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Review: Stranger, Baby

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‘I wanted to put my body into these words’ 

Emily Berry’s 2017 Stranger, Baby, is one of the most adored contemporary poetry collections to emerge in recent years. There is thus something quite remarkable in Maya Little’s restaging of the collection as a play, a devoted love letter to Emily Berry’s meditations on loss, mourning, and the sea. 

Stranger, Baby, opens with the line ‘I stood at the dangerous shore’, and it is from the very first word that Little’s adaptation complicates the original text. Three actors stand on stage, another yet to enter. Exactly who represents this poetic ‘I’, is dissected throughout the adaptation, questioning how we stage the poet’s voice alongside alternate influences. In Berry’s poetry, these influences include her mother, Sigmund Freud, as well as disparate versions of the self, but no actor clearly represents one singular voice. What was one voice becomes four, with the language of the collection brutally dislocated and lines being torn away from actors who rarely get to finish words without interruption. 

While the acting and use of lighting are impressive throughout the show, it is sometimes the use of objects on stage that cannily articulates Berry’s collection most movingly. The mirror, for example, is one of the craftiest props of the show. Even though the poetic voice has already been strained through the presence of four actors on stage, we see each character doubled through the mirror. Not only that but the audience can see their own reflections staring back at them as if they are included in this image of the self. After months of rehearsal, the mirror is blemished with fingerprints, highlighted by harsh stage lights, but it serves a metaphorical purpose, too: ‘Never look at yourself in the mirror when you’re crying / I did not follow her advice.’ We can see how many times the poetic voice has failed her mother’s instruction. What we see in the mirror is the reflection of how many impossible selves it takes to grieve. 

Another notable object onstage is the wooden boat. The text of Stranger, Baby is distinguished for its continual references to water, with Berry’s poems drenched with tears and brimmed with memories of mermaids, tidal-waves, and rivers. One of the most affecting moments of the performance is when Abigail Casson, potentially the stand-out member of an admirable ensemble, is doused with a cup of water, but while the characters repeatedly speak of the sea, we see such a small presence of water on stage. A boat without water figures as a coffin and a bed, but never really as a boat. Little finds new ways of reading absence and presence into Stranger, Baby, and such clever staging is striking.

For audience members who are unfamiliar with the poetry collection, the play potentially dangers on being too abstract, too conceptual, too niche. Yet for someone who has read Stranger, Baby, or someone who has been touched by the story of grief, this adaptation is a poignant revision of a modern classic. It might even encourage an audience unfamiliar with Berry to pick up her work. The text is no less rich and eerie when performed on stage, as the dramatic adaptation of Stranger, Baby is a veneration of the gorgeous polyphony of Berry’s poetics, and a most heartfelt invitation to pick up more poetry. 

Review: Spring Awakening

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Having had the chance to see the dress rehearsal of Spring Awakening at the Oxford Playhouse ahead of the crowds I’m sure will be descending to see this ambitious, moving, and pitch-perfect production. 

I was immediately struck by the set design. Emily Stevenhagen’s garish neon stained-glass window was a constant in the flexible space, immediately and concisely introducing the conflicts between organised religion, civilised society, and rebellious youth about to unfold. The moving staircases and thin metal balcony also worked very well and all the complex set transitions were handled excellently by the ensemble. I only wish that the set’s least creative moments, when two white walls connected to simulate Wendla’s living room, had been given the same thought as their most innovative and affecting, when orderly lines of ensemble in school uniform march across the stage and drop bouquets of flowers to simulate a graveyard. 

As the cast entered in boxer shorts and silk slips, they stand in pairs and dress each other, a touching and subtle show of the intimacy that will be denied them throughout the musical. The initial dialogue was a little rushed and garbled, but the cast soon settled into the show and the stage, which made it clear it was likely just dress-rehearsal nerves. From the first song, I was sold. The acting was strong, but the musical talent of this cast is worth attending for on its own. 

Hannah Andrusier’s, delicate voice as Wendla was a delight to listen to, perfectly evoking the innocence of her character, though occasionally its subtleties were disappointingly no match for the volume of the orchestra behind her. Melchior, played by Henry Waddon, was full of roguish, rebellious energy and easy charm. The chemistry of these two actors was undeniably one of the most compelling parts of this production, and they slowly unfolded their love affair with all of the tenderness and electricity of repressed teenagers. It was only occasionally that this beautiful give-and-take slipped, with one seemingly forgetting to react to a passionate kiss because of the pressure of remembering a choreographed pull-away, but this was only disappointing because of the earnest tenderness of what had come before. I commend these actors and their director, Issy Paul, for building this genuine, growing intimacy into the centre of the musical. It made all the difference.

Special note must be taken of Gavin Fleming and Ella Tournes who played, with incredible fluidity, every adult figure in the musical. The sheer number of costume changes alone must have been a task, but almost every adult represented on stage was a distinctive presence with a clearly defined voice. I only wish some of their characters, like Wendla’s mother whose disapproval is so key to the plot, had been a little less frantic and more three-dimensional. They were particularly enjoyable as the schoolmaster and mistress, though, and the voices they adopted for these characters were utterly perfect. Joe Winter as Moritz also deserves recognition for capturing the awkward charm of Melchior’s struggling best friend, and Martha’s duet with Ilse, performed by Ruby Nicholson and Maddy Page, was beautifully sung and very moving. Some characters, however, like Ernst (Tom Foster) and Hanschen (Emilio Campa) were well acted but fleeting and limited in depth, leaving the audience with the distinct sense that they had missed something.

The music was frequently the star of the show, occasionally to the detriment of the singers who provided less volume or enunciation, and occasionally highlighting that the musicality was more fully realised than the drama. If I did not know the plot already, I may have struggled to keep up with some of the more exposition-heavy songs and plot beats overwhelmed by music. Having the orchestra constantly visible to the audience and even occasionally brought out onto the stage made the production dynamic and undeniably musical, though. The lively group numbers particularly punctuated the divide between the characters’ orderly public personas and their internal desires and frustrations expressed through song. 

This is not a perfect production, but it is a great one. Every aspect is ambitious, from the lighting, to the staging, to the musical arrangements and the emotional performances. The cast and crew have clearly pushed themselves to the creative limit and it has certainly paid off – this production is vibrant, exciting, a bit messy and unfinished (as adolescence tends to be), and very touching. I highly recommend you see it while you have the chance. 

Review: Things I Know to be True

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Andrew Bovell’s play concerning the vicissitudes of quitting a conventional home for the outside world leaves both its characters and audience with a shaky view of home-life. One thing’s for sure: watching Things I Know to be True at the Michael Pilch Studio is one and a half hours well-spent.  

A telephone upon a side-table and two plastic troughs filled with fake flowers provide the opening scene for a play feared to be another cosy, domestic set-up writ large on stage. However, despite the naturalistic, homeliness of arguments over new-fangled coffee machines conducted at a table laid with biscuits and hot beverages, this play, paradoxically, captures the impermanence of a stable conception of home. 

Bob and Fran’s family-of-six is introduced as a close-knit, if squabbling, community gathered for the early return of their youngest from Europe. However, the wooden chair, placed roughly centre-stage, becomes a place of monologic revelation for the four children: Rosie, Pip, Mark/Mia, and Ben; from my seat left-of-stage I watched as familiar moments of family-life, such as the coveting of the youngest, or the taunting of a young girl’s vanity, were rendered sinister in light of individual confessions. 

The consistency of Harry Berry’s characterisation of Bob was genius. His stuttering, gaping jaw, unexplained stage-exits, outbursts, and awkward embraces conveyed shock and dread, just as well as they gave the impression of a retired father struggling with modern existence in some of the most humorous moments of the play. I didn’t believe Bob could look any more devastated by the disintegration of his black-and-white picture of life, until his face was firmly pressed into the freshly-strewn soil of his upturned roses mid-stage.

Indeed, all characters adopted mannerisms and tics which impressed: William Ridd Foxton perfectly captured the jittery toe-tapping of telling one’s parents what you think they never want to hear in the character of Mark. Bailey Finchie’s striding across stage as Ben with freshly washed shirts in tow and the assertion that he ‘Must go, really can’t stay’, only to be tempted by the prospect of lasagne in tupperware, was a stand-out, comic moment. Elise Busset’s portrayal of falling in and out of love as Rosie, the whimsical teen, was faultless, if slightly marred by the use of physical theatre in a lift to represent her swooning. Finally, Imogen Honey Strachen as Pip sung delightfully and produced, what I felt to be, the most modern and uncontrived character of the piece. 

Maya Jasinska had a hard role to master as Fran, the formidable mother of the clan. Just as Ibsen struggled to invoke empathy for the wayward mother of Nora in A Doll’s House because of her lack of affection for her children, Fran’s overwhelming bitterness detracted somewhat from the true relatability of her story as a model mother who feels tired and trapped by expectation. Yet, her abrupt attacks in response to her children’s confidences seemed more a matter of scripting, rather than an acting choice. However, I would have liked to have seen more evidence of tenderness, in smiling moments spent with Rosie, filter into her relationship with other characters, to justify the fond response of her children at the end. Nevertheless, this was a moving performance by an actress capable of shedding true tears on stage, as was remarked by another audience member. 

Tears were also shed in the audience as the cast donned black for the funereal conclusion. This close-quarters experience of a treasured-home turned suffocating-chamber is well worth a watch this week!

Keble reverses ball accommodation decision following student pressure

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 Keble College has reversed its decision to refuse students onsite accommodation during the commemoration ball on June 27, 2020. The move comes after students put substantial pressure on the organisational committee to secure rooms in college, citing access and welfare concerns which would particularly affect low-income students.

In an email to college members, ball executive Sam Edwards said 200 rooms would be initially made available on November 7, but that this was “the maximum number which can be confirmed at this stage,” as the college is yet to finalise academic requirements for students staying on for work in 9th week. 

Third-year student Hannah Al-Qaryooti, who was instrumental in proposing the motion and highlighting the accessibility concerns involved, said, “I am extremely happy that Keble have reversed their decision. It shows that they have listened to student concerns about accessibility.” 

Initial concerns revolved around the cost of rooms outside college, the cheapest of which was priced at £50 – thus making it difficult for low-income students to attend. As the majority of the accommodation was located at Oxford Brookes, students also expressed worry that drunk students might be forced to walk to the site alone in a vulnerable state. 

Rooms in college were originally priced at £43, but the ball committee has decided to subsidise the cost, reducing the price to £33. They will be allocated on a first-come-first-serve basis, although full bursary students will have their rooms automatically reserved.

The college has also committed to offering heavily subsidised tickets to Moritz-Heyman scholars, meaning that they will be able to attend the ball at a cost of £50, which Al-Qaryooti lauded as an “extraordinary commitment to accessibility from Keble and should be followed by other ball committees.”

Social Backgrounds Rep Adam Ferguson told Cherwell: “It is very encouraging to see that Keble is both aware of, and open to our suggestions as to how best support low-income students. Given a short amount of time and a tight schedule, the college acted remarkably quickly and have introduced an element of accessibility to the ball which will hopefully remain indefinitely into the future.”

Despite the success of student action, Al-Qaryooti expressed she was “disappointed that it took such pressure from the student body to actually make accessibility provisions and that such concerns from the student part of the committee were ignored when these decisions were initially made.” 

She added that future balls outside term time should include an access officer, due to fears that “with such a quick turnover of students, it can be quite difficult to create long-lasting change, as when students leave, the accountability does so with them and instead we go back to square one with the new cohort.”

The organisational committee is split into a student section and a college working party, the latter of which was initially responsible for the decision to refuse onsite accommodation to students “for various logistical and safety reasons,” according to Edwin Peel, the chair of the working party. 

24 hours of rowing at University College Boat Club in aid of Mind

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Rowers from University College Boat Club will be rowing continuously for 24 hours to raise money for Oxfordshire Mind at the college on 16-17 November.

The rowers will power two rowing machines overnight to raise money for the charity, and part of the rowing marathon will take place on the college quad and will be open to the public.

Supporters will be able to cheer the club on in the quad from 11am- 5pm on the 16th and 9am-11am on November 17. The overnight section will be held in the college gym.

Kathryn Pickup from Oxfordshire Mind said: “We know that physical activity can make significant improvements to people’s mental health, so it’s great that the UCBC have chosen to raise awareness of this, as well as making mental wellbeing a priority for their own club. At Oxfordshire Mind, we firmly believe that everyone who experiences mental health difficulties should have somewhere to turn to for advice and support. By supporting us in this way, UCBC will ensure that we can continue to make that happen.”

The club chose to support Ox- fordshire Mind because it runs local workshops and provides support for those suffering with mental health conditions which are especially prevalent in young people. The event is also supporting the Rowing Together for Healthy Minds initiative, which was set up in specifically to raise awareness about mental health in the rowing community. Aiming to raise £2,000 forthe charity, the college has set up a JustGiving page.

Worcester JCR reintroduce standing for formals

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Worcester JCR has recently voted overwhelmingly to reinstate the practice of standing as tutors approach the high table at formal hall, after the recently appointed Interim Provost and the college governing body banned the custom without JCR consultation. After passing the results of the referendum on to the college administration, with 130 out of 155 in favour of maintaining the practice, attendees can now choose to stand if they wish – this choice was already made by students at the formal on Tuesday of 1st Week, even prior to the JCR motion being put forth.

Since Worcester is one of the few colleges that retains most formal hall traditions, including gowns, formal dress code and Latin grace there is a strong feeling within the student body that Worcester’s reputation for traditional formals or, as the original JCR motion put it, “the element of theatre,” should be maintained.

A Worcester fresher, who asked not to be named, dismissed the argument that traditional formal hall might hinder attempts to make the college more inclusive of people of diverse backgrounds, calling it an “overreaction.”

Echoing this, JCR President Ellen Flower summarised the feeling of the student body – “people really like some of Worcester’s traditions and feel strongly about the prospect of them changing.” She added that “it’s interesting that the JCR members appear more conservative than members of the Governing Body”; indeed, the original proposer of the motion, Damon Falck, claimed it was an attempt “to get things back to how they used to be.”

However, it is important to note that the apparent conservatism of Worcester students only goes so far; the aforementioned fresher also argued that saying grace has more connotations of elitism than standing for tutors, citing the use of Latin and the fact that “it shows respect only for one specific religion.” In this way, Worcester students do not appear to be opposed to attempts to make college life more inclusive, but feel that this particular attempt has been misdirected.

Controversy over the role of tradition in formal hall and discord between college administration and the student body are hardly unique to Worcester; in the first week of Hilary term last year, the St Catherine’s JCR voted for a motion for students to make a ‘personal decision [of] whether to stand or sit, silent or not, when the tutors walk into the Hall.’ This motion, the very opposite of Worcester’s effort to preserve tradition, passed with 24 votes for, 21 votes against and 2 abstentions, a very low turnout among just under 500 undergraduates.

Indeed, despite the motion students still stand for their tutors at hall and it is unclear whether the Governing Body will implement the vote. The proposition argued that undoing the tradition would make hall more popular and was not only practical but more inclusive; it should also be noted that St Catherine’s is seen as one of Oxford’s more progressive colleges, and unlike Worcester does not have a tradition of saying grace, and has a casual dress code. ll. However, there were concerns that the motion could damage relations between the JCR and the faculty and, like at Worcester, some students argued that standing showed respect for the work of those seated at high table. The proposer of the motion at St Catherine’s declined to comment.

Though few other colleges aside from Worcester and St Catherine’s have had JCR motions addressing this specific issue, and in some the concerns surrounding traditions at formal hall are met with apathy – a fresher at Queen’s claimed that “no one [in the student body] has raised it as an issue to debate, it’s not given too much thought” – there have been strong reactions from individual students calling for the tradition of standing for tutors to be abolished.

Zaman, a fresher at Corpus Christi, thinks it wrong that “someone should command such a show of respect merely because of the official position they hold,” and cited racism, transphobia and climate change denial on the part of tutors as reasons why some students might be uncomfortable standing for them. An Oriel student who requested to remain anonymous raised the issue of the accessibility of formal hall to disabled students, which is not often acknowledged in related JCR motions. “As a disabled person who sometimes finds it hard to stand,” the student wrote, “I would feel embarrassed if I weren’t able [to stand for tutors] at formal while everyone else does,’” though she did also acknowledge the “warmth and empathy” she felt from her college towards her disability.

Ex-Director General of MI5 gives Romanes talk

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Last week, Baroness Eliza Manningham-Buller gave the annual Romanes Lecture on ‘The Profession of Intelligence’ in the Sheldonian Theatre.

Baroness Manningham-Buller was the Director General of MI5 from 2002 to 2007, having had a career in the MI5 for over 30 years.

She is now Chair of the Wellcome Trust and has been a crossbench peer at the House of Lords since 2008. She read English at Lady Margaret Hall, Oxford before joining the Security Service.

The talk was about the nature of intelligence, its value and limitations, and how it is practised. In discussing the role of people working in intelligence, she focused on team- work and diversity. She emphasised intelligence officers should have a variety of experiences and be “comfortable with ambiguity.” She also said discussion between depart- ments and countries is important – it is a “shared endeavour between colleagues.” As well as explaining the nature of the profession of intelligence, she discussed its relation to current affairs.

Anne Deighton, Emeritus Professor of European Interna- tional Politics, noted in a tweet how Manningham-Buller commented on the government’s delay in releasing a report on Russian covert actions and alleged electoral interference compiled by the Parliamentary Intelligence and Security Committee.

“Eliza Manningham-Buller appeared to make a reference to this untoward delay in releasing the report. So what does it say that frightens the govt?”

Deighton told Cherwell: “I thought it was apt, and respectful of her audience that she flagged this issue up, which is about access to information on an important strategic matter which a cross party committee of MPs had spent time compiling. It must make every citizen very curious to know what the report says about the activities of the Russians in our political system.”

No. 10 has since refused to release the 50-page report until after the general election on 12th December, leading to speculation that the government is hiding the extent of Russian interference.

Manningham-Buller’s previous lectures have attracted attention due to her clear opinions on how political decisions impact the UK’s security. In a speech in 2016 at Chatham House, an international affairs think tank, she criticised the choice to leave the European Union because of danger to the country’s security. The Guardian reported how she criticised claims that the UK would be safer outside the EU as “nonsensical and spurious” she suggested that “to leave would present real risks to our security and safety”.


Previous years’ Romanes Lectures have also garnered attention because of prominent figures’ perspectives on current affairs. Hillary Clinton said in the 2017 lecture ‘Making the Case for Democracy’ that young people were “let down by Brexit” and asked whether more should have been done “to turn the tide”. Other Romanes lecturers have included Gordon Brown in 2009 and 2006, the Archbishop of Canterbury, Dr Rowan Williams, in 2004, and Tony Blair in 1999. The first Romanes lecture wasgiven in 1892 by William Gladstone and has since been the public lecture of the University. A distinguished public figure from the arts, science, or literature is invited by the Vice-Chancellor each year.

Oxford Women in Computer Science announces collaboration with Zilliqa

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Oxford Women in Computer Science (OxWoCS), a society at the University which “aims to promote and support women in science,” announced on October 31st that it will begin a series of collaborative workshops with the help of public blockchain platform Zilliqa. OxWoCS is already sponsored by companies including Google and Facebook.

Spaces at the workshop series will be limited to approximately 20 students per session. The first one, having taken place on the 31st, introduced students to blockchain, Bitcoin, and basic information about the industry and workshop series. The next three sessions will take place on November 7th, 14th, and 21st, and will introduce students to cod- ing a simple smart contract and business use-cases for a public blockchain, culminating in a demo day where qualifying entries will be evaluated for prizes. Those who excel in these workshops may be considered for Zilliqa’s Ecosystem Grant Program, which allows students to receive both funding and mentorship for their ideas. The sessions are hosted in the Department of Computer Science, and interested students can register through a Google Form linked in their Facebook event.

Zilliqa, a public blockchain platform based in Singapore, describes itself as “a high-through- put blockchain platform that achieves over 2,828 transactions per second in its testnet by the implementation of sharding.” Its developer marketing head Saiba Kataruka told Decrypt: “Diversity continues to be an endemic prob- lem in the wider tech industry, and blockchain is no different. We are excited to be embarking on this collaboration with OxWoCS to champion the involvement of more women in this rapidly evolving space.”

The blockchain industry has long suffered from a massive gender gap, with men taking up 85% of blockchain startup memberships. Data group LongHash, while researching a report on inclusivity in blockchain, found only one startup with more than one female executive. Fewer than five percent of GitHub cryptocontributors are women. The nascent industry has been compared to a “New England country club” in media for its shocking gender disparity, and this challenge is the one the workshop series aims to address.

Paula Fiddi, founder of OxWoCS, told Decrypt that “At OxWoCS, our goal is to ensure that female scientists are presented with equal opportunities to engage with various areas of the tech industry. From established fields of research to nascent disciplines ripe for exploration, it’s important that women are adequately represented in order to champion diversity both in action and in practice.”

Greens unite behind Moran

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The Green Party have decided not to field a candidate in Oxford West and Abingdon following an pro-Remain electoral pact with the Liberal Democrats.

Layla Moran, Liberal Democrat candidate for Oxford West and Abingdon, who has a majority of only 816 (1.4%), responded to the news on Twitter and thanked the Greens and Cheryl Briggs, who is Chair of the Abingdon Greens, for supporting her.

“Thank you to @greenoxford and @CherylOxon for again standing aside at this election as part of @unitetoremain.”

“With just 816 votes between me and the Tory Oxford West and Abingdon is so so close. This is what pragmatic grown up politics looks like.

“Unite to Remain is about putting country before party. Each party has its proud history and views. That doesn’t change. But by this initiative we are stronger together.”

Agreements have been made across the country between the Liberal Democrats, Plaid Cymru and the Green Party, and a list circulated this morning online shows 60 seats in total are involved.

Overall, the Liberal Democrats will benefit from having 43 seats where they don’t need to compete with either party. The Greens will have such an advantage in 10, and Plaid Cymru in 7.

The announcement was made at a conference held by ‘Unite to Remain’, an organization headed by Heidi Allen which aims to co-ordinate efforts between proRemain parties during the General Election.

Jo Swinson, leader of the Liberal Democrats, commented on the agreement. She said: “We are delighted that an agreement has been reached. We would like to thank Unite to Remain for making this possible.”

“This is a significant moment for all people who want to support remain candidates across the country.”

Although there was talk of a ‘progressive alliance’ before the 2017 election, nothing of this scale was agreed and parties only stood down for one another in a handful of seats.

The Oxfordshire Green Party retweeted the national Green Party’s statement, saying: “We can stop Brexit and stay in Europe, but to do so we need to work together.

That’s why we’re working with other parties to give voters one clear choice of Remain candidate in key seats across England and Wales.”

Heidi Allen told Adam Payne, senior reporter for Business Insider, “This isn’t a normal General Election… This General Election is all about Brexit… They [the parties] know this GE is the last chance to change the path that this country is currently on.”

The Green Party has come to an arrangement with Plaid Cymru and the Liberal Democrats to field one candidate from a Remain party in selected seats in England and Wales for the upcoming election.

Liberal Democrat or Plaid Cymru candidates will step aside for the Greens in 10 seats. Co-Leader of the Green Party Jonathan Bartley said: “This is about recognising how damaging Brexit would be – for people and for the environment – and ensuring there is as much representation of Remain parties in the next Parliament as possible.”

Layla Moran, current MP for Oxford West and Abingdon, said: “A vote for the Liberal Democrats is a vote to stop Brexit,” adding that the party was the strongest pro-Remain party in the south east.”

St Anne’s JCR condemn college for failure to pay Oxford Living Wage

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St Anne’s JCR passed a motion on Sunday, stating its support for the College paying its staff the Oxford Living Wage, which it currently does not do. The motion’s passage marks a victory for the St Anne’s Oxford Living Wage campaign group.

They aim to persuade the College to move from paying staff the National Living Wage in favour of a figure more in line with Oxford’s relatively high cost of living.

Members of the group, Izzy Colletta, Philomena Wills, Matthias Barker, and Grace Tierney, said they were “very pleased that our JCR has agreed to support the Oxford Living wage motion. We are hopeful this will help to move the campaign forward, towards securing sufficient wages for all college staff. We hope that other college JCRs will also follow suit and that support of the JCR student body will convince College to pay its staff a living wage for this city.”

The Oxford Living Wage is an hourly minimum pay for all workers currently set at a rate of £10.02 per hour, in contrast to the National Living Wage figure of £8.21. Through it, employees would receive a minimum annual pay of £19,278 for working a 37 hour week.

Oxford City Council have operated an employer recognition scheme for those that have adopted the Oxford Living Wage for their employees. Currently the only Oxford colleges accredited by the Council for doing so are St Cross, Blackfriars and Campion Hall.

According to one individual involved in the running of St Anne’s, some colleges have taken issue with the Council’s calculation of the Oxford Living Wage as standing at 95% of the London Living Wage, questioning how this figure has been calculated.

Concerns have also been raised by colleges regarding how their budgets could cope with the increased expenditure on staff wages. The St Anne’s Living Wage campaign group, however, believe that it is possible, if not easy, for college budgets to adapt to the change.

The St Anne’s College annual report on the 2017-18 year, shows a budget surplus before depreciation of £3.4m for the year ending 31 July 2018. The report states that: “the objective remains to increase the accumulated surplus to help fund an enhanced capital expenditure programme of student room provision and build a buffer against unforeseen adverse events on any of the income streams.”

Some students have suggested using this surplus to pay for staff earning the Oxford Living Wage, instead of on increasing capital expenditure. St Anne’s remains the only college that utilises a living wage levy on students (currently set at £3 per term for each student) in order to pay their staff the National Living Wage.

The levy was instituted in the 2017-18 academic year, after the passage of motion by the JCR, as the College was not at that time paying its staff that amount. Speaking about the levy, the Campaign Group said: “We think that reducing staff salary to the status of a charitable levy is both irresponsible and demeaning. It is patronising to include a levy for something as significant as a Living Wage in a category that includes funding for punts and maintenance of our JCR.”

The passage of the motion occurs at a time of campaigning across the University in favour of the Oxford Living Wage, as the Oxford Living Wage Campaign has committed to increased action on the matter in the coming weeks.

Statistics published by the Living Wage Foundation suggest the taking up of a Living Wage would be beneficial: 75% of businesses paying the living wage say it has increased motivation and retention rates for employees.