Monday 11th August 2025
Blog Page 674

Auditioning – what it’s actually like

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Going to an audition is probably scarier than exams, or the prospect of a summer with no more Love Island. You never quite know what to expect, even when you’re fully prepared, and I personally have had some pretty strange experiences over the years. I’ve auditioned for plays, musicals, pantomimes, theatre companies and more, so I’ve seen a lot – from having water poured down my neck to being held by the legs like a human wheelbarrow. Auditions can be nerve-wracking, but they can also be educational, enlightening and thoroughly enjoyable.

Perhaps the worst audition I ever went to was one of the few professional auditions I’ve experienced. My agent emailed me the day before about an audition for the role of Dorothy in a pantomime production of The Wizard of Oz. I was sixteen at the time, at least two years younger than all of the other girls at the audition, so it was pretty intimidating. I showed up at 9am and joined the queue of at least 200 girls out the door of the theatre. The aspect I remember most was that we were all given numbers and addressed by our number – on that day, I became number 21. Despite being not too far down the line, I still had to wait until 2pm to audition, and by the time it rolled around, I was pretty much shaking with nerves. I went in, sang a song that was completely inappropriate to the role I was going for and left straight after.

On a happier note, auditions usually go better when you know the show and you’ve prepared sufficiently. It also helps if you like the show you’re going for – passion really comes across to the casting team. My best audition was probably when I tried out for a production of Les Miserables, and ended up being cast in the role of Fantine. The reason it went well was because I absolutely adore Les Mis and put everything into preparing a rendition of I Dreamed a Dream. Be warned, however, that it is uncommon to sing or read from the production you are auditioning, particularly with professional productions. If the casting directors don’t ask you to prepare something from the show, do not do so as it often shows laziness and unoriginality, to put it bluntly. It doesn’t show you off in a good light.

Solo auditions won’t be the only types of auditions you come across. Group or workshop style auditions are also pretty common as it gives the casting team a chance to see how you interact with other actors, and figure out what pairings would work well together. One of the most memorable workshop auditions I have attended was the time I auditioned for the National Theatre’s production of Cesario in 2012. It was a day long audition that mostly involved drama exercises and script reading, and I ended up having water poured down my neck – it made sense in the context of the play, I promise. It wasn’t the most pleasant experience, but hey, I ended up getting the role! Don’t be afraid to take risks and put yourself out there – casting directors see a lot of people and you want them to remember you, even if it’s for being willing to get your clothes wet.

Enough about my experiences – here are a few last bits of advice for those who have any auditions coming up. Firstly, make sure you’re prepared: it helps so much with nerves being confident that you know your stuff. Secondly, don’t go on about your cold or various impediment to the casting agents – it’ll make them irritated, not sympathetic. I once met a girl at a National Youth Music Theatre audition who talked about her laryngitis at every stage of the day, and she was not hugely popular by 6pm. Finally, don’t worry if you mess up an audition. It’s all good experience and some shows simply won’t be right for you! Remember, for every yes there are a thousand theatrical no’s.

Oxford announces demolition of Tinbergen Building

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The Tinbergen building, which currently houses the departments of Zoology and Experimental Psychology, is to be demolished, Oxford University has announced. The facility will be replaced by a new life sciences centre for the Departments of Plant Sciences, Experimental Psychology and Zoology.

The presently empty Tinbergen building had to be evacuated in February 2017 after the discovery of asbestos that could not be disposed of while the building was still in use, causing some disruption to students and staff. The departments were subsequently moved into temporary accommodation.

The building is set to be destroyed after current work to remove asbestos is completed. Construction work will then begin for the new centre, and is expected to continue into 2022.

Although the centre is unlikely to open in time for some students to use the new facilities, many have been positive about the plans.

One Biological Sciences student said: “I think it will improve biology because at the moment our buildings aren’t that modern so it will be nice to have a modern one.”

Staff have also expressed excitement at the prospect of new facilities.

The Head of the Department for Plant Sciences, George Ratcliffe, said in a recent department newsletter that “there would be clear benefits in bringing two organismal biology Departments under the same roof”.

However, the announced destruction of the Tinbergen building, regarded in Oxford as a brutalist landmark, has drawn concern from the Oxford Brutalist Society, who say they are “devastated at the university decision to destroy the Tinbergen building” and expressed concern that “concrete masterpieces are continually knocked down with no regard to their architectural significance”.

Oxford City Council is in consultation regarding the plans for the new building, and Oxford residents are to have an opportunity to comment on the issue in 2019.

The University has been contacted for comment.

Saïd announce “sustainable” re-development

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Oxford’s Saïd Business School has announced plans to spend £60m on expanding its premises, developing the nearby Victorian-style Osney Power Station into a luxury campus.

As well as offering bedrooms for visiting executives, the proposed scheme will include flexible meeting spaces, a dining space, and a leisure facility which includes a gym and a multipurpose exercise studio.

Spokesperson for the Said Business School, Josie Powell, told Cherwell: “Consistent with the values of the school, the project aims to capitalise upon leading-edge thinking on sustainable development and proposes the use of a photovoltaic solar installation, green roofs, and bird and bat boxes.”

Source: Said Business School

The expansion plans are awaiting approval from the Oxford City Council, but School hopes to begin the main works in summer 2019 to be completed after approximately two years. 

The plans have attracted a preliminary donation of £16.8m from the Saïd Foundation and its founder, Wafic Saïd, who gave his name to the Business School upon its founding in 1996.

Dean of the Business School, Peter Tufano, said: “We are deeply grateful to Mr Saïd and to the Saïd Foundation for their continuing and generous support of the School and its future growth.

“Mr Saïd’s donation will now enable the School to launch a wider fundraising campaign to secure additional major donations to support this state of the art project, which is currently estimated to cost just over £60m.”

While awaiting development of the new campus into the Global Leadership Centre, current students will be situated at Egrove Park, where executive education programmes continue to be delivered.

Women’s Varsity three decades on

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When Oxford women take to the turf tomorrow there will be an added spring in their step, a zip to their movements, a heightened awareness of the large slice of history being made on their own personal patch of turf. For just the third time, and the first for many, they will reach the Twickenham turf.

The 30th anniversary of the Women’s Varsity Match is a unique occasion. Unique in that it meshes celebration and rivalry, representing a highly significant twist in the intertwined path that the two shades of blue have traced through the three decades of challenges that have determined where they are today.

The spectacle has not always been so grand. As the story goes, the contest was fashioned in a cantabrigian watering hole: a few drinks, a gauntlet laid down, and a challenge accepted.

St Hugh’s postgrad and Oxford Judo Blue Heather Bunting had been enlisted to drive to the Other Place a bunch of keen cricketers shy of transportation and, likely, manners. Unbeknownst to them, the journey would set into motion the beginnings of a contest at the vanguard of the development of Women’s rugby.

Bunting struck up conversation with fellow rugby nut Sophia Pegers, of Robinson College, and the duo began to formulate ad-hoc plans of a fixture in the mould of a Varsity Match. Players, kits, venues, officials: they would come later. Right then it was just pure ambition, enthusiasm, and determination that ensured the match would indeed take place. The journey home to Oxford would carry home a lot more than just the cricketers it brought.

And so, on Thursday 10th March 1988, Iffley Road played host to the first of thirty Varsity Matches, a tight affair decided 8-6 by a try from the Cambridge captain. A fitting tribute, to score the winning try, but Pegers (now Mirchandani) was unaware of the legacy she had entrenched.

She said: “I didn’t think about where it might go, or even if it would carry on.

“We were doing it because we wanted official recognition.”

Oxford borrowed shirts from the Men’s Greyhound side. Cambridge were vehemently denied the honour of the traditional white and blue and instead wore red. The first International game had taken place just five years earlier in Utrecht, The Netherlands; a Women’s RFU did not spring up until a year later in 1983. As Heather Bunting recalls, this was a venture into the complete unknown, a shot to nothing in the face of almighty odds: “We were playing to win but, having lost, I wasn’t sick as a parrot, I was just stunned we had pulled it off.”

The fixture would go from strength to strength, college rugby proliferating as spectators turned players, Grange Road opening its doors to the idea a year later, and word of mouth becoming more organised recruitment.

Oxford would triumph for the next eight consecutive years – a record that today still stands – no doubt sculpting the rivalry that we see today, the winning mentality. But on the 30th anniversary, take a moment to appreciate, to celebrate, the duo who worked so incredibly hard to put the two teams in the position where they can go full throttle at one another.

It is their passion that is distilled in the pioneers who amalgamated the Men’s and Women’s rugby clubs at both universities, in those who fought to bring the Women’s game to Twickenham in 2016, and in those who ensure vital sponsors such as Hill adorn the shirts and continue to provide the funding so necessary for growth.

Former players from both institutions have been invited en masse to mark the occasion and support the current generation and will welcome the players to the pitch with a guard of honour. For players such as Oxford Captain Abby D’Cruz, who were not born when the rivalry was, a visit from Bunting (now Lawrence) helped to illustrate how far the contest, the rivalry, and the women’s game in general, has come in such a short space of time.

Speaking to the Varsity Match site, she echoed the amplified aura about this specific fixture: “The occasion is obviously a bit more significant for us this year, celebrating thirty years of women’s rugby at Oxford and Cambridge is huge, and I think really, really significant. It’s one of the oldest women’s rugby fixtures in the world, so having that knowledge going into it really adds to the occasion.”

Only two weeks ago, Twickenham played host to another double-header as England Women defeated Ireland Women in front of over 10,000 fans upon conclusion of the Autumn International between England and Australia. The expansion of the Women’s game in the country is reflected by the recently celebrated decision from the RFU to offer 28 full-time contracts, enabling players to concentrate solely on their rugby, and for young girls with mindsets in the mould of Bunting and Pegers to genuinely aspire to play the game. It is a reflection of an England side who have reached the last five World Cup Finals, and six of the last seven (lifting the trophy in 2014).

Whatever happens tomorrow, whichever shade triumphs, the spirit of this most iconic duo will continue to thrive amongst both teams, and player of the match will be bestowed the honour of the Bunting-Pegers award.

For Abby D’Cruz, this is an opportunity to give something back. She said: “It’s thinking about all the women that came before us who’ve worn the crown and that just adds to the sense of occasion on the day.

“Really, I think for us the best gift we can give them is going out there and playing the Oxford game: carrying hard, hitting hard, just making sure we put it all out there. I think that’s the greatest way we can represent dark blue on the day.”

 

 

 

 

 

Somerville Choir to tour India

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On the 10th of December Somerville College Choir will leave for Goa and Mumbai, working in partnership with charities Songbound and the Karta Initiative to teach classical songs and carols to disadvantaged children.

The 30 students will also hold an exclusive performance for local children around the country, as well as performing at the TATA Theatre in Mumbai’s National Centre for Performing Arts, making them the first Oxford University student choir to perform in India.

On their trip, Somerville students and tutors will take part in university-related workshops organised by the Karta Initiative, a charity that aims to encourage disadvantaged students from developing economies to apply to top universities.

Speaking to Cherwell, the chapel’s director of music, William Dawes, said: “We are really looking forward to meeting the children that the Karta Initiative is working with, to give them a glimpse of the Western choral tradition and some insight into life at Oxford.

“By closing the distance between them and our university, I hope that the Karta children will be encouraged in their ambitions: whether that means applying to Oxford – we do offer a range of scholarships for Indian students – or seizing opportunities closer to home.

“I want our singers to return to Oxford mindful of the incredible opportunities that they have had so far and inspired by what outreach work can achieve.”

The Somerville Choir has attempted to raise donations for the trip in a number of ways, for example, organising a “24-Hour Music Marathon” concert from 12th-13th October and setting up a crowdfunding page, with donor rewards including a selection of photos from the India tour, a conducting lesson taught by Dawes and a choir concert exclusively dedicated to anyone pledging £5000 or more. Their efforts succeeded in raising almost £11,700 from 96 backers.

The Choir will perform in three venues in India from 13th-15th December and are set to return on the 18th.

Updated 6/12: The Choir managed to secure the funding from Somerville JCR, so the referendum did not need to take place.

The Admirable Crichton Review – ‘a light-hearted antidote to eighth week’

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The Admirable Crichton was fun. I walked out of the Burton Taylor Studio after an hour and a half of genuine entertainment, in a significantly better mood than I’d walked in, and I’d recommend it to anyone wanting a light-hearted antidote to the stress of eighth week.

An interesting adaptation of J. M. Barry’s classic, the play challenges the idea of the “natural” order when a wealthy but somewhat helpless aristocrat gets stranded on a desert island with his two sons, goddaughter, servant, and trusty butler, Crichton. Over the course of the play we see the more practical Crichton take over and interact with the upper-class characters in a way that would have been impossible in rigid English society – ultimately challenging the ideas of status and hierarchy in the Victorian society in which Barry was writing. However, the question remains – will the group be rescued? Also, have their lives been irrevocably changed?

The play was unusual due to the gender reversal of the majority of its characters. Playing the stoic and practical Butler, Crichton, as a woman added to the general themes of social confusion, as not only class hierarchies, but also those of gender were challenged. This also worked well in the case of the two sons, Marcus and Gareth, whose naivety and stereotypically female concern with clothing helped to make an already funny piece even more amusing. There was potential for this radical shift to go wrong, but in fact it added both to the comedy and to the underlying social commentary of the play in an innovative way.

However, the real brilliance of the performance came from the stellar cast. Olivia Marshall as the boisterous and charismatic Ernesta confidently set the scene, and combined with Brian Chenard as the eccentric father, Loam, and Joe Woodman as somewhat daft but likeable son Gareth, the three made a convincingly and amusingly exaggerated aristocratic trio. Throughout the performance the three bounce of each other and the other actors, creating a light-hearted comic atmosphere that add to an already enjoyable story. A few of the jokes fell slightly flat – there was a real juxtaposition between modern references to Fifty Shades of Grey and the Victorian dress. There was also a somewhat overlong interlude at the start in which the cast interacted with the audience as if they were guests – this detracted somewhat from the natural flow of the performance. These are minor criticisms though for a production that got a lot of authentic laughter from the audience through a clever mixture of quips, ironies, and more physical acting. Although she only appeared at the end, Gemma Daubeney as Lady Brocklesby was another fun and convincingly acted character, fitting into the comedic trope of the snooty aristocratic lady, and working with a clearly comfortable and well-rehearsed cast to bring several laughs to the audience despite her relatively short time on stage.

The standout performances, however, were Josh Willetts as older son Marcus, and Liv Moul as Crichton. Willetts is hilarious; his mannerisms, line delivery, and physical presence all helped to create a wonderfully engaging character, that a audience can’t help but warm to. Moul also gave a perfect blend of vocal and physical acting – her downturned gaze gradually becoming more direct as she gains power and confidence and her stoic and practical manner of walking giving a pleasingly consistent presentation of a difficult and constantly evolving character. It took skill to manipulate the audience first into amusement at how uncomfortable Crichton was in interacting on any equal level with the aristocratic guests, and then to horror as she slowly takes control of the group on the island, even forcing Ernesta to wear the “cone of shame” when she makes too flowery speeches (an adaptation from the significantly more sinister method of putting the original Ernest’s head in a bucket of water). However, the most impressive part is that by the end of the play, Moul depicts Crichton’s love for Marcus with such vulnerability that the audience feels genuine pity and sorrow when a ship is sighted, and she does not get her happy ending. To portray so many different sides to a character in such a short space of time takes considerable skill, and Moul proved that the gender reversal of the key character works very well.

The production could perhaps have benefitted with slightly more cohesion in its themes. Both Abbey Feraro’s Tweeny and Caroline Kennedy’s Brocklesby differed from the previously mentioned characters in tone. Kennedy in particular acted a very sincere and convincing portrayal of the slightly naive but likeable daughter of Lady Brocklesby with skill, but in much more of a true-to-life way than the deliberately exaggerated comedy of the previously mentioned quartet. Although the actors were all good in different ways, working towards a more unified characterisation could have helped to iron out a few of the previously mentioned incohesive elements.

Overall, The Admirable Crichton was a good production – I enjoyed seeing it, and it made me laugh. Special mention must be given to the sound and lighting which was probably the best that I’d seen in a student production. Clear effort and time had gone into the performance, and it paid off. I’d recommend it to anyone wanting a bit of light comedy, and an enjoyable and amusing evening.

To include the excluded

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Reading Virginia Woolf’s ‘A Room of One’s Own’ a year before I would apply to Oxford, I was stunned by the sense of her exclusion, the almost-state of entering an Oxbridge college but being denied complete entrance on account of gender. The experience resonates with an echo of spectatorship, a pre-defined imposter syndrome that haunts through the lines and into our modern day understanding of the sense of not fully belonging.

She attempts to open the library door; the entrance to an Oxbridge library which will one day house her own work: “I must have opened it, for instantly there issued, like a guardian angel barring the way with a flutter of black gown instead of white wings, a deprecating, silvery, kindly gentleman, who regretted in a low voice as he waved me back that ladies are only admitted to the library if accompanied by a Fellow of the college.”

The interruption of male-dominated scholarship into her course enters through the flustered beating of unknown wings, excluding her from waking the echoes of past writers. The University had opened its doors to women in 1879 – yet the sense of exclusion Virginia feels in 1928 persists due the University-imposed quota, established in 1927, its purpose being to restrict the number of female students in attendance. Now we examine: how has Oxford historically regarded female students then and now?

June 1878 witnessed the creation of the Association for the Higher Education of Women, formed with the intention of creating an all-female college – the association was split and eventually formed the non-denominational Somerville and the Anglican Lady Margaret Hall. In 1884, the University controversially opened the examinations of Classical Honour Moderations and the honour schools of natural science, mathematics, and history to female students. However, women were not allowed to matriculate – they could attend lectures and take examinations, but could not receive the degrees which would be given to them had they been men. Women were studying in Oxford but were still kept at a distance, the “guardian angel” of scholarly tradition both teaching them and denying their full place there.

During this period, Trinity College in Dublin was co-educational, and gave Oxbridge women the option to travel to their institution and be awarded degrees. Between 1904 and 1907, the “Steamboat Ladies” travelled to Trinity; one of these was St Hugh’s student, Helena Deneke, later tutor at Lady Margaret Hall.

Writing this piece, I was fortunate enough to be given access to the LMH archives which included Helena’s diary manuscripts that described her life in Oxford from 1900 to 1913. She relates how female students were often not encouraged by parents to apply to Oxford: the first page reads “When I first began seriously to urge a university education my father had demurred: ‘Did I want the companionship of highly intelligent women?’”.

Deneke evokes the constant scrutiny that the female students were under, being reminded during a college event “how careful we must be to avoid offending the susceptibilities of members of the University by unladylike behaviour, we were at Oxford on sufferance and breach of manners”. The progression of female colleges was still thwarted by outdated notions of feminine decorum. A central recollection is her journey to Dublin to collect her degree: “In December 1907 I travelled to Dublin amid rain, and storms and fog… all the same, I found it impossible to think of the whole as anything other than an entertaining game, a foretaste of future history, I felt no loyalty to Dublin”

Her typed voice is descriptive, factual, yet melancholic for a “foretaste of human history” which she can’t yet experience. Instead, she was forced to gain a degree from an institution she had never visited before, miles from the city in which she actually studied and lived. Her voice captures the time of progression and also limitation: women still had to travel to Trinity until October 1920, when they were allowed to officially matriculate. However, this victory was quickly followed by official restriction – the aforementioned quota sysem which was introduced in 1927 and only abolished in 1957.

And yet, despite the University keeping women in this purgatorial state, caught between advancement and tradition, Deneke writes of the sense of community given by an Oxford college, and the friendships, and beauty it allowed. Her experience at St Hugh’s was “my first experience of life in a community… the beauty of Oxford sank into one’s being.” The entry is striking in that the experience of being entranced by the beauty of Oxford, the sunlit days by the rivers, and the view of the spires resonates still with each new student that arrives in Oxford.

As women in the University were attempting to gain equal rights to study, they were also involved in the larger movement for women’s suffrage. In another manuscript, Gemma Bailey relates the experience of the Women’s Suffrage Pilgrimage in 1913. In an entry from 8th January, Bailey recollects: “we carried lanterns and evergreens and had several banners… the police wouldn’t let us actually form at the M.M. … this was fatal. Men began attacking banners and soon there was a free fight”. The marchers journeyed from Hilda’s to Trinity to Balliol amidst violence. The account is integral in understanding the wider political conditions during the attempts to advance women’s education, and we must remember that a struggle in the political as well as the educational was taking place in Oxford.

The LMH Chronicle (December 1928) is a collection of entries by various female students remembering their Oxford experiences. Students’ memories frequently mention the “rules” women were expected to follow: Henrietta Haynes mentions the constant presence of chaperones, expressing her exasperation at “the idea of never being able to take a solitary walk in Oxford”. Women still had to be accompanied by an elder if they wished to walk through the city. Later, Deneke’s voice enters again, remembering LMH during the First World War: air raids in the Old Hall, emptied colleges filling with cadets, and “Somerville college with (the) wounded”.

During the war, the presence of women allowed the University’s continuation: “for some years the women were the reason for carrying on teaching and examining.” When the University began to be re-manned in a normal way a war-time student was heard to remark in great surprise: “Why, there were more men than women at our lecture to-day!” The remembrance that the University was “re-manned” can be seen in the wider significance of men returning to their previously held positions after the war. Deneke’s account resonates with a passion for continuing during a period of fear and uncertainty. And yet, they were still limited by the quota until 1957.

All-male colleges started to become co-educational from 1974 – the first five colleges were Brasenose, Jesus College, Wadham, Hertford, and St Catherine’s. The later colleges to accept women included Trinity and Magdalen in 1979. Here, I want to consider how the architecture of one of the later all-male colleges compares to that of an all-female college. Architect Aaron Betsky has written on the idea of ‘gendered architecture’ – how traditional qualities of great architecture link to those of masculinity. Betsky suggests that the attributes of powerful architecture “of rationality, strength, trying to be as big and tall as possible – those are all things that we associate with masculinity”.

The exteriors of buildings are an expression of human sexuality and power. From a visual perspective, Magdalen and Lady Margaret Hall differ significantly – LMH features the central, circular window above their Old Hall entrance, less defined by grids and functionality, surrounded by meadows (Betsky refers to “gardens and interiors” as female spaces). Magdalen follows a linear, dominating structure; the tall college towers and the rising spire, the dominating presence of the monumental.

Additionally, the adjectives used on the website of the previously all-male college can be compared to those of the women’s college; adjectives often reflect the values of the buildings and of the college itself. On their page ‘College History’, Magdalen describes their architecture in the following terms – “grandest”, “scale”, “grand”, “new” with “the erection of the large allegorical gargoyles”. In contrast, Lady Margaret Hall expresses their architecture as allowing “sensitivity” and “harmonious development” with an “open and welcoming quadrangle”.

The Magdalen values imply stature, height, strength, grandeur, extravagance; LMH speaks more of harmony, enhancement, openness. Viewing Magdalen through the lens of Betsky, we can see how the traditional qualities of masculinity are reflected in the architecture of a previously all-male college in comparison with the tradition of openness officially and architecturally encouraged by the all-female college.

The latest all-female college to become co-educational was St. Hilda’s in 2008. One tutor who has been in Oxford since 1990 and witnessed the changes in co-education is Lucinda Rumsey, Senior Tutor at Mansfield. She has been a lecturer in English in several Oxford colleges including New, Worcester, and Keble and has acted as Senior Tutor since 2008.

I sat down with her to discuss her experiences of women’s education in Oxford. “The female colleges were built from opening previous boundaries of gender and culture. When deciding to go co-educational, people in those colleges were torn between valuing what the tradition was for and the limits it implemented.” We are discussing the presence of female history within a college environment: Lucinda points out that a person is a product of their environment, and often when the environment has a strong female history you can feel that it is a place where women were and will continue to be.

Yet, there is an argument to be made regarding the limitations implemented by the single-sex college. Lucinda remembers an applicant in 1994, when the Oxford application system meant that women could apply to more than one college but would often be allocated to a single-sex college. This applicant interviewed at Mansfield but was allocated to Hilda’s – she preferred to not be in a single-sex environment and did not attend her second interview at Hilda’s. This resulted in her losing her place in Oxford.

Lucinda’s experiences illustrate how the male-female disparity existed between not only students but tutors. Recalling earlier memories of sexism at Oxford, Lucinda describes attending a tutor dinner as the only woman and being expected to pour their coffee. Years later while lecturing at another college, another woman was appointed to a senior position to the chagrin of male senior members of staff. As they were leaving the meeting, two senior staff members were discussing her appointment – one scoffed that he was concerned by the idea of “our male students being taught by a feminist!”.

Her experiences of moments like these allow greater understanding of the progress taken by women in Oxford. The introduction of co-education was only the starting point; the struggle for equality within the University continues in different areas. Lucinda attended the first meeting for the Women’s Studies Master’s degree established by Professor Ros Ballaster. She still has her badge, given to the Women’s Studies lecturers, inscribed with the words “Oxford’s Cheapest Faculty”.

This year, the statistics for gender in the University have been in the national news – ‘Oxford University admits more women than men for first time in history’ was the headline in the January Independent. According to UCAS, Oxford offered places to 1,275 female 18-year-old applicants and 1,165 to male applicants in 2018. In comparison, the University’s official statistics from 2013-2016 show a dramatic disparity between the offers given to male and female students – 2014, for instance, showed 1,364 offers to women and 1,508 to men. However, in 2017 there was 1,502 offers made to female students and 1,426 to men, with the female proportion of total UK students admitted rising to 50.1% in comparison to 46.5% in 2014. In numbers, we seem to have arrived at a Golden Age of equality within our university.

Oxford University declares to base admission decisions on individual merits, regardless of age, sexual orientation, or “gender reassignment”. We have traversed through years of female exclusion, restrictive quotas, the absence of co-education, and the ingrained belief of the “weaker sex”. The scholarly angel in his black gown no longer refuses the entry of women into the library. Yet, with 2018 being the first year to admit more women than men during a 900-year history, we continue to question whether we will continue to remain at a constant level of equality.

The education of women forms an arduous, revolutionary, and progressive part of the University’s history, an area which should continue to be remembered and built upon in coming years.

Nigel Owens to referee upcoming Varsity match

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It was confirmed this morning that Nigel Owens MBE will be refereeing the Varsity Rugby Match this Thursday.

As a contracted Heineken Champions Cup referee, Owens is required to regularly officiate matches on the continent. The group phase of the European knockout competition traditionally takes place in the Autumn and has previously denied Owens the opportunity to don the whistle for the contest between Oxford and Cambridge.

The Welshman, however, has been handed special dispensation this time around to referee the iconic fixture, before travelling to Paris for Sunday’s clash between Racing 92 and Leicester Tigers.

Upon confirmation of the arrangement, he tweeted: “Very pleased to [have] been given the honour of refereeing the Varsity match at Twickenham on Thursday. Really excited and looking forward to refereeing this great fixture for the first time.”

In 2014, Owens was subjected to homophobic abuse when taking charge of an Autumn International between England and New Zealand at Twickenham, and subsequently two supporters were banned from the home of English rugby.

In August of this year, he revealed that the RFU chairman Bill Beaumont had personally handwritten a letter in which he assured Owens that the RFU were in staunch opposition to the homophobic behaviour and that “[Owens] would always be welcome at Twickenham.”

Owens credits this intervention as the driving force in deciding against retiring as a referee, and in 2015 returned to Twickenham to officiate the Rugby World Cup Final between New Zealand and Australia.

Speaking to the official Varsity Match website, Owens nodded to the long line of Welsh officials who have taken charge of the fixture, adding that he “didn’t want to miss out on this game in my career.”

Owens will become the third referee to blow the whistle in the Varsity Match having previously officiated the World Cup Final, following in the footsteps of fellow Welshman Derek Bevan, who officiated the 1991 Final that Twickenham also played host to. In more recent history, Englishmen Wayne Barnes (2005, 2008) and Dave Pearson (2011) have joined the roll call after refereeing at the World Cup.

The arrangement is no doubt mutually beneficial to all parties involved; a sentiment echoed by CEO David Searle on the Varsity site: “It is fantastic to have the endorsement of the world’s leading referee for our fixture at Twickenham. It is nice to see that the current crop of professional referees still see value in the traditions of the game and still want to be involved in games like the Varsity Match.”

The move is another welcome boost for the occasion after a four-year extension with Twickenham for both the Men’s and Women’s matches was agreed in March. At the time, Men’s captain Dominick Waldouck told Cherwell: “Some of my earliest rugby memories are watching The Varsity game. For me, Twickenham represents the home of Varsity, so it’s great to hear the contract has been extended.”

The 138th Varsity match will take place on Thursday 6th December at its usual venue in Twickenham.

Below is a link to Fred Dimbleby’s interview with Owens earlier this year:

http://cherwell.org/2018/05/06/nigel-owens-i-dont-want-to-be-a-celebrity/

The natural world: unconventional spaces for art

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If you had been on the beach at Folkestone one day in 2014, you would have seen an Andy Goldsworthy installation in which deep red petals danced into disappearance amongst blue-grey water. Goldsworthy said in an interview for the Guardian that the presence of Folkestone harbour, from which thousands of troops departed for battle, in the background of the sight of the departing petals was a choice of setting which gives the piece profound resonance. To see the petals dispersing in the sea conjures up associations of the fleeting nature of life, and the impossibility of keeping anything the same. To see the red poppy petals disappearing in front of the harbour makes the piece resonate with sorrow at the pointless loss of people’s lives.

Photos of painted stones left in beautiful places, national parks, lakesides and mountain tops are striking; their incongruously bright colours sitting in the landscapes of green and grey in which they are left. Also popular is leaving painted stones turned upside down, so the art-work is hidden and it appears like an ordinary rock, yet it hides swirls of colour, renderings of treasured memories, or inspirational quotes. These painted stones go against the philosophy of “leave no trace”, and thereby the choice of setting for these creations does present some ethical problems. Then again, the choice to leave the stones in nature adds great beauty to people’s creations. They become anchored in the place which inspired them, susceptible to the elements, deterioration over time, and the possibility of being unseen, and the creation being forgotten.

The unusual choice of setting for these pieces; the natural world, enhances both creator’s and viewers’ experiences of the art in a way that is entirely different to a gallery. In the calm halls of art galleries, everything is geared up to protect art from time; both against the damage from light and temperature, applying settings which are optimal to protect fragile materials, and against how the passage of time can make old things seem irrelevant, as teams of experts work to reach out to the public. The point of galleries is to showcase art, to preserve it, and to educate about it.

Someone who does find a stone is granted the joy of discovering something unexpected, and the creators have the possibility of sharing something beautiful with others. Yet this is inevitably combined with a need to accept that a rock left may be undiscovered, and the creation will be left unseen. The joy of making a discovery is enhanced by its surprise, and so the art contains within it an acceptance of the possibility of being unnoticed.

Goldsworthy’s Folkestone installation was filmed, so despite how the water at the centre of his creation itself erases it, the installation is not totally lost by his choice of nature as canvas. The piece is different to the practice of stone-leaving – instead of demonstrating intrinsic acceptance of the passage of time, this installation plays out these feelings; as its petals are scattered by its sea, the way the ocean absorbs to the point of anonymity tells a story of the sorrow of death in war. The installation brings to mind not just the facts of the deaths but also how the remains of many soldiers were irretrievable, and lie in unmarked graves. The choice of nature as canvas plays out these questions of how we relate to the world around us. Although art which is held in galleries can ask similar questions, pieces like this bring these questions into the landscape and thereby explores people’s agonies, worries and lingering doubts about an individual’s place and longevity, and plays them out as potentially coming true; which gallery art cannot do with such vitality and resonance. It is wonderful and necessary for art to be preserved in galleries, whose halls show and protect ancient treasures, but for this art, though beautiful and important, its point is to disappear.

Minority groups feel the most excluded at the Union, report reveals

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Those with disabilities and from socioeconomically disadvantaged backgrounds gave the Oxford Union the lowest accessibility ratings in the society’s access report, seen by Cherwell, which was internally published last week.

The internal survey was completed by over 600 members, with 166 of them opting to answer questions concerning the accessibility of the Union for minority groups.

While nearly 67% of members who completed the survey said that the initial membership fee was one of the largest factors preventing people from joining the Union, 34% said that the atmosphere of the Union was responsible, while 33% also blamed its reputation.

Members were also asked to rate the accessibility of the Union on a scale of 1 (extremely unsatisfactory) to 10 (extremely satisfactory).

The lowest ratings were relating to members who choose to answer questions regarding accessibility for those who “identify as coming from a socioeconomically disadvantaged background” and for “disabled members”.

Members who chose to answer questions relating to members who “identify as coming from a socioeconomically disadvantaged background” gave the Union an average of 3.5, with written feedback suggesting that the initial membership fee was a key reason for them feeling excluded.  

Meanwhile, those who chose to answer questions regarding access for “disabled members” gave the Union an average score of 4 out of 10, citing queuing for events, heavy doors, and the first floor women’s toilets as amongst the areas of greatest concern.

Those who answered questions concerning access for “ethnic minority members” gave the Union an average rating of just under 6 out of 10, while members who chose to answer questions concerning access for LGBTQ+ members gave the Union an average accessibility rating of 6.5. Many of the respondents expressed concern over the opinions held by many speakers, as well as a lack of LGBTQ+ events.

International student gave the Union the highest access rating of 7.8 out of 10.

Membership fees, accessibility, and transparency were highlighted as the areas of greatest areas of concern, with 48.4% deeming the transparency of the Union for its members ‘inadequate’ by giving it a rating of less than 5.

The Union did not respond to a request for comment.

The report comes in a week where questions were raised by committee members over step free access at the new Plush venue. Minutes from Union’s Access Committee meeting on Friday suggested that the committee were uncertain about the possibility of installing step free access in the Union’s ‘coal-shed’, the former Purple Turtle venue, which the LGBTQ+ club is set to occupy from early January.

The minutes read: “The President-elect acknowledges that this is an issue with which he wants to deal as we have a responsibility to solve this problem.

“Based on his conversations with ex-disabilities officers this week, he says that accessibility of the Union is a serious problem and he wonders if we can tie solving the accessibility of Plush together with solving the accessibility issue of the Union at large.

“The Bursar notes that Plush did have excellent nights for people with disabilities. She says that she does not know how it will be possible to sustain such nights in a cellar and that we are very constrained in terms of what we can do to solve the accessibility problem.”

The President-elect at the time and the Bursar agreed that they would discuss the possibility of step free access with Plush once negotiations had been completed.