they need.”

Referring to actions which Keble JCR would take in future to prevent a repeat of these events, she added, “We are also looking into solutions for the future, with the options of either changing the timings of the bop or the rugby match, or just ensuring that the alumni are out of the bar before the bop gets underway.

“The alumni whom we have already been able to identify have been banned from future similar events, and we are working to ensure that all of the offenders are identified. We also strongly encourage people to report serious incidents to the police.”

A Keble student who wished to remain anonymous told Cherwell, “I was at the bop and I remember seeing some older guys around that I didn’t recognise. I thought they looked a bit dodgy, but I didn’t speak or interact with them.”

Activists’ conference deemed success despite eviction

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An activists’ conference designed to tackle the housing crisis in Oxford continued over the weekend following eviction from a University-owned building in Osney. It eventually had to move to Cowley Road Methodist Church.

The three day conference, termed ‘House of the Commons’, described itself as an forum for “examining the current context and drivers of the crisis with the aim to explore creative solutions to these problems”.

Campaigners, who initially occupied The Old Power Station, were evicted on Wednesday. The University said, “The Old Power Station is not a disused building, but it is used for storage for the University’s museums and has hosted art exhibitions in recent years. The people occupying left the building left peacefully and we consider the matter closed.”

However, reactions to the eviction were mixed from students and the wider community, with some students criticising the move.

Xavier Cohen, a member of the Oxford Activist Network, said, “Whilst the eviction is within the law, we need to question what the law is doing here. It’s facilitating the prioritisation of private property rights over allocating housing and space to those who actually need it and will make use of it.”

The Oxford Green Party also added its voice to the controversy. Ruthi Brandt, Councillor for Carfax Ward, remarked, “We feel that the University has really let down the wider community and has squandered an opportunity to join the housing debate.”

She continued, “The Old Power Station, a beautiful big building in such a central location, has no business being practically empty and out of bounds to the public. I hope that the recent squat by the House of the Commons will remind the heads of the University that the place has stood empty long enough, and it is time to consider how it can benefit the community.”

However, a University spokesperson told Cherwell that it “intends that all its buildings will be used and we are constantly re-viewing the status of our properties. A major priority of the University is to provide accommodation for as many of our students as possible in order to ease the burden on Oxford’s rental market.”

Despite the eviction, events went on as planned as the activists relocated to Cowley Road Methodist Church. The programme of events included talks and workshops on homelessness, fuel poverty and alternative housing models.

One participant termed the conference a “wonderful success”, telling Cherwell that “so many people — from very different backgrounds and with different experiences — participated, learning about the root causes of the housing crisis, debating radical solutions, and making newconnections which are the seeds for implementing these solutions.”

University members were among those who praised the conference. Sophie Terrett, a third-year undergraduate and member of the Oxford Tenants’ Union, told Cherwell that the protest was relevant to students, saying, “In a recent NUS survey, 50 per cent of Oxford students said that they had experienced delays by their landlord when in need of house repairs and 20 per cent have experienced an animal infestation in their accommodation. This is clearly unacceptable and reflects a wider problem with student housing in Oxford and beyond.”

Danny Dorling, Oxford Professor of Human Geography, also took part in the conference, leading a presentation on inequality and the housing crisis. He told Cherwell, “In most of the country, many housing problems can be solved, given the housing stock that currently exists, by using it more efficiently, as we used to use it. However in Oxford, and especially nearby in London, there simply is not enough housing for the population any more.”

Highlighting the structural problems that this causes in the community, he added that the “lack of housing makes it hard to run universities, hospitals and local businesses”.

The protest comes as part of an ongoing debate over housing in Oxford, with a recent study showing that this is the most expensive place to buy a house in the UK, with property costing on average eleven times the salary of the average Oxford worker.

On average, homes in British cities now cost 5.8 times the typical local salary, while the price of an average property in Oxford has risen t0 £340,864, according to a recent study by Lloyds Bank.

Confusion at OUSU over Free Education vote

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OUSU Council has voted to provide £200 of funding for transportation to a Free Education protest scheduled for Wednesday 19th November in central London. The vote took place on Wednesday night amongst much confusion with both the debate and the voting mired in procedural issues.

The original motion, proposed by OUSU Disabled Students Officer James Elliott and seconded by OUSU Access and Admissions Officer Annie Teriba, called for OUSU “to support free education as a policy and the NUS campaign against fees and debt”, as well as to provide financial and organisational support.

However, OUSU Council only agreed to provide the financial and organisational resources requested, voting to delay debating Free Education as OUSU policy until a vote in 3rd week. The decision followed complaints from several JCR Presidents that they had not been given enough notice about the motion to consult students on the issue.

The version of the motion passed at OUSU Council requires OUSU to organise subsidised transport from Oxford to the demonstration and to sell tickets for it. The planned protest was first called by the National Campaign Against Fees and Cuts (NCAFC), and has since gained support from the National Executive Council of the NUS, the Student Assembly Against Austerity, the Young Greens, as well as a number of universities including Manchester, Sussex, Brighton, Royal Holloway, Sheffield and Aberdeen. However, other student groups, such as Labour Students, have said that they will not be supporting the protest.

Speaking about the motion, James Elliott, who is also a member of the National Executive Council of the NUS, told Cherwell, “I’m delighted the vote passed, and that OUSU is standing up for students in the fight for free education. While some argued we should have sat on our hands and done nothing, I encourage those who think education is about more than profit to join us on the demonstration.”

OUSU VP for Academic Affairs James Blythe, referring to the division of the motion over various meetings, commented, “I’m glad Council decided to spend its money to allow students who are passionate about their cause to demonstrate and be part of a significant, nationwide student movement. That is totally separate from the setting of OUSU policy on education funding, which we’ll be debating in 3rd week. I look forward to that discussion in Council. All those involved are committed to having a constructive, open and respectful debate.”

The motion, which follows the postponement of cuts to the Disabled Student Allowance and the student loan book sell-off, referenced the total abolition of tuition fees in Germany earlier this month. The debate over free education at OUSU Council also comes after comments by Oxford University Vice-Chancellor Andrew Hamilton in October 2013, which suggested tuition fees should be raised to up to £16,000 per year.

However, the passing of the Free Education motion was marred by disorder when, following an initial debate, voting on whether to adopt Free Education policy was moved to 3rd week, after a procedural motion. This delaying motion was initially declared to have passed after a majority voted in favour, with a large group of primarily pro-voters leaving the meeting shortly afterwards.

However, after many of the voters had left, the chair realised that the procedural motion vote had been wrongly conducted.

A revote thus occurred, with some college representatives missing. A period of confusion then followed and the motion was eventually voted on in parts, with the decision of OUSU to fund and organise the protest transport passing 32 to 15, with 7 abstentions.

Former Chair of OUSU Council Jack Matthews commented, “Wednesday’s Council was a complete farce. Putting aside the failures leading up to Council, which restricted Reps’ ability to consult Common Rooms on this most important of issues, the meeting itself descended into chaos. Members were left confused and frustrated — at one point several people left having been incorrectly led to believe the meeting had finished. There was a complete lack of leadership and guidance from the Chair.

“The first Council of the year is always full of first time attendees — I fear their experience on Wednesday will not inspire them to return and participate. Council has to be accessible and understandable, and instil confidence that the system works. I question whether the current Chair has the ability to deliver this.”

Hertford JCR President Josh Platt added, “Myself and some other JCR presidents were very concerned that we had not been allowed any time to consult our Common Rooms on such an important issue as free education. The agenda for the meeting was not sent round JCR presidents until late Wednesday morning, so there was no way we could have effectively represented the student opinion in our colleges. Now that the debate on the substantive part of the motion has been pushed back to 3rd Week, I’m looking forward to hearing the views of our student body on how education in this country should be funded.”

In response to concerns about how the meeting was run, Chair of OUSU Council Anna Bazley told Cherwell, “We take student feedback very seriously at OUSU Council and will take everything into account following the meeting last night.

“The complete agendas for all future councils will be sent out on the Friday before council to ensure that Presidents and Representatives are able to consult their Common Rooms beforehand. We will also ensure that all future councils have a projector to re-affirm our commitment to paperless Council and to enable any changes to motions or the agenda to be visible to all members of Council.

“Regarding the procedural motion, I apologise for the fact that due to a miscommunication, proper procedure wasn’t followed. Council processes are in place for a reason and I would like to apologise to anyone who was unable to vote or voice their opinion due to this mistake, and to anyone who felt alienated or confused by the lack of order that followed. I would invite anyone to attend third week council where the majority of the motion will be debated in full.”

The pledging of £200 of OUSU funding from the campaigns budget follows Balliol JCR on Sunday unanimously passing a similar motion to support the demonstration, which was amended to provide £100 in funding — double the original £50 requested by the motion.

Top Gear: Total War

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If you are French, German, Romanian, Mexican, American, Asian, Muslim or, most recently, Argentinian, Top Gear has talked shit behind your back – or directly to your face. There are fewer cultures left in the world that haven’t already been stereotyped, blankly dismissed or viewed with not-at-all veiled colonial contempt by Clarkson and co than are yet to be discovered by man. Like the world’s most efficient logging company, Top Gear has no qualms about felling any culture that stands in the way of a cheap laugh. After all, it seems to be a profitable vein of humour.

It is easy to forget that Top Gear is probably the most watched factual entertainment programme in the world. It is broadcast in 170 different countries, to an average audience of 350 million viewers a week. That is the equivalent of the entire continent of South America sitting down together every Sunday evening. And that’s discounting the numerous spin-offs done the world over, including Top Gear AustraliaTop Gear Russia, Top Gear USA, Top Gear South Korea, and the soon to be released Top Gear China andTop Gear France. 

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It is by far the BBC’s most profitable programme, ahead of juggernauts like Doctor Who or Strictly Come Dancing, due to its peerless international syndication, with the production company behind Top Gear raking in £149 million in revenues for the year 2012. That is a staggering turnover for one programme. It is the most requested programme on the iPlayer, its companion magazine is published in thirty-one countries and its Stunt School app has been downloaded at least five million times. How about a Top Gear branded baby-grow, duvet cover or commemorative stamp? All available to be purchased at the click of a button.

The show isn’t just a cash cow for the BBC either. Jeremy Clarkson netted £14 million from the show last year, comprised of the dividend of the production company and his presenter’s salary. Hammond, May and most of the senior production team are multi-millionaires. It is impossible to argue that the show is anything other than a transcontinental televisual phenomenon, which has no equal in terms of viewing figures, international reach or longevity. Lest you forget, the next series will be number 22.

The route of this success can be found in both the nature of the programme and the presenters. The show is unabashedly childish and aims itself squarely at that infantile personality strand which people suppress as they age. Stunts like playing conkers with caravans or rocketing a Mini off a ski jump are not intended as high art, but are to be gawked at with a glazed expression of rapture. It’s also no coincidence that its prime demographic are middle-aged men, who tune in for the escapist delight of watching men of their own age driving extravagant cars in exotic locations, and generally having a laugh with their wanky mates.  

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Inevitably, Clarkson, Hammond and May are also a major selling point. All three have done television work outside Top Gear due to their popularity, and are certainly one of the most instantly recognisable presenting trios on television. But really, Hammond and May are minor satellites around the Clarkson supergiant. Let’s not forget, Clarkson is the only distinguishable one. Richard Hammond looks like he is being molested by his own trousers, and is also not a real hamster, whilst James May seems to hate himself almost as much as I hate him, but that’s as much as you can say.

The show is so geared towards providing a platform for Clarkson, it is regularly embarrassing how fleetingly the other two feature. He gives the opening monologue, leads the news, does the celebrity interview, stars in most of the major car tests and hosts the Cool Wall. And Clarkson has clearly been pressing his stamp ever harder onto the programme as the years have progressed.

The show never used to cause diplomatic crises. But it is no coincidence that as Clarkson nestled into his morally apathetic niche as the self-appointed freedom fighter against political correctness, so Top Gear’s joking went from old-fashioned to casually distasteful. It would be hard for the programme to have not changed in the face of such a deafening foghorn for thoughtless, zeitgeist-stalking rubbish.

Discussing the cultural insensitivity of Top Gear is not original, but it is crucial to flag up the irreconcilability of its success against its moral obligations. Standards are always going to lose to cold hard cash. That’s the reason why the BBC is compelled to act as the increasingly pathetic apologist for Top Gear’s imbroglios, and why Clarkson himself has yet to be fired. Because if Clarkson goes down, so does Top Gear. And then so does the BBC’s largest single programme revenue stream.

The fact that its viewing audience not only stays intact but often expands through these crises speaks volumes of the popularity of that tactless humour. The Top Gear-Clarkson brand of crass and, crucially, deliberately insensitive ‘banter’ obviously resonates with many people. Whether it’s because people actually find pseudo-racist jokes amusing, whether it’s interpreted as ironic, or whether audiences find it oddly titillating to hear something non-PC is unclear. The fact remains that it has an enormous, consistent viewing audience, so their style of chat is working, to the extent that the Top Gear brand of humour is becoming its biggest export, and its most distinct characteristic. 

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To debate the morals of what Top Gear does would be to broach a labyrinth concealing a minefield. But it seems bizarre that if anti-political correctness vitriol is what they want to flog, why they don’t admit it and, as shamelessly as possible, embrace it. To constantly defend themselves by saying they’re not racist, or that the incidents are accidental, comes across as so listless as to beggar belief. The number plate H982 FKL was a coincidence? Was it fuck.

Just confess to choosing it, admit it was tasteless taunting and let the audience inevitably lap it up. After all, whenever they do something catastrophically stupid, who are their justifications aimed at? Top Gear’s innumerable critics can anticipate the pre-prepared response of non-intended offence and their audience clearly keeps watching whatever.

Let them decorate the studio with life-sized portraits of Roy ‘Chubby’ Brown, begin each programme with an oath of allegiance to Enoch Powell’s ‘Rivers of Blood’ speech and wear white hoods on special occasions. At least then we’d all know where we are; the audience would continue to cackle and the rest of us would continue to cry on The Guardian’s Comment is Free page.

But if we can take only one message away from this: please don’t clothe your own darling toddlers in Top Gear branded cack. 

The Cherwell guide to Drama Cuppers 2014

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So you’ve just arrived at Oxford, and you want to get involved in drama. You might be a director, actor, or costume designer, but the truth of the matter is, you’re not really sure where to begin. Well, fear not my fictional fresher friends, I am here to answer all your questions.

What is Cuppers?

Every year, OUDS, the Oxford University Drama Society and TAFF, the society for behind-the-scenes production staff put on a drama festival with production teams from each college where everyone involved – cast, directors, and crew – is in their first year at the university. Each team gets a thirty minute slot to perform their show at the Burton Taylor Studio some time in 5th Week. The performance is attended by a panel of judges, including at least one member of the OUDS committee, which then selects the ten best teams to put on an additional performance of their plays on Saturday.

Why should I get involved?

Cuppers is the traditional way to enter the Oxford drama scene, but it’s also a lot of fun and a great way to hang out with some people from different subjects who you might not have met yet. Plenty of people do Cuppers as a springboard into the Oxford thesp lifestyle, but lots of people just do it for pleasure and for some light relief from the sudden onslaught of essays and tutorials. You can basically do what you want with your Cuppers experience. Own it.

How do I enter?

There’s an application form online which teams need to fill in and submit, usually by the end of 2nd week. Don’t worry if you don’t have a fully rehearsed performance or polished idea, you just need to have the basics of your production and who’s involved, before getting rehearsed and ready in time for 5th Week.

How do I put together a team?

If you have some theatrically-inclined acquaintances, then you’re already half way there, but what if you need some extra cast or crew and don’t know who to ask? You could post on your college’s Freshers 2014 Facebook group (if you have one) or maybe get your JCR president to put out a notice in the weekly email. Failing that, you could always try approaching random people in the JCR. Worst case scenario, you’ll make some new friends… right?

What do I win?

Wow, you’re feeling confident. Well, there’s plenty of prizes up for grabs, from best actor and actress, to best new writing, to the much coveted ‘Spirit of Cuppers,’ for the productions which most embody the joyfulness and camaraderie that Cuppers is really all about. If you’re one of the Best of Cuppers shows, then you get the Saturday performance, but other than that, all you’ll really win is glory and bragging rights. Still, even if you miss out, getting nominated is cool, and participating is the really rewarding thing.

Any last words of advice?

I’m glad you asked me that, imaginary fresher. There are no hard and fast rules for how to get the most out of Cuppers, but I’ve managed to put together some rough guidelines for your delight and instruction, or hedonistic and wilful disobedience. Whichever works.

Do – have fun. Cuppers has a competitive element to it, sure, but there’s no need to take yourself too seriously. Better to have a great time and win nothing at all than win big but have an absolutely miserable three weeks.

Don’t – take yourself too seriously. Don’t be mean to your fellow teams, or worse, to your own team members. Cuppers isn’t the be all and end all of your dramatic chances at Oxford. Really. It isn’t.

Do – pick a play you’re enthusiastic about. Whether this means editing down a classic, or devising something yourselves, perform something you’re passionate about. Second-guessing what the judges will like might seem like a clever move, but there’s no guarantee you’ll get it right, and even you do, what’s saying they’ll like it more than your original, unique concept? Do what feels right. That said…

Don’t – try to write a play about life in Oxford. Especially if it’s supposed to be funny. Just… don’t do it. Everyone else has been here longer than you, and even if you’ve written the most on point and hilarious satire of Oxford life, odds are it’s not going to go down well with anyone who’s been here more than two months.

Do – go crazy. Put on something totally out there and bizarre. This may be one of the only chances you’ll get to create something that’s really out of the box. Go forth and do it. I believe in you, freshlings. Good luck.

Deep Cover: an alternative night worth going to

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Oxford nightlife comes in two forms. The first is the ‘shit club’, Camera or Bridge, where no one will notice whether you’re wearing a trendy crop top or farm animal fancy dress and where you can throw some shapes to the UK Top 40 till closing time at about 2am. The second is the ‘alternative night’, holding dominion in Baby Love or Carbon, where you look out of place if you’re not wearing a wavey shirt and bucket hat and people go as much for the edgy club photo as for the ‘sick tunes’.

The former knows what it is (i.e. a bit crap, but fun). The latter decidedly does not. ‘Alternative nights’ are forever trying to find some ploy to draw in the punters , normally taking the form of irony or nostalgia. A recent clubnight – which will remain unnamed – advertised free entry if you brought a NOKIA 3330 and a crisp giveaway while the flyers were plastered with the grinning face of Craig David. These gimmicky selling points imply that you can’t go and enjoy yourself unless you are dripping with introspective irony and that you can’t listen to music unless it’s harking back to the bygone age of our childhood when there was ‘good music’.

I don’t know about anyone else but when 90s music was in its heyday I was under five years old and had very little in the way of a musical radar. But more importantly, where did the idea that there isn’t any good contemporary music come from? Oxford is the birthplace of Foals and Radiohead, it is clearly not devoid of nascent musical talent. I am not hipster-bashing, alternative nights are just as legit as mainstream ones. I’m merely saying that if you are going clubbing for the music, surely you should go and see new music written and produced by current up-and-coming artists, rather than pretending to go to indie clubs ‘for the music’ when they play the very same tunes as on the RnB floor of Parkerz.

One night that does promote budding local talent and celebrate the music of current artists is Deep Cover, which is holiding its seventeenth night this Friday. The clubnight, and eponymous record label, were set up by Simon Devenport, a recent graduate of Keble, and a group of his friends, all of whom write and produce their own music. DJ ROMO of Worcester College, for example, released his first EP by burning it onto 300 USB sticks and distributing them around Oxford. There is no reason why Oxford should not be at the forefront of cultural exploits, including DJing and electronic music and these students might well be the next big thing.

What started as a small night with a few student DJs has since turned into a cultural happening featuring big cheeses in the music industry. On Friday the student musicians – VLVT, Trench, Rizzly Bear, ROMO etc – will be joined by geniunely big names in grime. Flowdan, a member of English grime crew Roll Deep, who was flown in from Berlin to play at the last Deep Cover night, will return to headline, supported by Kiss and Rinse FM DJs, Spyro and Logan Sama and Lord of the Mics. It is a line-up that far transcends the modest and intimate setting of The Cellar. And this is proven by the fact that there will be a supplementary sound system installed for the night, as well as a film crew immortalising the event.

Deep Cover not only promises to be an enjoyable night, it marks an exciting new departure for students with an interest in the music industry. It also proves that there is more to the ‘alternative’ Oxford nightlife than gimicks and knock-offs; there’s real music.  

The week ahead — 1st Week preview

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Matriculation

  • Matriculation and Matriculash, 18th October– compulsory for all new students, Matriculation consists of a short ceremony by the Vice Chancellor in the Sheldonian, full subfusc required. Matriculash will take place in the evening, and your college will likely have organized a pub crawl for it

 

Drama

  • The Oxford Imps, 13th October- returning to Oxford after their annual show at the Edinburgh fringe, the Imps will be enlivening their usual venue The Wheatsheaf with entirely improvised comedy based on audience suggestions: light-hearted, fast-paced, and only £3.50 to watch
  • The Furies, 15th to 18th October- performed just once every three years, Oxford’s Greek Play is a rare opportunity of experiencing classical drama in its original language – although the English subtitles will be helpful for most. This year Aeschylus’ The Furies, will be showing at the Playhouse, concluding the Oresteia trilogy with the tale of Orestes’ pursuit by the terrifying Furies in revenge for his murdering his own mother

 

Sport

  • OURFC Blues v Nottingham, 14th October- our Oxford University Rugby Football Club will take on Nottingham on home ground, playing at the Iffley Road sports centre
  • Varsity Horse Race, 17th October– the inaugural Varsity Horse Race, between Oxford and Cambridge, will take place at the end of the week. It will take place at the Newmarket Racecourse, near Cambridge, and tickets cost £10. Although far away the organizers will arrange transport for Oxford students wanting to support our Blues

 

Music

  • Nick Mulvey, 12th October – pursuing a well-received solo career after his debut works with the Portico Quartet, folk and rock artist Nick Mulvey will be playing Oxford’s 02 Academy this Sunday, featuring songs from his Mercury Prize-nominated album. Tickets £12.50
  • Anne-Sophie Mutter, 13th October– world-famous virtuoso violinist Anne-Sophie Mutter will be joining the Oxford Philomusica orchestra in a rendition of Bruch’s 1st violin concerto that promises to be as technically masterful as it is emotionally stirring, followed by Tchaikovksy’s brooding 6th symphony.  Tickets start at £15. Earlier in the day, Anne-Sophie will be running a masterclass for real violin aficionados. Both events will take place in the Sheldonian Theatre

 

Political

  • Jan Brewer, 14th October- governor of Arizona, Brewer is a strong supporter of Second Amendment rights and takes a hard-line on illegal immigration. She will give a short talk at the Oxford Union and take questions after
  • Nicky Morgan MP, 16th October- Secretary of State for Education and Minister for Women and Equalities, Nicky Morgan will host an informal women-only event, after which she will give an address open to all OUCA members. The event will take place in Christ Church
  • No Confidence debate, 16th October- the Oxford Union’s traditional No Confidence debate will take place this week, still open to non-members. Notable speakers will include Hilary Benn MP, Baroness Shirley William and  Alan Duncan MP
  • Andrew Smith MP, 17th October- the Oxford East MP, previously Chief Secretary to the Treasury and Secretary of State for Work and Pensions, will be visiting OULC at Corpus Christi and answering questions from students. OULC’s fresher drinks will take place earlier in the week also at Corpus Christi, on the 14th of October

 

 Nicky Morgan MP will visit OUCA on the 16th, before attending the No Confidence debate at the Union. Image: Flickr

 

Talks and academic

  • Black History Month lecture, 14th October- Esther Stanford-Xosei, an internationally acclaimed reparationist and radio broadcaster , will be speaking at Pembroke College on the topic of ‘Women’s contribution to the fight for equalities.’ Entry is free
  • Eric Schmidt and Jonathan Rosenberg, 15th October- executive chairman of google and the ex- Senior Vice-President for Google Products respectively, the two will come to the Oxford Union to discuss their new book, “How Google works”
  • The Invention of Modern Science, 17th October- a panel of speakers composed of Melvyn Bragg, the host of the In Our Time discussion series, Nobel prize winner Sir Paul Nurse, astrophysicist Joanna Dunkley and mathematician Marcus du Sautoy will gather in the Sheldonian to give some lectures. Entry is free but booking is required  

 

Art

  • Ai Wei Wei exibition, all week in an ongoing exhibition, Blenheim palace has on display an inspirational collection of Ai Wei Wei’s latest works in a variety of media, including photography, textiles, pottery, woodwork (in the form of a table made from wood reclaimed from temples dating to the Quing dynasty) and metalwork. This is a chance to experience the work of one of the most influential cultural figures of this century in beautiful surroundings

 

Town

  • Oxford Beer Festival, 16th to 18th October – Oxford Town Hall will host the 17th annual Beer Festival featuring, among a huge selection of others, 140 varieties of real ale. £2 admission, with beer paid for at the bar using tokens bought at the festival

 

 Societies

  • Fresher drinks, all week – Many societies will host freshers’ drinks or welcome events this week, so check your emails if you signed up at freshers’ fair. Alternatively most events will have been publicized on society websites and facebook. In particular be sure to make it to Cherwell freshers’ drinks, Monday at Worcester

 

The preview for 2nd week will appear on Saturday the 18th. If you would like to bring an event to our attention for possible inclusion, please get in touch with [email protected]. If you would like more details about any mentioned event, please also get in touch

Shakespeare in Japan

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“Oh, had I but followed the arts!” cries Sir Andrew Aguecheek, lamenting his wasted hours spent in the pursuits of fencing, dancing and bear-baiting. If only Sir Andrew were at Oxford, his fortunes would’ve been much improved. For all of you planning to head into the world of theatre, there are some fantastic opportunities available. One of the best is the Oxford University Dramatic Society (OUDS) International Tour, which takes a Shakespeare play to Japan in the summer vacation. I was fortunate enough to be cast this year, and I wanted to give you an inside look at one of the most exciting events of the university’s dramatic calendar.

The tour was set up in 1998 by Thelma Holt, who was then the Cameron Mackintosh Chair of Contemporary Theatre, an annual post which has been held by a number of eminent actors, writers, directors, and producers including Kevin Spacey, Sir Ian McKellen, and, most recently, Stephen Fry. Holt is a titan of British theatre – a RADA-trained acting contemporary of Maggie Smith, Vanessa Redgrave, and Judi Dench, she later turned producer and has enjoyed a prolific career working with the most talented directors and actors of our time. One of her favourite collaborators and closest friends is Yukio Ninagawa, the visionary Japanese director famous for his productions of Shakespeare and Greek tragedies. This ongoing relationship between Holt and Ninagawa is the main reason why Oxford sends actors to Japan each summer.

So how does it all come together? In February, teams of directors and producers will compete (“bid”) for the tour. They choose a Shakespeare play, come up with a concept, and have to convince Holt and the University’s Drama Officer to let them take the reins of the project. The winners will then put out a call for cast and a production team, which usually happens some time in the Hilary Term. The tour is open to all years, and often takes talented freshers alongside finalist drama vets. As one of the best Oxford productions, it is highly competitive, but entirely worth auditioning for no matter your previous experience – you’ve got nothing to lose.

Intensive rehearsals get underway at the start of the summer vacation. This year we had only three weeks to rehearse the show from scratch, before flying out to Japan to start performing. Unfortunately we lost our producer shortly before rehearsals were due to start, but despite this setback, the rehearsal process felt relaxed, a testament to our director Max Gill’s ability and vision behind the project. The pace we worked at, and the opportunity to do a play without having to fit it in around tutorials, was exhilarating.

Twelfth Night – OUDS/Thelma Holt International Tour Trailer from Hypnotist Film Company on Vimeo.

Our interpretation of the text was unconventional. As Max told Oxford Culture Review, “what we’re experimenting with is the idea that Illyria is a kind of psychological landscape, a state of mind. At the beginning there’s a shipwreck which brings Viola to the island, and we’re playing around with the fact that Viola might potentially have died on this shipwreck, and that she has slipped into an otherworld.” In this bizarre purgatory, identities and personalities bleed together – our Clown and Antonio were played by a single actor – tormenting the shipwrecked twins. The notion of duality was also stretched beyond the twins – for example Orsino presided over a harem of Havisham-esque opera singers (Valentine and Curio) who act as the sirens causing the initial shipwreck, and the Duke and Olivia sit on a dual throne, emphasising their parallels of self-absorbed unrequited love.

Creating a play that would work in both Japanese and British theatres was sometimes difficult. Sexuality and the torture of desires were prevalent themes in our interpretation of the text, but had to be toned down in Japan so as not to offend the more conservative audiences. For example, back in England the Lady Olivia’s courtship of Cesario became more sexually charged, with a woozy Sebastian stumbling on stage half-naked and plastered in day-glo lipstick kisses.

Even though the whole production had to be portable, we had an amazing array of costumes from the RSC, a harp and harpsichord, a sandy beach, and a lifesize gallows among the kit list. Our Illyria was built from material that its magpie-like inhabitants had scavenged from the ships wrecked off its shores. Props and costumes came from different historical periods – Maria in a leather corset, Aguecheek in an elaborate plumed hat and ruff, and there was a gramophone found by the Clown, to name but a few. Music and dance also featured notably in the show, with the former often providing a window into characters’ inner mental lives during monologues.

I’d never been to Japan before this summer, and I wasn’t sure what to expect of the audiences out there. We performed at the KAAT Kanagawa Arts Theatre in Yokohama and the Tokyo Metropolitan Arts Theatre, both state-of-the-art facilities which put their Oxford equivalents to shame. It seemed crazy to think that a group of students would be able to fill Japanese professional theatres, performing a play in a foreign language, but we played to full houses for every show!

After being treated like professional actors in Japan, performing back in England came as a bit of a shock. We were student actors once more. For our open-air run in the Old Bodleian Quadrangle we had to carry the entire set and seating halfway across Oxford for every show! That is one of the great things about this tour though – the chance to perform in such diverse venues. Apart from Oxford and Japan, we also performed at the Southwark Playhouse (a great chance for budding professional actors to get scouted by casting agents), and the Yvonne Arnaud Mill Studio in Guildford. Every time the play had to be different, which really kept us on our toes.

When I asked Thelma for her thoughts on this year’s tour, she said that “[Twelfth Night] in spite of initial thunderclouds, was one of the most joyous experiences I have had at Oxford. It confirmed for me why I am there.” The circus isn’t packing up anytime soon. So the take-home message is this – if you’re thinking about getting involved in student drama during your time at Oxford, set your sights on this tour. Look out for the auditions in Hilary, and keep a close eye on the details – there are some exciting rumours about next year. Break a leg, the lot of you!

 

Loading the Canon: 12 Years a Slave

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There’s no denying the fact that Steve McQueen’s Oscar winning movie 12 Years a Slave was one of the most brilliant blockbusters of 2014. But if you thought the film was powerful, you should read the book. Solomon Northup’s memoir of the same name is singularly affecting, historically informative and emotionally charged. Documenting the horrific circumstances surrounding his abduction, mistreatment and enslavement, this is not a work for those looking for light entertainment. The despair, indignation and irrepressible hope in Northrup’s book is expressed in such simple diction that it carries a weight impossible to replicate. A reader will approach the text expecting it to be traumatic, but it is difficult to menally prepare oneself for just how harrowing it will be. The death toll in Twelve Years a Slave is staggering; each person, a friend of the author’s; and each expiring in the most horrific circumstances.

Those looking for a happy ending will be disappointed. Northup is, after twelve years of appalling hardship, released. However, injustice bleeds through the text as the reader is reminded that Northup’s friends on the plantation, described with such affection, remain in bonds. The random, indiscriminate beatings and unthinking cruelty to which Northup was subjected before his rescue remain for them; he leaves behind people who will continue to suffer until their death, making it hard to feel much jubilation. Even Northup’s life after release is marred by prejudice. His attempts to bring his kidnappers to justice are unsuccessful because, as a black man, he has no right to testify in a court of law and, in a vile twist, his kidnappers sue him for attempting to defraud them. Whilst McQueen’s depiction retains much of the depth and integrity of Northup’s story, the words of the author seem to resonate more compellingly. However, whilst slavery of this kind is, mercifully, a thing of the past, Northup’s words have lost none of their power over the centuries.