Wednesday 24th June 2026
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Bangladesh July Revolution leaders speak at Oxford Union as protesters clash outside

Hattie Simpson
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Bangladesh July Revolution leaders speak at Oxford Union as protesters clash outside

Protesters clashed outside the Oxford Union this evening during a panel discussion on the 2024 Bangladeshi July Revolution, entitled “The Student-Led Uprising and the Future of Post-Revolutionary Bangladesh”. The panel began at 6.30pm and features several prominent figures from the revolution, including Shadik Kayem, described as a key coordinator of the July uprising and vice president of the Dhaka University Central Student Union, and Hasnat Abdullah, an MP with the National Citizen Party, one of the central organisers of the Students Against Discrimination movement. 

Approximately 400 people attended the protest and counter-protest. Four police vans and two police cars could be seen at the scene, with Brasenose College deploying a porter to guard nearby college accommodation. The protesters and counter-protesters on St Michael’s Street were separated by a line of police. Throughout the evening, the division between the groups moved up and down the street as the groups clashed. 

The event was organised by the Oxford Union in collaboration with the Oxford Bangla Society. The organisation of the event has become the topic of significant public debate in Bangladesh, with some critics incorrectly alleging that it had been privately organised by associates of the speakers who had hired the chamber and then presented it as an Oxford Union event. The Union clarified to Cherwell that while collaborative events involve partner societies receiving “a small number of free tickets for their members” and “joint advertising of the event in question”, “the actual organisation of such collaborative events, still falls solely on the Oxford Union team”. 

The July Revolution was a mass uprising in Bangladesh in 2024, which saw Prime Minister Sheikh Hasna and the Awami League Government ousted after 15 years in power. Human rights organisations, including Amnesty International and Human Rights Watch, blamed the government for the deaths of “students, journalists and bystanders” in a violent crackdown on the protests. 

Counter-protesters included supporters of Hasnat Abdullah and Shadik Kayem. One couter-protester told Cherwell that three groups were leading the counter-protest: Jamaat-e-Islami, a right-wing Bangladeshi Islamist political party; the National Citizen Party (NCP), a youth-led political party founded following the July Uprising; and Inqilab Moncho, a political platform and student group inspired by the July Uprising. 

An organiser from Inqilab Moncho (a political platform and student group inspired by the July Uprising) described those inside the chamber to Cherwell as “our July heroes”, adding that the purpose of their attendance was to “welcome” the speakers, and make sure that “everyone hears the voice of the students”. Counter-protesters chanted “Inquilab Zindabad”, roughly translated to “Long live the revolution”, and a chant which essentially translates to “fake, fake, fake”.

Protesters described themselves to Cherwell as a “mix of people”, with many from the UK Awami League, the UK branch of the former governing party in Bangladesh – they reportedly arrived in Oxford from London aboard a double-decker bus. The group is the UK branch of the Bangladeshi Awami League, which dominated the country’s political system from 2009 to 2024, before being ousted from power in the July Uprising. Under Sheikh Hasna’s rule, Bangladesh was reported by Human Rights Watch to have experienced “democratic backsliding” and “authoritarian crackdown”. All activity by the party has been banned in Bangladesh since May 2025.

One Protester told Cherwell that “those people who are suffering in our country… we came to protest for them here”, another added that they were here “fighting for my country… we want our country back”. Protesters chanted “Joy Bangla”, which roughly translates as “Victory to Bengal” or “Hail Bengal”, and “Joy Bangabandhu”, referring to Sheikh Mujibur Rahman, the first President of Bangladesh. Rahman’s photo featured on multiple large signs held by the protesters.

In a leaflet being distributed by protesters from Mission Badam, they explained that they were protesting “because Oxford Union is providing a prestigious platform to speakers whose public conduct raises serious concerns about violence, intimidation, democratic exclusion and attacks on free expression in Bangladesh”. The leaflet adds that they are protesting “to inform the public”; “to call for proper scrutiny before prestigious UK platforms legitimse such speakers”; and “to defend democractic balance, free expression, and accountability”. 

As the protest came to a conclusion around 8.30pm, police followed protesters away from St Michael’s Street towards their coach. Cherwell understands there was a brief altercation once the group reached the Ashmolean Museum with protesters chanting “Razakhar”, a slur equated to “traitor”, at two students who’d been in attendance, and attempted to punch them before the police intervened.

The Oxford Union described the event as “a timely and powerful discussion on the seismic July Revolution and the transition back to democracy in Bangladesh”. The panel discussed “the prospects for a long-term return to democracy” in the country and how the uprising “redefined national trajectories”. 

In a statement to Cherwell, the Union added that it was “honoured to invite and host several prominent Bangladeshi figures, from across academia, activism and politics”, and that the event’s primary objective was “to provide an analytical, forward-looking exploration of the 2024 Revolution”. According to the Union, the panel was intended to combine “first-hand accounts and rigorous intellectual analysis” of Bangladesh’s post-revolutionary future. 

The scenes outside the Union this evening come just days before Stephen Yaxley-Lennon, otherwise known as Tommy Robinson, is due to speak at the Union, alongside other controversial figures including Laurence Fox, on Wednesday. Robinson’s appearance has already drawn significant opposition from student groups and activists, and today’s protest is likely to heighten tensions further, ahead of what is expected to be a deeply contested event.

How Inflatable Sculptures Elevate Concert Experiences

External Contributor
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Modern concert audiences expect far more than exceptional music. From stadium tours and arena shows to major festivals, visual spectacle has become a defining element of the live entertainment experience. As artists and production teams seek new ways to captivate audiences, inflatable sculptures have emerged as one of the most effective stage design tools available, combining impressive scale, creative freedom, and practical touring advantages. Whether used to create larger-than-life characters, striking artistic installations, or immersive stage environments, custom inflatables help transform performances into unforgettable experiences that resonate long after the final encore.

Creating Spectacles That Audiences Remember

In an era where audiences are constantly exposed to digital content and live entertainment options, creating a memorable visual experience has become essential for concert organisers and performers. Inflatable sculptures offer an immediate sense of scale that traditional stage elements often struggle to achieve, transforming empty performance spaces into immersive environments that command attention from the moment audiences enter the venue. Whether suspended above a stage, positioned as a centrepiece, or integrated into a wider production design, these large-scale structures help establish a distinctive visual identity for a performance.

The effectiveness of inflatable sculptures is rooted in both psychology and design. Research has consistently shown that oversized objects evoke stronger emotional responses and are more likely to be remembered than conventional visual elements. This explains why some of the most iconic concert productions in history have featured monumental stage pieces that become inseparable from the performance itself. By creating striking focal points that are visible across arenas, stadiums, and festival grounds, inflatable sculptures help transform concerts from music events into fully immersive experiences that audiences remember long after the final performance.

Combining Artistic Vision with Practical Touring Solutions

One of the greatest strengths of inflatable sculptures lies in their ability to combine artistic ambition with logistical efficiency. Concert productions often require stage elements that not only captivate audiences but also support demanding tour schedules across multiple venues and countries. Through the use of bespoke designs and hand-painted inflatables, production teams can create highly detailed visual features that reflect an artist’s brand, album concept, or creative vision. From realistic sculptures and character recreations to abstract artistic forms, these custom creations become powerful storytelling tools that enhance the overall performance.

Unlike traditional stage scenery, inflatable sculptures are lightweight, compact when deflated, and significantly easier to transport between venues. This makes them particularly valuable for arena tours, festival appearances, and international productions where efficiency is critical. Faster installation and dismantling times can also reduce operational pressures while allowing production teams to maintain impressive visual standards throughout a tour. By delivering both artistic impact and practical advantages, inflatable sculptures provide a solution that meets the creative and commercial demands of modern live entertainment.

Enhancing Audience Engagement in the Social Media Era

The modern concert experience extends far beyond the venue itself. Audiences increasingly share performances through social media platforms, creating valuable exposure that can amplify the reach of an artist, festival, or event long after it has ended. As a result, production teams are investing in visual elements that encourage photography, video content, and audience interaction. Inflatable sculptures naturally lend themselves to this environment, providing dramatic focal points that stand out in photographs and create instantly recognisable moments.

This ability to generate shareable content offers significant value for artists and event organisers alike. A striking inflatable installation can become one of the defining images associated with a tour, helping performances gain traction across social media channels while strengthening audience engagement. Beyond their visual appeal, inflatable sculptures contribute to the immersive atmosphere that modern audiences seek, transforming spectators into active participants in an experience that feels unique, memorable, and worthy of sharing.

The Future of Concert Stage Design

As audience expectations continue to evolve, concert production is becoming increasingly focused on creating immersive experiences that blend music, art, and technology. Promoters and production teams are under growing pressure to deliver visually distinctive performances that stand apart from competing events, making innovative stage design more valuable than ever. Inflatable sculptures provide a versatile solution that can be tailored to virtually any creative concept while delivering the scale and impact required for modern live entertainment.

Sustainability is also becoming an important consideration across the events industry. Unlike many traditional stage elements that are built for limited use, high-quality inflatable sculptures can be reused across multiple tours, stored efficiently between events, and refurbished when required. As the demand for experiential entertainment continues to grow, inflatable sculptures are well-positioned to remain a key feature of concert production, helping artists and organisers create memorable experiences that captivate audiences while supporting more efficient and sustainable event design.

Conclusion

As concerts continue to evolve into fully immersive entertainment experiences, inflatable sculptures are playing an increasingly important role in modern stage design. Their ability to deliver exceptional visual impact, support creative storytelling, enhance audience engagement, and meet the practical demands of touring productions makes them a valuable asset for artists, promoters, and event organisers alike. By combining artistic craftsmanship with logistical efficiency, inflatable sculptures help create the memorable concert experiences that audiences have come to expect from today’s most ambitious live productions.

How Kitchen Design Choices Influence Property Value in the UK

External Contributor
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The kitchen is often one of the first spaces buyers assess when forming an opinion about a property, making its design a significant factor in perceived value. A well-designed kitchen can enhance functionality, improve visual appeal, and create a stronger sense of quality throughout the home, all of which contribute to a property’s marketability. As homeowner expectations continue to rise, there is increasing emphasis on creating kitchens that balance practicality with timeless design. Features such as wooden worktops remain popular because they offer a combination of natural character, durability, and versatility, allowing them to complement both traditional and contemporary interiors while contributing to a more premium overall appearance.

The Design Features That Add the Most Value

While overall appearance is important, certain design features consistently have a greater influence on both buyer appeal and long-term property value. Layout is often the most significant factor, as a kitchen that allows for efficient movement between preparation, cooking, and dining areas tends to feel more practical and enjoyable to use. Storage is equally important, with integrated solutions helping homeowners keep surfaces uncluttered and maximise available space. These functional considerations often have a lasting impact because they improve how the room performs on a daily basis rather than simply altering how it looks.

Surface selection can also play a major role in shaping perceptions of quality. Buyers are often drawn to kitchens that feature durable, well-finished surfaces capable of maintaining their appearance over time. Options such as 40mm kitchen worktops are frequently chosen because their substantial profile creates a more premium visual presence while providing the robustness expected within a high-use environment. Combined with quality cabinetry and thoughtful detailing, these features help create a kitchen that feels both valuable and built to last.

Creating a Timeless Kitchen That Appeals to Buyers

Kitchen trends can generate inspiration, but designs that are too closely tied to a particular period often risk feeling dated within a relatively short timeframe. Homeowners looking to maximise property value typically benefit from choosing features that have enduring appeal rather than following rapidly changing fashions. Neutral colour palettes, clean cabinetry designs, and balanced material selections tend to remain attractive to a wider audience, helping a kitchen retain its relevance for years after installation. This broad appeal can be particularly important when a property eventually enters the market, as buyers are more likely to connect with spaces that feel versatile and adaptable.

Timeless kitchen design also focuses on quality and consistency rather than visual excess. Well-proportioned layouts, carefully considered lighting, and durable finishes create a more sophisticated environment that remains attractive despite changing interior trends. By prioritising longevity over novelty, homeowners can create kitchens that continue to support everyday living while maintaining a strong contribution to the property’s overall desirability and perceived value.

Balancing Practicality with Premium Design

The most valuable kitchens successfully balance aesthetics with everyday functionality. While visual appeal can attract attention, long-term satisfaction often depends on how well a kitchen performs under regular use. Durable surfaces, efficient storage solutions, and layouts that support daily routines all contribute towards a space that feels genuinely premium rather than simply expensive. Homeowners increasingly recognise that practical design decisions can have just as much influence on the overall quality of a kitchen as the finishes and decorative features that are immediately visible.

Premium design is often found in the finer details that improve usability without compromising style. Soft-close cabinetry, integrated appliances, concealed storage, and carefully planned work zones help create a cleaner and more efficient environment while maintaining a sophisticated appearance. By combining practical considerations with high-quality finishes and thoughtful design choices, homeowners can create kitchens that not only enhance their daily lives but also strengthen the long-term appeal and value of their property.

Conclusion

Thoughtful kitchen design remains one of the most effective ways to enhance both the enjoyment and value of a property. While individual features can contribute to buyer appeal, the greatest impact often comes from creating a space that combines functionality, quality, and timeless design principles. From intelligent layouts and effective storage solutions to premium surfaces and enduring aesthetics, every decision plays a role in shaping how a kitchen is perceived. By focusing on long-term practicality and broad appeal rather than short-lived trends, homeowners can create kitchens that not only support modern living but also strengthen the desirability and market value of their property for years to come.

The BNOC List 2026

Cherwell Features Section Editors
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The BNOC List 2026

As the academic year draws to a close, the most anticipated list in all of Oxford is finally here!

This year’s BNOC nomination form received 331 responses over the course of ten days, with the final response coming in just 14 seconds before the form closed (you’ve got to admire the procrastination of an Oxford student). The form allowed three nominations per submission, and nearly 350 people from across the University were nominated at least one time.

Unsurprisingly, the most nominated category in this list was the Oxford Union. There were 221 nominations in which an affiliation with the Union proved to be a person’s strongest category. Not far behind was the category of ‘Other’. While this list does tend to get a reputation for platforming the union hacks of the year (and in some ways this year’s list is no different), it is interesting how many characters around Oxford defy a specific sort of categorisation. It should also be noted that a few people were nominated for different categories over time, speaking to both the fact that certain societies attract people with similar interests (political societies and the Oxford Union being a particularly strong pairing) and also the perhaps over-extended nature of the extremely motivated Oxford student.

The category which received the fewest number of individual nominations was Sport, sitting at only 45. This might have to do with many sports taking place at a college level, while this list has a broader university-wide scope. Journalism was only slightly higher, though six members of Cherwell’s own senior editorial team (including EICs) were nominated, alongside a handful of former editors. 

But being a BNOC is generally more than just an affiliation with a specific society – many people are in the Oxford Union, but only some become elevated to the status of ‘union hack’. It takes a certain kind of personality or ambition to rise to the more recognisable of the close to 26,800 students affiliated with the University. At the very least, they probably needed to be following Cherwell on Instagram or have an acquaintance at least tangentially involved who might have shared our survey link. Beyond the broad categories, survey respondents also answered an open-ended question about why a person was, in fact, a BNOC. Responses varied from a specific list of someone’s qualifications to the very general “everything” (given as a reason for six nominations). 

But what turned a nominee into a BNOC on the list? For some, it was the simple act of responding to our email request for a description and photo after initially sorting through the data; we have to have enough names to fill out the list, after all. Other components taken into account included the role of the nominee within Oxford’s university society at large and, of course, the number of nominations received (though we attempted to look a bit critically at responses which seemed particularly like a spam or ‘hacked’ nomination).

This year’s list also reflects a tumultuous time for Oxford students in the limelight. While you may recognise some headshots on this list from previous years, or indeed from previous Cherwell articles, we’ve also tried to change things up a bit. Hopefully, this list provides both some familiar and new faces, no matter how involved you might be with some of the more public-facing Oxford societies.

  1. George Abaraonye

Univ PPE, former Union President-Elect, perpetual Oxford figure with headphones. Returned from rustication to collect his BNOC crown, and signed off his acceptance email with “toodles”. 

  1. Arwa Elrayess

Oxford Union’s first Arab woman president, who arrived promising stability and delivered anything but that. Cherwell is happy to see a woman in male-dominated fields. 

  1. Overheard at Oxford 

Self-proclaimed reformed ex-Cherwell hater. Proud to say that the “masses still flock to hear the propaganda”. Oxford’s most un-anonymous anonymous Instagram account. 

  1. Harry Aldridge 

New College PPE, Media Soc president, 93% Club president, Union Secretary, and subject of a JCR no-confidence motion. Running Oxford’s institutions one at a time, the last one pushed back. 

  1. Sanaa Pasha 

Sanaa wants us to make it clear that although she describes herself as a ‘dramatist’, it’s not in a pretentious way. Though, as OUDs President, co-founder of Riptide Studio, and a writer and director, it’s safe to say she’s earned a bit of self-importance. 

  1. Roxi Rusu 

STANNER with a Google Calendar that would give a tutor palpitations. Rows, regattas, reggaeton nights, and international security. Doing it all for the joie de vivre, apparently. 

  1. Agastya Rao 

Marked out by a distinctive yellow rubber duck in his pocket, Agastya has dedicated his two years at Oxford to such serious pursuits as the Keble Brick Challenge and the Oxford Sign Challenge (no, it’s not a thing).

  1. R. O. N. 

Re-Open Nominations. Oxford’s most principled and committed candidate, never wins, never quits, technically running for everything. We salute the consistency. 

  1. Jessica Maxine Wood

POV: You’ve been nominated for the world’s most prestigious BNOC list. Instagram’s favourite Aussie Oxford ‘Lawfluencer’, Jessica is known for her heavily-vignetted dark academia edits of damp streets and overworked Rad Cam occupants.

  1. Tresor Nsengiyumva

Queen’s PPE fresher who “got weird for a week, got some spring weeks, and then started running for the Union for bants”. First-year energy at its most unhinged and admirable. 

  1. Esme Somerside Gregory 

There’s a good chance Esme is the only Physics student to (ever?) make the BNOC list. Writer and director of the OUDs National Tour play, and Co-Pres of Oxford Physics Gender Equity Network, it’s impossible to walk down the street with Esme without her being stopped by someone she knows every five minutes. 

  1. Gilon Fox 

A familiar face in OUDs, having ended up as Treasurer last year, and co-running Tiptoe Productions, Gilon is best known for his Oxford Playhouse Performances. You might also recognise him from Fight Night at the town hall, where he competed as ‘Gilon “60 Seconds” Fox’, and didn’t last very long.

  1. Hussain’s

The Platonic ideal of the Oxford kebab van. The light at the end of the suffocating tunnel we call ‘Bridge’. 

  1. Zagham Farhan

Zagham was nominated for heading “one of the most irrelevant political societies at Oxford”. That didn’t really narrow it down, but you can also spot him delivering one of his “near weekly speeches” in the Union, if you have entirely exhausted your will to live.

  1. Benedict Masters 

Statement attributable to an Oxford Union spokesperson: “The nominee the Editors-in-Chief have a sweet spot for. Union Director of Press, who can be found anywhere but in Oxford. Has gracefully accepted the title ‘Socially Acceptable Boris Johnson’.”

  1. Harriet Dolby

LMH historian, OUCA President, who somehow made Jeremy Hunt the least controversial person she invited this term. Spent Trinity filling rooms with people, the country has largely stopped listening to. Impressive logistically, whatever you think of the guests.

  1. Ezana Betru

Director and co-founder of Riptide Studio, Ezana can be recognised from innumerable plays. His lead role in a Playhouse production next term will be his 15th show in Oxford, which means he’s either failing his degree, or a time-traveller. Cherwell has launched an investigation. 

  1. Jerome Pailing

Being tall isn’t necessarily a personality trait, but it certainly does help make John’s JCR President Jerome easy to spot across the bar. Cherwell commends his enviable ability to make a room full of men instantly insecure, as they mumble “height doesn’t matter”. 

  1. Anita Okunde

Former President of the Oxford Union, Anita describes herself as “literally just a girl trying to survive finals”. Her startup Vox Populi Collective, meanwhile, promises to train up the next generation of hacks (read: material for Jevelyn).

  1. Sam Gosmore 

Another high-ranking thespian, Sam has been in 14 OUDs productions during his two years at Oxford, and will be leading two Playhouse shows next term. His most common pose, in his own words, is to “stare meaningfully into the middle distance under stage lights”. Profoundly affecting, we’re sure.

  1. Catherine Oyinkan Kola Balogun 

From SU President-Elect to editor at a ‘paper’ that shall not be named, Catherine’s litany of extra-curriculars makes a certain no-conned JCR Pres look lazy. Catherine has “ended up involved in a bit of everything at Oxford”, and her frequent Instagram presence ensures her BNOC-hood.

  1. David Quan 权丁文

Wolfson MSc, podcaster, future SU president for postgrads. Insisted that BNOC stands for “Big Names, One Community”. Many fellow nominees would beg to disagree. 

  1. Saara Lunawat

St John’s law fresher, running for Union secretary uncontested. Either extremely talented or extremely intimidating. We suspect both. Also wrote for the ‘Oxford Studebnt’.

  1. Euan Willis

A fresher who can reliably be found drinking his way through Union events and Oxford’s political societies, Euan is pretty much the archetypal OLC hack, and received one of his nominations for “being a lad”. Right. 

  1. Macaulay Fergusson

One half of Wadham Entz, Macaulay has spent his first year trying to make up for the abysmal reputation of the college bar. Looks like he’s been having fun, but Cherwell would question whether spamming Instagram stories with AI slop is what Dorothy would have wanted.

  1. ChatWSam

Sam’s claim to BNOC fame is “loving formals and Oxford college life”. Best known for his reels rating Oxford formals, and for arranging ‘An Evening with STP. Reviews’, he is sure to pop up on your suggested reels when you have an essay due in an hour.

  1. NightSchool

Laughing in the face of Finals, Nahom Lemma and Ethan Penny, the DJs and founders of NightSchool, have gone from strength to strength, now a familiar part of the college ball landscape for those who failed to procure a more original performer.

  1. Christina Robinson

The woman who paints everyone’s nails in Spoons, runs the freshers group chat, and has visited nearly every college. Tragically, has not made it to Queen’s or Pembroke. Someone figure this out. 

  1. Cherwell EiCs 

Oxford’s oldest independent student newspaper (did you know we’re IPSO-regulated?) Somehow still letting the editors nominate themselves. Standards are slipping. 

  1. The Isis EiCs

Oxford’s other literary institution. Classier than us, allegedly. We’re sure the BNOC list would be much better illustrated had it been organised by them. 

Rap as poetry: ‘The Odyssey’ and the breakdown of the medium

Niamh Hoyland and Val Michael
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Rap as poetry: ‘The Odyssey’ and the breakdown of the medium

When interviewed on his decision to cast Travis Scott as a bard figure in his upcoming The Odyssey adaptation, set to release on 17th July in the UK, Christopher Nolan stated that “I cast him because I wanted to nod towards the idea that this story has been handed down as oral poetry, which is analogous to rap”. This statement has provoked reactionary backlash on social media and within cultural conversation. The film is clearly not claiming to be a faithful representation of Grecian warfare with negative commentary particularly revolving around Nolan’s diversion from traditional adaptation. This aversion to Scott’s casting, in spite of his previous work with Nolan on Tenet (2020), works alongside an anger at the film’s casting of non-white actors as figures in the Homeric epic. 

This is certainly not a novel perspective; ever since the ‘Golden Age’ of hip-hop, spanning from the mid-1980s to the mid-1990s, the genre has rapidly innovated in both style and lyricism. Not only was it drawing upon the beats and riffs of other genres like jazz and soul, often sampling from these areas, but its technique shifted, increasing in complexity. Later, rap became far quicker in pace and flow, popularised by hip-hop visionary Rakim, who introduced a soft-spoken style of rapping and popularised the flow credited to this Golden Age. Lyricism drastically evolved also: variations on rhyme were popularised, with more internal rhyming, off-beat and multi-syllabic rhymes. These lyrics also became less focused on the “party rhymes” of the old-school era, but were highly conscious of sociopolitical issues, particularly racial politics, crime, religion, and the failures of government. Sounds were determined by the building of community spaces in specific areas, rather than being defined by marketing strategies.

Notably, this combination of developments within the genre also brought about the emergence of something even more overtly literary in its approach. It would be impossible to note down every prominent entry into this Golden Age and post-Golden Age canon, which utilises complex poetic techniques. And yet, MF DOOM’s ‘My Favorite Ladies’ is an extended metaphor where he appears to speak about relationships with various women, who are actually all personifications of drugs, considering his dependency on them. Lauryn Hill uses similes on ‘How Many Mics’ to show bravado, rapping that “me without a mic is like a beat without a snare”, but also to display angst and betray vulnerability when she says “loving you is like a battle/and we both end up with scars” on ‘Ex-Factor’. Jay-Z has always been known for his slick entendres, like on ‘Brooklyn Go Hard’: “I father, I Brooklyn-Dodger them/I jack, I rob, I sin/Aw, man, I’m Jackie Robinson/’Cept when I run base, I dodge the pen”. The intricacies of rap lyricism should require no justification; take one look at the giants of hip-hop, and it’s written all over their work. 
As a result, since the 1990s, more scholarly work has been written on rap’s relationship to poetry. Brent Wood highlights its proximity to ‘folk-poetry’, with its “relatively free borrowing of music and words between practitioners”, it being “locally-oriented”, not assumptive of literacy, and “a union rather than a separation of music, dance, and lyric”. Folk-poetry, a more traceable evolution of the ‘oral tradition’ Nolan refers to, indicates a liberation of poetry from academic application, existing outside of a canonisation of what is considered literary art. The foundation of rap in the 1970s was on the back of political poetic heritage of the 1960s and various African-American traditions such as Signifying, playing the Dozens, and Toasting, which all showcase verbal dexterity and prowess in exchanges of ritual insults. What emerged was rap, all about the ‘power of the word’, creating a new oral tradition that was reliant upon rhyme and rhythm, just as poetry is.

The other thing worth noting is that often, contemporary poetic works forgo meter and the stricter rhythmic techniques which categorised earlier iterations of the medium, instead latching on to a writing style that is far more abstract. ‘Tipp-Ex-Sonate’ by Koos Kombius is a poem infamous for completely forgoing words altogether, a punctuation-based form that is praised as a commentary on censorship and segregation. Contemporary poets feel no need to abide by formalist structures, and if the boundaries of the medium can be disturbed for their creative license, why would we not extend music artists the same grace of medium? Musical backing could be seen as a literalisation of the rhythm implicit in metre and rhyme. Examples of poetic formations within rap appear potently and often. Wu-Tang Clan’s ‘Triumph’ utilises internal rhymes sibilance and fricative alliteration to execute with explosive power their erudite understanding of sound and speech: “I bomb atomically, Socrates’ philosophies and hypotheses/Can’t define how I be droppin’ these mockeries/Lyrically perform armed robbery/Flee with the lottery, possibly they spotted me”. Dr Marcyliena Morgan called rap the “poetry of generation”, but it may be more than that. Rap has become so influential to the cultural consciousness – shaping fashion, slang usage, and seeping so far into the mainstream musical landscape – that it has dominated every aspect of it. Its prowess in pop culture is so much so that Nolan’s decision could be read less as an artistic one but more as pandering to popular demand. It is difficult to diagnose how rap music will factor into The Odyssey until its release, but the statement alone, however genuine it will prove to be, honours an evolution in the legacy of oral storytelling. 

It seems obvious that the aversion to making such a comparison between the long-standing poetic canon and the rap tradition as we know it, is on the back of a racially charged understanding of what are considered ‘low’ and ‘high art’ forms. Rap is implicitly working class in its thematics of social justice, racial politics, and institutional indiscretion. NWA pioneered this explicitly with their 1988 album Straight Outta Compton, later adapted into a social realist, award-winning film, bridging the boundary between the higher and lower mediums. More recently, ‘Cop Shot The Kid’ by Nas and Kanye West discusses the murders of Aiyana Jones and Aderrien Murry: “Tell me, who do we call to report crime/ If 911 doin’ the drive-by?” Music is community-based, and rap has been a method of expression among the Black working class since its conception. Its popular appeal and anti-elitist thematics has historically lowered its status as a medium. Right-wing presenter Geraldo Rivera famously said “hip-hop has done more damage to young African Americans than racism in recent years” in response to Kendrick Lamar’s BET Award set. The irony of this sentence is obvious, but it also indicates a stance taken within Western culture. 

Comparisons between the two were marked out around 30 years ago, and in all accounts, the idea that rap and poetry are crucially linked is well-established. The refusal to believe this, in spite of its backing in scholarship, comes as an almost elitist impulse. To say that rap is less impactful than its ‘proper’ poetic predecessors is to fundamentally misunderstand the purpose of literary art. 

Who gets to build the future: On tech bros

Nancy Locke
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Who gets to build the future: On tech bros

While scrolling through social media, a video appeared on my feed titled “Remember who you are, start-up boy”, followed by a montage of clips of young Mark Zuckerberg and Elon Musk. For many of us, when thinking about start-ups, the ‘Tech bros’ image comes to mind. Perhaps images of drop-out Ivy League students in hoodies pouring over code or clips from The Social Network flood in. 

Growing up in Silicon Valley, the birthplace of Apple and Google, I realised quickly that start-up culture was too often associated with the image of ‘Tech bros’. Exactly like the video on social media that I came across, not one of them represented 51% of the world’s population: women. 

Oxford is the beating heart of the UK’s innovation ecosystem, constantly spinning out new technologies. The UK’s start-up hub is only set to grow after Chancellor Rachael Reeves announced plans to bridge Oxford with Cambridge, investing in infrastructure and transport links to become “Europe’s Silicon Valley”. Conversations on venture capital, angel investors, and seed rounds are easily heard across the city, especially at inaugural events this year, such as OxBio’26 Summit and Ox Tech Week, which brought founders, investors, and researchers together. Yet in the midst of Oxford’s entrepreneurial excitement, an important question remains: who gets to build the future? Will Oxford reproduce the same founder stereotypes that Silicon Valley is known for?

In 2026, especially in Oxford, the stereotypical Tech bro culture represents a dated and misrepresented view of the start-up space. The media’s narrative on ‘Tech Bros’ is far from reality; however, it will surely discourage young girls from pursuing this industry. The Tech bro label is simplistic and cliché, and whilst it has been used as slang to group many successful founders together, it can create division rather than inclusion. For example, such culture can be reflected in recruitment processes: Klout app recruited programmers with a hiring message: “Want to bro down and crush some code? Klout is hiring”. Such language only ultimately reinforces stereotypes about who really belongs in this field. 

Research shows that for female founders, the gender gap is not merely about salary, but equity and venture capital funding. A report by Parliament’s Women and Equalities Select Committee found that only 2% of venture capital was going to female-led businesses, further highlighting just exactly how significantly under-resourced female entrepreneurs truly are. 

Additionally, analysis by The Alan Turing Institute Women in Data Science and AI team has shown that on average, female-founded AI start-ups secured six times less capital per deal than their male counterparts. The report showed that only 5% of VC firms that participated in funding deals had equal or majority representation of women making the decisions, highlighting gender inequality in venture capital funding. With the acceleration of AI tech companies, however, diversifying the start-up ecosystem is all the more essential to ensure services and products are created for everyone in society. 

In 2019, The Rose Review estimated that if we worked to close the founder gender gap in the UK, and women found and scaled businesses at the same rate as men, this alone could add £250 billion (equivalent to 310 billion today with inflation) to the economy. In response to these findings, in 2019, the UK government backed Investing in the newly-launched Women Code (IWC) initiative, allowing finance providers to voluntarily collect and publish data on funding provided to women, leading to 290 signatories. In the Women and Equalities Committee’s “Female Entrepreneurship” report (October 2025), the committee advocated that whilst IWC has helped with funding due to its voluntary nature, IWC had limitations in reach and scope. The Committee advocates a state-backed national program of support to unlock the projected returns of female founders. It proposes that all investors supported by the British Business Bank sign the IWC and provide data on the proportion of finance provided to female-led businesses, and to set funding targets for women-led businesses, in order for UK equity finance to female entrepreneurs to increase from 2% to 10% by 2030.

Diversity is essential for driving innovation. For start-ups, where identifying new, unique ideas is required, a varied range of perspectives is advantageous. Diverse founding teams are essential to understand different consumer needs. With the recognition of women in Tech, the climate is changing. Take, for example, the Flybridge and XFactor Ventures  “100 women in AI” campaign. However, whilst we can acknowledge that the founder gender gap is narrowing with the introduction of Government-backed initiatives, there is still a long road ahead. If the start-up space continues to be framed as male-led we risk discouraging the very diversity that drives innovation and resilience. The narrative needs to change. More than ever, it is important to ask: who gets to build the future?  

Hag, Nag, Harpy, Hen: Olivia Plender’s ‘Little Fennel’s Complaint’

Amy Lawson
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Hag, Nag, Harpy, Hen: Olivia Plender’s ‘Little Fennel’s Complaint’

I saw an Instagram reel recently in which the comedian Kyla Cobbler, standing at the top of a hill, holds up a rusted piece of coiled metal, pretending to be a doctor who is trying to sell the idea of the contraceptive coil to their patient. “Women’s health has just come such a long way, hasn’t it?” Cobbler wryly remarks. One thing was clear from the comments: whilst it may be the 21st century, the science and discussions surrounding women’s health are often medieval in nature, to the point of absurdity. 

This is something which Olivia Plender’s exhibition, Little Fennel’s Complaint, is painfully aware of, and is even evident in the title itself. The title is a composite, reflecting the irony behind the double meaning of the word ‘complaint’, which can refer both to a medical problem as well as to the (often incredibly gendered) act of complaining about something in general; ‘Little Fennel’ is taken from the name of the protagonist in the original version of the fairy tale Rapunzel, in which a pregnant woman exchanges her baby for the herb in the witch’s garden – fennel is thought to have been used to induce abortion, leading some to suspect that the exchange was a metaphor for abortion. 

It is this combination of an examination of archaic methods and attitudes surrounding women’s bodies, and the idea of the ‘nagging’ woman, which runs right the way through Plender’s exhibition. Even upon entering the exhibition, I was confronted by a recorded chorus of muffled voices echoing from another room, repeating the words “witch, wife, wench” over and over, before switching to other alliterative patterns like “hag, nag, harpy, hen”. Struggling to focus on the first installation, Our Bodies are Not the Problem, which detailed, through the use of whiteboards displaying sketches of patients alongside text bubbles detailing their experiences navigating health problems, I eventually caved, following the voices to the second installation, Mastering the Voice. The cacophonous voices repeating these word patterns were actually a recording of a vocal exercise led by a voice coach, and complemented the adjacent paintings, which mimicked illustrations in early learning books, each one displaying a word or group of similar words alongside a picture. A rendering of a woman using a typewriter was, for example, accompanied by the words “ball breaker, battle axe, bombshell”. As a student of both modern and ancient languages myself, this installation was one of my favourite elements of the exhibition, capturing as it did the narratives about women which are built up around certain words. One thing that particularly struck me was how much of this language relates to animals – “bird”, “chick”, “hen”, and “bitch” were among some of the repeated words in the sound work. 

As I made my way through the exhibition, however, I couldn’t help thinking that none of it really surprised me (which is perhaps a sign that the ideal target audience was probably not me and the other sole woman in attendance). It is perhaps a characteristic of discussions around women’s health, and the taboos our society has constructed around certain topics, but I went into the exhibition thinking that I would find something shocking – a hospital horror story perhaps, or a representation of the visceral pain of childbirth. But instead what I found was the same story repeated again and again: in Our Bodies are Not the Problem, the subjects often discussed the performance required for a successful visit to the GP, with one remarking, “you have to learn how to be a professional patient”, in cataloguing symptoms, wording, even down to clothing. However, a remark made by another subject, depicted as tilting her head thoughtfully in a slightly hunched over position, struck a chord with me. “I managed the symptoms as best as I could. Your life shrinks, and you just accept it”, she remarked. As someone who has dealt with the volatile and often debilitating symptoms of PMDD (pre-menstrual dysphoric disorder) for most of my life, yet not having a name for the condition until fairly recently, the idea of your life shrinking is a familiar one. Perhaps that is the true horror story – a system which attempts to diminish your feelings and experiences until they are little more than a few words on a referral form, or the doctor’s handwriting on a prescription. 

Yet this was an exhibition which refused to shrink itself, spanning numerous media from acrylic paintings on canvas, to laser-printed wood, to embroidered textiles. The large embroidered wall hanging, titled The Witches’ Sabbat, was particularly striking with its vivid combination of colours and textures, not to mention impressively hand-sewn – a gallery attendant told me that Plender was still adding final details to the textile right up to just before the exhibition was opened to the public. The hanging, inspired by Henrich Kramer’s 1486 treatise on witchcraft, the Malleus Maleficarum, is an ode to male insecurity: the treatise expresses anxieties, for example, about witches stealing men’s penises and hiding them in trees, a grievance which Plender responds to with a gleeful depiction of a cat slinking away, a penis between its teeth, whilst a magpie looks on jealously. 

It is precisely this attention to detail which Little Fennel’s Complaint had in spades. The space was used thoughtfully, from the privacy curtains which divided up Our Bodies are Not the Problem to the painted hospital lines on the floor, whilst the neighbouring exhibition, Kira Preije’s Unspeak the Chorus, provided an apt tone-setting, with its disparate metal skeletons foregrounding the question of bodily autonomy which is so central to Plender’s work. Whilst it is true that the sound work in Mastering the Voice at times threatened to dominate the experience of viewing the other installations, I suspect that Plender deliberately wanted to create a disquieting atmosphere – even though we often attempt to cope the day-to-day disparaging comments and gaslighting with humour (as the Instagram reel demonstrates), issues surrounding women’s health and female agency in general are, and should be, at the forefront of any discussion which takes place around medicine and the health system, even when it’s uncomfortable. 

Oxford Union election count suspended amid electoral fraud allegations

Cherwell News
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Oxford Union election count suspended amid electoral fraud allegations

The Oxford Union’s Trinity Term 2026 election count has been suspended after the Returning Officer identified substantial evidence of interference, before any ballot boxes were opened. 

In a notice posted for all members on 12th June, the Returning Officer announced that the counting process would not proceed under Standing Order D3(f), having determined that it would not yield a reliable result. A number of membership cards have been seized, and an Election Tribunal will be convened, with a full independent investigation to follow. 

The suspension came after Electoral Officials identified what the Returning Officer described as a “systematic attempt to undermine the election”. Polls had opened earlier that morning, with results expected today. 

Among the incidents prompting the decision is a formal allegation filed under rule 33(c) (iii) of the Union’s Rules and Standing Orders by Shermar Pryce. In a document seen by Cherwell, Pryce alleges that an unknown individual attended the Poll Room on the evening of 12th June and attempted to cast a vote using his membership card. The attempt was intercepted by the Deputy Returning Officer before any vote was cast, and the membership card was confiscated. Cherwell has seen two other documents in which members allege that they were impersonated during the vote. 

Pryce told Cherwell: “I had already voted legitimately earlier in the day and had not given my Membership Card to anyone. Upon learning of this, I filed a formal complaint with the Returning Officer this evening. I have also reported the matter to Thames Valley Police, as the conduct in question may amount to fraud and criminal impersonation.”

The suspension echoes a previous case this term involving another member, Catherine Xu, which established a precedent for electoral interference proceedings at the Union. Sources with knowledge of the situation suggest that the pattern of the incidents may have been intended to trigger a count suspension rather than to cast decisive fraudulent votes. Under the Union’s rules, evidence of sufficient interference can render a count invalid, sending the results to a tribunal rather than a ballot tally. 

The Returning Officer’s notice states that the number of affected ballots is difficult to ascertain, but that a meaningful number are believed to have been compromised. 

A document seen by Cherwell shows that the Election Tribunal has imposed interim measures while its investigation continues. In a ruling issued on 20th June, the Tribunal stated that “all the Officer and Officer-Elect elections, Standing Committee and Secretary’s Committee elections are affected by electoral malpractice allegations” and ordered that “no member shall enter upon Office or an Elected place on Committee until the Election Tribunal rules otherwise”. The ruling further provides that current members of Standing Committee and Secretary’s Committee will remain in post rather than leaving office at the end of term, while the offices of President-Elect, Librarian-Elect and Treasurer-Elect “shall remain vacant”. The Tribunal said the arrangements were “the simplest temporary solution to bring clarity in the near term” while the investigation proceeds.

Prajwal Pandey, one of the two candidates for President-Elect, told Cherwell: “First, I would like to thank my incredible campaign team, as well as everyone who took the time to vote in yesterday’s election. Their hard work, commitment, and engagement reflect the very best of what the Union should stand for, which makes the reports that have emerged since yesterday all the more unfortunate.

I am shocked and saddened by these reports, particularly given the wider context of the previous term. I am aware that there is now a live process to facilitate an investigation into this matter, and I remain confident in the ability of the Union’s procedures and officials to establish facts and ensure that a clear and legitimate result can be returned.”

Milo Donovan, the other candidate for President-Elect, told Cherwell: “The Oxford Union is in crisis. For the umpteenth time this year. Malpractice like this is not just incredibly frustrating to the dozens of people that have spent all term canvassing and campaigning for a better union, but an insult to the hundreds of ordinary members who took the time out of their days, amidst prelims and finals, picnics and tutes, to vote for that change.

“The number of members, many of whom I had never heard of, coming up to me and saying how much they connected with the manifesto and Cherwell piece was genuinely humbling. I am immensely grateful to the incredible #LOVE team that worked tirelessly not only yesterday, but for the weeks prior, who, on top of everything else the union threw at them, managed to put up with me as well. They are heroes to be sure, and I owe them everything.

“The members deserve a result as soon as possible, and I will do everything in my power to ensure that not only do we get a decisive result, but that the union gets the systemic reform needed to make weekly crises like this a thing of the past. This place deserves to become a place we can all love again.”

The Oxford Union has been contacted for comment. 

Additional reporting by Mercedes Haas, Ned Remington, and Hattie Simpson 

Nonsense and sensibility: Adapting Austen for the screen

Abigail Christie
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Nonsense and sensibility: Adapting Austen for the screen

It is a truth universally acknowledged that not all Jane Austen adaptations are created equal. But this fact hasn’t stopped a cycle of new adaptations from dominating our screens every few years and captivating our attention each and every time. Both ‘good’ and ‘bad’ versions share equal success in revitalising discussions on what constitutes accurate representations of women, relationships, historicity, and above all, the nuanced social commentary at the heart of all of Austen’s novels. Butchered adaptations will not only find themselves sentenced to the depths of IMDb, but also condemned for the indignance it strikes in the heart of every ‘Janeite’ for its contribution towards a pervasive media culture that so often fails to present women and romance with multifaceted depth. A ‘good’ adaptation inspires quite the opposite reaction, with fans often planting it firmly on an immovable pedestal, second only to Austen’s writing itself. 

Two new adaptations of Austen’s novels are due to be released this year alone – Sense and Sensibility and Pride and Prejudice – and in doing so, both are inevitably placing themselves on the chopping block of opinion, where every minutia is scrutinised and compared, and any creative liberties taken are examined in microscopic detail. Netflix has declared that every generation deserves its own adaptation of Pride and Prejudice. Regardless of whether you agree with this statement, what can be said with certainty is that, in filming a new version of an Austen novel, the final form shoulders the significant responsibility of shaping, at least in part, the contemporary perspective of such classic works. 

So what does constitute a good Austen adaptation? Is it one that lingers dreamily in the collective memory, its tendrils shaping Pinterest boards and helping romanticise the Regency era? Or does a more successful adaptation try to shed its source material, using its skeleton to instead tailor the content to modern audiences? To answer in short, an Austen adaptation should aim to be as timeless and enduring as the novels themselves. 

In the check-box for good Austen adaptations, a realistic and genuine portrayal of female characters must come top of the list. Each of Austen’s novels centres primarily around their female protagonists, with some even being eponymous, such as Emma or Lady Susan. Although now a much beloved character, Austen famously wrote that Emma would be a heroine “whom no one but myself will much like”, anticipating the reception of Emma’s most explicit flaw: vanity. But it is this degree of verisimilitude that should be translated on screen, since these female characters are intentionally imperfect, designed to hold a mirror up to their audience. Romola Garai’s portrayal of Emma Woodhouse in Emma (2009) convincingly embraces the character’s penchant for snobbery, self-importance, and meddling, whilst also highlighting her intelligence and growing self-awareness. Likewise, Kate Winslet’s portrayal of Marianne Dashwood in Sense and Sensibility (1995) captures her headstrong naivety, without compromising her playful and amusing character. 

Appropriate on-screen dialogue is integral to the success of any period piece, whether it’s the accent, delivery, colloquialisms, or the words themselves. Jennifer Ehle as Elizabeth Bennet and Anna Chancellor as Caroline Bingley in Pride and Prejudice (1995) both diligently balance the witticisms, humour, and carefully barbed jabs peppered throughout Austen’s novel. Ehle delivers the quick-witted back-and-forth between Elizabeth and Mr Darcy (Colin Firth) with playful yet biting precision, capturing the evocative tension in the dialogue that emanates from the page itself in the novel. Chancellor embodies the highly-strung, sharp-tongued Miss Bingley, with her arched eyebrows and tense posture constantly reminiscent of a predator stalking its prey. 

On the opposite end of this spectrum, however, is Persuasion (2022), which failed to win the hearts of its audience. Listening to Dakota Johnson’s Anne Elliot describe, in a slightly jilting ‘English’ accent, how she and Wentworth are “worse than exes – we’re friends” in an awkward attempt to break the fourth wall, feels jarring, to say the least. The vocabulary of this Anne Elliot is littered with weird anachronisms, which are exacerbated by her oddly forced habits of drinking alone and stroking her random pet rabbit. In attempting to create a ‘wine-drunk-girlboss-cool aunt’ out of Anne, Cracknell obscures the intelligence and emotional depth Austen equipped her with. So it could only be through Anne Elliot that Austen could voice such social commentary: “Men have had every advantage of us in telling their own story. Education has been theirs in so much higher a degree; the pen has been in their hands.”

Yet the blatant 21st-century vernacular in Persuasion (2022) begs the question – does modernising these historical storylines make the audience lose touch with the original material, and to what extent? There seems to be an implicit assumption that the modern audience would not be able to meaningfully comprehend or engage with the notions of 18th-century society, and certainly not its phraseology. So do these novels need to be adapted or abridged to remain relevant or accessible to a contemporary audience? The respective success of both Clueless (1995) and Emma (2020) might answer this for us. Both films are based on the original novel, yet interact with their source material in entirely opposite yet highly engaging ways. By retaining the core plot of a well-intentioned but ultimately misguided and meddling matchmaker, but adapting the setting, characters, dialogue, and costumes entirely to the era in which it is set, both films convincingly tap into the timeless themes of girlhood and personal growth. 

However, the appeal of Austen in TV and film isn’t just restricted to the canonical sphere. Spin-offs of Austen’s works have been flooding our screens for decades, with the greatest source of inspiration for these adaptations being Pride and Prejudice. From Pride and Prejudice and Zombies (2016) to Death Comes to Pemberley (2013), and most recently The Other Bennet Sister (2026), the captivating and enduring ingenuity of Austen’s novels lends itself well to reinvention time and time again. Much like Clueless (1995) – and very unlike Persuasion (2022) – these Austen-adjacent adaptations demonstrate that modern creativity in a historical context can certainly thrive. 
Although these aspects are not a guaranteed recipe for success, the realistic portrayals of female characters, appropriate dialogue, and believable historicity, are, in my opinion at least, the fundamentals for a ‘good’ Austen adaptation. Even if you disagree, the continuous remaking of Austen novels suggests our appetite to be enthralled or appalled by the many different renditions remains as insatiable as ever. After all, it has been over 80 years now since the first major adaptation of Pride and Prejudice in 1940, and we’re still waiting for the next.

Mansfield College redevelopment plans approved by Oxford City Council

Angelina Wu
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Mansfield College redevelopment plans approved by Oxford City Council

Oxford City Council unanimously approved Mansfield College’s development plans on Tuesday, 26th May. The project, known as the Estate Transformation Project, will be delivered by architects Feilden Fowles. Mansfield told Cherwell that the development would “provide students and the College with up-to-date facilities they need for generations to come”.

The John Marsh Building has been approved for demolition, and will be replaced by a four-storey building containing 174 en-suite bedrooms. This will increase the number of student rooms on the college site by 70, from the current 104. 

Development will be concentrated in a new South Range, which will include additional academic, social, and work spaces. A new entrance garden on Mansfield Road will replace the existing car park, while a new Porter’s Lodge gatehouse will be set back from the street. The college’s new Junior Common Room will also be located in the South Range, described as a “centre of daily life”.

The new buildings are intended to act as a “contemporary counterpart” to the existing Grade II*-listed North Range, which will in turn see redevelopments of its own – the project is expected to “not only provide high-performance new buildings, but also improve the existing listed building fabric”.

The proposals include new green spaces across the site, including a second quad, a new garden quad, a publicly accessible pocket park, and new site-wide landscape design. The College also plans to reduce carbon emissions through “low carbon design and energy-efficient systems”, as part of its target to reach net zero carbon by 2050. Mansifeld told Cherwell that “the project will cut Mansfield’s carbon emissions by over 40%”. Building stone from the existing John Marsh Building, and other buildings set for demolition, will be recycled in both the new South Range and landscaping elements. 

Alongside the approved proposals, Mansfield College is also bringing forward plans for its historic Champneys buildings. Oxford City Council will be considering applications to build a three-story extension with a lift to the Chapney’s building, improving access to the library. 

As part of the demolitions, the College’s WWII bomb shelter will be removed from the side of the Champney’s building. Oxford Preservation Trust stated that “the WW2 history of the college will be reflected in the proposed interpretation plaque”.

Mansfield College says it aims to minimise disruption during construction. Mansfield told Cherwell: “College life will continue as normally as possible, with the majority of student and academic activity concentrated in the main Champneys buildings and the Hands Building”. Student representatives have been involved through the planning and design process, providing feedback on the layout of facilities. The College has also said that meals will be subsidised during the construction period, and that it will work alongside the JCR and MCR to maintain college activities.


Construction is expected to begin later this summer, with the project scheduled for completion before the start of the 2029/30 academic year. Helen Mountfield KC, Principal of Mansfield College, described the plans as “the most significant transformation of the College estate since it moved to central Oxford from Birmingham”.

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