Friday 4th July 2025
Blog Page 2176

Don’t Reward Distinctions

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Rewards for good results in Mods and Prelims shouldn’t just be equal: they shouldn’t even exist. That colleges would pay for students to work harder sounds plausible enough, if a little mercenary, but it’s just not that simple. Many people may find themselves unable to get firsts however hard they work, while others coast by into the arms of their Scholar’s Gown. It isn’t paying people to work harder, but paying people for being clever.

If there’s a place people need money thrown at them for being intelligent, it isn’t Oxford. The egos of ‘Scholars’ scarcely need more massaging, and the whole farce just contributes to the immense pressure of education at Oxford. When it comes to room allocations, the problems are no better. It becomes, in the words of one student, a ‘physical symbol’ of their failure. The whole thing reeks of snobbery and caste-era labelling.

The phenomenon seems all the more strange given that the importance of prelims and mods for scholarship money is wildly irrelevant to their importance in Oxford degrees. The marks don’t count towards finals, many papers aren’t double-marked to produce consistent results, and many tutors tell their students not to worry about the exams. It should come as something of a surprise when students find hundreds of pounds hinge on their performance.

The fact that different colleges pay vastly different sums is almost irrelevant in this context, but it again demonstrates the inequities of the collegiate system. Co-curricular standards such as rent, food, bursaries, library facilities, teaching, and possession of a deer park, are subject to the whims and wealth of the college. The continued existence of such a system is manifestly unfair, especially for the many students who make the reasonable choice of an Open Application.

It may feel good to receive a cheque for three hundred pounds from your College, but wouldn’t that money be better spent elsewhere? The lack of outrage that students express at the disparities between colleges is something we wouldn’t be too loathe to forsake. The money could go to discounting rent. A better idea would be to fund scholarships for those who find it hard to pay their way at university. Surely this would be a better way for colleges to improve their position on the Norrington Table: using scholarships to make sure bright applicants aren’t put off by the social snobbery and high cost of living that comes with this university.

Proctors: Beneath the Gowns

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What are the main duties of the two Proctors?

Proctors have several roles. They take part in the governance of the University. They are ex officio members of the governing Council and are entitled to attend meetings of any statutory university body, and to request any information from them. They also oversee University Examinations. They ensure that exams are conducted properly and have discretion to approve special arrangements for individual candidates (e.g. to take account of disability or ill-health). They are responsible for dealing with complaints about university matters, acting something like internal ‘ombudsmen’. Complaints can be brought to them by students and staff members, and they have wide powers to investigate and provide redress. They also deal with student discipline and attend many ceremonial functions.


How are the Proctors appointed?

The Council of the University agrees a cycle to allow all the colleges to take it in turns to nominate the Proctors. Each year, two colleges elect a Proctor and one college elects the Assessor. When a college’s turn comes round, it elects from its Governing Body on the Wednesday of 8th Week of Hilary Term, often selecting one of their teaching Fellows. The person elected takes up office on the Wednesday of 9th Week of Hilary Term in the following year, when an admission ceremony is held to swear in the new office-holders.

Has the role changed much throughout the University’s history?

Yes – but the Proctors have been around for over 750 years! The role originated in the early days of the University when there was friction between people from the North of England and people from the South. Each side appointed a Master of Arts to represent their interests and the Proctorial system developed from there. It is interesting to see that the original role was to do with sorting out disputes and imposing discipline. The Proctors’ role has developed over the years to suit the changing needs of a changing University. Change comes about partly because of internal reforms and partly because of external pressures (e.g. new legal requirements).


Are Proctors responsible for college discipline?

Some misconduct will relate just to college matters (e.g. setting off fire extinguishers in college accommodation), and these are dealt with by the student’s own college. Other misconduct will relate just to university matters (e.g. plagiarism or other cheating in a University Examination), and these are dealt with by the Proctors on the University’s behalf. There is a grey area in the middle (e.g. significant misuse of IT facilities involving both college and university systems), and in these cases the Proctors will agree with the college Deans concerned the fairest way to take disciplinary proceedings forward.


Which disciplinary cases are referred to the Proctors?

Disciplinary cases start with a formal investigation of concerns brought to the Proctors’ attention (e.g. by a Chairman of Examiners). Other, straightforward, cases result from reports made to the Proctors (e.g. by their Proctors’ Officers about student misbehaviour after examinations). They are dealt with either by the Proctors or by the Student Disciplinary Panel. The most serious cases are referred to the Student Disciplinary Panel which holds an independent tribunal, while the Proctors deal with the less serious cases. Students have full rights to answer the charges, bring evidence and call witnesses.


What disciplinary measures are used by the University?

The Proctors can impose a fine and/or damages up to £100 and issue a written warning about the student’s future behaviour. The Student Disciplinary Panel, however, can impose unlimited fines/damages, can rusticate and expel, and in the case of examination-related offences can order penalties such as marks reduction, failure in a paper or failure in the entire examination. The Proctors also have other powers relating to suspension of students who are misusing university premises, and those involved in criminal proceedings.

 

Fighting the Recession

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What are the key problems facing the economy?

The immediate problem is a shortage of credit. Private saving in Britain has been low for many years and therefore the economy has been dependent on capital inflows from abroad. At the moment such funding is not forthcoming. Investors that have access to cash are unwilling to lend it because of fears over the solvency of potential borrowers, partly because the full extent of losses from housing and equity market declines is unclear, and partly because the prospect of a protracted recession raises the possibility that many borrowers will default on loans. The symptoms of recession, including weak consumer spending and rising unemployment, can be traced to a lack of demand arising from constraints on the availability of credit.

Is the government to blame for the predicament?

No. At base, the problems affecting the global economy result from a period of excessive lending that saw good money invested in bad projects that were never likely to deliver a return. The most famous example of this occurred in the US subprime mortgage market, and the fall out has been propagated internationally via globalized financial markets. The UK government could have pushed for stricter international regulation of lending ten years ago, but the government is not directly responsible for the predicament.

Whose policies, if any, are likely to be effective?

The steps taken by the government will stabilize the British banking system and lay the foundations for a return to positive economic growth in the medium-term. Many other countries, such as Germany and the USA, have also adopted fiscal stimulus approaches. The tax cuts and increases in spending are likely to be a useful injections of cash into an economic environment where many people are feeling worse off. Although the government has been criticised on the grounds that more spending will increase government debt, our national debt levels remain lower than many other G8 nations.

What’s the government’s plan for the crisis?

A fiscal stimulus. The government has agreed to take out loans using its own preferential credit lines and make the funds available to banks in the hope that banks will then pass on the money to consumers and businesses in the form of loans. There is also a much smaller package of tax cuts and government spending increases intended to boost incomes in the economy at a time when many face tight budgets.

What do the Conservatives propose?

The Conservative Party have advocated a National Loan Guarantee Scheme whereby the repayment of loans to businesses would be guaranteed in the event those businesses go bankrupt. The idea is that the scheme takes some of the risk out of lending and therefore induces banks to lend money to firms, who then feel confident to spend on hiring, investment and the like, which then supports expenditure and income in other parts of the economy.

Is there an end in sight?

The banks now have access to funds. What they require is profitable lending opportunities, but such opportunities are hard to come by at the moment. Most sectors are performing badly because demand is weak. Even when banks resume something approaching normal terms of lending there are lots of UK consumers with large debts to repay after a decade of rapid growth in borrowing, so demand will remain weak throughout 2009.

Papal Controversy and Media Misquotes

John-Mark Philo

LGBT Rep, Oriel

‘Jews are a menace to nature’;
‘Black people are as great a threat as rainforest destruction’

No British newspaper would publish these headlines – they would be immediately condemned as anti-Semitic and racist. Why did they think it was all right to feature similar claims about gay people? In the Daily Mail we read “Homosexuality is as great a threat as rainforest destruction” and in The Telegraph “Pope says humanity needs ‘saving’ from homosexuality” (23rd December). BBC radio ran the story without critical voices. It was a masterly piece of media agenda setting in the context of the debate over gay marriage. The article was released during a media dry spell and the news angle was one designed to grab attention.

Now the story gets interesting, because this isn’t what the Pope actually said. In his end of year address to the Curia, he doesn’t even mention the word homosexuality. He says that the Church must ‘protect Man against the destruction of himself’ and that marriage is ‘a sacrament of creation’ exclusively ‘between man and wife’. These rather vague formulations are then drawn to the attention of the media and spun slightly so that the anti-gay message now becomes crystal clear. The story goes out through a news agency and the mass media pick it up.

So who is responsible for this process? Most likely a Vatican official with the tacit approval of the Pope. If Il Papa had objected to the way his words were used, then he could have issued a denial. He didn’t.

In fact, rather shifty statements have been emerging from the Vatican for some time attacking sexualities of which the Church does not officially approve. A number of newspapers reported that in October last year an ‘unnamed’ Vatican official had described homosexuality as ‘a deviation, an irregularity, a wound’.

So the Pope, in a sense, has it both ways. He makes a slightly obscure, unengaging speech on marriage and the rainforests including lengthy passages on pneumatology and the ‘hovering creator’. When challenged, his defenders can say it’s the newspapers that have made a drama of it and really it was a commentary on gender theory.

The media shouldn’t fall for these cheap tricks, but should be ready to challenge the claims of old Vatican homophobes and their spin doctors.

 

Patrick Milner

Newman Society President

How embarrassing. Yet another scandalous and unnecessary statement that has exposed the shortcomings and incompetencies of a worldwide organisation. I am of course referring to the BBC’s coverage of the Holy Father’s Address to the Roman Curia. It may seem unfair to single out one individual media body, but the BBC really must take the first prize in the fictional non-news category. The BBC website claimed that “Pope Benedict XVI has said that saving humanity from homosexual or transsexual behaviour is just as important as saving the rainforest from destruction”. This sentence is nothing more than outright lie; he never even mentioned homosexuality.

Now, I’m all for using one’s own initiative in order to save time and unnecessary work, but as the world’s largest broadcaster that employs 28,500 people in the UK alone, the only conclusions that we can draw from this is that either no one from the BBC read the actual address, or that someone has deliberately distorted the truth for a sensationalist article. I’ll say it again: how embarrassing.

Now to what the Holy Father actually said. The Pope’s annual address to the Roman Curia is a reflection on the major Papal events of the last year. In it, he mentions his travels to the USA and France, the Synod of Bishops and World Youth Day which was held in Sydney. He then discussed World Youth Day and the environment in relation to the Holy Spirit. It was in this context that he talked about how God’s plan for creation encompasses both stewardship of the planet and the expression of human sexual relations within marriage. He called for an ecology of Man.

Yes, I’ll say it, the Pope believes in sanctity of Marriage between Man and Woman. He firmly believes that God created Man and Woman for love, and has called them to an intimate communion of love in Marriage. It’s quite simple and he is unafraid to say it. The Church does not recognise civil partnerships as having the status of marriage and it does not agree that the best environment in which to bring up a child is with same sex parents. Shock horror, the Pope is Catholic. What next? Jesus was a Jew?

In future, perhaps the BBC should get their facts right and then try and write something which is vaguely interesting; neither of which have they managed to do on this occasion.

World XI: Sean’s Goalkeeper

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Much as I would love to be different and go for Shay Given, frankly, I couldn’t agree with Jack much more here, so I’m not going to bore you by repeating him. It is basically impossible to split between the cat-like reflexes of the greatest goalkeepers in the world, so as Jack said we must rely on their consistency, leadership and experience. So as that rules out Heurelho Gomes for me that leaves Casillas and Buffon almost even, except for the fact that the latter has done this. If you type ‘Casillas mistake’ into youtube, all you get is a few Pro Evo bugs, and one misjudged cross celebrated by a hysterical Roma fan. A rarity, and hardly a crime worthy of relegating him from the top of the podium.

So with this post being rather brief I decided to take up Jack’s challenge and try and find a better save than this absurd stop by Gregory Coupet. I’m not sure anything can actually beat that, but these three by David Seaman, Claudio Bravo and Jussi Jaaskelainen (no seriously – skip to 3.07, its fantastic) respectively can at least be spoke of in the same breath. Enjoy.

Sean’s World XI

GK – Iker Casillas (Real Madrid and Spain)

 

Romeo and Juliet at the RSC

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The moment you could tell it was going to be fantastic came early in the first act. The lights went down and the blare of jazz trumpets subsided into silence; the January rain lashing the outside of the theatre was forgotten and the darkness took on the hot, claustrophobic quality of an Italian night, the air thick with passion and threat. Into all of this strode the Capulets and the Montagues: sharply dressed, quick with their wits and even quicker to lose their tempers. The first scene was played with a distinctly light touch; every pun fully exploited the delicious humour of the language but also sought to bring out the bravado of men always watching their backs. These moments of laughter gave the audience breathing space but never allowed for genuine relaxation, even while they joked the Capulets fingered their knives longingly and there was always the sense that violence would surely break out at any moment. The play added to this building tension by cutting down on scenery in favour of rapid scene changes- often allowing one scene to spill into the next. The incessant motion was only broken when a knife was drawn accompanied by the lights suddenly dropping and a spotlight being focused on the blade. Playing both on the public’s awareness of knife crime and the mafia street gang mood, the knives in this production have a truly threatening quality, seeming to be loved and feared by the male characters in equal measure. The director (Neil Bartlett) is keen to bring out the brutality of violence, the contrast between the elegant rituals of behaviour and dress serve to bring out, even more clearly, the bestial nature of street violence. There is nothing honourable or gallant about Tybalt’s confrontation with Mercutio- Bartlett emphasises its essential pettiness and the squalid, yet intoxicating, appeal of violence to young men; how in a culture that values knives and machismo, pride will inevitably get the upper hand over good sense and bloody violence will, ‘disturb the quiet of our streets.’

The title characters stood in firm contrast to the rest of the cast. While the other women were calm and dignified, Juliet (Anneika Rose) was a wilful teenager who seemed like a bright spark trapped in the grim world of Verona. Compared to his violent contemporise Romeo (David Dawson) was carefree, almost foppish, in his words and motion. The key to any production of Romeo and Juliet lies in its ability to show the transcendent quality of love compared to the other emotions at work in society and this version made that conclusion inescapable.

Four stars

Running until the 24th of January, Courtyard Theatre, 7:15pm
Student tickets, £5.00
Running time 3 hours 15 mins

 

Auditions

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Auditions are bad. Waiting for them is worse. If acting was not already fiercely competitive enough it doesn’t help to be placed in a tiny space, often a staircase but sometimes some kind of underground holding chamber, and made to sit and stare out everyone else who is auditioning. Often people arrive ridiculously early, in the hope that the director will simply see you waiting patiently for the audition, and send everyone else home, recruiting you without needing to see anything. However, it’s worthless to fight. You will inevitably arrive late, breathless, oozing with sweat and garble a pathetic excuse like “sorry I’m late, I had a lecture in the Rad-Cam and my books were on fire”. Gathering your thoughts and realising that you have just spouted some nonsense worthy of Edward Lear; you spot the poor person whose audition you have interrupted, giving what you fear might be the best performance of the closing Faustus speech you have ever seen. Any initial feeling of embarrassment is rapidly replaced with a sense of malicious glee that you may have thrown the audition of your new arch-rival. However, before you can glory in your triumph, you are immediately ushered from the room by a disgruntled producer, informing you that your lateness has led them to give your spot to someone else. Now you’ll have to wait.
After an inane conversation with another actor who is far more attractive and almost definitely more talented than you are, you have a very brief glance at the forty line monologue you’re supposed to have memorised. But it’s not long before you have to ask the bearded grad opposite if he could possibly stop muttering his lines aloud as it’s impossible to concentrate through his babbling. After a staring contest which stretches on for what seems like an age he opens his mouth to reply. But before he can speak, the producer calls your name with what sounds like a mixture of dread and boredom. Now you shuffle awkwardly into the JCR kitchen where the auditions are taking place.
You make your way into the centre of the room and in front of the panel of creative genii who have set themselves up as the X-Factor judges, begin your speech. After changing your accent about five times in your first struggle, you’re stopped by the director who asks: “Would you mind doing that again, except this time a little more… bigger. You know what I mean?” Despite having no clue what he means, you nod enthusiastically. So you take up your position in the centre of the room, with your legs wide apart and your shoulders as broad as you can make them, in a vain attempt to satisfy their inscrutable criteria.
Finally, with the director’s “we’ll be in touch” still ringing in your ears you hurry out of the room as quickly as possible. If you’re unlucky you’ll spend an excruciating ten seconds pushing against the immovable exit door, before an exasperated voice calls from behind, “it’s pull.”

1st Week: Things kick off

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In a brief break from writing a 10,000-word self-nomination for these OSPL talent awards that have got all of this website buzzing, I bring you new singles. None are as exciting as the fact that the new Antony album’s out today and sitting temptingly to my left, screaming/warbling out to be played, but then I’m not going to win any awards by neglecting this blog now, am I?

Bon IverBlood Bank ****

This new release comes as a four-track EP that is well worth £2.49 of anyone’s money. Except possibly Alastair Darling’s. Fleet Foxes’ laid-back, stripped-down cousins are back, boosted by end-of-year acclaim for 2008’s For Emma, Forever Ago, and on the title track at least have sensibly changed absolutely nothing. B-sides ‘Babys’ and ‘Woods’ experiment with piano and Imogen Heap-styled vocal layering respectively. But ‘Blood Bank’ gives you a strong chorus, chugging reverb-drenched acoustic guitars, and some of the smoothest singing on record. Ace.

Franz Ferdinand – Ulysses ***

Sounds like we’ll have to wait for the album to hear those ‘new influences’ come through: this sounds exactly like old Franz, with minor concessions to the current penchant for occasional falsetto and underlying beats. Still, at least its attention span is longer than former lead singles, so it only tries to be one song, not two. That single song is a little stodgy, a little uninspired, but there’s a genuine sense of progression and building over the three minutes: you emerge from the warped mid-8 into a darker, more menacing chorus than you’d first encountered. So the jury’s still out…

Pink – Sober **

Did you know Pink was still going? Exciting, isn’t it? Well, not really. The mashing of genres here – flamenco/funk acoustic guitar twiddles, ’80s drums, garage distortion and arch strings – would be more impressive if they didn’t sound like a No Doubt release from the late ’90s. The breakdown’s quite pleasant, but the tune has none of the aggression or pop nous of her earlier work, and her voice is clearly deteriorating. Shame.

Kid British – Lost In London ***

Close your eyes, and it’s The Kooks’ Luke Pritchard, kidnapped by a Jamaican steel band and forced to cod-rap in an embarrassing West Indian accent. Which is more fun than looking at these baseball-capped youths. They’re just not very pretty. But the song’s oddly enjoyable, referencing tube stops and rattling kettledrums. Has that terrace-appeal of yob-indie bands whilst being a half-decent piece of music along with it.

Something Old, Something New

Elbow – Cast Of Thousands

OK, so it’s not very old, but amazon are offering all of Elbow’s back catalogue for £2.98 per album, and this sophomore effort is their masterpiece, from the soul explosion of ‘Ribcage’, through the swoonsome romance of ‘Not A Job’, ‘Switching Off’, and ‘Buttons and Zips’, to the festival percussion ecstacy of ‘Grace Under Pressure’. Beats The Seldom Seen Kid hands down.

Patrick Wolf – Battle

That scamp, young Patrick, has taken to playing the markets. Or he just can’t find a record deal. In any case, he’s offering YOU the chance to become a stockholder in his forthcoming fourth album, with all kinds of perks besides the profits which, quite honestly, aren’t going to be massive. But with Tilda Swinton on the album, maybe the extra publicity will make your fortune…go invest.

That’s all, folks. Back to self-promotion…

OSPL ‘Talent’

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“All you need to do to nominate an individual (or, for that matter, yourself)”

Please don’t nominate yourself. Writing 50 words on how brilliant you are is not really a skill and is likely to blow your ego into the stratosphere. Oh, your ‘best mate in the world ever’ did it ‘entirely without your knowledge and you’re so embarrassed’, well that’s OK then.

Then again, the prize is amazing. Membership of the poshest hackery in town, and a ticket to a huge mutual back-slapping OSPL party. Just careful you don’t get overwhelmed by the speeches – surely to make Kate Winslet seem modest and brief.

Fake nominanting people who are rubbish, on the other hand, is heartily approved of by this Saint. 

OSPL talent awards: http://www.cherwell.org/content/8284  

 

 

Pictures for Peace?

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Three years ago Marco Berrebi an Arab-Jewish mathematician, writer and activist orchestrated the biggest illegal photo exhibition the world had ever seen as a contribution to the Middle East peace process. He is the co-founder of Face2Face, a co-existence project that began in 2005. Marco teamed up with JR, a street photographer from Paris to create Face2Face, aimed at promoting dialogue and ultimately peace between Israelis and Palestinians, Muslims and Jews, “I had a long history of doing useless things with peace groups, so when this idea came along we had nothing to lose.”

In 2006 Marco and JR shot civilians from many cities in Israel and the Occupied Palestinian Territories. “We wanted to change the notion of limits, even if that’s by 1 cm. People have internalised the idea that they are powerless. We did it. And it’s a small thing, but people assumed it undoable.” They found Palestinians and Israelis who do the same job and posted their portraits face to face, a far cry from the polarized and stereotyped stock images projected by the media. The pictures are beautiful and the subjects were eased to the point of jollity despite JR’s intrusive weapon of choice, a 28-millimeter lens. JR and Marco went on to blow up the images, pasting them on Palestinian and Israeli walls, houses and shops. “We played on the symbolic gesture of taking pictures to where you cannot take people”. They even pasted on the separating wall, also known as the apartheid wall that lies between Israel and the West Bank. “We used the wall as a projection of the inner wall everybody has. The posters were temporary, they could be written on, painted on, ripped or peed on – we didn’t care what happened afterwards. The art was in placing them. I’d consider that a colonialist view, to put something there that’s permanent, whether people like it or not.” The irony of that last statement is resounding.

I had contacted Marco months prior to our meeting to ask advice on the best way for Oxford’s societies to promote co-existence rather than simulating the hostilities of the conflict. “I honestly feel that art is the best way to talk without quarrelling. Starting with political discussion is doomed to fail.” I met him in London for the premier of his documentary film, ‘Faces’ made from footage of the weeks he spent in the Middle East. “We got arrested a few times, and got some posters ripped down but more or less managed the task flawlessly.” The film was honest and moving, taking time to hear the stories of citizens such as a Palestinian girl who said she agreed to take part in Fac

e2Face so she could show the world her home. She proceeded to show us around Deheishe refugee camp and spoke of her passion for basketball. We also saw a Rabbi condemning an Israeli soldier who had ripped down a picture of a Palestinian boy, and a group of young boys looking at photographs JR had taken and guessing which one was the Arab, usually incorrectly. The humanity displayed in the film was poignant, especially to this theatre where Jews and Muslims were sitting, united. Faces won the prize for best documentary at the International Islamic Film Festival while simultaneously being hosted by the UK Jewish Film Festival. The complexity of co-existence makes this a huge achievement, and when I mentioned this to Marco he smiled, “as an Arab Jew I am very proud of it. It proves we don’t have to choose a single identity – that is a way of neglecting yourself, locking yourself in a drawer. It’s my best achievement to date.”

While being amazed by the good work of Face2Face, I couldn’t help but question whether in a bid to be objective it was missing an important point. I understand the ethos that once the Israeli and Palestinian people recognise that regardless of race they are all human, there will be peace. However, this assumes that both sides are equally to blame and have equal power. This is obviously not true in the case of Israel and Palestine where Israel holds far greater power and therefore responsibility, and so however hopeful the Face2Face project is, it is still far removed from any reality. After all, it is not necessarily an inner wall which must be confronted, but indeed a 40 foot high one.

My thoughts intensified when on the morning of December 27th 2008, the nation awoke, bleary-eyed to scenes of terrorism in Gaza. What place do the looming happy images of Face2Face have in a conflict which is so far from any kind of peace? The truth is, we are far from harmony in the Middle East because the aim is not for peace, but rather for territorial expansion and ethnic cleansing, and the rest of the world is blinded with a plethora of propaganda and barefaced lies used to try and convince us otherwise.

For Israel to claim that in 2005 they left Gaza unoccupied is a lie. The Gaza Strip continued to be blockaded by Israel via air, land and sea resulting in over 80% of the population surviving on insufficient UN handouts. Under International Humanitarian Law, this constitutes an occupation and furthermore, collective punishment – a war crime. Israel’s claim that the invasion is in the interests of its Israeli citizens is false. This war will create more desperation, frustration and further humanitarian crisis, a deadly cocktail brewing death and extremism. Israel is not lying when it says rockets have been fired from Gaza into Southern Israel, forcing people to live their lives in 15-second increments. These acts are utterly reprehensible. However, terrorising the Palestinian population even further, pushing them so far past what is acceptable under humanitarian law and all the while claiming that “there is no humanitarian crisis in Gaza” as Tzipi Livni, Israel’s Foreign Minister had the audacity to do, is not going to stop the rockets falling. The Qassam attacks are not simply a result of needless terrorism by Hamas, but rather a resistance to the violence of the unremitting blockade imposed on the Palestinian people. Refusing to accept that is dishonest and detrimental to the security of all concerned.

Face2Face is not going to change policies, dismantle blockades, deliver aid to starving Gazans or negotiate a ceasefire. Face2Face is not going to stop the lies spewed by the Israeli government and the Western media or the massacre of innocent people. Face2Face provides a stark and moving contrast to the faces we have seen on the news and some of the faces I saw at the London protests. Faces which exude frustration, despair and fury. Are these the faces of future peace or further polarization?

Marco and JR are confident they will be back for ‘Hand in Hand’. Such optimism in the current climate could be seen as naïve and futile but I defend Face2Face and I praise the sanguinity emanated by those who made it happen. The current situation is one of unrelenting and unjust tragedy – sickeningly in the name of a future peace. This is why the message of Face2Face so important. “We met Palestinians and Israelis who were dedicating their lives to working on reconciliation. They’re the real demonstrators for a just and real peace. They’re the search-light. The beacon. The only way Face2Face materialised was through dialogue and negotiation.” Granted, that negotiation involved convincing an Israeli shop owner to allow a massive picture of a Palestinian sticking their tongue out to be pasted on his wall, but I believe in that one act, Face2Face did more to promote peace in the Middle East than Israel have done for a harrowingly long time. It is co-existence projects such as these that quietly but as relentlessly as the violence, pave the only way to a true peace.