Tuesday, April 29, 2025
Blog Page 1825

Festival Fever

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As the week of Brasenose Arts Festival winds down, it’s a good time to reflect on the anomaly that is such a festival for those who speak in the American tongue. I’ve attended a play, an open-microphone evening, a dinner and a cabaret, and there’s still more to come with a celebratory party at the end. And at many other colleges across Oxford, other students, and denizens of the arts, will be experiencing the same sort of thing.

Yet when I mention it to my friends back home, the closest event they have for comparison is Spring Fling, or Greek Week, or Homecoming; all times of merriment, usually verging on raucous, but of pride in one’s university or its sports teams rather than in the arts. This is not to say that the arts aren’t held in esteem; however, celebration of artistic pursuits isn’t organized in the same way.

I’ve come to realize that this is probably because we don’t have summer music festivals along the same lines throughout much of America. We do have some, from Coachella in California, to Lollapalooza, to the now-ubiquitous Warped Tour (which no longer really qualifies as alternative). But in hearing my Oxford friends reminisce about their times at Bestival and Stonehenge, it’s occurred to me that they’re vastly different experiences.

So I appreciate this time, when entire colleges come together, gathering to watch performances and participate in workshops even if it’s not part of their students’ usual routine. I especially enjoy the chance to learn a few new things about being a Brit when it comes to songs. Before today, I’d thought the only song about a catastrophe in the capital was London Bridge. Now I’ve heard the sweet tune of London’s Burning, sung by my (slightly tipsy) friends on the committee, and it’s changed the way I see the world just a little bit. 

Rory and Tim’s Friday Frolics – episode 3

Rory and Tim have an essay crisis and a TV presenter torments the poor.

Review: Beastly

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This reinterpretation of Beauty and the Beast, set in a high school scenario is presumably tooled to appeal to the ‘Twilight’ generation, and in many ways it hits the right notes. There’s a good-looking cast (aside from the obvious disfigurement that Alex Pettyfer’s character suffers), supernatural elements, a story of love triumphing over adversity, some funny moments and a central moral.

So how did it all go so wrong? Few would claim the Twilight films are great cinema – they’re reasonably entertaining and appeal to many people, but suffer from corny dialogue and plotting problems. Yet Beastly makes Twilight look like a magnum opus. In the opening sequence, in which Alex Pettyfer’s reprehensible narcissistic douche torments fellow classmates and struts around the hallways, the characters are so thinly drawn I’m surprised they show up on screen.

Pettyfer is the good-looking, arrogant, Big Man on Campus with Secret Hidden Pain, his love interest Vanessa Hudgens is a scholarship student from a poor background who knows the True Meaning Of Beauty, and so on. After the camembert opening, as Kevin (Pettyfer) actually puts his face on, the film picks up pace, and is much more watchable as a result, albeit with predictable consequences (SPOILER ALERT: He learns that looks aren’t everything, gets the girl and is cured).

Still, Pettyfer is so astonishingly wooden that unless he’s being intense, Kevin is hard to take seriously. Similarly, the usually reliable Hudgens (at least for tween films) falls flat, and other details such as the weirdly racist depiction of Kevin’s maid, and the lack of explanation for supernatural events in the film serve to jolt the audience out of any involvement in the story.

Much credit must go to Neil Patrick Harris (who should fire his agent), making the best of a bad script, delivering killer lines and characterization. He earns Beastly the star, but can’t save it.   

Review: The Miners’ Hymns

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Opening like a tomb that has long been sealed, The Miners’ Hymns places a torch in your hand and sets your feet walking down into the darkness of the mysterious and unmapped tunnels of the labourers beneath the earth; a soundscape telling of secret, dangerous and beautiful places: historic great caverns that expand beyond the walls of your room. Jóhannsson has created something that you experience wholly; a master work, inspired by the miners of North East England.

Jóhannsson is Nordic, like many of the greatest currently-active musicians on the UK scene: Robyn, Miike Snow, The Caesars, The Tallest Man On Earth, Björk, to name but a few. But unlike the others, he’s not the type of artist that you would expect to release a chart topping single; more likely an avant-garde concept album, wonderfully crafted and sumptuously produced. The Miners’ Hymns delivers exactly that.

At some point during your relationship with Jóhannsson, you want to climb inside his head, and switch on some lights. Musicians not aiming for the easy-sell hit single have a small niche in the industry and it’s a shame. But he’s no fool – anything but. He’s given lectures across Europe in the creative use of sound in art and film, and co-founded Kitchen Motors to act as an artistic think tank, record label and promotion company, now renowned for initiating exciting new artistic collaborations, supporting experimentalism, and attempting to search for entirely new art forms. He’s a passionate artist with true integrity, and it certainly comes across.

The album concludes with the proud and heart raising march entitled ‘The Cause of Labour is the Hope of the World‘, the most prominent message of an album which exquisitely tells the tale of a world underground; a world that has shouldered much of the burden of the developing world, and a world that most of us know nothing of.

The Icelander at the coalface

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As the UK finds itself in significant trade union unrest, the Icelandic composer Jóhann Jóhannsson’s debut album for Fat Cat Records seems timely. Collaborating with the experimental filmmaker Bill Morrison, The Miners’ Hymns project marries footage of Durham’s coal-mining culture with Jóhannsson’s transcendental soundtrack. ‘We spent some time in the North East of England,’ explains Jóhannsson, ‘Bill doing research in film archives and me working with local musicians’.

It is all too easy to bring up the Nordic cliché when talking about Icelandic music. Yet a Nordic idea is often pushed by these artists, most apparently with the post-rockers Sigur Rós whose frozen soundscapes have won them a mainstream love. The same thread seems to run through the grandiose panoramas that Jóhannsson constantly visits. He acknowledges his share in this Icelandic aesthetic: ‘We were all a part of a very vibrant scene around the turn of the millennium in Reykjavik’.

Yet Jóhannsson has always displayed a significantly philosophical bent. His electro-acoustic explorations have long been concerned with our relationship with technology. ‘I guess there is an implied critique of technology in some of my work’ Jóhannsson concedes. On 2006’s IBM 1401: A User’s Manual he used reel tape recordings of a 1960’s IBM mainframe, playing with the idea of obsolete technology. ‘When my father worked for IBM in the 60’s, there was an understanding that the job was there for life,’ muses Jóhannsson. ‘Now the focus is on growth and consumption, with little regard to the cost in natural resources or workers’ conditions’.

For Jóhannsson, the acoustic is everything. The Miners’ Hymns was originally presented in a live performance at Durham Cathedral. This acoustic manipulation is constantly brought to its extreme. ‘For me the space is as important a part of the sound as the instrument and the performer, so the building becomes a kind of giant resonating box, an instrument in itself’.
Morrison’s film culminates in the Miners’ Gala procession. ‘I recorded the piece with members of the NASUWT Riverside band, which was originally a colliery brass band.’ It is the music of the brass bands, their hymns in particular, which has so influenced Jóhannsson. ‘I knew I had found the way to approach this project when I heard ‘Gresford’, which is a beautiful wordless hymn written by a miner to commemorate the victims of a tragic mining disaster in the 30’s’.

Jóhannsson seems firm, ‘I don’t like to repeat myself’. And yet he reflects, ‘there are certain obsessions that I seem to keep going back to’.

Review: DNA

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Being put on as part of Catz Arts Week, Dennis Kelly’s DNA has great appeal for those who have escaped the brutal dynamics of the classroom. It follows a group of teenagers as they collectively try to escape the consequences of their actions and are forced to cooperate in order to prevent the truth from being exposed.

This is a play about secrets, a play about fear. It is brutal terror which characterises the entire script and which is demanded from the cast as they confront disturbing facts about society and human nature. These are expounded by the character of Leah, played by Lauren Hyett, during her scenes with Phil (Jeremy Neumark Jones), the silent presence who simply and efficiently orchestrates the group’s plans for survival. These ponderous monologues provide the backbone of the play, a steady ground between the fraught panics and sudden mood swings found in the group scenes where behind every word there is a struggle for power. In this way the desperation of the particular is subsumed into idealised generalisations of happiness, life and responsibility forcing the audience, like Phil, to reconsider their own views.

The acting is of a high standard across the cast with Neumark Jones and Hyett overcoming the obstacles of too few and too many lines respectively. Meanwhile the director’s choice to situate the action in the round showcases even the minor characters and prevents the largely immobile scenes from lacking interest. Together these elements, along with moments of comic brilliance, ensure that, despite the evident immorality of the group’s plans, as a member of the audience you are silently willing them to succeed.

This stimulating production which places the action in an outdoor setting evocative of the group’s woodland hideout, DNA even has the playwright Dennis Kelly hosting a post-show discussion on Thursday 26th May. Both exciting and thought-provoking in equal measure, this play explores the everyday violence of youth and the individual’s struggle to gain control of their own existence.

Review: Glengarry Glen Ross

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It was a pleasure to spend my Sunday evening being treated to three scenes from David Mamet’s enthralling study of competitive capitalism. The play depicts four men who are forced into a cut-throat sales contest to sell dud tracts of Florida land. Set over two days, the men engage in multiple unethical and illegal acts such as lies, bribery, threats and burglary. It was clear from the first scene I watched that it would be the complexity of the characters, not their lack of virtue, that would command my attention.

At first, I watched a scene between Lloyd Houston, playing Shelley Levene, and Ziad Samaha, who plays the office manager John Williamson. In the scene Shelley tries to convince John to give him the names and numbers of promising potential clients for expensive properties. Houston’s thoroughly gripping performance was emphasised by the still and convincing mannerisms of Samaha whilst the simplistic setting only helped to further the engaging quality of their performances. It was immediately obvious that this cast had been committed and determined to convey strong and convincing Chicago accents.

The next scene presented Dave Moss (Jordan Waller) in a bid to convince George Aaronow (Joe Bayley) to stage a burglary and steal all the prime leads. The chemistry between these two actors was unquestionable, feeding and working off each other exceptionally well as Dave’s ruthlessness when compared to George’s naivety managed to encapsulate the struggle between power and morality. Notably Waller’s performance and the atmosphere of intimidation he created would be enough to sway the mind of any man with strong fortitude.

Both the tone of voice and physicality employed by each actor created this convincing and intriguing relationship. It must be noted that Jamie Macdonagh’s direction is equally commendable for the success and intense feel of these two scenes. His ability to keep direction and movement to a minimum allows the actors a much needed freedom to explore and express the inevitable darkness of their characters.

The final scene centred on a monologue delivered by Will Hatcher, playing Ricky Roma, directed to the potential purchaser of real estate James Lingk. By pitching each actor at opposite sides of the stage palpable tension was created between the men as they waited for Lingk’s eventual movement towards Ricky. Hatcher’s stage presence is unmatched and his performance truly encapsulated Ricky’s inherent ability to craft a sales pitch that exploits the weaknesses of the client.

Breaking Legs – The Stage News Podcast Week 3

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Tune in next week for more stage news.

Dons damn David Willetts

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177 Oxford academics have signed a motion “to communicate to the Government that the University of Oxford has no confidence in the policies of the Minister for Higher Education”. They join students in calling for the University to formally “express dissatisfaction” with government higher education policy.

The motion, submitted on Monday morning, will be debated in Congregation (Oxford’s ‘parliament of dons’ and the legislative body of the University) for amendments in 6th week and then 8th week for the resolution itself.

Colleges have been seeking mandates to lobby Congregation members to support the resolution, following the lead of Andrew Hood, New College JCR President, who called for the vote of no confidence in a speech to the Congregation last week.

Hood commented, “If the public see that the professionals concerned are not behind the Government’s plans they may be forced to reconsider”.

On Sunday evening, St John’s JCR unanimously passed a motion of “No Confidence in the Minister of Higher Education”.

David Messling, John’s JCR President said, “It’s really exciting that this resolution is coming from the academics, making it harder to pass off as just a student stunt.”

In an email sent out to St Catz students, JCR president Aidan Clifford asked students to “plead with your tutors to stand with us against this Government’s Higher Education policies, and get them to sign up!”

Bernard Sufrin, of the Oxford University Campaign for Higher Education (OUCHE!), which includes members of Congregation, commented, “It would be irresponsible of the sovereign body of Oxford – one of only two University sovereign bodies that can speak along the lines of this motion – to keep quiet about the very damaging consequences of the proposed changes to the HE funding arrangements.

“People who signed the motion have said that last week’s on-again, off-again policy initiatives decreased their – already meager – confidence in the HE policies of the Minister to vanishing point.

“When policy is made and then unmade within a day, there is a case for saying that those responsible for the policy-making are losing their grip. When this happens twice in three days, people can be forgiven for thinking that the grip has been lost completely”.

The level of support for the motion being put to Congregation has been described by OUCHE! members as “huge” and “unprecedented”, with the 177 signatures being collected in 3 days, 2 of which were at the weekend.

Those who met and discussed it were reportedly “unanimous about its wording”, “from a very wide range of academic disciplines” and “of all political persuasions”.

An OUSU press release stated that such a motion “is likely to be seen as following in the footsteps of the recent Nurses’ vote of no confidence in Health Secretary Andrew Lansley, which has dented the Government’s plans for a radical overhaul of the NHS”.

OUSU VP for Access and Academic Affairs, Alex Bulfin said, “I think for Oxford to step to the front of the debate on the future of higher education in this manner can only be a positive move. No matter your political stance, few can argue that the Government’s policy on higher education is not confused and contradictory, at best”.

Jack Andrews, a Mansfield first-year, commented that, “In the past I’ve always had to defend the Conservative’s actions to those around me”, yet the past “few weeks of terrible policy suggestions and embarrassing backtracking [show that] Willetts isn’t the right man (scapegoat or not) to lead Universities in the future”.

Co-chair of Oxford University Liberal Democrats, James King, placed much of the blame over “badly mishandled” universities policy on Mr Willetts, saying, “I don’t think that there are many Liberal Democrats who would be unhappy if he left the government. The fact that Oxford – one of the universities who might theoretically have gained most from reforms to funding – could well call for his head is frankly damning.”

However, King said, “We do not think that either this motion alone or other similar ones from other universities will affect the future of the Coalition, which the majority of Liberal Democrats continue to support.”

Lincoln Hill, Chair of Oxford University Labour Club, observed, “Even if such a motion were passed by other universities, only the Government’s public image, not their policy, would change.

“They are operating from Thatcher’s rulebook and have made up their minds to persevere through present unpopularity on all fronts until Mr. Osborne can hand out tax cuts”.

However, responses from various colleges show that the momentum behind the motion is not entirely widespread.

Students at Pembroke and St Hugh’s were not aware of the motion at all, while Balliol’s JCR president Stephen Dempsey told Cherwell that they were deliberately not canvassing opinion as the nature of topic is “very diversified” and so “do not feel comfortable in support or dissent”.

Nick Hyett, a second year PPEist at Christ Church, called the motion “a slightly extreme response”.

He added that there were, “some u-turns yes, but this surely is evidence that the government is listening and responding… [the] whole universities policy is not ridiculous – tutition fees are more or less fair”.

When Cherwell contacted Willetts a department spokesperson commented, “Under our policy, there are no upfront fees and graduates don’t make any repayments until they are in well-paid employment.

“There is a more generous maintenance package than now, as well as the National Scholarship Programme targeting prospective students from disadvantaged backgrounds.”

Oxford University has declined to comment at this stage.

Not fine by me

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An investigation by Cherwell has uncovered vast discrepancies between decanal punishments at different colleges.

Fines levied for offences in recent years range from an average of £62 per year at St Catz to a colossal £2,447 at St Edmund Hall.

The figures from the sample of colleges which replied to Cherwell’s Freedom of Information request suggest that cumulatively, undergraduate colleges across the University are likely to collect around £30,000 in fines over the current academic year.

By far the largest proportion of punishments relate to behavioural offences and setting off fire alarms.

University College’s records showed some particularly unexpected misdemeanours, such as a student who was punished in 2006 for having a bale of hay in their room.

The fine imposed was “£20 plus £58.07 for cleaning”. Elsewhere, a student received a warning for keeping “chickens in student accommodation”.

Fines for ICT misconduct are particularly steep, with Univ fining up to £200 a time for “the use of P2P software on the University network”, and charges related to file sharing accounting for 27% of the total amount raised in fines by Jesus since 2008.

Univ also gave out three warnings to different students for “improper comments” on the Facebook group, “Univ Incoming Class 2010”.

Illicit room parties also often result in a depleted bank balance or even an educational course. In February 2009, an “illegal party, excessive noise and smoking” resulted in one student from Univ being instructed to attend a “seminar with fire safety officer” and do “community service in the form of five sessions cleaning up the area around the recycling and rubbish bins outside the kitchen/works department.”

 

‘A student received a warning from the Dean for loud sex’

 

The student in question was told, “Specifically, you will next week report to the Hall Manager in time to obtain rubber gloves and aprons and begin cleaning at 8am. You will absolve this task for 5 days (Monday to Friday inclusive).”

Students looking forward to the tradition of “trashing” following exams this summer should also beware of severe penalties. Records showed that this can carry heavy fines, with some colleges regularly imposing £200 charges on students who flout the rules.

In an apparently unique case, one St Anne’s student reported receiving a warning from the Dean for “having really loud sex and trashing my room”.

Teddy Hall, the highest-grossing college of those surveyed admitted, “punishments are generally in the form of fines.”

The current Teddy Hall Dean, Professor Robert Whittaker, commented that, “The level of the figures may perhaps reflect inclusion of reparation costs alongside fines in the strict sense.”

He said, “Fines (in the broad sense, i.e. charges) go towards the costs incurred as a result of the action that resulted in the fine (e.g. replacing damaged fittings) and otherwise towards welfare.

“Welfare and disciplinary provision and issues are interrelated, and as Dean I am keen to reflect on issues that arise and to work with the JCR and MCR to find ways to avoid repetition of problems and to ensure a responsive welfare system within the college.”

 

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Graphics: Nick Taylor

 

Mary Kerr, Bursar of St. Hugh’s, which has been criticised in the past for its hefty financial penalties, told Cherwell, “We do not impose community service or other similar forms of punishment”.

At other colleges however, a policy of community service is popular. St Hilda’s said of their decanal system, “There is a community service element in place which is always preferable to monetary fines.”

Figures for St Catz show an average of 46 hours of community service a year given out as punishment since 2005. In a single year, 2005-06, 121 hours were doled out.

As a result, income from fines are low, although the Home Bursar notes that, “Administrative charges (connected with car-parking without permit, computer network misuse, damage to property) are not recorded, unless punitive.”

Offences at Catz include “misuse” of the car park, warranting 20 hours of community service, and “pranking another student”, which earned the culprit temporary exclusion from the bar.

Other incidents brought harsher consequences; in 2007, two students were caught “throwing eggs in residence” and, as repeat offenders, were given “10 hours community service, barred from Entz [and] denied privilege of choosing a room in the following year”.

Some students have said they would rather their college adopted a similar system of community service. One first year, who was fined for misbehaviour at another college and for mess, commented, “The financial punishments are unfair and extreme.’

‘I asked to do community service or another form of punishment but this wasn’t allowed. There was no other option than to pay the £100 fine each time.”

But some see fines as beneficial. Clifford Webb, Merton’s Finance Bursar, emphasised that money raised from student punishments was put to use. He said, “The College retains the income from fines that are imposed in respect to damage to College property.

“All other fines, including fines of a purely disciplinary nature, are made available to the undergraduate common room and may be paid to charities nominated by them.”

 

‘Illicit room parties and excessive noise often result in fines’

 

Elsewhere, the money goes towards bursary funds. Peter Mitchell, St. Hugh’s Dean, explained that, “All decanal fines at St Hugh’s are directed into the funds available to the College for student hardship cases.”

Despite this justification, one St Hugh’s student who was fined £150 for mess and £150 for an accidentally smashed window said, “I would have rather done community service than paid a fine, because £300 for me affected me more substantially than it would have done someone in a more stable financial position.’

‘My money went to a hardship fund but now I’m £300 out of pocket I’m suffering hardship.”

He added, “The college tries to make it seem like an official procedure, but it seemed to me that similar offences produce varying punishments.”

Similar confusion about what consequences to expect for a single offence is also evident at other colleges.

A spokesperson for Worcester said that decanal responses ranged from, “requests to send letters of apology, cost of repairing damage, fines, community service and requirement to improve academic standards”.

Few colleges said that they had a standardised system of punishments for specific misdemeanours, although some, such as Brasenose, make exact figures available. BNC’s Student Handbook details the penalties their students should expect should they break the rules. For example “kindling of naked flames” carries a fine of £100.

Even when outlined, college decanal systems are often inconsistent with one another. While Brasenose students can expect a £100 fine for climbing on college buildings, at Jesus in the academic year 2009-10, a student was left £150 poorer for the same offence.

Nick Seaford, a St John’s student, was fined £50 for tampering with a fire alarm, whereas St. Catz records a punishment of “1 hour community service, suspended, for removing battery from room’s fire-alarm”. In another incident, a St Anne’s student only received a £30 suspended fine for “setting off the fire alarm by cooking in my room”.

Seaford, a first year, said he thought it was “reasonable” for colleges to respond to incidents in different ways. He said, “I think it’s fair enough … it depends on the atmosphere and the ethos of the college”.

This is true of Mansfield, whose “progressive, informal environment” and “relatively small student body” makes punitive action a last resort. Dr Eleftheriadis, Mansfield’s Dean, said, “When things get very wrong, which is very rare, a fine will be the appropriate response.’

‘But I have found that our students are always reasonable. I have very rarely been called to intervene.”

He added, “There is no ‘community service’ or other ‘forced labour’ form of punishment, nor indeed any form of coercion. I try to resolve issues through discussion with the parties involved and by encouraging those involved to apologise or otherwise make up for their mistakes.”