Saturday, May 3, 2025
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Oxford launches new COVID-19 hotspot tool

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The University of Oxford’s Leverhulme Centre for Demographic Science has developed a tool which uses demographic data to identify areas of England and Wales which could disproportionately suffer from COVID-19 infections. The tool will supplement track and trace technology.

The Isle of Wight and Lincolnshire are predicted to have some of the highest risk factors due to their aged populations and comparatively high levels of social deprivation. It also considers other potential vulnerabilities like age, social deprivation, population density, ethnicity, and hospital resources.

The article published in BMC Medicine in conjunction with this tool argues that “as countries across the globe exit strict lockdown and enter the ‘new normal’ of co-existence with COVID-19, monitoring new infection hotspots will be crucial” before concluding that “as this pandemic continues to unfold across the world, we urgently need to consider how emerging socio-demographic risks such as social deprivation, ethnicity and population density structure spatial differences in COVID-19 severity and health care demand.”

The tool had previously indicated that Harrow, in London, was likely to have an extremely high rate of hospitalisations due to COVID-19. Harrow’s Northwick Park Hospital was the first hospital in the UK to call for a national emergency due to a lack of capacity early in the pandemic.

The lead author of the study, Mark Verhagen, claims that “by using our online tool, policymakers would immediately have identified Harrow as a potential hotspot of hospital demand. Ensuring that local decision-makers have this type of fine-grained information available was a key goal of this study.”

Researchers say that the dashboard is accurate on a very local level, giving policymakers the knowledge to target resources towards the most at-risk areas. Online maps have been produced through the tool which can be viewed at the levels of administrative region, ceremonial county, clinical commissioning group, and lower layer super output area.

Professor Melinda Mills, author and Director of the Leverhulme Centre for Demographic Science, said that “with additional outbreaks and second waves, thinking not only regionally, but at much smaller scale at the neighbourhood level will be the most effective approach to stifle and contain outbreaks, particularly when a lack of track and trace is in place.”

Image credit to Unsplash.

Oxford University holds virtual open days

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Oxford University’s two summer open days have taken place online for the first time this year as a result of Covid-19. Oxford usually welcomes thousands of prospective students every summer, but this year they have had to navigate their way around Oxford via virtual college tours and social media.

While there were events put on by student service teams, such as the Disability Advisory Service and Fees and Funding, the bulk of the activities were organised by individual colleges and departments. Colleges put together virtual tours and held meet the tutor Q&As, while departments put together videos on both the course structure and application tips, including how to prepare for the admissions exams and examples of practice interviews.

As is the case every year, current Oxford students were key to the success of these virtual open days, participating in student Q&As, but also engaging with prospective students through society and JCR social media sites.

Class Act, a society for people from under-represented socioeconomic groups at Oxford, was one of many student societies who tried to reach out to students on the open days. Their communications officer, Ella Street, told Cherwell that one positive of a virtual open day was that it gave “students exposure to not just the different colleges and departments, but also to different extra-curricular activities and campaigns, which normally they might not have been aware of.”

Street also said: “An online Open Day is more accessible for many prospective students than an in person Open Day, especially for applicants who do not live in the South East.”

Prospective applicants did not seem to be put off by this new virtual process, with over 3,000 questions being asked on Brasenose’s ask-the-students chat room. Moreover, the online format does have the added advantage of allowing for continued engagement, with most events staying online after the 1st and 2nd of July.

A spokesperson from the University told Cherwell that they welcomed over 35,000 visitors across the two days and answered over 24,000 questions. They said: “This was more people than we would expect to attend a physical Open Day in Oxford.”

The open days are just one of a series of admissions events which will need to be held online this year. UNIQ, the University’s flagship state school access programme which supports 1,350 students annually, will also run exclusively online this year.

Samina Khan, Director of Undergraduate Admissions and Outreach at Oxford University said: “Expanding our digital resources has been a major priority for the University in recent weeks. Many young people are in the process of making important decisions about their higher education future in the midst of a crisis, and I think it would be deeply unfair for talented students of all backgrounds to lose sight of their ambitions because of the education disruption caused during this time. Particularly those experiencing socio-economic disadvantage.”

“We want to support these students wherever possible and we hope our online resources arm them with the details they need to make an informed decision around whether Oxford is the right choice for them and make competitive applications for entry.”

It was announced last week that Oxford’s December interviews will be conducted remotely, and it has also been confirmed that the Open Day in September will be virtual. A spokesperson from the University told Cherwell: “We will be taking on board the feedback we receive from visitors and staff and student volunteers from July to make sure these are as positive, useful and engaging as possible.”

Article updated at 09.55 on 08/07/2020 to include comment from the University of Oxford.

Image credit to Tetiana Shyshkina/ Unsplash.

Eight LGBTQ+ Musical Theatre Songs to Listen to this Pride

As we face the prospect of another six months spent watching Star Wars and ‘sport’ (?) with heterosexual relatives, now more than ever we must immerse ourselves in great queer storytelling. This Pride, instead of mourning what would have been another year of grinding in a club to the music of Gaga and Grande, let’s take a trip down memory lane, and remember some of the finest queer songs the Great White Way has to offer. Warning: some real tear-jerkers to follow. 

‘Changing My Major’

Lisa Kron and Jeanine Tesori’s Tony award-winning Fun Home is a tour de force: a masterclass in storytelling. It strips back the ‘razzle dazzle’ of Broadway, revealing a bittersweet tale of family tragedy, coming of age, and lesbianism. Based on Alison Bechdel’s graphic novel of the same name, the musical traces the author’s attempt to come to terms with her tumultuous relationship with her father and her own sexuality. ‘Changing My Major’ is sung by Alison after her first lesbian experience with her girlfriend, Joan. It’s a wonderful song about the first time and the joy at finding someone to accept you for who you are.  Maybe you’ve found your Joan, or maybe you’re still looking, either way ‘Changing My Major’ is well worth a listen. 

‘If You Were Gay’

Often regarded as ‘Sesame Street for adults’, tackling issues of racism, sexuality, class, and existential angst through the medium of puppetry, the premise of Avenue Q is certainly a strange choice for a Broadway musical. ‘If You Were Gay’ is performed by Nicky to his closeted best-friend and roommate, Rod. Nicky unsubtly tells Rod that if he were gay, he’d still be his friend. It’s a sweet sentiment, made hilarious by Nicky’s tactless approach and Rod’s growing discomfort. Unlike a lot of early 2000s ‘gay’ comedy, Avenue Q doesn’t make its queer character the butt of the joke. Instead, the audience is invited to laugh at the well-meaning, but ultimately inept heterosexual. It’s a refreshing take on a well-worn concept. 

‘Not The Boy Next Door’

The Boy From Oz saw Hugh Jackman trade in his adamantium claws for some impressively tight trousers, playing the role of the late singer and legendary entertainer Peter Allen in this biographical musical. This song is performed by Peter on returning home after at attempt at forging his musical career (and a failed marriage to Liza Minnelli). He sings ‘Not The Boy Next Door’ in jubilant defiance, as he realises that his experiences have changed him, and he’s no longer the ‘straight’-laced chorus boy he once was. Jackman’s performance is legendary; what he lacks in vocal ability he more than makes up for with his stage presence, inhabiting Peter’s mannerisms in a way that doesn’t feel at all stereotyped. It’s truly spellbinding. 

‘Take Me Or Leave Me’

Originally performed by Idina Menzel and Fredi Walker, this song has managed to transcend the shit-show that is Rent, rising from the ashes of this god-awful musical, and taking its rightful place as one of the most revered musical theatre ballads of all time. It takes guts and some very impressive vocal chops to pull it off. Many try, few succeed. Unlike the rest of the two-dimensional ‘bohemians’ that crop up in Rent, Maureen and Joanne are developed characters, with realistic and clashing personalities. So rarely do we see queer relationships portrayed on stage, break-ups even less so.  It is truly a travesty that Jonathan Larson chose to focus his musical on two heterosexuals, with personalities that can be summed up neatly as ‘the sad one with AIDS’ and ‘the sad one with the camera’, rather than this iconic duo. 

‘Ring Of Keys’

Another beautiful song from Fun Home; if ‘Changing My Major’ is a love letter to the people who love us, ‘Ring Of Keys’ is one to ourselves. It’s a song about self-acceptance, depicting Alison as a child and her reaction to seeing a butch lesbian for the first time. She’s fascinated by this woman. It stirs something within her: not a sexual awakening – something more powerful than that – a self-recognition. She doesn’t have the language to verbalise what she feels so, instead, she focuses on what she can describe – the woman’s lace-up boots, her dungarees, her ring of keys. She recognises the beauty of this woman who, like her, exists outside the framework of heteronormativity. It gives her hope that she is not alone. 

‘Getting Married Today’

Originally written for a man and a woman, ‘Getting Married Today’ is performed by Amy and her husband-to-be Paul on the day of their marriage. Amy is experiencing what can only be described as a full-on mental breakdown as the gravity of the situation suddenly dawns on her. The most recent West End revival of Company had this song performed by two men, swapping Amy for Jamie. The song takes on new life, serving as a way of exploring modern homosexuality and its relationship with outdated, heteronormative views on marriage and gender roles. With its fast-pace and quick-witted lyrics, this song makes for spectacular viewing.

‘Two Ladies’

A favourite from the musical Cabaret, this song is performed by the Emcee and two of the cabaret girls, detailing their very particular living situation. It’s a catchy song, with strong queer undertones, displaying a fluidity towards sexuality and gender. Though, of course, it’s not the only example of queer subtext in Cabaret; a camp joie de vivre permeates every nook and cranny of the Kit Kat Klub, whether it be in the Emcee’s affectations, Cliff’s implied sexual relationship with a cabaret boy or Sally Bowles’ playful invitations for us to ‘come to the cabaret.’ Both the musical and the film are a lesson in camp frivolity. When it comes to queer representation, Cabaret is definitely surface over substance, but oh my…what surface. 

‘Over the Rainbow’

Admittedly, the song is not performed by or about a queer character. In fact, there are no openly gay characters in The Wizard of Oz (though I do get vibes from the Tin Man). That said, with a cult following among the LGBTQ+ community, ‘Over the Rainbow’ rightly deserves its place on this list. For starters, Judy Garland is a gay icon, termed ‘The Elvis of homosexuals’ by The Advocate. More importantly, this song, with its themes of yearning and escapism, became an unofficial anthem for queer liberation, giving hope to many LGBTQ+ folk who, like Dorothy, longed to leave their troubles behind them and join the happy little bluebirds over the rainbow. 

BREAKING: Oxford Union election hacked, third poll proposed by Tribunal

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The Election Tribunal investigating the Oxford Union Second Election for President has concluded that the Mi-Voice database of registered votes was improperly accessed and over 500 votes were cast illegitimately.

The Tribunal proposes that the invalid election on June 19th be resolved by carrying out an electronic re-poll in July. All 1,783 members who registered in June will be asked to cast their votes again, if the Tribunal’s decision is accepted by the Standing Committee.

The re-poll will “involve the same 4 candidates, making use of the identical manifesto material provided for the election on the 19th June 2020.” Only Union members who previously registered and were entitled to vote will be allowed to vote in the re-poll.

The Union’s Electoral Tribunal consisted of one ex-Returning Officer and qualified barrister, one ex-President, and one ex-Treasurer. Their report declared “very substantial interference with the electronic electoral roll… has been proved beyond reasonable doubt to have taken place.”

An investigation by the voting service Mi-Voice concluded that “507 block votes had, beyond reasonable doubt, their UVCs [Unique Voter Code] stolen and the votes cast without the agreement of their registered holders.”

These votes were cast from the same 7 IP addresses, with the votes cast by each ranging from 258 to 15. The investigation suggests the UVC numbers – Unique Voter Codes – were typed manually, “rather than activity by a bot.” 73% of the 1738 votes “experienced an attempt to vote from one of the 7 IP addresses during the day.”

The report states that “the most likely route was an operator making use of a generic Oxford Union email address to enter the SharePoint site and to copy the entire set of UVC codes without the knowledge of Mi-Voice or the Returning Officer.”

All block votes were cast with the 4 preferences for the candidates in the same order, which the Tribunal describes as “extremely troubling”. However, the Tribunal “does not have any evidence, whether on the balance of probability or otherwise, that the candidate who received all the first preferences in the 507 block votes was aware of, or instrumental in, securing those preference.”

Neither the voting service Mi-Voice nor the Union’s Election tribunal has been able to identify “the person or persons who carried out the illegal act of stealing the data files.”

The Election Tribunal’s decision will be subject to Standing Committee approval by July 8th. Should the Standing Committee not agree to the Tribunal’s direction, the report states that “the remainder of the 1,578 votes, following the removal of the 507 block votes, shall be counted and the preferences appropriately distributed and a result shall thereafter be declared.”

The Tribunal also directs that an Independent Security Audit by a Third Party expert shall take place of the security credentials of all the email accounts associated with the Oxford Union Society, and shall advise on whether any has been interfered with and shall further advise the extent to which it is appropriate to retain the use of generic email accounts related to the offices held in the Society.

The Oxford Union Returning Officer had previously stated that the results of the vote on June 19th would not be given after errors in the voting system mi-voice meant some members were unable to vote. Under the Union’s Standing Order D5(f), the issue was referred to an Election Tribunal.

The Standing Order in question requires that the Returning Officer “determines at any stage that further counting would be unlikely to produce a true Election result.” In this case, the Standing Order “[suspends] all requirements upon the Returning Officer regarding the Count. The ballot papers and other Count materials shall be sealed up as if the Count had been completed until the Election Tribunal is able to inspect them.”

The Returning Officer confirmed that “neither [he] nor any Union Official have any knowledge of the precise information regarding ballots cast.”

The Tribunal is obligated to “produce a declaration within 360 hours of the Close of Poll [and] a full report within 480 hours of the Close of Poll.” This means the declaration had to be announced this Saturday evening, and the full report will be released next week.

Under the Union’s rules, the Election Tribunal is set up by the Returning Officer and consists of any three members whose names are on a shortlist drafted by the Returning Officer and approved by the Standing Committee in 5th week of each term. The Union’s rules further state that “the Returning Officer and Standing Committee shall use their best efforts to ensure that at least one Member of the Election Tribunal is a qualified lawyer.”

On the morning of the election, which was called after Union members voted to Re-Open Nominations for the Union presidency, members who had registered to vote were sent an email containing a unique link and voting number.

However, some members who attempted to use the link were reportedly directed to a page informing them that their “Unique Voter Code…has already been used”. The Oxford Union’s Returning Officer directed members to Mi-Voice’s technical team, which was able to reset the unique voter code for some voting members upon request. Failure to elect an Oxford Union President is unprecedented in the society’s history.

Image credit to U.S. Department of State/ Wikimedia Commons.

The‌ ‌Myth‌ ‌of‌ ‌the‌ ‌Affluent‌ ‌International:‌ ‌the‌ ‌impact‌ ‌of‌ ‌Brexit‌ ‌on‌ ‌EU‌ ‌Students‌ ‌ ‌

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While voting for Brexit was never motivated by consideration for those not from the UK, universities are arguably a different playing field. On the 23rd of June, the Conservative government finally ended the ambiguous position in which many EU agreements were left in a state of suspension, and made a statement confirming what we all suspected: as of 2021, newly enrolling students from the European Union/European Economic Area will be subject to international status. This means they will no longer have access to home fees, to a loan from the Student Loans Company (SLC), or to a bursary from the university. This measure will have damaging effects for a myriad of actors, including EU students, universities, and, to a lesser extent, the UK as a whole. 

According to the University of Oxford, 43% of its entire student body is international. This might be surprising for many whose image of Oxford is an extremely Anglocentric one, whose experience of it is populated by mostly white and often London-based students. However, this impression isn’t fully inaccurate- the aforementioned number is inflated by the (often more reclusive) graduate students; only 20% of undergraduates are from outside of the UK- and half of those are from the EU.

The myth of the wealthy international student in the UK is a prevalent and pervasive one. Without a British accent, you are immediately presumed to be extremely wealthy- able to finance a decadent life abroad. This stems from the fact that being an international student is quite costly- often prohibitively so. If you do the math, tuition at the University of Oxford for undergraduate students outside of the UK and the EU/EEA ranges from £25,740 to £36,065. Then, there are the costs that are not commonly considered, such as air travel, or purchasing items which home students could easily bring from home (like pillows, a kettle, etc). Furthermore, these cannot be alleviated through any form of financial support from the government or the university.

However, people often fail to consider a subset of international students who might not fit this description of the affluent international: those from the EU/EEA. These are students who, albeit privileged, are often not more so than the average UK student. They might not be able to study in the UK with ease. This is especially the case in the wake of the Euro Debt Crisis of 2009, which had a debilitating economic impact on countries such as Greece, Portugal, and Spain, and which is still being felt potently today. The impending economic consequences of COVID-19 might be just as destructive. 

With Brexit, EU students lose any financial aid. It makes sense that without the economic alliance which bound the UK to other European countries, it would be “morally and legally difficult” to continue giving EU students preferential treatment, as Nick Hillman, director of the Higher Education Policy Institute, argued. However, Hillman has also predicted that these measures “could risk a decline of about 60% in the number of EU students coming to the UK to study”. He qualifies this by stating that “history suggests that the education on offer in our universities is something people are willing to pay for”, but he fails to see that after a certain point, it is not a matter of whether you are willing, but rather whether you are able. As much as we might try, we cannot will an additional £20,000 into our possession. 

Here, there is a clash of priorities. As an educational institution, Oxford (as well as other UK universities) has both a primary responsibility to UK citizens, as well as the role of educating, cultivating, and providing opportunities to the bright minds of the world, in the hopes that this will make them capable of one day making an impact. The former priority is often reinforced by the argument that UK taxpayers should not be expected to support non-UK students. However, this does not hold up well when one invokes the counterargument that many of these students stay on in the UK; in 2011, 54,045 students switched from a study visa to another visa (such as a work visa) to be able to remain in the country. It is undeniable that the UK is a beneficiary of the brain drain that plagues many other countries today. While Oxford disseminates placating claims such as that “our staff and students from all across the world are as warmly welcome as ever”, we have yet to get a clear statement or policy which addresses how they intend to continue supporting these students. It is not enough to merely “welcome them” if they cannot arrive here in the first place. On the latter priority, a less diverse university environment can only harm these institutions in their role as authorities of knowledge and its development. Ultimately, Oxford has never had any qualms about claiming credit for the achievements of their foreign notable alumni, be it political leaders such as Benazir Bhutto, writers like Vikram Seth, and more recently, Nobel Prize laureate Malala Yousafzai. 

For many, being able to study abroad is a lifeline. Students are given opportunities they would not have had in their home countries: the ability to study their subject with a near unlimited access to books and resources, better links to employers (in Greece, youth unemployment stands at 35.6%), and much more. Many use this knowledge and bring it back to their own countries, and thus can improve and contribute to society back home. Since these announcements, I have witnessed several parents distraught over their children’s future prospects- even parents with children only 14 years old. For many, the function of an overseas tertiary education cannot be overstated. Many of us might be considered “traitors” for this; I was recently informed by a fellow compatriot in the Facebook comment section of a Guardian article that I am “the worst type of Greek”. It is true that many still have access to an education in other European countries, such as the Netherlands, Italy, or France, however these offer considerably fewer English-speaking courses, and the language barrier is definitely an important consideration, even just in daily life. Furthermore, with English being such a widely spoken language, so many people have learned it explicitly because it would allow us to escape the confines of our own countries. 

The system is already imbalanced. It is impossible to justify why EU students should get benefits over other overseas ones, or why the privileged EU students should get more opportunities, or – even on a domestic level – why students from prestigious private schools should get in at higher rates than those from underfunded state schools. However, this measure merely serves to decrease the net level of accessibility for students, which seems unwise and counterproductive in approaching this inequality.

Universities should embrace an ethos of openness, and institute measures which will continue to ensure that students from around the world can still afford to come and study. Under the UK Equality Act, to continue to charge home fees to EU students could be discriminatory. However, perhaps this inevitable period of change will provide the necessary impetus for furthering these reforms: increasing the number and value of scholarships on offer for international students, or maintaining their commitment to offering financial aid to such students, potentially taking this chance to extend it to those outside the EU too. Still, it is worth noting that Oxford stands to gain £10 million a year in fee income through this measure, which reveals an important profit consideration.

The vote for Brexit already has an alienating impact on foreigners in the UK, revealing deep-seated antipathies for that which is ‘other’. So, if Oxford (among others), is as committed as they claim to “remain a thriving, cosmopolitan community of scholars and students”, they should put their money where their mouth is.

Review: Bridge Theatre’s A Midsummer Night’s Dream

Set in the mystical woodlands surrounding Athens, with its cocktail of magic, love triangles, and donkey-human hybrids, Shakespeare’s A Midsummer Night’s Dream has always been dear to my heart as the first play I formally studied in school. Through the years I have seen several different productions, but none quite compared to the version staged at the Bridge Theatre, which I had the pleasure of going to see in person last summer. Who knew that Shakespeare was missing pole dancing and acrobatics worthy of a Cirque du Soleil show? The performance was a true spectacle for the senses, encompassing music, song, and dance, which only enhanced the actors’ fresh and extremely funny portrayals of the characters. 

The show’s visuals were engaging and very fun as one felt enveloped by the action. The standing audience formed part of the play itself, forming the crowd of Athens or a procession following the love-struck Oberon. The characters playfully engaged with them, most memorable was the Mechanicals’ selfie taken from an unsuspecting audience members phone as well as Puck’s crude comments which he uttered as he waded his way through the crowd. The unconventional in-the-round type of staging saw the action constantly shifting from place to place, the next scene always taking the audience by surprise. 

The opening saw restrained costume, suitably setting the tone for the King’s expectations for Hermia to marry Demetrius and neglect her true feelings for Lysander. Most striking was the fluorescently lit cage containing the new queen Hippolyta, its harsh glow only reinforcing the drabness of the opening scene. As the play progressed, the visuals transform, as if colour were a gateway to the humour and joy which the play brings. The hilarious Mechanicals of the human world sport colourful boiler suits, contrasting the greys and blacks worn by the young couples and their fellow Athenians. The fairy world saw glitter worthy of any Pride parade, which elevated the greens and earthy colours of the forest to ones worthy of more magical flora and fauna. The use of beds sprouting vines and aerial silks made from bedsheets merged the whimsical dream-like state of the play with its setting in the forest, cleverly and effectively merging the worlds of sleeping mortals with that of the fairies.

Sexuality and gender are what really bring this particular interpretation of the play into the modern era. Helena’s ‘frenemy’ relationship with Hermia as well as her fruitless antics to gain the attention of Demetrius would fit easily into any modern teen drama. The themes of love and sex are brought to the forefront in a flirty and comical way, embracing our modern concepts of love between all genders. This is most interestingly achieved by the reversal of roles between the fairy King Oberon and his queen Titania. The original script sees Titania fall in love with the metamorphosed Bottom, but it is in fact Titania who plays the prank on her husband Oberon, culminating in the hilariously cheesy sex procession of the King and Bottom on a giant bed around the staging area. The scene is perfected to the sound of Beyoncé’s ‘Love on Top’, which did not fail to bring a smile to everyone’s face as they danced along with the couple. A celebration of universal love seemed to resonate throughout the play, with the mischievous Puck playing around with the young couples’ desires for one another, transcending the boundaries of gender as Lysander and Demetrius share a kiss in a love-filled frenzy, soon to be followed by Helena and Hermia.

When I heard that the play had been uploaded to YouTube temporarily, I could not wait to jump back in to the glittering, hazy woods in which the action took place and relive the scenes which I had previously enjoyed. The play in itself was so immersive that I was curious to see how well this would translate to a screen. While the performance was just as funny as the first time that I saw it, I felt as though I was missing something. Being in the round meant that as an audience member, I could choose what to pay attention to, whereas the televised recording felt very guided and detached. This made me realise that a televised version could never do justice to a live performance, since the two require different criteria in order to engage their audience. While I longed for an entire shot of the staging area throughout the play, this would leave the footage very bland, yet, in its attempts to keep us engaged from the sofa, the artistry of the performance did not live up to how I remembered it. I count myself lucky to have seen it in the flesh, as I could fill in the gaps to an extent and recreate for myself that magic I had witnessed, but I can imagine that a first time watcher might be frustrated by the constant shift of angles. 

My virtual experience of the theatre was certainly not a negative one; if anything, I think it is a great way of increasing accessibility to theatre. It was vital in making me realise just how important it is that we maintain our theatre culture and I was encouraged to see that the audience had donated thousands of pounds to show their support. Theatre is more than the delivery of the lines, and in this case especially it has the ability to transport one to a world far from the bustle and routine of daily life. This artistic and particularly humorous adaptation of the play ensured that I had a good time both in person and from my living room, but did had me longing for the theatres to open again so that I could experience the joy and wonder which a play such as this is able to bring.

On my white window ledge

On my white window ledge

the shadows and the paint are cracked

by early Spring-soft sunlight which,

between my pots and jars and plants,

is fresh with birdsong 

and the sweet green scent of a morning lawn’s

cool perspiration.

My daffodils are drying.

All this week they warmed themselves

and beamed and bloomed upon my ledge.

Now I see them yield to the light,

papery and, with old age, translucent.

But still the stalks are green and wet!

Corpulent in the jar’s round light,

They guzzle.

I think of them dropped limp in a bin

Trickling against impenetrable black plastic.

No. Not yet.

Wrinkled and wafery as their faces have grown

they still bask and beam,

Never not beautiful,

Somewhat alive.

All this time a fly squirms in the water, twitching against the glass,

tiny legs and wings scrabbling for flight,

sunk,

by an unfamiliar gravity.

And all this time, those tiny legs and wings have been twitching in my chest,

But I chose the death of daffodils

and the scent of sunlight.

And even now my thought is only 

how best to capture 

those minuscule death throes?

What would be the most poetic way 

for that thimbleful of life

to splutter to a halt

in my vase

and on my page?

Illustration by Liv Fugger.

Boris Johnson criticises Oriel’s Rhodes decision

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In an interview with the Evening Standard, Boris Johnson said he disagrees with Oriel College’s decision to support removing a statue of Cecil Rhodes.

Responding to a question concerning the vote in favour of removal, Johnson said: “I’m pro-heritage. I’m pro-history, and I’m in favour of people understanding our past with all its imperfections… I want to build people up, not tear people down. If we go around trying to Bowdlerise or edit our history in this way, it’s like some politician sneakily trying to change his Wikipedia entry.”

Previously, Johnson has spoken out about the removal of statues, tweeting: “We cannot pretend to have a different history. The statues in our cities and towns were put up by previous generations. They had different perspectives, different understandings of right and wrong. But those statues teach us about our past, with all its faults. To tear them down would be to lie about our history, and impoverish the education of generations to come.”

He continued saying that “the statue of Winston Churchill in Parliament Square is a permanent reminder of his achievement in saving this country – and the whole of Europe – from a fascist and racist tyranny. It is absurd and shameful that this national monument should today be at risk of attack by violent protesters. Yes, he sometimes expressed opinions that were and are unacceptable to us today, but he was a hero, and he fully deserves his memorial.”

Johnson has previously written a biography of Churchill, which was described by The Guardian as “self-serving but spirited”, noting “Johnson’s not so subtle attempts to draw a parallel between himself and Winston Churchill.”

The question about Rhodes came after the Evening Standard challenged Johnson on allegations of male dominance within his government, which he denied. The interviewers wrote: “A culture war is rumbling on in this country and one that Johnson has not hesitated to play for advantage amongst the Tory faithful.” Johnson did not talk about racism or Black Lives Matter in this interview.

Johnson also discussed the recent announcement that up to three million Hong Kong residents will be able to settle in the UK following China’s violation of their freedoms. Johnson described China’s behaviour as “having a chilling effect on free speech and civil society in Hong Kong.”

Oriel College, Rhodes Must Fall Oxford, and Boris Johnson’s press office have been contacted for comment.

Image credit to Boris Johnson/ Wikimedia Commons.

In Conversation with India Hicks

Although having enjoyed a varied career, India Hicks is perhaps best known for two things: her eponymous lifestyle brand (now defunct), and being Prince Charles’ goddaughter – and the bridesmaid to Princess Diana at the 1981 wedding, watched by 750 million people. Second-cousin to the Prince, she is the daughter of David Hicks – renowned interior decorator – and Lady Pamela Hicks, daughter of Louis Mountbatten 1st Earl Mountbatten of Burma, who was assassinated by an IRA bomb in 1979. 

Raised in Oxfordshire and attending boarding school in Scotland, India’s was an upbringing more traditional than her – perhaps unexpected – later relocation to the Bahamas, where she has lived for the past 24 years with her husband and their five children. Since closing her lifestyle brand in 2019, India has become increasingly dedicated to charity work, presently supporting her Bahamian community following a devastating hurricane in early September and – of course – the more recent outbreak of coronavirus, which has overwhelmed the area she calls home.

Speaking with India on Skype, she tells me that from a young age she was taught the importance of supporting those less fortunate in both the local and global community: “I’ve always done as much as I can; we were brought up to give back. I have grandparents who set a very good example of that.” India took with her this proclivity for charitable work when she relocated to the Bahamas in 1996: “Every year here, I would bike a hundred miles in a bike race, raising money for breast cancer in the Bahamas – which is very prevalent here in the Bahamas because of a gene in Black African women to have this predisposition to have breast cancer.” Indeed, India and her husband adopted their child Wesley after his Bahamian mother and aunt died from the disease. 

It was in September 2019 that a devastating hurricane hit the surrounding islands and destroyed two neighbouring communities. Hurricane Dorian, a Category 5 hurricane, was the most intense cyclone on record to have struck the Bahamas, and is estimated to have cost almost $3.4 billion in damage. Sitting on the advisory board of the Global Empowerment Mission, India says that she – following the coinciding closure of her business – “had the ability and the time to get very involved” in the efforts to support her fellow islanders in the wake of the disaster. 

To the foreign eye, India acknowledges that poverty and the effects of such disasters are “masked by sunshine and pink sand beaches, whereas in England it’s grey skies.” She tells me that people are distracted by the beauty of the idyllic island – the foamy coastline, leaning palm trees, cloudless blue sky. But 60% of the homes in Abaco were damaged or destroyed; the power grid serving the entirety of the islands was ruined. For several days, much of the island – including its airport – was underwater.

“I went out with them first [relief workers from the Global Empowerment Mission] to Abaco, and they were doing very interesting things; for example, taking batteries so that people could  actually get their phones charged in order to call people to let them know that they were still alive … Disaster relief work is very immediate. There’s the immediate horror of what’s happening … and then it disappears off, and people get very distracted by the next thing: it’s a bushfire in Australia, or there is a flood in India, or there is an earthquake in Sri Lanka. I wanted the attention to stay on the Bahamas because the work had hardly even begun. We’re coming up to a year later and people are still living in tents; there is still no power; the government is still fairly ineffectual when it comes to those hurricane victims.”

Though India built a social media following (some 223k followers) promoting her branded fashion items and sharing aesthetic glimpses of her life flitting between England and the Bahamas, she recognised immediately that her platform could – and should – be utilised to promote her charitable efforts: “I realised that I was lucky enough to have built some following from a social media standpoint, and suddenly there was some point to the social media – which was being able to tell these stories … I think people were ready to listen, so I was able to raise money as well as get a message out.”

“If we’re living in an age where social media has such an importance, then let’s use it if we can. The disappointing part of this, of course, is that people are much more interested in my dog, and my daughter making donuts than they are in the charity work we do – so I try … to come at it from a slightly different point of view. I’m now trying to think more creatively about the messaging of it all – but you have to be very careful that it’s not all ‘me, me, me’. And, yet, the way that we’re able to raise money is through me talking about it. So I feel slightly conflicted there.”

By experiencing first-hand the effects of the hurricane on her community, India describes feeling that she had been given “a new job – a new purpose”; she tells me about the importance of communicating stories when asking for people’s donations, emphasising the significance of how requests for help are conveyed in relation to securing contributions: “It’s finding ways of finessing stories in order to keep coming back to the same audience and asking for more.”

While the Bahamas might sound an exotically ‘far away’ location to the British reader, the desolation of the hurricane couldn’t have been closer to home for India, who described the aftermath as “happening right on my doorstep – literally. At the end of my drive, there are families who have been so affected by the tourism economy closing down overnight that there are a staggering amount of families who can no longer feed themselves.”

But as the devastation caused by the disaster are localised, so too are relief efforts: India works in a team which was drawn from residents of the community, each contributing skills to the operation of a wide-spread aid effort. India herself sits-in on discussions with their local MP, church and school authorities, and the local councils. 

India’s close involvement in the organisation of efforts to rebuild the island and support its inhabitants, she says, is crucial: “If I’m asking someone to donate money – whether it be $20 or $20,000 – I am able to assure that person … I can hear the decisions that are being made; I get out at 6:30am on a Saturday and I’m there packing the bags; I see the church vehicles going out; I see the recipients – I see the process from beginning to end … When you give us your dollars, I can account for it. I know where every cent is going – there’s transparency from beginning to end.” 

However, being so intimately affiliated with the community she and the team work to restore, she has come across the moral complexities of charity work: “It becomes really difficult when it comes down to the ‘need’ versus the ‘want’ – who wants the food bag, who needs the food bag.” A fair means of decision seems to be that the leaders of the islands’ churches decide who most urgently needs the food and supplies provided by the team.

The recent wake of COVID-19 added to the Bahamian devestation: with a significant proportion of the island relying on the profits from tourism and travel, the necessary halt of tourist footfall to the islands is perhaps a lesser-considered effect of the pandemic: “I’m daily having conversations with people about when the borders will open; when the tourists will be back; ‘when do we think the food bank needs to be teamed until?’; ‘when will life get back to normal?’”

While the residents of the islands are keen to see tourists return, bringing with them much-needed revenue, India reflects on her own situation amidst the uncertainty of travel. Considering herself a ‘global’ sort of person, India has children at school in the UK, the US, and a mother and family in England. “Suddenly, I feel much more remote,” she says; “much more isolated than I have for the twenty-four years [of living in the Bahamas] … it makes me very nervous that I may have to make tougher decisions about when I get to see my mother and if I’m able to freely travel and come back and forth.”

Reflecting on her childhood in Oxfordshire, India considers how it might be if she were isolating with her family back in the UK: “If I lived in Oxford, I wouldn’t have this innate fear, because I would be in a much bigger country, my mother would be two fields away, my kids could possibly go to college somewhere in England. But, because we’ve built a global life for ourselves, I am fearful what the future holds … My fear is that I have taken travel for granted. I’ve taken the fact that I live in the Bahamas, but can nip on a flight at a fairly reasonable price over to England. I’ve seen the world like that – that it is so global, that it is so easy to travel. And now, suddenly, that is probably going to be removed – the luxury of being able to travel when I want.”

India spoke of the precariousness of the situation – how she feels that she’s “blindly finding [my] way forward, because nobody knows when the effects of the closures will ease-up. Really, we’ve been doing a lot of work in raising awareness and raising money. The challenges are there, of course – as it’s global, it’s very hard.” But she continues to work hard to alleviate the twofold devastation of the hurricane and COVID-19 on her community, and she – along with her fellow Bahamians – will undoubtedly celebrate when travel resumes.

Donations can be made here to support families whose jobs have been lost or put on hold due to the coronavirus pandemic.

Ode to an empty Oxford

And all at once, the world of an Oxford undergrad seemed to stop turning. Those who had often barrelled into friends’ rooms to save them from “editing an essay” (scrolling through Facebook in a melancholy reverie) no longer intrude with a tea-mug in hand, cheap Prosecco swashing over the rim. The usual bustle of tourists, gaping at the spires of the Bodleian, no longer collide with students who, struggling to reach Exam Schools in time for their 11am lecture, impatiently brush past them, the sandstone heights of the imposing colleges jostling for space on the High Street so familiar that they have ceased to impress.

Gone are the moments of spontaneity that see books tossed into bags in favour of a quick drink among friends at the King’s Arms, or rushes to the Covered Market to shovel in a few mouthfuls of Thai food before a tutorial or an afternoon slog at the library. There are no more dawn-awakenings for a morning training at Cowley, treading the cobblestones of Radcliffe Square, silent for once, while the moon’s mellow face still lingers in the inky sky, cycling over Magdalen Bridge among other early risers as the city stirs from its slumber. No more sighs of relief as that particularly draining essay is finally submitted, nor grudging concessions to the cajoles of gin-softened friends dragging you from your desk to a late-entry at Bridge.

The college doors are barred, the books lie forgotten, their yellowed, curling pages unthumbed, the quads no longer echo with passing, light-hearted exchanges or 3am stumbling returns from Hassan’s. The bells of St. Mary’s do not disturb grumbling, hung-over students with their early chimes, nor do the windows of the Missing Bean overlooking Lincoln’s ivy-clad walls fog up from the huddles of bodies hunched over notes on Spanish literature and Freudian philosophy. The cider taps of the Turf Tavern do not flow, nor is the surface of the Isis broken by the slicing oars of Balliol rowers, the river carrying newly-hatched ducklings and snow-feathered swans rather than students balanced precariously on punting boats with a Pimms-induced confidence. No Mayday song echoes through the city’s sun-bleached streets from Magdalen Bridge, and no streamers and shaving cream paint the old cobbles, sodden with Lambrini and dotted with sunken red carnations. No-one blissfully strolls through the meadows of Christ Church, awash with a kaleidoscope of vibrant hues as wildflowers burst into life, nor are lichen-pocked college walls illuminated with the glow of dancing spotlights in the jubilation of a summer ball.

Instead, the gardens of Lady Margaret Hall spread forth their creeping vines without the restraint of a groundsman’s careful hand, and the grass of untrodden lacrosse pitches in University Parks grows freely. The geraniums crowding the window boxes of the Old Quad of Brasenose gleefully bask their faces in the sunlight that streams through the stained-glass windows of empty chapels still reverberating with their last Evensong. The winding wooden staircases of the Bodleian are given a moment’s respite from the constant creaking weight of students searching for that last vital book on their reading list, while the cobbles of the old streets, worn smooth by hordes of tourists and time-pressed students, begin to be softened by carpets of green moss growing through cracks in the stone. The statues of 17th century scholars keep guard over this hallowed place of learning, watching the house martins and sparrows flit between college bell towers, bursting with a birdsong that once competed with the cacophony of the everyday hustle.

Now more than ever, the city seems frozen in time, resembling a former age where those same moth-eaten pages were read deep into the sacred hours of the night, but by the light of a candle, dripping wax over a parchment of notes scribbled hastily by a feathered quill, rather than in the glow of a laptop screen. Where then, as now, the city was awash with a passion for learning and a hopeful yearning for a brighter tomorrow. Though stripped of the daily hubbub and empty of the flow of young minds and hearts that throng through college doors, seeming to power the very city with their energy, Oxford retains its charm.

The world may seem to have stopped turning, but the beauty and heart of the city remains to those whose eyes are open to it. Which begs the question, are the students the life-force of Oxford, or is it the city itself which breathes life into those who study here?

Illustration by Charlotte Bunney