Sunday, May 11, 2025
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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.

Lighting: the art of manipulating the audience

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Light is a subversive medium. Unless reflected off something, it is invisible – its only job is to tone how something is presented to an audience. If you think you are immune to manipulation by light then I invite you to partake in a little thought experiment: imagine a summer evening with a warm golden sun. Now imagine an overcast Monday in February with a grey cloudy sky. The change of emotions is immediate. It is an old trick that has been used, far more elegantly than me, by writers for millennia but one that is incredibly powerful.

Changing the feel of the light has a massive impact on how an audience sees a piece of drama; imagine if the murder scene from The Scottish Play was undertaken in bright Mediterranean sun or if the title song of Chitty Chitty Bang Bang was performed under moody grey lighting. It is something most audiences have probably never considered, not because it is unimportant but because most people don’t have an intellectual response to light. The effect of light is upon the unconscious, unacknowledged unless you are thinking about it, but it influences you all the same.

So, how do you manipulate light to manipulate people then?

One of the most used methods is colour temperature or how warm or cool a light source is. Warm, yellow-orange light is comforting and homely, these colours are associated with candles or being around a campfire. It is often used to draw people into high-end shops or to create a comforting ambiance on stage. Cool light, which mimics the harsh midday sun is bluer, can be used to trick an audience’s subconscious into thinking that action is happening outside when in fact everything is taking place in a theatre. It can also make people feel uncomfortable: fast food restaurants use cool lighting to reduce the average length of stay. By making people feel slightly on edge, they won’t sit and chat. This increases restaurant capacity and profitability. It is significantly cheaper and subtler than hiring someone to kick punters out after they have finished their food but achieves the same effect and, crucially, the customer is none the wiser.

As well as colour temperature, another incredibly useful lighting trick is relative brightness. Human vision is easily diverted to bright things. In theatre, unlike movies or TV, the director has no natural control over where the audience looks. They can’t cut to a close-up showing the action and so light is used to direct attention. In crowd scenes where multiple people speak in quick succession, it isn’t uncommon to boost the brightness of an actor just before they speak so an audience is already looking at them when they start their line.

This effect isn’t just useful to the arts. Have you ever wondered why in most night clubs the spirits are illuminated? Shots tend to be around 20% more profitable than bottled beer and so by lighting them up bars can nudge patrons to their most profitable items. It is one of the best value ways to boost sales. Incheon Airport has found it can reduce the number of signs needed and the time customers take to find their bearings by using horizontal directional lighting and light corridors that subtly guide passengers where to go. Pathways through the airport could even be changed by altering the brightness of different areas.

Light can also alter how people are perceived. Most people are vaguely aware of how soft omnidirectional light can flatten wrinkles turning back the clock. However, the lighting designers’ ability to change how we view a character goes far deeper. The size of a theatre designers’ canvas is large: it’s the whole stage. The emotion of the lighting must be felt from the gods and so effects can be large and dramatic. Film designers may only have the face to focus on and so effects tend to be contained and far more subtle.

Some studios use a light called an inky dinky that is placed in an actor’s eyeline in order to produce a circular reflection. This makes the eye pop out and the character seem more sympathetic; baddies are differentiated by replacing the circular light with a slit of light. This makes their eye look more reptilian and puts the audience on edge subconsciously. The type of lighting can also influence how dramatic an actor’s performance is perceived. Some actors have vetoes in their contract enabling them to adjust the lighting as they see fit; Maggie Smith has been known to stop tech rehearsals if she believes the light on her face is too flat and won’t convey emotion as well to the audience.

Another little talked about feature of light is colour rendering, some light sources like fluorescent tubes (used in some form for the majority of Oxford buildings) are missing certain frequencies of light. This makes them cheaper to produce and to some extent more energy efficient but they are missing whole colours, comparing their light with full- spectrum sources (that have every perceivable colour) the world feels slightly bleak and washed out. Theatre mostly uses ‘antiquated’ tungsten lamps that have a perfect colour rendering index, though you can use coloured film to reduce the colour rendering of a light.

Crossfading from a low colour rendering source to a high colour rendering source can produce a beautiful transformation scene in theatre but its effect in ordinary life is much more surprising. The University of Nevada found that students learned 20% more in classrooms lit with high colour rendering lights. Of course, things like this are difficult to prove outright, and it doesn’t help that the idea of quantifying the effect of light on human performance and mood is relatively new and so things like the emotional impact of light are seldom taken into account by commercial lighting designers.

Ironically, the study of light has always been in the shadows despite how much light impacts our day-to-day life. Perhaps it is because the eye is drawn to what is illuminated rather than the illumination itself. Either way, it has never really bothered lighting professionals. Their motivation isn’t for themselves to be in art but comes from the art that they can create and the effect of that art on an audience.

Image Credit: Eva Rinaldi / Wikimedia Commons. Licence: CC BY-SA 2.0.

Out of the Blue release their charity Christmas single

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Oxford-based acapella group Out of the Blue have just released their new Acapella cover of Wizzard’s I Wish It Could be Christmas Everyday in aid of Helen & Douglas House, the world’s first children’s hospice. 

Out of the Blue is an all-male group composed of University of Oxford students, although it is open to anyone that lives in the city. The group have worked with Helen & Douglas hospice for 10 years, and donate all of their annual profits to them after costs, alongside performing regularly in the hospice. 

A spokesperson for Out of the Blue told Cherwell: “Out of the Blue have been doing an annual Christmas single in aid of Helen & Douglas House since 2014.  Helen & Douglas House are a children’s hospice (the oldest in the world) in Oxford who provide palliative and end of life care for children with life-limiting illnesses. Over the past 5 years we have raised over £150,000 for them – something we are incredibly proud of.” 

“Like most people in the arts, we have struggled this year and with significant running costs, have only just managed to turn a profit after our intense work in Michaelmas and Hilary last year. Helen & Douglas House were facing financial difficulty before the pandemic so it’s even more important that we raise as much money as possible for them. “

You can watch Out of the Blue’s Christmas music video here and download the single here.

Image credit: Richard Tong

Review: Taylor Swift’s ‘evermore’

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‘In the disbelief I can’t face reinvention. I haven’t met the new me yet.’ So sings Taylor Swift in her ninth and most recent album. Swift has talked before about the pressure on female artists to be constantly recreating themselves, but here her break from this expectation has paid off in the fullest way. For those who warn against the inability of a sequel to match up to the original, this ‘sister album’ to folklore is, like the second Godfather installment or Shrek 2, one of those exquisite exceptions which prove the rule. evermore, in all its moody alt-folk glory, is a christmas gift. 

Unlike its predecessors, it takes a few listens to start to unpick the complexities in sound and story. Accordingly I have listened to evermore cycling through Oxford fog, running round my village and most recently staring moodily into the fireplace like I’m starring in a shitter, Scottisher Call Me By Your Name remake. What has become apparent is a richness that I can hardly do justice to either in reception or writing – articles more informed than this one are already springing up tracing the correlation between different song-stories, or explaining the musical influence of her different collaborating artists. Nevertheless, this is me trying. Swift opens the album with ‘willow’, the folk influences signposting that evermore shares the same instrumental foundations as folklore, but is more experimental. Her stripped back, mid-tempo piano and picked guitar tie disparate themes together with an invisible indie swing, from the off-kilter ‘closure’ to the feral ‘no body, no crime’ (Taylor’s country has come a long way from misogyny to misandry and I am so ready for it). Because of this, evermore, even more than folklore, walks a delicate balance to avoid album accusations of either incoherency or mono-sound; it’s true that one or two songs don’t quite pull this off. ‘gold rush’ in particular shows the stumbling blocks of a collab between two distinct sounds, and is a jarring jumble of producer Antoff’s sonic set pieces which distracts from the gorgeous lyrical conceit of the song rather than adds to it. Elsewhere, however, this collaboration (among others) soars and leaves us with a stunning compilation of pieces, especially impressive as the second album she has produced in one year. 

Form mirrors function; as much as these songs move away from chart-friendly pop, so Swift excludes herself from her narratives in a way not often seen in high profile artists. I think it’s a relief to be looking for meaning in her lyrics without trying to link it to the latest piece of tabloid gossip.  On one level it allows a new layer to her songs; without a confirmed canon, ‘dorothea’ can be related by fans to ‘‘tis the damn season’, or it can be heard as a sapphic anthem. But crucially, Taylor’s character studies are proof that songwriters don’t need to lay bare details of their personal lives to pack an emotional punch. Just in time for Christmas, ‘‘tis the damn season’ has 2020 me wishing that 2015 me had not taken up debating or believed my mum that percussion was the coolest instrument, just to increase the probability I would now have a hometown ex to text. Autobiography in songs is only one way for them to be honest; fundamentally Taylor, unlike many contemporaries, is a lyricist first and it’s with this skill that she conveys an acute, almost painful at points, emotional honesty which is as transcendent in a song about a fictional ex-husband as it is about Tim McGraw. evermore sees an overload of word play, rich imagery and structural tricks to bring this home; even if you’ve somehow remained emotionally stable in the 2020 rollercoaster from cruel summer back to December, then ‘champagne problems’ and ‘ivy’ might just be the final straw for your tear ducts. The same mild treatment is given both to confessional suggestions of sensuality and to an erudite set of cultural references from F. Scott Fitzegerald to contemporary poet Miller Williams, creating a unique kind of shared experience. Swift has this gift which has you pull up, almost breathless, during a song about a specific failing marriage, or child-hood friend and think, oh that’s me. That’s how I feel but expressed in words that I didn’t necessarily have at my fingertips.

I said in a review of Lover, my possible favourite album before this point, that Swift’s gift lies in that she’s so invigorated by the concept of falling in love, it’s difficult not to get swept up in the excitement too. evermore hasn’t so much proven this wrong as expanded her interest to treat other types of passion with the same sensitivity. There’s a new maturity that doesn’t just come from the increased swearing in her last two albums (sexy as it is). These 17 tracks chart predominantly the breakdown of different relationships and from the perspectives of different parties but somehow any nastiness only goes as far as bittersweet and this remains an album which is ultimately uplifting to listen to. On one hand, this can be credited to a universal power of any beloved artist; there’s a warmth that comes from knowing whatever acute, individual emotion you feel is echoed around the world. Taylor certainly plays into this with a more self conscious use of narrative voice. But freshly, there’s a broader perspective here which gives a self-affirming power to the listener. evermore as an album recognises that the pain of lost love – romantic or platonic – is matched with the happiness that that relationship at one point brought, even as it acknowledges the difficulties in being able to hold on to this in the heat of the moment. Songs like ‘happiness’ sway from forgiveness to bad blood and back again in the same verse;

‘There’ll be happiness after you. But there was happiness because of you. Both of these things can be true – there is happiness.’

This is a fruitful symmetry and one which throws into relief the asymmetry of requitation and arrhythmic dualities of internal emotion that Taylor wants to explore – it’s these which go hand in hand in lived passion. This is why the titular song serves so well to complete the album, concluding that the pain of lost love can simultaneously be understood to be both temporary and evermore.

It was always going to be a love story for me and Taylor and I’m sure that this article has come across as far from unbiased. I’m happy to be made fun of as a T Swizzle fan, but I’m also coming to realise that my aggressive stanning of her isn’t just proportional, but reactionary. Frankly this is the side I’d rather err on. Fans know all too well that it is easy for her to be swept aside as the ‘crazy ex-girlfriend’ or bland pop princess by boys to whom The National or Bon Iver must be invoked in order for them to take her work seriously. 2020 marks the year that Swift dislodged Michael Jackson as the most awarded artist of all time and also, I hope, the year the world will finally stop any facade that it consumes Taylor Swift in any way other than non-ironic. evermore is just the latest piece of evidence in a long line of conquered musical genres that makes it clear that, as far as the music industry goes, Taylor Swift’s position is unapologetic, incomparable and irreplaceable.

Image credit: Wikimedia Commons.

Going Viral: Religion and the Pandemic

Pandemics are nothing new, but we now live in a technological age – a globalised world where people and information travel further and faster than ever before. This has facilitated the prolific spread of the virus, but it also means that we have the technology to adapt in response. Online messaging platforms have come to define the way in which we continue to communicate amidst a global pandemic. In relation to religious services, it is online streaming services that now facilitate congregational worship, albeit removed from a particular place of worship. 

The global events of 2020 have had an unprecedented impact on our lives and our faith, prompting us to reconsider our established beliefs. In times of crisis, we often turn to our community for support, only to find that amidst this pandemic, we cannot — physically. As a result, many begin to look inwards for answers, whether it be through religious activity or spiritual practice. The endurance of religious activity is vital to many who seek reassurance and counsel during a time of greater hardship and loneliness. Isolated from society, many have been severely impacted by anxiety, apprehension, and fear on account of lockdown and the threat posed by COVID-19. In a polling of 4,294 UK adults carried out by The Mental Health Foundation in early July, almost one in five (19 per cent) of UK adults were feeling hopeless.

In the absence of a typical congregation, religious communities around the world have had to adjust time-honoured rituals, adapting to a ‘new normal’ in order to curb the spread of the virus. 

One particularly novel example of such an adjustment went viral online when a socially-distanced baptism in the US was conducted with a toy water pistol. Additionally, since moving its services online, an evangelical introduction to Christianity has seen the number of its participants double. While religion functions at the individual level, COVID has impacted the communal and collective issues, and it is this community that is at stake. The innovation and adaptation of organised religion during the pandemic is necessary in order to safeguard the survival of the communal and ritualistic aspects of religion, retaining the connection between the sacred and the profane.

Here, we present our respective experiences of lockdown in two religious contexts – a non-denominational monastery in rural South Wales and Muslim communities in Oxford and Malaysia. 

While these communities represent very different cultures and practices, these personal perspectives will give insight into how religious communities have sought some common means of adapting traditional religious practices in the face of a global pandemic.

Skanda Vale, South Wales

Prior to my stay at Skanda Vale monastery, I had been in lockdown in Pondicherry, South India for about a month. I came home on the only chartered flight out of Chennai, and knew that I couldn’t risk being my immediate family for at least 14 days after the flight. It occurred to me that I could contact a monastery local to my home in rural South Wales, whose members I knew well. 

The religious community of Skanda Vale was founded in 1973 by a Sri Lankan gentleman named Guru Subramanium, and most of the worship at Skanda Vale has what could be described as a predominantly Hindu character; the three temples set across the site are dedicated to Hindu deities Murugan, Vishnu, and Kali, but each temple also accommodates shrines to other faiths including Christianity, Buddhism, Judaism, Islam, Sikhism, and Zoroastrianism, and festivals of other faiths are celebrated. 

The monastery originally comprised a derelict farm, but has now grown to cover approximately 300 acres of land. In normal times Skanda Vale attracts tens of thousands of pilgrims annually, and although the community had closed its gates to the public at a very early stage in the pandemic, I was permitted to isolate for 14 days in a cottage owned by Skanda Vale, just outside of the monastery. 

What I had planned to be a period of isolation followed by a week with the monastic community turned out to be a four-month stay. During that time, I experienced first-hand the ways in which Skanda Vale adapted to the pandemic. 

I had already observed the impact of the pandemic on religious practice during my time in India – without the ubiquitous crowds of devotees, temple priests would continue the daily rituals behind closed doors, venerating the presiding deity as usual. The situation was very much the same at Skanda Vale, where six regular services, called pujas, are conducted daily. Whereas there would normally be hundreds of pilgrims, the only people in attendance when I arrived were the 25 or so monks and nuns that make up the monastic community, along with five pilgrims who had chosen to stay put during lockdown. 

The first morning service that I attended was a celebration of Buddha Vesak, commemorating the life of the Buddha. The few of us who were staying at Skanda Vale gathered outside the main temple – the Murugan temple – before one of the monks came to let us in. We picked up some cushions and walked to the front of the temple, where we sat cross-legged and quietly waited in the dim, lamp-lit hall for the service to begin. A beautiful shrine had been constructed the previous evening; adorned with colourful saris that glistened in the flickering candlelight. The centrepiece was a large black statue of the Buddha, depicted in blissful meditation. Incense was offered at the shrine accompanied by chanting in both Sanskrit and Pali. Finally, everyone was invited forward to offer a lit candle before the seated Buddha. All in all, the service lasted about an hour.  

This particularly special service was live streamed at 5am, and the live streaming of daily worship has since attracted a large core group who have tuned into the broadcast on a daily basis since the beginning of lockdown.

Elliot Muir manages Skanda Vale’s online presence, and shared his thoughts on adapting to lockdown and reaching out to devotees: “There’s a live chat on our broadcast, so everyone has got to know each other – there’s now a strong social aspect to the broadcast… If it wasn’t for lockdown we would never have broadcast pujas, but now it’s ingrained and we’ll definitely continue.”

Muir says that lockdown changed his approach to the potential and value of life online: “Lockdown clarified everyone’s priorities – one outcome for us was that our online offering became a simple expression of care and support for our community.”

Besides daily worship and religious practice, Skanda Vale operates an independent hospice service, providing daily care and inpatient respite free-of-charge. Due to COVID-19, the service has been suspended and will remain so for the foreseeable future, but the temporary closure has provided a chance to re-evaluate Skanda Vale’s charitable services. Whilst the religious community hope to improve delivery of the hospice service post-COVID, in the short term the wider community is lacking a valuable service. However, Skanda Vale is continuing to provide a phone-in ‘listening service’ where anyone can chat with a member of the community about their anxieties and concerns.

Brother Neil, a monk at Skanda Vale, had this to say: “During late March I received a lot of calls in response to COVID-19. The emotional response was fear – people were experiencing their mortality for the first time. The loss of control, the total change, the collapse of everyday normality and anxiety over the future pushed people into unchartered psychological territory.” 

Brother Neil stressed that despite this being a period of uncertainty, the nature of the crisis serves as a reminder to live consciously and compassionately in the moment, and the opportunity can be seized to implement meaningful change.

Ramadan in Oxford, United Kingdom

For the umpteenth time during lockdown, I closed my laptop and sighed. My eyes flickered to a clumsily blu-tacked Oxford SU calendar, searching for a particular date.

One week left.

It was nearing the end of Easter vac, about a month after the United Kingdom had gone into lockdown and I, an international student, was one of few who chose to remain in Oxford.

A week until Ramadan, the holiest month in the Islamic lunar calendar, in which Muslims fast every day from dawn to dusk. A month of abstaining from worldly pleasures, of dedication to worshipping and getting closer to God, fasting during Ramadan is one of the five pillars of Islam.

Memories of the previous Ramadan and the many before came flooding through my head once again, as I lay down in my bed alone in the middle of Oxford, about six and a half thousand miles away from home, in Malaysia.

Mama would always wake me up slightly more than an hour before fajr, the dawn prayer which marks the beginning of the daily fast. Walking groggily, half-asleep to the dining table, my family and I would eat sahoor, the pre-dawn meal; then I would return to bed while my father began his morning. The rest of the day goes about as normal, albeit with a much-needed nap in the afternoon to recharge, as it is the night that holds many blessings.

My family would always break our fast at our neighbourhood mosque, where we’d arrive early to wait patiently in line for food generously donated by members of the community. Woven mats line the empty space just outside the praying area of the mosque, where we’d sit crossed-legged on the floor alongside others waiting for maghrib, the dusk prayer which signals the breaking of our fast. During Ramadan, there are additional night prayers called tarawih, performed at the mosque in congregation after the obligatory Isha prayers. Many take the time to socialise and catch up during ‘moreh’ suppers afterwards, though my family returns home promptly after, as it is an early start again the next morning.

Ramadhan – a month where it is not only about focusing on bettering one’s faith, but fasting itself an act that brings Muslims together in the practice of self-discipline. From breaking fast together as a community at the mosque or at home with family and friends, to tarawih congregational prayers only performed during the holy month of Ramadan, it is the community connection and the sense of solidarity that distinguishes this blessed month from the others.

Ramadan amidst the COVID-19 pandemic was no doubt difficult for the global Muslim community; for me, it was a difficult yet rewarding solitary experience. What was once done with the company of many others, from the joy of breaking one’s fast at the end of the day to different festivities celebrated by different cultures, was limited to my own room. Mosques are usually crowded during the tarawih prayers, filled with regulars as well as people who usually do not frequent them: rows upon rows of Muslims standing ankle-to-ankle, shoulder-to-shoulder. Though it is permissible to perform tarawih prayers at home, the same powerful feeling of communal devotion cannot be replicated.

With the lockdown in place even before the beginning of Ramadan, Islam and Muslims around the world have adapted with the move to online worship. During a Facetime call with my father early on in the pandemic as he was home in Malaysia, I remember my father’s sentiments of what would be the new rulings on the congregational Friday prayers, which are mandatory for every able-bodied Muslim male. Never before had it been permissible to perform Friday prayers alone at home: with Friday sermons or a small socially distanced congregation livestreamed on Facebook or on Zoom, technology has been utilised in order to keep faith alive amongst its adherents. 

For me in England, the highlight of my Ramadan was when I frequented iftaars on Zoom, held by the Oxford University Islamic Society, allowing me to be acquainted with other Muslims around the city who were also going through Ramadan alone. Iftaar, the meal consumed when breaking one’s fast, is no doubt solitary, though the joy and gratitude of being able to eat once again is the central significance and cause for celebration. As each one of us in Oxford were students isolated by the rest of our family, the iftaars over Zoom gave us an opportunity to experience that communal feeling once again as we checked up on each other – something that proved to be so important for our wellbeing during the pandemic.

Experiencing the holy month of Ramadan in isolation has made me more aware of the significance of the rituals and the prayers. At the mosques, it is easy for one to blindly follow the imam, the one who leads the prayer, merely imitating his actions and the rest of the congregation. With no one to guide or keep a tab on my actions, it was up to my own conscience to execute it. This was a blessing in disguise, as it truly strengthened my own faith. Now, as countries begin returning to a ‘new normal’ with mosque quotas, temperature scanning and tracking apps in Malaysia, the future of faith and religion still stands.

On the Future of Religion

As our individual accounts show, religious communities have adapted to the restrictions surrounding COVID-19. While the pandemic has changed how rituals and practices are carried out, the virus does not pose an existential threat to religion itself. Rather, just as religious communities have adapted to crises throughout history, modern technology has proved a vital asset under the conditions imposed by the current pandemic. 

In many ways, the pandemic has provided an opportunity to adapt and re-evaluate the modern-day significance of faith. The sudden and unprecedented social deprivation has particularly highlighted the function of individual observance as opposed to institutional congregational practices of religion.

In January 2005, Linda Woodhead published The Spiritual Revolution, in which she presents a study of religious belief conducted in the English town of Kendal. The study found that people are rapidly turning away from organised religion and institutions in favour of self-guided practices that work for the individual. This ‘spiritual revolution’ is especially exacerbated when traditional religious doctrines clash with the moral codes of a secular society, particularly regarding issues like gender and marriage. In many ways, the nature of social restriction surrounding the COVID-19 virus gives further impetus to this movement from collective communal worship to individual spiritual pursuit, as a degree of isolation is compulsory. However, whether it is to have a lasting effect remains to be seen, because while individualism has long been associated with independence – a kind of freedom based on choice – the ‘individualism’ of the COVID era is more about imposition and isolation. If anything, the pandemic has taught us that we are wholly dependent on each other as a society. It is therefore possible that people’s yearning to gather and socialise could spark a renewed appreciation for interdependence and collectivism in the long term.    

COVID-19 has greatly disrupted the functioning of all institutions – religious or otherwise – and yet the existential threat posed by the virus will have little effect on those individuals whose faith does not rely on access to bricks and mortar and, if anything, research suggests that natural disasters tend to make people more religious. If religious observance is taken to be a serious examination of one’s place in the universe, then it is in times of existential crisis that such observance is energised.

Artwork by: Anjali Attygalle.