Wednesday, May 7, 2025
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Gift-Giving in 2020

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묏버들 갈해 것거 보내노라 님의손듸 

자시난 창 밧긔 심거 두고 보쇼셔 

밤비에 새닙곳 나거든 날인가도 너기쇼셔.

[This branch was broken from a willow

Leave it outside your bedroom window

Night rain will bring new leaves—at dawn it is me you see.]

Korean courtesan Hong Rang wrote this untitled poem around 1573 when her lover, Choe Gyeongchang, left her to travel to Hanyang – the city now known as Seoul. The gifting of a willow’s branch to a parting lover is a common motif in East Asian medieval literature; some believe that this is because ‘willow’ was a homophone for ‘to detain’ in the Korean pronunciation of Chinese characters, while others point out how willow trees were known for their resilience, and so their branches represented one’s wishes for the departing person’s well-being in their travels.

예경정의중 [礼轻情义重].’ [A gift from afar is as light as a goose’s feather but carries a true heart.] Such was the principle at the core of such modest but thoughtful gift-giving practice. It is a principle for all of us to think over, in these times of travel restrictions, social distancing, and more need than ever for true hearts.

Our gift-giving culture has changed rapidly over the past few years, especially with the development of gift cards and online gift delivery services. The birthday present I ‘gave’ to my friend back home was an e-gift card for a pint of ice cream at Baskin-Robbins. A few weeks ago, I received a thank you gift in the form of a £20 Amazon voucher, which I used to buy a Costa voucher – I cannot deny how useful I found it, as I could get at least four quick lunches with it (and nothing’s more welcome than chances for a free meal for a university student on a budget). This also meant, though, that for at least a week I did not visit any local cafés that I usually would have gone for.

Indeed, along with the question of how to balance practicality and thoughtfulness, today’s gift-giving practices also raise questions of social responsibility. A recent CNN article, titled ‘Gift cards for Starbucks, Netflix and more can save the day this holiday season,’ lauded e-gifts from big brands and retailers as being quick and flexible—‘[they] are a safe and easy way to stuff everyone’s stockings this holiday season,’ it says.

And ‘safe and easy’ are not values we can easily dismiss – neglecting them can end up rendering gift-giving problematic. Research has shown that gift-givers can overestimate the recipients’ potential appreciation of how socially responsible their presents are, if the recipients are more distant. For those in more distant relationships, difficulty in understanding each other’s perspectives may even lead to some socially responsible gifts – especially those overtly given for their social significance – being received as offensive as distant recipients tend to focus more on the gift itself and not its symbolic meaning. Though socially responsible gifts are preferable, it is important to take such dynamics into account in our gift-giving.

The emergence of new gifting methods, the complications of more distant relationships – all these have made the art of gift-giving a difficult balancing act, between thoughtfulness and practicality, and between social responsibility and reception. For this year’s holiday season, at least, I maintain that we choose thoughtfulness and social responsibility.

2020 has affected many in several ways: social distancing and isolation have minimized human contact and aggravated mental health issues, and restrictions have dealt several blows to small businesses. A BBC article stated that record numbers of people have experienced loneliness during the last lockdown; younger people aged 16 to 29, especially, were especially likely to feel cut off. Meanwhile, a survey showed that two-thirds of small businesses are expressing lack of confidence in festive sales, and one-tenth fear closure following an unsuccessful Christmas. 2020 and its trials have cut us off from some of those closest to us, both people and businesses.

Therefore, it is especially important that we take the opportunity this festive season to reconnect – perhaps what everyone most needs are their own willow branches. Night rain will bring new leaves; this December will bring a new year. And hopefully, at the dawn of that new year, we’ll see each other again.

Artwork by Sasha LaCômbe.

Ethiopia’s Tigray Crisis: a Failure of Ethnofederalism?

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Ethnically diverse countries are hard to rule. People want to be governed by those who share their language, culture and customs and few countries know this better than Ethiopia. In the last 100 years, it has experienced imperial rule, a brief period under Italian invaders, a Marxist-Leninist military regime and then an authoritarian federal system split along ethnic lines. All these systems were overthrown by a nation which is presently still searching for a way to reconcile the more than 80 ethnic groups and languages which form its 108 million people. In the last two years, it has been trying to move towards democracy, while still retaining its ethnofederal structure. Ethnic federalism is a political system which is in place in countries like Pakistan and (to some extent) Belgium, meaning the boundaries for its constituent states are drawn based on its ethnic groups. The current Tigray crisis, which has so far killed thousands and displaced over 1 million people, has its roots in fierce ethno-nationalism; a consequence of Ethiopia setting off on the road to liberalisation. 

Until 2018, Ethiopia had spent almost 30 years under a coalition of ethnic-based parties. While Tigrayans make up only roughly 6% of the population, the Tigray People’s Liberation Front (TPLF) had dominated national politics during this time. In 2018, the TPLF saw their influence drastically decreased when a popular uprising swept Abiy Ahmed into the role of Prime Minister. From mixed Oromo and Amhara parentage (the two largest ethnic groups), Abiy represents the intermixed, urban Ethiopia. His rise was remarkable for its wide cross-ethnic support. A charismatic leader, he promised to bring the country greater freedoms, to clear away the old elites, and to hold elections, thus moving the country towards democracy. Notably, he also promised unity and stability. After ending the long-standing war with Eritrea in 2019, Abiy was awarded the Nobel Peace Prize. That still-shiny medal now looks premature.

The Tigray crisis began when the TPLF refused to join Abiy in governing Ethiopia, instead retreating to Tigray, their home region in the North. Abiy accuses them of stirring up inter-community violence between other ethnic groups during this time. Citing the pandemic, Abiy then postponed the first democratic elections, scheduled for August 2020, a move condemned by the TPLF as an attempt to retain power. In response, the TPLF held their own regional elections, which the central government denounced as illegitimate. The tug-of-war for power between regions and the central government is a constant feature of Ethiopian politics. The situation escalated at the beginning of November when Abiy’s government claimed that the TPLF launched an attack on an Ethiopian military base, saying, “the last red line had been crossed”. 

The Tigray region has been a battleground for 8 weeks now. Capturing the state’s capital of Mekelle on the 30 November, the government claims to have defeated the TPLF, but the reality seems to be that fighting is very much ongoing, particularly in rural areas of Tigray. A protracted guerrilla-type conflict is on the cards. Political analysts have known Ethiopia is volatile for a while. Some have been prophesying a Yugoslavia-style implosion for two years now. Part of the issue lies in the way the country’s ethnic-based parties are much more than political entities. The TPLF, for example, started as a revolutionary force fighting against the centralisation of the state and an oppressive military regime. It now has as many as 250,000 fighters, and is highly experienced in intelligence-collecting, administration, and military management. 

The autonomy and self-administration of federal regions is enshrined in its 1995 constitution. Ethiopia is split into nine states, where the local majority ethnicity often rules over a mix of peoples. Ethiopia’s constitution is built around a commitment to an ethnofederal system of governance, where each of the country’s ethnic groups theoretically has the right to self-administration. Incredibly, they also have the explicit right to secession, a feature which is unique to Ethiopia. While designed to recognise the ethno-linguistic diversity of the country, the ethnofederal system has also created a culture of ‘insider’/’outsider’ within many regions. Under the pre-2018 coalition, repressive policies and grassroots surveillance systems kept inter-ethnic conflict muzzled. As Abiy’s government initially ushered in political reforms: freeing thousands of political prisoners and relaxing controls on the media, liberalisation also brought with it a different side – a chance for ethnic communities to express their long-standing grievances, and a large increase in inter-ethnic fighting. This reached a peak in March 2019, when nearly 3 million Ethiopians were reported as internally displaced due to fighting. This laid the foundations for an escalation of conflict, like that in Tigray.

However, it is also true that there is a strong shared Ethiopian identity. A common memory of resisting Italian colonisers in 1895-1996 and then again in 1936-1943 is one factor which helps draw people together. However, in times of conflict, fear of ‘the other’ is an easy way for parties to energise the masses, and potentially distract from any of their regional governments’ incompetencies. It is when minorities feel sidelined that the ethnofederal system incubates ethnic ultra-nationalism. This is facilitated by the fact that building the political system around ethnic differences foregrounds ethnic status over other identities. Furthermore, parties like the TPLF have a lot of power in their home regions, so the threat of secession is a useful playing card they can draw against the central government. This threat is very much real; regional governments have the institutional means to bring about war or secession – they already have defined borders, experience of administration and established health and education structures. 

But discussing ethnofederalism as a system which inevitably leads to a crisis like that in Tigray is inaccurate. Among other things, it presupposes a range of alternative options. There may not be any. Post-1945 saw a plethora of ethnofederal states spring in and out of existence as countries experimented with ways of holding together ethnically diverse states. These include Czechoslovakia (1968-94), Malaysia (1936-65), Pakistan (1947-71). The main alternative to this system is a unitary one, where all peoples are forced together under a strong centralised government. Under this arrangement, ethnic differences are no longer at the fore, but neither will they disappear. There is no reason to think that making different peoples live under the same rules will create any more peace than allowing different peoples to come up with different rules. Harari state, for example, is the only Ethiopian region to permit polygamy. This is allowed on religious grounds, recognising the state’s Muslim population, which is much higher than elsewhere in Ethiopia. A fully unitary system would not be able to sustain this. The paradox is that both systems (ethnofederalist and unitary) seem to guide a country to more inter-community conflict. In Sudan/South Sudan’s history, denial or revocation of rights to the Southern region under a unitary government led to civil war on two separate occasions. During periods under ethnofederal systems though, the state also failed to contain North-South fighting. In some ethnically-polarised countries, perhaps no system of government is able to hold together diverging peoples. 

What is interesting is that in many of these cases it was the breakdown of a unitary system (in Ethiopia’s case, taking the form of a protracted guerrilla campaign) which led to the instigation of ethnofederalism in the first place. This often in an effort to prevent total state collapse. Czechoslovakia, Yugoslavia, Nepal, Iraq all tried unitary structures before resorting to an ethnofederal one. Yugoslavia’s first attempt at statehood in 1918 saw Serbians, Croats and Slovenes bound together in a unitary marriage in which almost no party was happy. While still wracked with issues, the second Yugoslavia endured much longer. Tito presided over independent ethno-states, which he kept on a short leash. The eventual collapse of the country perhaps only reinforces the idea that ethnic based systems are often a last resort for keeping together polarised regions. So, while it is essential to understand the way Ethiopia’s ethnofederal structure has influenced the current crisis and will continue to do so, it’s perhaps not particularly useful to assign the system blame. It is the product of a long history of other tried and failed systems.

What is interesting now is whether Mr Abiy has any hope of unifying Ethiopians of all ethnicities behind a goal of progress, development and democratisation again. His authoritarian streaks have been shining through recently: re-curbing political liberties, implementing communications blackouts and zealously deploying the Ethiopian military. ‘Liberalisation will have to wait’, Abiy seems to have said. In time we’ll see if he will say the same to democracy.

With war-ravaged Somalia to Ethiopia’s south and east, and Sudan slowly building itself to the west, the current situation in Ethiopia is particularly dangerous because it risks destabilising a whole region. Over 50,000 Ethiopians have already crossed the border into Sudan in search of safety. There are also worrying claims that Eritrean troops have crossed into the Tigray region to fight alongside government forces. Abiy’s Nobel-winning peace with Eritrea is very fragile. The Tigray crisis could well plunge Ethiopia, and the wider Horn of Africa region, into political and humanitarian disaster. A media and phone blackout has only recently been lifted, and there are now reports of an ethnic massacre of 600 non-Tigrayans in one town, violence against ethnic Tigrayans elsewhere in the country, and wide-spread looting and food shortages in the Tigrayan capital. On-the-ground fighting seems to be cooling, although limited international access to Tigray makes this hard to verify. The full human impact is yet to be revealed.

Ethiopia’s sheer diversity will always make it a fickle place to govern. It’ll only be in time that we’ll see whether Ethiopia can still offer the enlightened way forward for other ethnically diverse countries that many (including the Nobel committee) had hoped it could. 

‘Femboys’, fads and anti-boy-band fashion: is gender fluid dressing still a distant dream?

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Gender fluid dressing has been steadily infiltrating fashion movements throughout the second half of the 20th century up until the present, with different takes on androgyny gaining recognition from Bowie to Grace Jones and beyond. Reflecting on our recent past, the examples that stick out are of men who pushed the boundaries of feminine dressing, rather than women. Female androgynous dressing has become the norm. Walking through the high street now, no one would bat an eyelid at a woman in an oversized men’s blazer or sweatshirt. I constantly steal my brothers’ clothes but the reverse is far less common. The key question now is how much further the boundaries in gendered fashion can be broken.

Of course, breaking down the barriers preventing men from wearing women’s clothing doesn’t mean dulling the fashion women wear to make it ‘suitable’, or ‘masculine enough’, for men, rather it allows men to be feminine and to wear clothes that accentuate femininity. Gender neutrality is perhaps the wrong term in relation to fashion; fashion can be masculine or feminine, if individuals choose, but these qualities shouldn’t simply be reserved for their traditionally prescribed genders. More fluidity in fashion, therefore, can only be a positive thing: give people the choice of how they want to express their identity through fashion, and freedom in gender expression will open up elsewhere. People who are non-binary deserve a fashion industry which supports this and allows this identity to flourish rather than be put in a binary box.

Anyone who has been on TikTok in the past six months will have seen the trend of ‘femboys’ wearing skirts in their videos, but this arguably doesn’t reflect a significant change when it comes to gender fluid fashion. The primary TikTok demographic, from young teens to young adults, is still very different from what you might be confronted with when you step outside your front door. And, even if there is criticism or hate within the app, there is an army of people ready to fight against it. Meanwhile, the idea of ‘femboy Fridays’ being seen as such a ‘trend’ is troubling in itself: does that mean it has to fade and move on along just as each dance movement disappears after its blip of fame?

For Vogue’s December issue, Harry Styles was chosen as the cover star. Decked out in feminine finery, the styling reflects a key change in the singer. In breaking out of his boy band cardboard cut-out role, he has developed his personal taste and embraced feminine fashion. From his seventies suits with pussy-bow blouses to bold jumpers and, of course, that iconic JW Anderson cardigan, he has become an inspiration for a modern fashion revolution. The next step for Harry: incorporate the skirts seen on him in December’s Vogue cover shoot into daily wear. Featuring some kilts, perhaps as a bridge across from ‘acceptably masculine’ styles. Stretching as far as all-out baby-blue tulle paired with a sleek black blazer, this history-making shoot, with Harry as the first male cover star for the revered magazine, made its mark. This was especially seen on social media, where many clashing opinions were expressed. Gen Z exalted in the freedom felt from such unashamed breaking down of barriers, while some far-right onlookers decided that Styles was threatening what a ‘manly man’ should be in a right-and-proper world.

Is it worrying that the shoot became seen as something so radical? By viewing it as such a grand statement, as some news outlets have presented it, perhaps we take something vital away from it. If the whole point was to normalise non-binary dressing, then why aren’t we, well, normalising it? When it becomes too much of a ‘big deal’, doesn’t it lose some of its power? But maybe this controversy was needed to spark a conversation and the battle is just not as far along as I had hoped; we need to break down the big barriers before the building blocks of non-binary dressing can come in to replace them.

The piece certainly defined a changing emphasis in the fashion industry which is currently bubbling up beneath the surface. As Vogue itself suggests in its interview of four up-and-coming designers: Nihl, Maximilian, Act N°1, and Situationist on their SS21 co-ed collections, the tide is turning, slowly but surely. Non-binary fashion allows inclusion of people of all genders, is more sustainable with fewer clothes are produced overall per collection, and has sparked some really interesting pieces which question the relationship between gender and fashion in a wearable, modern way. We can only hope that, as trends usually do, the co-ed conception of fashion will trickle down from high fashion into the high street, but not simply as a passing fad, rather a concrete change in the way we view clothes. I have faith that this change will come, and am ready to welcome it with open arms.

The Show Must Go On…but not in every region of the UK

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2020 has been a bleak year for UK theatre-makers. I was devastated when a production of new-writing called Everyone’s Favourite Ingredient, in which I was to play supermarket checkout worker ghost number one (I’m being deadly serious) was cancelled. The student-led theatre group I was part of had been trying to secure funding for the Edinburgh Fringe for months. Therefore, I understand first-hand how miserable it can be when production after production is cancelled. Indeed, my own experience is incomparable to the hardships faced by those working in smaller regional organisations, whose financial structures cannot cope with the demands placed on them by the pandemic.

For example, in May, Nuffield Southampton Theatre fell into administration when Arts Council England withdrew their funding. Playwright James Graham tweeted at the time: “Southampton Nuffield Theatre is closing for good. 60 years of investment, training and serving its community. All profitable in normal times, just needed shortfall funding while closed and it didn’t come in time. So sorry to the 86 made redundant, and the locals who loved their theatre.”

A more recent example is the Minack Theatre in Cornwall, who announced that they are cutting jobs because their business has lost £500,000 due to COVID-19. Theatres like the Minack can only operate at 30% capacity with social-distancing measures in place. Despite the theatre having made a surplus in July, mass unemployment looms for the team, with no work being available over the Christmas months due to restrictions in place.

Yet it is due to cuts made by the British Government prior to the pandemic that regional theatres are particularly struggling. According to an Arts Index report published in June of this year, government funding for the arts declined by 35% between 2007 and 2020. Local government funding dropped by 43%, despite a 7% rise in ticket sales, according to an analysis of data supplied by 13 of England’s major regional producing theatres. Whilst COVID-19 certainly did not help Nuffield Southampton Theatre, as Graham points out, the theatre was perfectly solvent in years prior to the pandemic. It was even voted Regional Theatre of the Year in 2015. The reason they actually went into administration is due to Arts Council England (ACE) suddenly withdrawing their funding. The organisation had a bad year in 2018, as they moved into a new building above a Nando’s that was not yet adequately equipped to deal with the demands of the theatre company. But why did ACE allow the media to continue reporting that NST went bust due to the pandemic, when that wasn’t what happened in reality? Several regional theatres have struggled to cope in the pandemic, due to persistent negligence and underfunding for decades, both by regional funding bodies and the government themselves.

In addition, theatres in the North have been particularly hit; they have been in Tier 3 for several months now. Royal Exchange Manchester have made the most of online platforms. They describe their current production, All I Want for Christmas, as a digital advent journey “inspired by the voices of our regions.” The production features over fifty artists, ranging from members of the local community to the famous screenwriter Russell T Davies. Their Elders Company devised and performed A Funny Thing Happened in Isolation as a zoom play. The performance was an ingenious way of helping to combat loneliness particularly exacerbated by pandemic amongst the elderly population.

Rest assured, it is not all bad news for regional theatres. We should commend the efforts made by several regional theatres to keep producing content, as well as continuing their outreach programmes and keeping the spirit of British theatre alive. An organisation that I feel a particular personal attachment to is Chichester Festival Theatre. Having spent several years participating in their summer musical theatre programmes, I have first-hand knowledge of their investment particularly in young people through their Youth Theatre Company. I was blown away by their production of Crave by Sarah Kane, directed by Tinuke Craig in partnership with the Royal Court. The set design, featuring four actors on large treadmills, served as a powerful visual metaphor for the themes of the play, as well as making the most of the requirements of social distancing. The production opened just prior to the second national lockdown. The theatre responded to the new government measures with lightning speed, continuing to live-stream the production on 5th-7th November, even after lockdown began. They continue to have in-person performances, with their youth-theatre currently performing their Christmas production of Pinocchio. The theatre has also committed to continue to live-stream each production, expanding the reach of each production, as well as ensuring that those who do not feel comfortable sitting at a theatre in-person can still enjoy the productions that they are putting on.

Although on a lesser scale, London theatres have also suffered during the pandemic. The National Theatre had to close their production of Death of England: Delroy after its opening night. But like Chichester Festival Theatre, they have particularly invested in live streaming, as well as developing their National Theatre at Home service. Perhaps live-streaming will become more prevalent and the future of theatre, even after the pandemic is over.

Indeed, new Tier four restrictions means that London is no longer disproportionately unaffected. West End shows like Everyone’s Talking about Jamie and Six had just re-opened days before Johnson announced London’s movement into Tier three. I for one had tickets cancelled to see Nine Lessons and Carols at the Almeida and the Panto at the National. Whether theatres are allowed to continue in-person performances is now almost entirely down to luck. Chichester Festival Theatre have managed to escape Tier 4 restrictions by all of about 20 miles, as Chichester remains in Tier 2 despite the fact that neighbouring locations of Portsmouth and Havant are now entering Tier 4. What is clear is that these restrictions will carry into the beginning of 2021— and so methods of keeping regional organisations alive in the coming year really will differ region by region. It is, however, imperative to many actors and theatre lovers, regardless of the region, that the show must go on.

Image credit: Wikimedia Commons Author: Eric van der Palen

Review: The Dancing Men

When Camilla Milverton, student of St. Luke’s College, fails to evacuate her room during a fire alarm, a woman is seen knocking on her door via CCTV. What ensues is the police investigation of an apparent murder, available to watch via YouTube link.

The Dancing Men is relatively short at 30 minutes, but manages to tell a fast-paced story with bold characters and noteworthy formal and graphic elements. This is a perfect production for every aspect of pandemic viewing: it’s digital, short (for the new lows reached every day by our/my attention span), interactive at a distance, and doesn’t require too much work from its audience, though does accommodate those who still have functioning brain-cells.

Whilst this is certainly a student production, and one which isn’t pretending to take itself too seriously, the editing and organisation of the performance gives it an air of professionalism. The decision to present the narrative exclusively through interviews, CCTV, and bodycam footage brings it as close to immersive theatre as one can get from their bedroom. Even the sound editing makes it feel as though you are reviewing evidence in real-time with Inspectors Demuth and Jackson. The whole crew behind this production are worthy of praise for their resourcefulness, having produced a piece which works with, rather than against, its unusual circumstances. The post-show codebreaking ties into this, given that most people wouldn’t want to show up their poor skills of deduction in a theatre, but alone it makes for a genuinely engaging and well-thought activity.

I must also mention the ease with which the cast seems to have taken to socially-distanced performance. Without being able to film the scenes together, it must have been more challenging than usual to portray lively dialogue, but it is a challenge that they certainly overcame. Even with syntax that was quite literary (an interesting nod to the piece’s Doylean origins), every cast member was firmly in character throughout. Grace de Souza in particular gave a very convincing performance as Lesley Armstrong (definitely not somebody I would want as a tutor).

My only criticism is of a couple of scenes that dragged very slightly, but this seems like an irrelevant criticism of an unpretentious production that otherwise ticks every box for easy viewing. While it is nothing ground-breaking, it seems like a project that was a lot of fun to work on, and just as fun to watch. Other theatre companies planning shows in and out of the pandemic should perhaps take note of how Not the Way Forward Productions uses challenges to its advantage.

Students should return for Hilary despite Tier 4 announcement

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Students are expected to return for Hilary term despite Oxford being moved into tier 4, the University has announced.

Following the government’s announcement, an update on the University’s website said: “We are looking forward to welcoming students back to Oxford in Hilary term. We want to help make the most of your Oxford experience, within the constraints of the pandemic.

“We are committed to providing a good mix of in-person teaching and online support – building on our experiences in Michaelmas term.

“Under Tier 4, universities and workplaces will remain open. We therefore expect teaching and research to continue at the University in the New Year, and for students to return for Hilary term broadly in line with the arrangements communicated at the end of Michaelmas term.

“The move to Tier 4 may impact some services provided by the University and colleges. We continue to monitor the local and national situation, and will consider the detailed implications of the change in alert level. Further information will be provided as soon as possible”.

The statement comes following the news that Oxford will be placed under tier 4 from Boxing Day. This means that all non-essential retail must close, and individuals are only permitted to meet one other person from outside their household at a time, in an outdoor public space. The measures have been brought in after two new mutations of coronavirus have been identified, which increase the infectiousness of the disease. 

The University confirmed earlier in the month that teaching would start in two separate waves, with most practical courses beginning at their advertised start date, and most other subjects beginning in-person teaching from Monday 25th January. Any content before this date will be delivered in an online format. Colleges have subsequently confirmed their individual arrangements for students’ return in Hilary Term, which can be found here.

Oxford’s university-wide guidance encourages UK students to arrive at least four days before the start of their in-person teaching, in order to allow individuals to take two lateral flow tests. Until students have received two negative results they are not permitted to take part in face to face teaching or sport. 

The university is also recommending that a third test be taken ten days after arrival in Oxford, in order to identify anyone who has been infected after arriving at the university. Meanwhile, international students have been told to try and arrive in time to fulfill any quarantine requirements before the start of face to face teaching for their course.

Residency requirements will remain in place for Hilary Term apart from where a specific exemption is in place, in order to ensure that students can “take full advantage of Oxford life”. However, individuals concerned about returning to Oxford can make an application to the Proctors requesting that be given dispensation to study remotely.

Image: Sara Price / Pixabay.

The Prom: rainbow lighting, James Corden & the stage-to-screen adaptation

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2020 was going to be a big year for the movie musical. With In the Heights, Everybody’s Talking About Jamie and the new, Spielberg-directed West Side Story all scheduled to hit screens, it was looking like we might be entering a new golden age for the genre. However, for obvious reasons, all of these releases were pushed back to next year. Ryan Murphy’s The Prom, an adaptation of the 2018 Broadway show of the same name, was the last musical left standing. 

Loosely based on a true story, The Prom is about Emma Nolan (Jo Ellen Pellman), a girl who just wants to take her girlfriend Alyssa (Ariana DeBose) to the high school prom. Unfortunately, she lives in small-town Indiana, and the PTA at her school decides to cancel the whole thing instead. Meanwhile, a group of four Broadway stars (Meryl Streep, James Corden, Nicole Kidman & Andrew Rannells) are looking for a way to rebuild their tarnished showbiz reputations, and Emma’s story seems like the perfect opportunity for some good publicity. The film focuses on the actors’ plans to change the minds of the people of Indiana and rescue their careers at the same time, plus we get a look into the effect on Emma and Alyssa’s home lives.

Overall, I think The Prom is a good film. Sure, there are a few sub-par performances and a lot of clichés, but ultimately, it’s a feel-good celebration of musical theatre and acceptance. It’s very Ryan Murphy: it has the musical numbers and teen problems of Glee, the flashy production design and costumes of The Politician, the optimism of Hollywood. Murphy’s usual flaws also recur, however: too much time is spent on the adults instead of the experience of the teens the film is supposedly about, and at times style is undeniably placed over substance. That said, at the end of a year in which curtains have hardly left stage floors, The Prom is exactly what theatre fans needed: it’s fun, earnest to a fault, and brings all the glitz and glamour of the stage to Netflix screens. 

Remarkably for a stage-to-screen adaptation, The Prom delivers the script of the original musical almost word-for-word. Almost every song remains intact too, with the only changes being a cut to the big showy number ‘The Acceptance Song’, a small cut to a duet at the end of the promposal number ‘You Happened’, and the loss of the reprise of opening number, ‘Changing Lives’. Even some of the choreography from the stage version makes it to the screen, which is practically unheard of. 

So then, what’s different? Most obviously, the format. For a stage production to translate onto the screen, adjustments must be made and The Prom does this well, expanding on the script and giving more nuanced, developed backstories to several characters. Production design plays a big part in the translation and transformation: without the limitations that come with set changes and stage widths, the creative team have been able to create a glitzy New York, a drab Indiana, and an all-out, technicolour, glittering prom. The colour palette is what really makes the film, with each of the stars given their own signature colour of the rainbow – costuming is another of its strengths. The lighting design embraces the project’s theatrical roots, injecting the film with the vibrancy and fantasy-world feeling I associate with stage spectaculars. With that said, some things are definitely lost. Key to the stage production’s popularity was its many Broadway references, aimed at hardcore theatre fans. That feeling of being in on the joke doesn’t always make it through the digital jungle in the journey from stalls to screen. 

The other obvious difference is the casting. As someone who loved the stage production, and has watched pretty much every clip of it that’s ever been uploaded to YouTube, it was hard not to compare the cast’s performances with those of the original Broadway company. Streep was a pleasant surprise, with her powerful vocals easily living up to Beth Leavel’s original performance and proving why she is a movie-musical staple. Kidman and Rannells were similarly excellent – Kidman in particular brought an unexpected emotional honesty to her scenes comforting Emma. While Jo Ellen Pellman and Ariana DeBose were undeniably likeable, and definitely strong singers, they didn’t quite get into the emotional grittiness as much as I would’ve liked – Pellman was always smiling, even when her character was going through quite the ordeal, whereas Caitlin Kinnunen, the original Broadway Emma, brought a lot more depth and authenticity to the part. An unexpected high point was the scenes shared by Keegan Michael Key, as the theatre-fan high school principal, and Streep – he was easily the most human and least cliched character, and the two have remarkable chemistry. 

I am of course missing one key actor. James Corden’s performance was something of a controversy even before the film was released. This was based both on the fact that he seems to have appeared in every single musical film of the last five years, and that he is a straight man playing a character whose arc revolves around being gay. While it’s not my place to comment on whether the latter was offensive, his actual performance made him the weak link of the cast. Corden’s American accent seemed to come and go as it pleased, and he was lacking any kind of emotional honesty. It’s a real shame – the film added a lot of depth to his character through backstory, which could have been really impactful had it been played properly. With all that said – at least it was better than Cats

But what should we expect from the casting of musical adaptations? For years people have debated the merits and drawbacks of retaining Broadway casts: on the one hand, stage actors should be given the opportunity to break into film, they already know their characters inside out, often having worked on them for years (some of The Prom’s original cast were part of its development for seven years). On the other, celebrities are far more likely to draw in audiences and make musicals financially viable. I think with The Prom, casting big name celebs in the adult roles was sensible – Meryl Streep can bring in an audience with just a cameo. It felt unnecessary, however, that the teen roles were recast – Jo Ellen Pellman is even less known than Caitlin Kinnunen, who I think would’ve given a stronger performance, the same can be said of Ariana DeBose and her Broadway counterpart Isabelle McCalla. That’s not to say that the new actors gave bad performances, or that they were miscast – their casting just seems unnecessary.

Casting controversies aside, it’s important to think about how the film will be received in our current moment – a lot has changed since the Broadway production closed. People are desperate for joy and celebration, and The Prom has an abundance of both. Its message of optimism and acceptance is heavy-handed at times but couldn’t be better timed. With the Biden presidency on the horizon and the long-awaited vaccine arriving, things might be looking up; The Prom nurtures this optimism. On top of this, releasing a film that denounces homophobia can’t go amiss at Christmas time, when people are looking for things to watch with the family. The Broadway production made history by staging the first LGBT kiss during the Macy’s Thanksgiving Parade, and so it’s nice to think of the film continuing this legacy by bringing discussions into the home – releasing the film on Netflix makes it accessible to thousands who would never have found the stage production. 

This is the film’s real strength – taking the sparkling, festive movie-musical and bringing it into 2020. Centering a story on two teenage lesbians is a huge, positive move for the genre, one that will hopefully have a real-world impact. The future of the movie-musical remains uncertain, but with so many films lined up to be released in 2021, The Prom feels like it could be ushering us into an exciting new era of all-singing all-dancing entertainment.

Oxfordshire to go into Tier 4 from Boxing Day

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Health Secretary Matt Hancock has confirmed that Oxfordshire, including the city of Oxford, is to go into Tier 4 from one minute past midnight on Boxing Day. Hancock said in a press conference this afternoon: “We all know that 2020 has been a hard year and it’s ending in this festive period which is going to be very different.” 

This follows a significant increase in COVID-19 cases in the county. In the seven days before December 18th, cases in Oxford rose by 58% from the week before. Cases in Oxfordshire as a whole rose by 86%.

Eight cases of the new variant of COVID-19 have been identified in Oxfordshire, all of which are in the city of Oxford. This variant, known as VUI-202012/01, may be spread 70% more easily than previous variants of the disease. There is no evidence that it causes more serious cases of the disease or is more deadly.

Under current government guidance, universities are expected to remain open in areas under Tier 4 restrictions. People in these areas have to “stay at home” unless they have a “reasonable excuse”, examples of which are listed on the government’s guidance pages. These restrictions mean people “must not meet socially or carry out any activities with another person” indoors. However, people can meet outdoors socially or for exercise with people from their household or one other person.

Currently, the University has not provided any suggestion that Hilary will be remote. More information regarding returning in Hilary can be found here and here. The Universities Minister has confirmed that students who are living in university accommodation over the vacation may return home for Christmas, even if their home is under Tier 4 restrictions. However, it is unclear whether this will apply to returning for next term.

Full guidance for living under Tier 4 can be found here.

Image: Amir Pichhadze

Six of the best: winter albums

Descriptions that liken music to a particular season will inevitably be based on subjective experience. A ‘wintry’ album might remind one person of cuddles with a loved one on a chilly evening; for another, it will be something to dissociate to whilst gazing numbly out onto the frost-covered quad on Sunday of 8th Week. Or, of course, it might be the seminal avant-garde masterpiece that is 2010’s Now That’s What I Call Xmas.

1. Radiohead Kid A (2000)

In 2000, Radiohead made perhaps the greatest left turn in the history of popular music, going from everyone’s favourite despondent art-rockers to everyone’s favourite despondent… whatever the hell Kid A is. There’s much to be said – and much that has already been said – about Radiohead’s then radical (at least by mainstream standards) channeling of influences from electronica, ambient, free jazz and the avant-garde into their signature brand of alienation and ennui. But if we’re talking strictly about a sense of coldness here, I’ll just let ‘Idioteque’, with its stark atmosphere, choppy beats and chilling refrain of ‘ice age coming, ice age coming’ do the talking. FM

2. Godspeed You! Black Emperor F#A#∞ (1997)

‘The car’s on fire, and there’s no driver at the wheel…’ so begins ‘The Dead Flag Blues’, the mammoth opening track on GY!BE’s 1997 debut, an at times fragile, at others overwhelming sonic journey into the post-industrial wasteland. There’s probably some cheap comparison to be made between this line and the current handling of a certain national health crisis, but I’ll avoid glib connections to contemporary politics and instead focus on the band’s sense of texture and atmosphere, their abstract blend of dirge-like guitars and mournful strings with low, rumbling drones, their sparse, cinematic soundscapes, the ineffable quality of the field recordings that punctuate the album. ‘These are truly the last days’ indeed. FM

3. Purple Mountains – Purple Mountains (2019)

Already about as bleak an album as you’ll be able to find, the feelings of despondency and isolation seeping through Purple Mountains’ self-titled debut were compounded when David Berman, the man behind the moniker, hanged himself in his New York apartment just weeks after the record’s release. Deceptively catchy songs such as ‘Darkness and Cold’ and ‘All My Happiness is Gone’ reveal a man who, though frosty and flawed, was someone we could all root for right until the end. Rest In Peace, David. FW

4. Tim Hecker Ravedeath, 1972 (2011)

Canadian sound artist Tim Hecker is inarguably one of the most vital and expressive artists working in the realm of ambient music. As such, it was difficult to choose between this and his other masterwork, 2013’s similarly chilly Virgins – I went with Ravedeath, 1972 only in part due to the punworthy fact that it was recorded in Iceland and produced by fellow sonic experimenter Ben Frost. Consisting of compositions that prominently feature grandiose, elegiac church organs alongside Hecker’s trademark fuzzy electronic textures, the record is driven by Tim’s desire to explore through music ideas of decay and degradation, isolation and internal conflict. Fittingly, it’s an emotional powerhouse of an album, one that can be as harsh and claustrophobic at some points as it is melancholic and cathartic at others. FM

5. Better Oblivion Community Center – Better Oblivion Community Center (2019)

Two of indie-folk’s most affecting voices, in Phoebe Bridgers (we are not worthy) and Bright Eyes’ Conor Oberst, team up on this understated gem, released without fanfare in January 2019. ‘Chesapeake’ is a yearnful campfire duet about “how depressing [the music industry] is”, while ‘Service Road’ lyrically depicts a snow-dusted Midwestern highway. The highlight, however, is the rollicking ‘Dylan Thomas’, with its angsty chorus and references to the eponymous poet drinking himself to death on a cold November night. FW

6. Various Artists Now That’s What I Call Xmas (2010)

With the realisation that this list is erring on the side of the depressing (‘Do they know it’s Christmas?’ I hear you ask), it might be best to remind the listener that it’s not all so bad with this set of cheery festive classics. Sit back and relax by the fireplace with a mince pie in one hand and a glass of mulled wine in the other, and let Bing Crosby’s ‘White Christmas’ soothe your soul. Or gather round with your friends and belt out The Pogues’ ‘Fairytale of New York’ and Slade’s ‘Merry Xmas Everybody’ into the early hours of the morning. Or question the bizarre inclusion of Jethro Tull and Frankie Goes To Hollywood on the tracklist. Whatever floats your yuletide log, really – ‘tis the season, after all. FM

Artwork by Sasha LaCômbe.

On First Looking into Rupi Kaur’s ‘Home Body’

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This must be what god feels like: swimming the 

Slim interstice between sensation and 

Language, or within the silence as the 

Curtain lifts. Head to the source of the earth’s 

Deep percussive heartbeat like dum-da-dum

Waltzing with every last atom in the 

Universe, impenitent, blank verse blown

Apart by line breaks, bricolage applause

As spoken word verses raining down like 

Stardust, this meteor only ever half-glimpsed 

As it careens throughout the heavens. It’s 

Sappho if she could have heard Ludacris’ verse 

On ‘Baby’. It’s fire, baby, and I, the 

Reader, can warm your hands against it while

You still have the chance. A truth that one can 

Express in epithet form is that

Meena Alexander wasn’t on Fallon

Even once, and probably died poor. 

Poor as in penniless. So take a good look. 

And then again as it is reproduced 

Through a series of iterated images. 

That’s £19.99 at Waterstones, 

Baby, and trust me: 

There’s an L in ‘neoliberalism’ but you won’t find one in ‘Home Body’. 

Artwork by Rachel Jung.