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The Rooms Before Me

The first rooms that are fully our own once we leave our family homes become part of our identity and sense of self. Being able to decorate a space and fill it as you want allows for an exploration of the self that is fuelled by a limitless freedom of expression. A university room is both a private and shared space. Visiting someone’s room can give an insight into who they are, what they like and even who they want to present themselves as being. A room is therefore more than a space we occupy but a representation of the self.

A room at Oxford, a city with centuries of history, adds interesting layers to the room as an exploration of the self. Many of us occupy rooms in buildings that are hundreds of years old and have had hundreds of previous occupants. The college system even means that we often know the previous occupants of our old or future rooms. We often even walk past our old rooms on a regular basis and see a new person taking up a place that was once so personal and unique to us. So how can we make a space our own, for the brief interim where it is indeed our own, when we know that it carries so much history of so many people before us, within it?

The fact that a space already has a history and individual stories tied to it does not necessarily make it any less meaningful for each person who comes to reside within it. This plurality and layering of meanings speaks to the university experience itself. Thousands of students pass through Oxford for only three years at a time. They make memories in the city that are unique to them but also tied to the academic and social traditions that have come before them. This is true of any space – our memories and perception of it are based on and inspired by what we already know to be true of it. In this way, an Oxford bedroom does not exist within a vacuum or present itself as a blank canvas for us to fill on individual terms. It is instead a chance to add our own story to a wider and more extensive narrative. This narrative and history is perhaps what makes the Oxford experience so unique. We are 21st century students with modern perspectives and stories but by existing in this city and partaking in all its traditions we are always in contact with and tied to the generations of students who have come before us. A city is nothing more than a geographical limitation without its inhabitants and their stories, just like a room is just four walls without those who have lived in it.

But does positioning our individual stories within a greater history risk erasing the particularities of our experiences, and our identities? Is the thought of all the history which surrounds us not a terrifying reminder of our transience?

If we see our rooms as an expression of ourselves, then the thought of our transience does not need to be so terrifying. Who we are, as we conceive ourselves and project outwards, is always constantly changing and evolving, especially in our university years. Our rooms each year should therefore be seen as a space that a certain version of ourselves once occupied at a certain point in time. A box room with a dodgy sink might have been the perfect home in first year,  for a past version of ourselves. The nostalgia we have for our previous rooms,  is of the past, along with our versions of ourselves. But despite this nostalgia, it doesn’t feel like these versions of ourselves and our spaces lie in our future. We can memorialise these spaces without seeking to return to them.  

This idea of memorialisation links back to decorating our spaces and expressing ourselves. In my own experience, as I have moved from room to room over the course of the last four years, I have taken the same photos, posters and decorative pieces with me. So, even when I feel a twinge of nostalgia as I walk past one of my old rooms, I don’t experience a complete sense of detachment from that space or the version of myself that occupied it and that is because I still have the things that filled that old room. I still have the same postcards on the wall in my current room and to them I have added all the others I have accumulated from my year abroad travels. Looking at my walls, therefore, reminds me of the past but situates it within everything that has changed since then and everything that is still yet to come. Ultimately, for me, that is what space and the things we take ownership of are all about. It is more about the memories and the meanings, the versions of ourselves which are tied to them, than the actual thing itself. 

The university experience is all about changing and growing as an individual. The rooms we live in, where they are, how we decorate them, what we choose to do in them, can therefore be used as markers of this individual change. Embracing the room as a metaphor for change and development allows us to reconcile the dissonance between acknowledging that a space is ours but has also meant something different to so many others before us.

A room is much more than just four walls. It is a space of expression and personal freedom. Thinking about all those who came before us and our relation to them allows us to understand ourselves. Spaces are defined by the people who inhabit them and are therefore marked by, and themselves symbolise the change and development of each person who lives within them.

The forgotten pandemic?

Image credits: Mx. Granger/CC0 1.0 DEED via Wikimedia Commons

Martin Conmy discusses the unlearnt lessons from the pandemic.

Remember COVID? 

That might sound like a ridiculous question; of course you do. Who could forget the virus that ravaged the world, killed an estimated 27 million people, slashed British GDP by almost a fifth and locked us indoors for months at a time?

But if we remember COVID-19, we certainly don’t act like we do. Wherever you look – socially, politically, economically, even culturally – the virus and its impact are, by now, virtually invisible. The coronavirus may have been humanity’s “biggest test since WW2”, as UN Secretary-General Antonio Gueterres declared in 2020, but our refusal to change the pre-COVID status quo instead seems to testify to a quote from Andrei Tarkovsky – “in four thousand years humanity has learnt nothing at all”.

The early days of COVID-19 saw a near universal consensus emerge among political commentators: the pandemic had demonstrated the folly of individualism, with the public quick to embrace communitarianism and collective sacrifice. Everything from our acquiescence to lockdown restrictions to the weekly clap for nurses was taken as immutable evidence of this. Gueterres was not alone in comparing COVID with WW2; just as wartime Britons had accepted the need for collective action and sacrifice in combating the German threat, so had contemporary Britons bravely agreed to stay at home to save lives and protect the NHS. Numerous journalists, and even Keir Starmer himself, cast the Labour leader as the next Attlee, Labour’s transformative postwar leader. Indeed, in 1945, the inevitable result of this shared experience would be a radical turn towards leftism.

Whether or not this spirit of collectivism was a mirage then, it has all but vanished by now. The emergence of anti-vaccine extremism demonstrated that the ghost of dogmatic individualism lived on – according to one poll, as many as a quarter of UK adults believe that COVID was a hoax.

Similarly, COVID did not help the left very much; people remain as attached to the rugged individualism and self-obsession of right-wing neoliberalism as ever. Trump has opened up a decisive poll lead in America; in Germany, the Alternative for Germany (AFD), a far-right party whose founder has criticised the memorialisation of the Holocaust and spoken in favour of a “more positive” attitude to Germany’s Nazi past, is currently the second-most popular party. In the UK, Labour may have opened up a major poll lead, but it is hard to see Keir Starmer, a man who has praised Margaret Thatcher for enacting “meaningful change”, as the next Attlee. Britons have gone back to holding each other in as much contempt as we did before the pandemic; compared to early 2020, people are more hostile towards state expenditure and more supportive of stricter benefit laws according to YouGov polling. Almost no sacrifice was too great in preventing deaths from COVID – and yet Britons refuse to stomach even minor changes to the cruel benefits system that contributed to as many as 300,000 deaths since Cameron-era austerity cuts.

COVID did not teach us the value of communitarianism then, but, even more extraordinarily, it did not even teach us the necessity of pandemic planning. According to the Global Health Security Index, not a single country is sufficiently prepared for future health emergencies; healthcare spending in the rich world, meanwhile, has fallen since 2021, and is now almost identical to its level pre-COVID. The wet food markets in Wuhan that likely gave birth to the disease remain open today, as they have been since 2021. Even working from home, perhaps the primary lingering legacy of the pandemic, has declined enormously since the pandemic’s end, seeming more like a temporary aberration rather than a fundamental transformation.

Why exactly we have completely forgotten about COVID, and refused to learn from it, is a more nebulous question – our complete disinterest in the pandemic is shown by the lack of studies into this question. Perhaps, unlike an era-defining event like WW2, our experience of COVID was one defined largely by mind-numbing boredom rather than any dramatics; making it fade from the memory more quickly; or maybe, unlike an event like the 2008 financial crisis, we subconciously see it as something natural, having no human antagonists present to point the finger at.

George Santayana’s famous quote “those who cannot remember the past are condemned to repeat it” may be an enormous cliché, but it is a cliché for a reason. COVID-19 should not only serve as a lesson in the necessity of preparing for unpredictable catastrophes. It also ought to teach us the folly of individualism and the need for communitarian ideals in dealing with them. Unfortunately, we can only expect more economic disaster and needless deaths in the future if we maintain senseless individualism and ignore the lessons of COVID.

The effects of media attention on upcoming sports stars

Image Credit: Chris Czermak/BY 2.0 DEED via Wikimedia Commons

Media brings people together, as does sport, and young people are the figureheads for combining the two and creating something extremely powerful.

Having grown up as consumers of media themselves, more so than the generations that came before them, young sportspeople today recognise how to use it to their advantage. This is especially prominent with the use of social media, such as Instagram, X, and Facebook. Hundreds of influencers are earning a living from uploading videos and photos to TikTok and Instagram – posting frequently, thanking one’s followers, and even interacting with them can have seismic effects.  Young sporting stars, bursting into the sporting world and breaking world records, attract throngs of the younger generations to them and their sport. These athletes are supporting their sport with their ability to understand social media and its audiences, using their own publicity to appeal to a wider consumer base and draw attention to their sport. 

Luke Littler is one such example. At only sixteen years old, he was the first darts player in history to gain one million followers on Instagram, with the world champion Luke Humphries even asking him to share the love. He interacts with his audience and appreciates the strength that their support can give him. Whilst watching the recent World Darts Championships, one moment during the quarter-finals came to mind.  Playing against Brendan Dolan, Littler decided to go for the ‘Big Fish’, a highly challenging and impressive move – a game winner. After the first two throws, both landing as intended, he turned to the crowd and was rewarded with the loudest roar from the legion of supporters filling the Alexandra Palace, before turning back to the board again for his last throw. Even the commentators were equal parts shocked and impressed at this small act. Littler was using the crowd to urge him on, performing for them, and having the time of his life whilst doing so.  

Another fresh face on the sporting scene is Emma Raducanu, the winner of the 2021 US Open at just eighteen years old. Over a span of three months in 2021, her Instagram following swelled from 10,000 followers to 2.1 million, currently sitting at 2.4 million. Living nearby Bromley at the time, I remember the pride that my family immediately felt in her despite never meeting her. Britain was so proud to have such a young talent in tennis, especially following Andy Murray’s earlier success. She soon appeared on the Met Gala red carpet, became a Tiffany and Co. ambassador, and starred on the front cover of British Vogue fashion magazine in September 2021. This photoshoot consisted of her wearing designer outfits by Alexander McQueen, Gucci and Louis Vuitton, paired, perhaps surprisingly, with Nike trainers. She jumps out of the page, right arm swinging back, holding a tennis racket and shoes picking up orange dust from the clay court surface. She brings a freshness to some very mature pieces, appealing to fellow young people with her radiant smile and youthful energy. In fact, one video which has appeared several times on my Tiktok feed  is the moment a young fan sitting in the audience asks to marry her – preparing to serve, she turns around and plays it off beautifully with a laugh. 

The audience’s thirst for drama and success can however become too overwhelming for the players. There is now somewhat of a precedent of young stars warning the next upcomers about the danger of reaching fame at such a young age. In the music world, Justin Bieber showed concern and care for Billie Eilish through her rise to fame, who then passed that concern on to Olivia Rodrigo. Many celebrities announce that they will be taking time off from social media to re-focus on themselves, such as Selena Gomez, Tom Holland, and Shawn Mendes. This is no different for celebrity sportspeople. Raducanu showed her concern for Littler in his rocket launch to fame, as did snooker world number one Ronnie O’Sullivan who started his career in snooker at a similar pace. Fellow darts player George Anderson warned the media in an interview following a match that if Littler’s current course through the sport became unstable and he crashed just as quickly as he gained his fame, it would be the fault of the media themselves. 

Media sets unrealistic expectations for these young stars. They train so hard as kids because they simply love the sport, they love the thrill of the competition and the reward of the win. When they begin winning on a professional level however, their audience grows from supportive parents, friends, and coaches to a global viewership. If you follow an upcoming athlete based on the knowledge of that person’s age and miraculous talent, and not because you know them personally, it creates a significant first impression and sets a high expectation for them to continue impressing you. Some people cannot refrain from the opportunity to anonymously express their disappointment on social media when their preferred sports stars perform less than a miracle, and this only elevates the pressure. Even the pressure to upkeep their social media profile, post frequently and meaningfully is a lot to handle. Eventually, their priorities change. Once, they loved the sport – now they’re terrified of it. In a world concerned so much about mental health, especially in young people, why does the media still create so much damage?

Five Songs for the Fifth Week Blues

Image Credit: Kim Erlandsen https://www.flickr.com/photos/nrk-p3/52285204601 via Google

I believe that music makes a lot of things in life better. Fifth week at Oxford is no exception. Whilst it won’t help you in an essay crisis, attend tutorials in your place, or shake a Park End hangover, it can help romanticise your university experience right at the time when it really needs romanticising. So here are five songs that I believe will help get you through fifth week blues:

Point and Kill – Little Simz (feat. Obongjayar) in Sometimes I Might Be Introvert

‘Point and kill’ is a Nigerian expression derived from the marketplace practice of pointing at the live fish you want, and it being killed fresh for you. The song is all about going out, getting what you want, and achieving success; you can’t let anyone get in your way and you must keep your eyes on the prize. If that isn’t motivation to finish your essay, then I don’t know what is. The song is characterised by the distinctiveness of Obongjayar’s Nigerian-British accent on top of a percussive and refreshingly energetic afrobeat rhythm. It features in Little Simz’s album Sometimes I Might Be Introvert which explores themes of self-belief, feminism, and the artist’s own introversion, and is worth a listen.

Keep It Simple – Raleigh Ritchie (feat. Stormzy) in You’re a Man Now Boy

Given that Valentine’s Day is right around the corner, it feels fitting to include a love song. Keep It Simple perfectly encapsulates all the emotions associated with a new romance; happiness, nerves, and the incessant desire to spend all your time with that special person. One can imagine listening to it, skipping merrily back from a perfect first date. The title refers to the desire for love to just be nice and simple when everything else in our world can be so complicated. Ritchie’s genre is hard to define, with the artist himself admitting he does not quite know what it is, though one could say, it sits comfortably somewhere between hip-hop and alternative R&B. This track is also blessed with a Stormzy feature (three years before he released his debut album) whose style compliments Ritchie’s more songful vocals.

Comb My Hair – Kings of Convenience in Peace or Love

But if your Valentine’s Day was not all that successful, back, then this song may be more appropriate. “What good is to comb my hair, It won’t be touched by you?” is one of the many elegiac lyrics in this song that really condenses that feeling of having our everyday thoughts revolve around a distant crush. The dreamy guitar arpeggios perfectly symbolise that sense of the daydreaming and yearning associated with an unrequited love. Kings of Convenience are a Norwegian acoustic band, who create the most gentle, sweet, and ‘granola bar-esque’ music, accompanied with poetic and thoughtful lyrics. All their albums make for great music to listen to whilst you study, or equally, whilst you hanker after your lecture crush who doesn’t even know you exist.

But chin-up, there is always Bridge Thursday…

Australia – The Shins in Wincing the Night Away

The Shins use the metaphor of Australia when it was a penal colony to portray the nature of a nine-to-five office job, as repetitive, draining, and limiting to the capacities of humans to really live their lives. Their philosophy is that people should not be confined to weekends to have fun, find love, and do the things that are important to them. The song warns how quickly this can be realised; “Well do it now or grow old, Your nightmares only take a year or two to unfold”. The aim of the song is to persuade the listener to go out, live life, and pursue a career that truly fulfils them. Instead of being stuck in an office, “dammed to pine through the windowpanes” The Shins want you to “give [them] your hand, and jump out the window”. The idea of optimism and looking for a better life is portrayed in the song’s typical upbeat, guitar-led, indie rhythm, despite the bleak sentiments of some of the lyrics; Definitely a song I would recommend to any E&M students aspiring on a career in investment banking.

Space 1.8 – Nala Sinephro in Space 1.8

If you are someone who enjoys listening to music whilst you study, then this is the album for you. I am convinced it makes you at least three times as productive, maybe even four? Sinephro is a Belgian-Caribbean performer and composer, who plays the pedal harp, keyboard, and a whole host of other instruments, including modular synthesizers. In Space 1.8 she is accompanied by other accomplished drummers, reed, and bass players, with whom she creates an ambient, dreamy, soundscape, which one can very easily lose themselves in. The album has 8 tracks, which seamlessly blend into one another. Her motifs are developed gradually throughout, and alternative sounds, rhythms, and layers are introduced, punctuated by delicate saxophone solos. Its intensity and timbre fluctuate and demonstrate Sinephro’s capabilities as an arranger and player. Space 1.8 is a great way into the world of experimental jazz and listening to it is an experience in itself.

So, whether you are stuck on that last-minute essay grind, a hopeful, or hopeless, romantic, or just need something new to listen to, there is something there for everyone. The above songs have some rather interesting qualities and if you enjoy them, I would definitely recommend listening to the albums in their entirety to see if you discover something even more magical. No matter where you listen to these songs, be it alone in the sweet confines of your room, or marching down the High Street to attend your gruelling 9am lecture, I hope that they can help make your fifth week that little bit less blue.

Crafting Kingship: Hellenistic Royal Portraiture

Image Credit: Branko van Oppen/ CC BY-NC-SA 4.0 DEED via World History Encylopedia

There was a shared goal for Hellenistic kings to establish themselves as rulers following the division of Alexander the Great’s empire into three main kingdoms under the Antigonids, the Ptolemies and the Seleucids (323 BC). This resulted in the development of a standardised visual vocabulary of royal ideology represented by statues and coinage. 

A newer style of royal portraiture designed to represent the “charismatic, aggressively militaristic ideology of kingship,” won the Successors (Seleucus I Nicator, Ptolemy I Souter and Antigonus the One-Eyed) their kingship in the absence of legitimacy. A common style across the coins reflected beardless, ageless, and jewelled images of Hellenistic kings. In an attempt to associate themselves with the legitimacy expected of a Macedonian king, the Successors adopted this style which evoked images of Alexander who appeared as such in royal portraits, although not originally in coinage. 

Statues and coinage maintained a standardised style with defining features exhibited through similar expressions of body language, physiognomy and degrees of divinisation. The use of ‘display poses’ and depictions of fighting figures became a universal language of power adopted by Hellenistic kings to showcase personal dominance. For example, the Terme Ruler (third–second century BC) displays the figure in a relaxed position indicating the fact that he is non-threatened, whilst the tilted pelvis may also reveal security or the absence of fear in the exposure of a man’s most vulnerable area. This common motif depicted ruler figures as confident in their own forms of self-expression and thus in their presentation as kings. 

Nudity was also a common theme among royal statues, reminiscent of the gods but adapted to suit them as rulers. This additionally allowed for displays of exaggerated muscularity and athleticism which are further enhanced by a raised grip, all of which are motifs of military and political power. The raised grip itself was a symbolic legitimisation of conquest (‘spear-won land’) initially used by Alexander and later adopted by the Successors as the legal basis for the Hellenistic kingdoms.

Both statues and coinage were heavily influenced by Alexander who popularised costumes and certain attributes to convey royal power and divinity. Hellenistic kings used ram’s or bull’s horns, elephant-scalp headdresses, winged diadems, solar rays and mythological props associated with him. It is common among ruler tetradrachms to see kings presented with royal diadems on their heads, paired with a youthful appearance and full hairline that was evocative of Alexander–asserting his royal authority and legitimacy onto themselves. The Ptolemies favoured divinising iconography which can be seen in the coinage of Ptolemy I and sculptures of Ptolemy II. The former coinage illustrated a goat-skin aegis slung across Ptolemy I which was closely associated with Zeus and identified him with the king of the gods to imply his majesty. The latter portrayed Ptolemy II adorned with an elephant-scalp headdress reminiscent of Alexander’s conquest of Africa, whilst his boots and club displayed the twin divine ancestry of the Ptolemaic dynasty through Heracles and Dionysus.

That is not to say there were no variations in style, as kings adopted different features to emphasise alternate aspects of royal ideology. This idea is demonstrated well by the use of ‘jugate’ portraits under the Ptolemies to convey dynastic continuity. Iconographic depictions of Ptolemy II and Arsinoё II as sibling-gods can be seen in Egyptian coin portraits. The style was a product of Ptolemaic ideology in an Egyptian cultural context and was adopted by other kingdoms, such as the Seleucids, as it was seen as necessary for promoting dynastic continuity and familial similarity.

Even royal female portraiture played an important role. It appears their shared styles with male royal portraits were used as tools to consolidate kingship and dynastic rule. The statuette of Arsinoё II closely resembles that of her brother-husband Ptolemy II in its body language: the body is in a relaxed position to show she does not feel threatened and her arm is raised in a military style which could suggest her influence within the Egyptian government as Ptolemy’s political partner. Alternatively, she is presented as feeling secure under her husband’s rule and mirrors him as an extension of his royal power. 

Hellenistic kings had a shared goal to establish themselves as rulers by communicating royal ideology through coins and statues which could be accessed by the public. Royal portraiture was broad but it had definable limits: variations in style formed part of a standardised set of visual elements which conveyed power and status. This form of self-presentation allowed Hellenistic kings to present their personal, charismatic leadership and statesmanship in the absence of legitimacy. As such, their kingship and their family’s dynastic rule were established and maintained, whilst female royal portraiture seems to have acted as an extension of male self-presentation which borrowed from its style. 

Get ready for the most important year of your life, yet

Image credit: kajtek via Unsplash

If you follow global or regional politics you are probably aware that 2024 is not like any year before it in recent history, and possibly ever: the globe is getting warmer, two wars are raging, the United Nations seems more dysfunctional than in decades, and we will see nearly 4 billion people going to the polls in more than 60 countries around the world. This makes 2024 the biggest election year ever. It is not just the sheer number of elections, but the incredibly influential places in which they are happening – including Taiwan, Malaysia, India, South Africa, the European Union, and the United States. 

The consequences of these elections could reach far beyond domestic and foreign policy. Consider this: will the Taiwanese election, which the anti-Chinese Democratic Progressive Party won, influence Beijing’s willingness to invade? Could Trump’s victory decide the results of the Ukraine war, and hand Russia the win? And more generally, will the elections we are facing accelerate or slow down the global democratic backslide? While deliberating on these crucial questions you should, also, not forget that the likelihood of influence campaigns being involved in every major election is incredibly high. Such campaigns, which we have seen in the past (including Cambridge Analytica), not only sway the electorate in an un-democratic way but also cast doubt about the legitimacy of the results – no matter what they are. They do so by spreading fear and disinformation through social media in a way that pushes the electorate towards a certain candidate or party, often involving xenophobic and racist rhetoric. So, not only will we have elections in some of the most influential countries in the world, but different actors will try to influence them, and no matter the results large numbers of citizens are unlikely to believe them.

These elections alone should make us all stop and consider the stakes of 2024, and the risks that lie throughout it, but the elections are not all that is happening. The war in Ukraine enters its third year with no end in sight; the war in Gaza seems to be entering a state of violent stagnation. Simultaneously, the Middle East resorts to violence in and around Yemen, in Iraq, between Iran and Pakistan, and between Israel and Hezbollah, which is a slippery slope towards a regional war. This means the two wars currently raging are at risk of being sidelined by a larger, Middle Eastern war. Not to mention the probable American and Western military involvement in such a war.

35 years ago many thought that they had witnessed the end of history. Today we know that we are living through history happening in all its drama.

But where does it all meet us? Most of the readers of this article are probably Oxford students, like me. Considering the probable British election this year (which has yet to be announced, but will have to be called by December 17th), in addition to EU and American elections, approximately 80% of Oxford’s student body comes from countries going to the polls. More importantly, all of us will be substantially influenced by these elections and wars. Setting aside for a moment the rising cost-of-living these wars and instability inflict, throughout this year not only will we have to sit through endless dinners discussing Trump’s last outrageous statement, but we might suddenly find ourselves in a less democratic world: a world full of leaders fighting against the values, institutions, and norms that most of us believe in, and that have been fought for in history.

I may have convinced you that 2024 is truly the most important year of your life thus far. Regardless, the question should be asked, can we do anything about this impending storm? The answer is yes. In fact, the answer must be yes, not because of some ‘Oxford exceptionalism’, but quite the opposite. The answer must be yes because we are regular people, citizens. History is full of inspiring citizens who rose to the moment and pushed the arc of history towards justice, but so is the present. We have all been inspired time and again by the people of Ukraine and their strength as individuals and as citizens. I wonder, however, if a similar model could be replicated against different threats to our societies (most of which are much less tangible than Russian tanks and missiles). Could each country unite for its democracy’s survival, and could people unite globally to slow down, or stop, the democratic backslide?

I think universities in general, and in particular institutions as international as Oxford, should have a role in safeguarding our democratic institutions. Universities should remind us of the kind of world we had before our modern democracies, explain the risk of war and division, and propose ideas for maintaining the current democratic state. Not only that, but universities are an international hub unmatched in most societies. Oxford alone has members from 160 countries, which could make them the base for global organisation and cooperation across borders and oceans. But will they? It is partially up to us to make it happen.

The days we are living through will be the subject of history books, but the story is yet to be written. 2024 will be a crucial year for the struggles of our time – for the climate, for our rights, for our lives, and for the world as we know it. No matter what you choose to do about it, as much or as little as you’d like, I urge you to at least read up on what is awaiting us in 2024. When you’re done, you should know we are all looking forward to seeing how you are going to defend democracy. Let’s begin.

Theo’s Café

Credit: Amanda Li

Theo’s is the new hotspot on Broad Street. Its clean white-and-beige interior with cushion-lined seats provide an aesthetic place to work, eat, and sip. 

One of the owners, Rudy Qaqu, also runs the restaurant Acropolis in Headington. It’s easily Oxford-centric. The coffee beans are sourced locally, and many of the other baked goods are baked fresh, with a cake of the day and classic Mediterranean desserts like baklava. Even the booths were Oxford themed — mine had a sketch of familiar Broad Street. 

Theo’s is run by a Greek-Kurdish family, with a Mediterranean-organised focus. Rajeen, who runs the restaurant alongside other family members, explained that the dishes are a mix between classic café fare and traditional Mediterranean dishes. You could find the difference in the little details. Their menu included freshly-squeezed orange juice, as well as Greek yoghurt bowls, along with more fusion dishes like their koulouri with poached eggs, spicy oil, and Greek yoghurt. 

“It’s nice bringing something new to the city,” Rajeen said, “and we can pass on traditions to a new group of customers.” 

The café sees everyone from tourists to locals to Greeks searching for a reminder of home, but they especially love students. Besides their student discount, they have many booths upstairs and down for working. 

I also took note of the many gluten-free, and dairy-alternative menu items, clearly written. It’s rare but always welcome to see these kinds of accommodations. 

My increasingly regular order at Theo’s is the hot chocolate. At a normal price of just over £3, you get a cocoa-y delight with marshmallows and whipped cream. They also have a wide selection of tea and coffee drinks, including a Greek frappe (which I’ll try once the ice machine is fixed!) While waiting, I had a Greek coffee – it’s extra foamy. The grounds at the bottom gave me faith in the traditional aspects that Rajeen was proud of, and I was glad that I could add a bit of sugar to the very strong coffee. I haven’t seen a Greek coffee in Oxford, so I was glad to have the option here.

Finally came the food. Each dish was extremely filling: we began with koulouri (think of a more crunchy version of a bagel) served with smoked salmon, an egg, cream cheese, spicy oil, and rocket. Rajeen noted it was a take on the classic bagel breakfast as well as on the Greek Koulouri as breakfast. The sesame on the koulouri added to the crunch of it, and the chilli oil added a bit of a kick that I will steal for my own bagel preparation.  The cream cheese was a bit more than I’d expected, but the poached egg in the middle and the oil perfectly soaked the koulouri up. The koulouri had less flavour, but the other ingredients added a tangy, savoury twist that I loved. 

Next was the club sandwich: it was typical of a British café except for the oregano and paprika on the chips, which my fellow diner and geographer pointed out to be a Greek twist. The bread was triple toasted and cut into triangles, and the Gouda, though not common in UK club sandwiches, added some nice depth and reminded me of the sandwiches I’d have at home in NYC. The tomatoes and cucumbers were fresh and crunchy, and the mayonnaise had a lemony twist I loved. I took the extra chips and half sandwich  home for dinner and found it delicious: a good, quick meal that was both filling and reasonably priced. 

Coming as a great surprise were the pancakes. After stuffing myself full with koulouri and ham, I somehow found room for dessert. The American-style pancakes were visually beautiful, with a symmetric swirl of syrup as well as sliced bananas, strawberries, raspberries, and blueberries. The fruit was sweet, and though the pancakes were a bit dry on their own, the syrup added moisture and sweetness I enjoyed greatly. I found the edges more fun than the middle with their crispy crunch. Overall the pancakes were delicious. 

As I sat and ate, I saw a diverse group of people of all ages come in and out, eating anything from jacket potatoes to croissants with tea. Looking forward, Theo’s wants to expand its outdoor seating as well as its two-story indoor seating. The cafe’s warm space differs greatly from the takeaway-focused cafés and food trucks of  Broad Street, though I’m sure Theo’s will make itself at home soon enough. 

“This war has no borders” – An Interview with Ukrainian Human Rights Lawyer and Nobel Peace Prize Winner Oleksandra Matviichuk

Image credit: Yaroslava Bukhta

Two years after the start of the full-scale invasion of Ukraine, Sofia Johanson speaks to Oleksandra Matviichuk about her organisation’s efforts to document war crimes, the dysfunctionality of the international security system, and how Ukraine’s victory could actually mean hope for Russia.

In December 2022, Oleksandra Matviichuk was delivering the Nobel Peace Prize Lecture in Oslo City Hall; in April 2023, Hillary Clinton wrote an entry about her in Time Magazine’s ‘100 Most Influential People’ segment, and last October, she gave her Ted Talk at the TEDWomen Conference in Atlanta, Georgia.  

Now, sitting across the table from me in one of Rewley House’s more sterile classrooms, she is explaining that it is her direct contact with victims that propels her forwards on her mission to document the war crimes perpetrated by Russia in Ukraine. Having already collected evidence of 62,000 violations of international law, she feels an enormous responsibility to help these people, “to restore not just their broken life, broken house, broken family, broken vision of the future, but their broken belief that justice is possible in their lifetime”.

Restoring faith in the idea that truth will always prevail is a task made seemingly insurmountable by the sheer scale of unpunished crimes, and a traumatised population who cannot imagine their suffering ever being answered. Yet Matviichuk, and her organisation – The Civil Liberties Centre – have been interviewing victims and collecting evidence from sites of crimes with the view that one day the perpetrators can be held to account by the international community.

She is insistent that this is not a process that can begin after the end of the war, describing the post-World War Two proceedings at Nuremberg as an inappropriate model because of the need to show Russia, and the world, that those who break international law will be punished regardless as to the course that hostilities take. In fact, she argues that the precedent of impunity was a significant contributing factor to Putin’s initiation of the war in the first place; “they have never been punished”, she explains, and so “they start to believe they can do whatever they want”. Matviichuk cites claims of war crimes perpetrated in Chechnya and Georgia, where Putin prosecuted wars in the early 2000s, as well as atrocities committed in Syria, Libya, and Mali, as examples where violations have gone unanswered.

But considerable barriers stand in the way of this mission to deliver justice prior to a peace settlement. They are numerous and too technical for her to explain to me in great detail, but she highlights the paralysis of the UN Security Council, which has seen its attempts to influence events in Ukraine blocked by Russia, who is a permanent member. Indeed, Russia was chairing the council’s session the very moment that the invasion began on the 24th February 2022. Matviichuk says the architecture must change as the body is clearly not designed to deal with a situation in which a member who has started an aggressive war may block decisions on that war and laments that Article 7 – a chapter that would withdraw Russia’s veto power – has not been taken.

She also opposes the tabled ‘hybrid court’ as a format under which to try the Russian President, which would essentially ‘share’ control between Ukraine and partner states, because it would not have the power to prosecute Putin. Only an international court can really hold him to account, she explains, labelling the prospect of diverting money and time towards building a hybrid institution an “absurd discussion”.

Despite the understanding that the provision of justice cannot depend on the outcome of the war, our conversation moves towards the conflict’s course. Cognisant of waning Western interest and the particular concerns provoked by Republican frontrunner Donald Trump’s claim that he would ‘end the war in a day’, Matviichuk assures me that no one wants peace more than the Ukrainians. She tempers this statement with the qualification that peace is not the same as occupation, the conditions under which the oblasts of Luhansk, Donetsk, Zaporizhzhia and Kherson would fall if the current battle-lines were frozen. Occupation, she explains, is a “grey zone” in which “forced disappearances, tortures, denial of your identity, forcible adoption of your children, filtration camps and mass graves” are all likely components. Faced with this threat against their very existence Ukrainians have no choice; “if we stop fighting, there will be no more ‘us’”.

I ask her how she copes with the weight of her work and the darkness ahead. She is frank, admitting that it isn’t easy, even for a professional lawyer accustomed to the barbarity evident in the materials and experiences which she deals with. Alongside the inspiration she derives from the displays of bravery and solidarity by ordinary Ukrainians, Matviichuk mentions the ‘60ers’ or ‘shistidesiatniki’, a generation of Ukrainian Soviet creatives who held distinctly anti-totalitarian views and made defense of the national language and culture of their country a central tenet of their ideology. “We stand on their shoulders”, she says, explaining that Ukraine’s gaining of independence in 1991 was possible because of the foundations laid by this generation in the 1960s, giving her reason to believe that even if her work seems meaningless in the short-term, its value will eventually become evident.

Nonetheless, she is insistent that there are things that can be achieved more imminently. Chief among them is the question of goal setting; the idea that the UK and other Western nations must change their objective from helping Ukraine ‘not to fail’, to helping it ‘to win’. According to Matviichuk, this isn’t just a case of committing to larger weapons shipments, but a cognitive shift that accepts the logical yet uncomfortable truth that a victorious Ukraine means a defeated Russia – a prospect the West is currently unwilling to confront.

Whilst governments and individuals in the UK and West have long been engaging in how Ukraine will be rebuilt after the conflict’s end, Matviichuk emphasises that the international community has no strategy for dealing with a post-war Russia. She points to historical experience as she warns of the dangers of being ill-prepared; “the Soviet Union collapsed regardless of whether or not the West was prepared”, highlighting the need to avoid a Russian descent into the economic and political chaos which was witnessed in the 1990s, and now forms part of Putin’s narrative about the need for Russia to ‘rise again’.

Matviichuk’s calculations about post-war Russia are nuanced. On the one hand, she believes that military defeat is required to impress upon the population that restoring the Russian empire is not possible, even smiling when she says that perhaps they will then realise that overrunning sovereign territories is not “civilised”. She rejects the idea that this is “Putin’s war” and says that responsibility lies with Russian society more broadly, but is unequivocal about whether the end of the war means the end of Putin: “Russian people can tolerate a war criminal as a president, but they will not tolerate a loser war criminal”.

Against this ominous and uncertain Russian future, she identifies how a Ukrainian victory might actually be an antidote, as it would demonstrate that democracy can win wars. Indeed, she emphasises this sentiment in her diagnosis for the future: when it comes to the post-war “democratic success of Ukraine, it’s the chance for the democratic future of Russia itself”.

Interested to know how long she thought it would take for Russo-Ukrainian relations to normalise, I put to her the now commonly used Ukrainian axiom ‘there’s no such thing as a good Russian’. She expressed her distaste for the phrase and described how her work brings her into close collaboration with Russian human rights organisations, but did admit that some Ukrainians who had suffered brutality at the hands of Russian invaders now have “no internal resources for dialogue” and thus the prospect of rapprochement was uncertain.

Matviichuk zeroed in on one particular group of Russians who may be able to create solid foundations for the future course of relations between the two nations – the hundreds of thousands of young émigrés who have fled the country for places like Georgia, Turkey and Finland. “We need their voice now, not when the war will end (…) we need their active work to help Ukraine to win”, she explains, thus apportioning significant responsibility to those who she says claim to be “honest people” opposed to Putin’s invasion.

Helping Ukraine ‘to win’ won’t end with the hostilities but will continue as the country seeks to regenerate after the war and Matviichuk impresses on me that this is not just a question of expelling Russian soldiers and clearing rubble, but a broader mission of restoring peoples’ faith in justice, and modernising and democratising the entire country. Moreover, she is clear that failing to hold the war’s perpetrators to account means that “we will find ourselves in the world which will be dangerous for everyone without exception”, as confidence in impunity will allow them to return, or even take their destruction elsewhere.

Indeed, Matviichuk perceives Ukraine’s victory as a safeguarding measure for the entire democratic world; “this war has no borders” she says, explaining that her country is only the first stage upon which the conflict will play out. She paints the conflict in civilisational terms, asserting that “this is not just a war between two states, this is a war between two systems: authoritarianism and democracy”, and warns that it is not only the Kremlin, but other authoritarian leaders who will read the international community’s inaction as weakness and will be emboldened to commit further attacks on democratic nations, whom they necessarily perceive as a threat.

Matviichuk explains that we should have awoken to this “new era of turbulence” long ago, citing the long-voiced claims by human rights lawyers that a country which attacks its own civil society is bound to look abroad for its next target. She chillingly points out the example of ‘Memorial’, the Russian human rights organisation with whom she shares the 2022 Nobel Peace Prize, which was ordered to dissolve on the grounds that it had violated the ‘Foreign Agents’ law a few months before the full-scale invasion.

Consequently, the war – its weight, its inevitability, and its intensity – consumes Matviichuk, but she understands the world’s declining interest as part of a “natural process”, admitting that being removed from the battleground makes the rest of us ill-equipped to understand the immediacy of the threat as the Ukrainians do.

This proximity she alludes to was brutally evident when we finished our conversation by talking about Viktoria Amalina, a Ukrainian author who was killed this summer in Russian missile attacks on Kramatorsk.  

“She is my friend; she was my friend? No, probably she still is my friend”, she pronounces slowly and uncertainly.  

Countless Ukrainians have been faced with the type of tragedy which Matviichuk’s words contain, and they have all had to support one another in ways that we cannot imagine. Such unity will have to continue as the country enters its third year since the full-scale invasion, and its eleventh since the annexation of Crimea.

Meditating on the compassion, solidarity and bravery exhibited by Ukrainians over the past two years, Matviichuk explains that it’s “very natural for people under attack (…) to unite”, but, to both of us, what is less clear is whether the rest of the world will unify to secure justice for victims past and present, and peace for our collective future.

Oxford University Short Film Festival 2024 – Day 5

Image Credits: Oxford University Short Film Festival
Image Credits: Oxford University Short Film Festival

CW: references to war, death, racism, drink spiking, homophobia

The Keble O’Reilly was yet again packed for the last night of what has, by all accounts, been a fantastically successful run for the Oxford University Short Film Festival (OUSFF). Showing 25 films in total, this year was a first for OUSFF in opening their submissions to student filmmakers beyond Oxford. The result was an eclectic and exciting range of films made by some truly talented student filmmakers and recent alumni. 

Nighty Night, Dear 

The first film of the evening was Nighty Night, Dear, an endearingly nostalgic tale about a mischievous magician, Koko (Mollie Milne), sleep deprived from the nightly recollection of embarrassing moments. Nighty Night, Dear playfully literalises these memories as film negatives produced by a magical contraption, which Koko then categorises in archives including the highly relatable ‘being an idiot’. Jealous of young boy Josh’s anxiety-free sleep, Koko decides to send Josh memories of his own mistakes. The result is a cheekily poignant coming-of-age narrative thanks to lively performances from Koko and Josh. The film’s cinematography was particularly impressive: bathed in a warm, ‘vintagey’ palette reminiscent of Kodak Gold, Nighty Night, Dear evoked the twilight mellowness of childhood found in many a Roald Dahl or Dr. Seuss story. This was further aided by the narrator’s gentle voiceover and close-up shots, used adroitly to convey Koko and Josh’s dream-like states. The film also made great use of the contrast between live action and animation, creating Koko’s house and the evening sky out of cardboard stop-motion. The blurring of fantasy with reality gave the film a tactile, magic realist quality in its charming exploration of innocence and self-awareness. 

Ghost Insurance 

Another film which comically exploited our insecurities was Ghost Insurance, which featured a well-acted performance from salesman Paul. Paul, however, is not your average salesman: he sells “ghost insurance”, which claims to cover for any unexplained happenings around the home including smashed vases and stray socks. The dialogue between Paul’s prospective clients – a gullible father and his cynical daughter – was hilariously effective, drawing laughs from the audience as Paul gestured to the invisible presence of “Errol”, his phantom coworker. Within its sharply economical form, the film managed to deliver several punchlines in quick succession, such as the telling jingle attached to Paul’s business card: ‘my dead wife keeps accusing me of murder!’. Ghost Insurance effortlessly parodied the aesthetic of insurance adverts, cleverly playing with the sinister capacity for such companies to profit off our superstitions through a delightful twist at the end. 

Punchbowl 

Punchbowl, directed by Mia Sorenti, also managed to deftly balance humour with more sinister themes. The film follows two university students, confident Nina and hesitant Liv, as they attempt to graft their way onto the women’s hockey team through Nina’s ‘lesbian power game’. Quite the opposite occurs as Nina and Liv find themselves plunged into the aggressively white, heterosexual world of Oxford’s secret societies. The ‘Tuesday Club’ comprises a group of pompous, neo-Nazi Etonian alumni unapologetically advocating for a ‘colonial comeback’, and Nina suspects one of its members of spiking drinks after finding some dubious substances. The aftermath, however, is startlingly funny, offering an inventive take on what can sometimes be a rather hackneyed portrayal of Oxford’s elitism, following in the footsteps of The Riot Club. Whilst the film suffered at times from muffled audio from Nina and oversaturation, the script worked effectively alongside its short format. Darkly funny, Punchbowl perceptively lingers at the gothic borderland, reminding us that despite Nina and Liv’s lucky escape, Oxford’s sinister underbelly maintains the potential for more predatory events to occur. 

The Pacifist

The second film of the evening set in Oxford, The Pacifist transports us back to a true story from 1940 straight from University College’s archives. The film follows 19 year old student John Fulljames, a conscientious objector whose mental health rapidly declines as he is called for conscription, leading him to shoot two students and be sentenced to Broadmoor for schizophrenia. The period set’s exquisite detail and cinematography were excellent, presenting an unusually sparse Oxford in a beautiful subtlety of light which contrasted with the intensity of the students’ debates. The Pacifist sensitively reveals the oft-neglected history of WWII’s psychological impact as the conflicts between John and his peers bleed into questions of sexuality and masculinity. There is a palpable homoerotic subtext to John’s sensuous appreciation of Univ’s Shelley statue, who was famously expelled from Oxford for refusing to disavow his atheist convictions. However, the film’s singular female character disappointingly appeared only as an ephemeral, seductive presence to soothe John’s psychological distress. As the longest film of the night, The Pacifist also suffered from some pacing issues, but its lengthy monologues contained excellent lines such as John’s protestation: ‘I won’t have my rotting body fertilise France’s soil’. 

A Ticket to Hell 

Also questioning the meaning of war was A Ticket to Hell, a film that brought the nihilism of armed conflict to its literal extreme with an emotive score. A soldier is not told where he is, or who he is fighting, but is instructed to follow his officer’s orders with little justification. Three spectral presences visit the soldiers to caution against perpetuating a cycle of endless violence which they too participated in, long ago in a forgotten past. At times, the film risks slipping into more cliched representations of war in its montages of violence against childhood innocence. However, the overlaying of the soldier’s diary entries invites more compelling questions about memory, bringing the universality of war in tension with the personal. The act of inscription makes room for subjective, even spiritual experience by problematising the capacity to write and remember war objectively, despite the officer’s attempts to anonymise the conflict and reduce it to its most banal parts. 

I tend to approach student productions with a degree of scepticism, but the festival’s final night gave us some truly impressive films which balanced serious topics with quick-wittedness and skillful cinematography. The evening’s success was also thanks to the hard work of the OUSFF team, which has clearly paid off.

The award for Oustanding Film was given to Je Veux Danser. Beijing Pigons won the People’s Choice Award.

Louis Wilson to succeed Hannah Edwards as Oxford Union President

Image Credit: Anita Okunde

Oxford Union’s Appellate Board declared that the Office of President-Elect is vacant until the end of Hilary Term, after which it will be offered to the incoming Librarian for Trinity 2024, Louis Wilson. Neither of the two candidates who ran for president-elect last term, Leo Buckley or Julia Maranhao-Wong, will be taking up the role.

Last term, Buckley was narrowly elected President in a hotly contested election against Maranhao-Wong. Shortly after the end of last term, two charges of electoral malpractice against him were then brought before a Union tribunal, which cleared him of one charge but found him guilty of harassment under Rule 33(a)(i)(28). Buckley was also suspended from the Union until 10th week of Trinity Term 2024. 

According to a preliminary ex camera notice, the Appellate Board that sat yesterday unanimously decided to uphold Buckley’s conviction, disqualification, and suspension. The board also declared the office of President-Elect vacant, despite stating that “[T]his determination does not result from any assessment of the character or qualifications of any officer or candidate for office; instead, it reflects the considered judgment of the Appellate Board as to the proper path forward after a disqualification of this kind, as we will discuss in more detail in our report.”

The Appellate Board also stated that while they had not found the appeal attempt to be unreasonable, they did not disqualify any Election Tribunal panelists from sitting on future panels. It further explained: “The Appellate Board does, however, intend to make several important recommendations that we urge the Society to address with appropriate haste and care. We will detail these in our report.”

As a result of this decision, the office of President-Elect will remain vacant until the end of Hilary Term under Rule 38(b)(vi), after which it will be offered to the incoming Librarian for Trinity 2024 under Rule 12(c)(ii). 

The rule of succession will also mean that the current Treasurer-Elect, Izzy Horrocks-Taylor, will become the Librarian-Elect. Meanwhile, the candidate elected Secretary and candidate elected for member of standing committee with the most votes in this term’s elections will become the Treasurer-Elect and Secretary-Elect respectively. 

The Appellate Board’s final report is expected to be published after nominations open for the Hilary 2024 Elections. The notice states that the report will be the “definitive statement of the Appellate Board’s decisions as well as its reasons for making them.”