Monday 6th April 2026
Blog Page 1360

Debate: Can privileged students make good access officers?

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YES

Alice King

The very role of Access Officer exists in order to ensure that someone’s socio-economic background should have no influence on their time as a student. Regardless of heritage, family income, the quality of their secondary school education or the desirability of their postcode, Access Officers strive to place all students on as equal a footing as possible when they apply to university. It can generally be agreed upon that their work is invaluable in fighting institutionalised prejudice. Not only that, but Access Officers also combat the widely accepted stereotypes of what the typical Oxford student should be. They are there, fundamentally, to facilitate access to the University itself for those who are challenged by institutional discrimination.

Why then should we tolerate prejudice against potential Access Officers on the very grounds that they are there to combat? For me, a large and extremely positive part of my experience at Oxford has been erasing the inverted snobbery I had cultivated before arriving. The idea that some people are ‘too posh’ can all too easily establish an ‘us-and-them’ mentality amongst students. It doesn’t take much for, let’s say, a student from a poorly performing state school to fi nd certain aspects of Oxford life intimidating and even unpleasant. To reinforce this by saying that a privileged student can’t qualify as a proactive supporter of access at this University could fortify divides and create new ones.

It’s embarrassing to admit that I had such an attitude of inverted snobbery when I first came to Oxford, one which was neither justifi ed nor helpful, and did nothing to add to my experience as a student.

After overcoming this mindset, I was told by friends from more privileged backgrounds (for want of a better word) that they too were aware of this perceived division and were equally intimidated by it at times. If anything, this proves that we need even more support for and involvement in access programmes from all students – to prove that we’re all in this together, instead of in separate teams working only for our respective sides.

We are, or should be, unified as students together at the same University, and it’s time to start acting like it. What better way to do this than to stop drawing unnecessary divisions between ourselves?

Admittedly, it is hard to deny that a disproportionately large number of the Oxford student body are from privileged backgrounds. This disproportion is not just visible in the past education of students – it’s also remarkable when it comes to race, region and socio-economic background. But does a student’s privilege make them any less academically talented, any less interesting, any less of a good person?

Ultimately, Access Officers work on levelling the playing field, not in trying to strip privileged applicants of their merits, but in giving less privileged applicants the chance to perform and achieve unfettered by institutional prejudice. As such, being an Access Officer should be an option open, like that of studying at Oxford, to anyone willing and able to fulfi l the necessary criteria.

To imply that privileged individuals in any respect could or should not have such a role makes the role of Access Officer in itself a privilege. Implying an individual should or could not achieve as well as another because of something as unchangeable asof their background goes against everything access programmes stand for.

NO

Tjoa Shze Hui

At first, I found this debate a difficult one to come down on with any measure of decisiveness. Just two days ago, I was certain that I wanted to write an argument for the ‘yes’ side, detailing why privilege shouldn’t stop anyone from speaking out on issues of importance, or from trying to make the University a better place for everyone here. For it seemed to me that the opposite would prove fatally enervating when taken to its logical conclusion. If one were not allowed to take action on any problem falling outside the realms of personal experience, then wouldn’t a huge chunk of student advocacy here at Oxford become discredited? Wouldn’t many campaigners march about without any recourse to public support, and most transnational activism fall flat on its face?

It was only later, when I tested these abstract arguments against my friends, that I came to see them as dire pronouncements trumpeted from the tail end of a slippery slope, sexy but irrelevant to the specific situation of access and Access Officers in Oxford. The point of debate here is not on whether students from privileged backgrounds can or should speak out on issues of justice and access; like everyone else, they certainly have some measure of freedom to advocate for things that are good.

The real question is whether serving as Access Officers is the most effective way for these students to accomplish their desired end, and make a positive impact on university life. My answer to that specific question must be a firm and resounding no.

At the most basic level, this has to do with the scope of the Access Officer’s job, which revolves around the delicate art of persuasion. At outreach events, Access Officers have to paint their colleges as friendly and welcoming to students who have never met an Oxonian before in the flesh, let alone thought about graduating as one. Arguably, their persuasive techniques would seem vastly more convincing if they were able to embody their own claims about accessibility, and not merely dole out success stories in vague and theoretical terms.

Truth be told, any Access Officer who urges terrifying leaps of faith without having personally taken one themselves is likely to come across as insincere, difficult to relate to, and sweetly insulated from the realities of state school life; at worst, they might even perpetuate the impression that Oxford is only for ‘posh people’ like themselves, and unwittingly leave fence-sitters persuaded in the wrong direction.

In my opinion, electing a privileged Access Officer would only be justified if more suitable candidates were lacking, unwilling to speak up, or rendered voiceless by some other means. But in Oxford none of these situations holds true. Plenty of successful applicants come in each year from non-traditional feeder schools and, typically, each round of elections sees at least one candidate highlighting the relevance of their own experiences in a bid for the job. In this situation, then, to let the more privileged speak up in the name of an ‘oppressed minority’ would be akin to talking over said minority voices, while willfully ignoring the fact their own voices are still in good working order.

The issue at stake here is that of suitability for a collegiate position in limited supply. Since only one, two or at most a handful of people get to call themselves Access Officers each year, it’s of vital importance that this role goes to the people who have the most relevant experience, and are thus likely to do the better job.

The silence that is sapping our Student Union

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Combibos in Gloucester Green, the downstairs of Caffé Nero on the High Street, Christ Church Meadow. All of these places feel eerily quiet at the moment. And it’s terrifying me. You see, at this time of year, you shouldn’t be able to catch a whiff of roasted Arabica without spotting a secretive liaison between two aspiring OUSU sabbatical officers. Strolls along the Isis should be greeted with a subtle chorus of blackbirds and wannabe NUS delegates, and an early morning apricot danish is always best appreciated whilst overhearing a candidate for OUSU President persuade a JCR Officer to run for Student Trustee. But not this year. Silence.

6th Week of Michaelmas marks the annual elections of the Student Union, OUSU, and usually by this time in term, there are a plethora of candidates for the varied positions, out there hacking to build the best slate (a team of candidates). But as I’ve mentioned above, the usual haunts of this seasonal visitor are devoid of their customary democratic discussions. And this is bad for all of us.

The fewer candidates there are for the top jobs in OUSU, the less competition there is, which results in less pressure on the candidates to go out and build strong electoral teams. This leads to fewer new people becoming actively involved in OUSU, and future leaders never being discovered. Smaller slates means less active outreach during the election, which leads to lower turnouts and higher rates of apathy towards OUSU. Shoddy policies remain unchallenged, and candidates with views unrepresentative of the wider student population become more likely to gain office. And so the body that is meant to represent us all to the University becomes ever more distant to the ordinary student members.

Some of you, at this point, are wondering why you should care about OUSU in the slightest. I understand where you’re coming from – I didn’t care much for OUSU as a fresher; my Common Room was always there for me when I
needed it, and I couldn’t understand why some of the people in OUSU seemed to be more focused on condemning the latest international goings-on rather than on discussing educational issues.

Commons Rooms are great, but they can’t do everything. We, as students, have been granted a seat at the top tables of the top university in the world – we should be sending the very best to fight our corner. And it does matter. A few years ago, OUSU secured the best fee-waiver and bursary package of any English University, something we need to continue to defend and protect for future generations of students. Your choice over the next few weeks, through the OUSU elections, has the potential to define what student life in Oxford will be like for years to come. But first we need there to be a choice.

So to the waverers and fence-sitters, umming and ahhing over whether to run in the upcoming election – give it a go. There are too many good people sitting this one out, and leaving it to someone else. We need you all to run, to put forward your vision of OUSU in a post-Trup age, and to allow students the option to engage with a set of ideas that appeals to them.

To those who haven’t even considered being a student representative, but have a passion for anything from academic issues to graduate welfare, then there’s a place for you too. Nominations open on Thursday of 3rd Week and close a week later. And don’t think that you need to have a big team to win -plenty of independent candidates triumph in these elections.

Finally, to those who have no interest in running for office: at least make your voice heard – vote. Even if this plea for more people to announce their candidature doesn’t work, you will still have a choice. For there is always the opportunity to vote for RON, which stands for Re-Open Nominations. Consider their proposals, watch them hust, and if they’re not good enough, then vote RON. You deserve the best.

It should be said that there are a few who have quietly mentioned they are going to run, but we shall only see the best of these people if there is competition, and they have to fight for every vote.

In the meantime, the future of our Student Union is in intensive care, and desperately needs a transfusion of fresh blood and ideas. It is time, therefore, that we start donating.

Israeli Ambassador faces protest at the Oxford Union

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A protest was held on Tuesday outside the Oxford Union after the revelation that the speaker for the evening would be the Israeli Ambassador, Daniel Taub.

Until recently the event was officially shrouded in secrecy, with the Union’s termcard announcing only that a “high profile speaker on the conflict in Gaza as well as other issues in the Middle East” was to attend, claiming that the secrecy was due to “security restrictions”.

It is thought that around 100 people attended a protest organized outside the Union on the same day as the talk. Activists said in a statement, “Just a few months ago, Israel pounded Gaza with the most modern military hardware in the world. Their bombardment of a besieged civilian population with nowhere to escape killed 2,200 Palestinians, including 490 children […] The protest welcomes all those who stand in solidarity with the besieged and occupied Palestinian people.”

Some students condemned the decision to invite Taub. Wadhamite and member of the Oxford Students’ Palestine Society Barnaby Raine commented, “After Israel killed 490 children in Gaza just a few months ago, its representative in Britain is on a propaganda offensive; fresh from addressing the Cambridge Union, he is coming to the Oxford Union.

“The servant of such a state should not be given the respect and honour of this prestigious platform — just think how Palestinian students in Oxford feel when the state that bulldozes their homes and destroys their infrastructure turns up on their campus too. We will be protesting outside the Oxford Union to send the message that we reject as unacceptable the violence Daniel Taub represents.”

Meanwhile, Wadham student Aliya Yule who attended the protests commented, “I was at the protest to show that Oxford will not welcome those complicit in war crimes, nor will we allow the Union to legitimise Israel’s occupation of Palestine under the guise of ‘free speech’.”

However former President of the now disbanded Oxford Israel Society Richard Black told Cherwell, “I am appalled at these protests. Ambassador Taub is a very respected and prestigious speaker who has come to the Union, a bastion of free speech. Many open minded people are keen to hear what he has to say.”

The Oxford Union commented in a statement issued before the event, “The Union has invited him to speak, and he will speak. The Union doesn’t endorse anyone — we invite people who have something interesting to say.

One Brasenose finalist and pro-Israel advocate agreed, remarking, “The Oxford student community is very lucky to have the opportunity to host such an eloquent and renowned diplomat. It’s a shame that the protesters would rather scream in the cold than listen to what Ambassador Taub has to say. This irrational antagonism betrays a somewhat close-minded unwillingness to engage in constructive dialogue with anyone who has a different opinion.”

“The purpose of The Union is to allow freedom of speech. This is a man who speaks almost every night of the year, and we think that our members are looking forward to meeting him in person.”

Others defended the Union’s decision to give Taub the opportunity to speak without taking a stance on the conflict. Matt Rose, President of the Oxford Jewish Society, said, “Whilst Jsoc is an apolitical society and thus has no official view on Israeli policy, we encourage debate and hope for a peaceful resolution to the conflict. We encourage those that disagree with him to go and debate with him in a constructive manner.”

However protesters responded, “The official Israeli positions are not under threat of being not heard, but the voices of their Palestinian victims are, and we hope to amplify them.”

This is not the first time that there has been controversy over Israel in Oxford. This summer a ‘Free Palestine’ march attracted around 200 people. A memorial vigil later followed in support of Hassan Al Hallaq, an ex-Brookes student whose family died in an Israeli air strike in July.

Taub has served as the Israeli Ambassador to the UK since 2011. Prior to holding this position, he was heavily involved in the Israel-Palestine peace process as Principal Deputy Legal Advisor of Israel’s Ministry of Foreign Affairs, acting as legal advisor to Israel’s missions to the UN. His visit to Oxford follows a talk at the Cambridge Union last week, during which there was also a protest organized by students.

Speaking to Cherwell, Ambassador Taub commented, “I think it is incredibly sad that in a university which should thrive on the exchange of ideas, we have a group of people who are saying ‘we’re not interested in ideas and, in fact we are trying to shut them down channels of communication’.

“In the Middle East, we have a surfeit of negative energy, I hope that from a university like Oxford, we can actually model constructive dialogue and send some positive energy to the region.”

Review: Our Country’s Good

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★★★☆☆
Three Stars

One is supposed to tell something of a people by the character of its founders. That no-nonsense, earthy work-worship Americans are so often accused of is supposed to be the bequest of their puritan forefathers and mothers – as, no doubt, is the odd American penchant for fundamentalist Christianity. What, then, to make of the fact that the nation of Australia (Australia the fair!) is the product of a penal colony, that its founding mothers and fathers were thieves, hucksters and misers, the convicted effluvia of Olde England? How did a prosperous nation emerge from such desperate beginnings?

That is at least the tentative theme of Timberlake Wertenbaker’s Our Country’s Good, which is now running at the Keble-O’Reilly, directed by Fay Lomas. Much of the acting was of an excellent quality; the set-design was admirable and there were some superb directorial flourishes. It is for these that I would recommend this play. I cannot, however, help but disliking the play itself, which is banal and really rather stupid. The play is advertised as ‘modern classic’. If it is a modern classic, it is only in the AQA sense of the term.

The play itself is set just after the First Fleet arrived on Australian soil and founded the infamous penal colony in Sydney’s Botany Bay. Overseen by the stern but magnanimous Captain Phillips (Will Yeldam), both convicts and garrison are suffering under the humid strains of life in this harsh new world; people are seeing ghosts, tensions are running high among the female convicts, there are affairs, prostitution and general misery.

Into this bleak fray comes Lieutenant Ralph Clarke (Dom Pollard), who believes that by staging a Georgian farce the convicts might become civilised, honourable and capable of founding a new nation. Running parallel to this central plotline are multiple little narrative strands: the mad, tormented Harry Brewer’s (Conor Diamond) tumultuous affair with the convict Duckling (Holly Gorne); the emerging passion between Phillips and the maidenly Mary Brenham (Alannah Jones); the rivalry between feisty Liz Morden (Lizzy Mansfield) and bubbly Dabby (Linnet Kaymer). Through this, the farce is staged successfully and we are made to witness the symbolic genesis of a new nation.

As I said, much of the acting was terrific. Of particular note was Dom Pollard, who played the awkward, charming Phillip’s with great skill — he conveyed the lieutenant’s self-belief in his project, as well as a sweetness, a vulnerable naivety which the character deserved. Linnet Kaymer brought out a buffonishness in her character that only the combination of good acting and a West Country accent can achieve. Alannah Jones conveyed the timidity of Mary Brennan excellently, and was easily (I think) the most sympathetic character in the play.

All the actors played multiple parts, some with more success than others. Whilst Theo Chevallier’s played his character Ketch — an well-meaning Irish convict — very well indeed, the believability of his second character, Major Ross, was lacking (not aided by his chilling attempt at a Scottish accent). Likewise, too, with Conor Diamond who played one character with great skill, another not so much. Worthy of mention also was the set design — built to look somewhat akin to a ship, with mast and wooden slats. It worked perfectly. 

I can’t help but mention my dislike for the play itself, though. For a start, it reeks of cliché, whether it’s the Fallen Woman archetype of Mary Brennan, or the bumbling best friend that always seem to accompany female leads (in the guise of Kaymer’s character), not to mention the weary stereotype of the good-hearted soldier who falls in love with said Fallen Woman. This is the stuff of Mills and Boon pulp.

Then there are the endless vapidities that would have made a dewy-eyed 19th Whig blush till every vessel in his face burst. For instance, the play suggests that Civilisation was brought to Australia when the convicts started acting in plays. Indeed, we are told on more than one occasion, the production of a successful play is rather like the maintenance of a successful colony. If only people acted/read more! Then people would just get along better, for sure! Then all this silly nastiness would end! The text itself is so chocked full of these banal humanist platitudes that I occasionally wanted to throw up. But then again, that’s just me; others may like it (enough people seem to hail it as a modern classic). In any case, whether you like the text or not, this production is worth seeing for the quality of the acting and skill with which the whole thing is pulled off.

The Coat Edit

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Models: Margherita de Fraja and Daisy Clarke

Stylist and Photographer: Rebecca Borthwick

Shoot Assistant: Jack Davies

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Margherita wears vintage fur coat, Whistles cream coat, Fendi scarf, Mulberry Alexa bag and Mulberry Bayswater

Daisy wears Marks and Spencer coats, red Mulberry scarf and Balenciaga bag

B/W

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Models: James Chater and Juliet Eames

Stylist and Photographer: Rebecca Borthwick

Shoot Assistant: Jack Davies

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Review: Bouncers

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★★☆☆☆
Two Stars

The observation that any production of Bouncers is in danger of performing an artefact is well-rehearsed. In 1987, John Godber was already aware that his play was aging, and stressed the importance that companies approaching the play should “keep it alive for today”. It is not a play about going out in the eighties; it is a play about going out.

Bridging a three decade chasm in clubbing culture in this way is not an easy undertaking, and the performance staged by Poor Players Productions at the Burton Taylor studio this week visibly strained under the thirty year weight.

The play begins promisingly, with the four performers at their most dynamic in the first ten minutes, palpably enthusiastic, diving in and out of characters with a noticeable absence of assistance from costumes or lighting changes. The occasional lampshading is also refreshing; the first mention of “bouncers” is met with a collective shout of “eponymous!”, and the actors are eager to expose the pretence of the playworld, drawing awkward attention to important speeches and their sudden (sometimes confusing) changes in character.

The versatility of the cast, however, was limited, and the play quickly began to sag with the number of increasing exhausted caricatures. Chris Connell and Tommy Jolowicz in particular had difficulty adapting their physicality from one role to the next; and when we met the bouncers themselves, crossed arms and gruff voices did not suffice to distinguish them as authentic characters. Indeed, their scenes were among the weakest; the rapid pace required to maintain their Beckettian smalltalk was consistently lacking, and when a lengthy speech by Lucky Eric, the wise old owl of the foursome, offered an opportunity for pathos, it was delivered in an unpersuasive monotone.

Admittedly, Godber’s text suffers from the same trait as Eric’s speeches; the night in Bouncers is doomed from the start, and as such there is little dramatic tension to bear a company through the long hour of the play. Directors James Watt and Adam Leonard do little to remedy this, though, so that any small revelations (such as the reason for Eric’s nickname) are reduced to inconsequential throwaway remarks. Without a tangible narrative, Bouncers often feels more like a themed sketch show than a story about a sober occupation. The decision to leave the stage so conspicuously bare only adds to this effect, and leaves the actors with a difficult job of holding their audience’s attention unaided, in which they do not always succeed.

The Poor Players’ production is an odd mix of nostalgia — maintaining references to ‘blue videos’ and ‘discotheques’ — and up-to-date commentary (allusions to Thatcher are abandoned, and Primark is substituted for C&A). What results is a play that is occasionally funny, but ultimately unconvincing as a satire of nightlife, whether in the eighties or present-day.

Review: Welcome To The Parish Of Cummerbund-upon-Tweed

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★★★★☆
Four Stars

The welcome to the Parish of Cummerbund-upon-Tweed came not, as one might expect, in the auditorium, but way before then, as soon as you entered the theatre. For there the cast were, handing out programmes ostensibly doubling as church newsletters and giving the audience a warm, albeit slightly disconcerting, welcome.

Indeed, it was this sort of interaction with the audience that went on to characterise the rest of the show: the first scene required the audience to act as the congregation in a church, whilst the second required them to act as a footy team at half time, training exercises and all.

Perhaps most impressive of all, the four actors, or should I say parishioners of Cummerbund-upon-Tweed, managed to sustain this determined obliteration of the fourth wall throughout the performance and did so in increasingly innovative ways. A particular highlight was one poor audience member being chosen to engaged in a Morris-dancing lesson on stage. Not only did he have to imitate some rather dubious moves, but, best of all, his “performance” was immediately replayed to the audience, in a clever twist on modern sporting practices.

Yet, this interactive approach was not just reserved for the comedic peaks of the show but suffused it at every point, whether it be Tom Dowling passing around a clipboard to gather signatures for a petition or Jack Chisnall distributing bourbons at his scarily on point neighbourhood alliance session. Attention to detail goes a long way in comedy and the parishioners, true to reputation, hit it on the head.

As one might expect from such a parochially titled show, the Revue’s other forte in this production was biting, or at least relatively biting, social satire. Little England was thrown up in all its pernickety, small-minded glory in segments ranging from a church service to a traffic warden offloading her woes.

The satire came even before the performers arrived on stage in the form of the programme-cum-church newsletter. A hit-and-miss affair, with a rather unconvincing spoof on home furniture adverts (the advert in question selling “Acorn wall-mounted old ladies”), it did convey devastatingly well the inanity of these publications, and the upcoming events they publicise within.

In the show itself, apologetic parents, bags for life, software updates, societal attitudes towards tramps and the neighbourhood alliance were all targets which various cast members hit with laser-like precision. In that sense it was a bit like Hot Fuzz, but funnier, on the stage and without the creepiness.

As with all comedy, especially that produced by students, there were bits that fell flat. Some of the monologues, such as the one about being a male dinner lady (i.e. a dinner man), whilst admittedly having a relatively amusing premise, significantly overstayed their welcome on the stage. There was the now clichéd segment of two of the actors seeming to be having sex but actually doing something much more inane, such as changing a light bulb.

One of the great mistakes that any comedian can make is being seen to enjoy their own jokes and there were, at times, moments when the actors could not repress a smirk at their own wit. Moreover, none of the comedy was painfully funny but rather gently amusing. All that aside, I came away very impressed. This was on the whole an innovative, satirical performance, which was compellingly professional given that it was put on by a group of students.