Thursday 17th July 2025
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Peter Tatchell on LGBT suffrage, ethical outing, and receiving death threats

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Peter Tatchell is an unshakable sort. Indeed, he stands so secure in the justness of his convictions that it is easy to imagine him as the earnest young churchgoer of his childhood, raised as he was, a “devout evangelical Christian”, by “prim” working-class parents, in Melbourne, Australia.

Yet, the notable human rights campaigner and LGBT activist has long lost his faith; even in matters of doubt, though, he remains definitive. “I haven’t lost it,” he corrects me, “I abandoned it.” His address to the Theology Society is subtitled, in characteristically unflinching style, “how I made the transition from dogma and superstition to science and rationalism’’. As I enter towards the end, Tatchell is fielding a particularly stodgy question from somewhere in the front rows, accusing him of neglecting the problems that induction poses for empiricism. Tatchell blinks at the question, then pushed it away with his sturdy antipodean insouciance.

His faithlessness and his politics are closely connected. In many ways it seems the one made way for the other. “At the age of 17” he says, “I had realised I was gay. From the first time I had sex with a man I felt emotionally and sexually fulfilled, without any shame at all.” Rather than falling into the ideological conflict that such a discovery might precipitate, then, Tatchell determined “to do [his] bit to help end the persecution of lesbian and gay people”, and soon after shed his religious conviction.

So long estranged from the church which has remained an unregenerate obstacle to so many of the humanist values he now cherishes, I wonder what Tatchell makes of the perceived détente occurring under the current Pope. “Pope Francis is a PR genius”, Tatchell concedes, “he’s changed the tone but not the substance” of catholic dogma. “All the traditional teachings about the rights of women and gay people remain the same. In fact a number of priests have been excommunicated since he became Pope because they supported LGBT equality.”

The desire to secure civil rights, adopted in earnest after breaking from the church, has become a lifelong project. It has led him to prominent positions within the Gay Liberation Front, the Ecology Movement, the campaign opposing the Iraq War, and to several times attempt the citizens arrest of Robert Mugabe. He was famously selected in 1983 as the labour party candidate for the Bermondsey by-election, was decisively denounced by the party leader Michael Foot for employing extra-parliamentary tactics against the Thatcher government, and lost, following a notoriously underhand contest. “If I’d been elected in 1983 there would have been a fair chance that I would have ended up in the Cabinet”, he informs me, soberly.

Looking back, does he put hit loss down to electoral homophobia? “Partly” he admits, but it was also “because I was disowned by the labour leadership …[and] deemed to be a left-winger with extremist policies.” “But!” he asserts steadily, “all the extremist policies I espoused have now come to pass. I advocated political settlement in Northern Ireland, devolution to Scotland and Wales, a national minimum wage, and comprehensive equality laws. All those things… were denounced as extremist – now they’re the mainstream.”

So what does Tatchell – once too radical for Michael Foot – make of the current state of the labour party? “I’m broadly supportive of Jeremy Corbyn’s bid to make the Labour Party a mass membership party… That’s the way it should be: the party belongs to the members, not to the members of parliament.” Although currently a member of the Greens, “I am aware that a defeat for Jeremy Corbyn would be a setback for progressive politics in this country”. There seems something vaguely strained about this endorsement of his old party. “I’m much to the left of Jeremy Corbyn”, he admits “but also more practical with more achievable goals. I’ve synthetised a radicalism with pragmatism.” No wonder, then, the current state of the opposition leaves Tatchell restless.

Still proudly to the left of the left, has Tatchell not made room for the clichéd encroachment of any conservatism into his thought, even as he enters his seventh decade? “No.”, he eyes me. “I’m way more radical than most young people.” This boast seems to have been tested recently, when in 2015 Tatchell was publically attacked as a signatory to a letter warning the NUS to reconsider its policy of No-platforming on university campuses. Surely, if such disagreeable trends are at the vanguard of student activism, it might be time for him to give up chasing after the radicalism of the young? ‘They’re not the vanguard. They’re regressive”, he protests. “It disturbs me that a lot of young people embrace the idea that if something’s offensive it should be banned” he later reflects.

Having said this, “the No-platform and safe-space policies are well-intended… the problem I have is the way in which they’re often interpreted: far more widely than was the original intention.” Underlying the alltoo-frequent deployment of these policies is a fundamental misapprehension. “Censorship and bans don’t defeat bigoted ideas, they simply suppress them; those ideas don’t go away, they remain and fester. That’s not a solution.”

That said, Tatchell himself is no stranger to forms of activism which can raise the onlooking eyebrow. For a while in the 1990s, Tatchell drew attention as a prominent fi gure within the gay-liberation group Outrage! which made a practice of outing closeted homosexuals whom they deemed to be among their political opponents; surely methods such as these are morally dubious? “It was a tiny fragment” of our work, Tatchell responds. But, all the same, “Outrage! practiced ethical outing”, he insists. “We never outed anyone because they were gay and in the closet. It was because they were public figures who were abusing their power and influence to attack and harm other gay people… There was a contradiction between their public homophobia and their private homosexuality.” They were hypocrites, I suggest. “Yeah. It was a clear example of hypocrisy and double-standards. It was ethically and morally right to expose them.”

I suggest that perhaps there is another, more substantive sense, in which Tatchell might be alienated from the first-world social activism of today. In contrast to his own undeniably global concerns, there seems something strangely introverted and self-inspecting about the most contested objects of protest today. Does he sense that activism has become trivialised in this way? Take the issue of cultural appropriation: “It is perfectly reasonable to be critical of cultural appropriation” Tatchell affirms, “but it is outrageous that people are more obsessed with that than the fact that a thousand million people on this planet don’t have safe clean drinkingwater and are hungry or mall-nourished.”

Looking toward Oxford, Tatchell says that he was broadly “sympathetic to the Rhodes Must Fall campaign in the sense that it was a timely reminder of [Rhodes’s] personal role and the role of British imperialism”. “But”, he continues “I actually felt that rather than bring the statue down, the statue should remain but a plaque should be erected to explain the bad things he did and advocated.”

Watching and listening to Tatchell, I think it is evident that he feels compelled most strongly by those whose cause is the direst, whose suffering the most profound. Accompanying this is a barely-veiled frustration with those who fail to feel the full force of this concern, even those who ought to be his ideological bedfellows. “The left and progressive movement is very partial and selective about what issues it embraces” he confides. “They never champion the cause of jailed trade-unionists in Iran, arrested left-activists in Russia, persecuted Shia muslims in Saudi Arabia, or the Indonesian occupation of West Papua”. One feels the list could continue, and probably does.

What, then, is the cause of this dislocation of values amongst western liberals? “The priorities of people in many western countries are completely out of kilter” with the most acute concerns facing “the planet”, he suggests. “Too many people are obsessed with being politically correct and out-doing each other as to who’s the most radical rather than actually addressing the major global problems faced by people, particularly in the developing world”. He points to “the LGBT community in Uganda”, which has long been “appealing for Western solidarity. Most western left and liberals choose to ignore those appeals. They no longer support the principle of international solidarity. They are insular and isolationist, just like Donald Trump.”

It is this last, peculiar equivocation that seems to expose the tension in Tatchell’s ambition and the punishing burden he has claimed as his own: to fight tirelessly in the corner of the downtrodden the world over. His every word tells of his persuasion of the innate value of all people, and their entitlement to an improved life. To him we are all equals, not before god, but in our shared pursuit of recognition and liberation. Yet in the pursuit of this vision of brotherhood and egalitarianism, he seems strangely alone: a single soldier, a solitary figure on a horizon of global concern.

Tatchell seems to enjoy the embattled image. He tells me he still gets death threats. How often now? I ask. “Pretty regularly.” He responds, gruffly. “I’ve had lots of threats from Islamic extremists to kill me because I’ve condemned their misogyny, homophobia, and persecution of liberal progressive Muslims.” Will he ever hang up the protest banners and seek escape from this deathdefying game, I wonder. “No.” he says, and repeats. Why not? “The work I want to do is not finished”. In anyone else’s mouth, these words might come across as distinctly pompous. But with Tatchell, the years in the teeth of the struggle and the front line of the march, seem to give truth to the claim. “So long as there are human rights abuses happening, and I’ve got health and energy, I will carry on.”

Futuristic costumes for Romeo and Juliet

“Everyone knows how it ends”, proclaims the Facebook event page for RxJ, a radical adaptation of Shakespeare’s tragedy showing at the Pegasus Theatre in 7th week. The headline reflects the challenge faced by the student cast and crew who are tackling the work of the world’s most famous playwright: how to gauge the interest and avoid the death-trap clichés of a play that the audience will know, top to tail, by heart?

 
An updated dystopian reimagining rejects traditional ideas, combining a brutalist set with futuristic lighting and subversive costumes. Cherwell spoke to costume designer Hattie Morrison on her take on the concept of a dystopian romance, and the various styles and textures being explored. The main features of her costumes range from fetishised chokers to ripped knitwear. The resulting look promises to shock and engage, but most of all bring a breath of fresh air to a play so enshrined in our culture.

 
The clothes themselves are the cumulative product of conflicting influences. A ‘DIY’ theme underlies the entire costume line, which is rooted in the idea of maintaining a ‘human touch’ as well as adhering to the practicalities of a student budget. Fabrics and clothes are all sourced second-hand, dyed by hand with avocado skins and mascara. The stitching is rough and quick, a further rejection of the idealised perfection of the play’s structure and story.

 
Distressed knitwear, inspired by Zoe Jordan’s knit lab designs, provides a mundane update to one of Shakespeare’s most dramatic plays. This serves to challenge the function of knitwear keeping people warm by destroying the layers. The significance of silhouettes is also addressed, with echoes of Alexander Wang’s Spring 2017 ready-to-wear collection present in deconstructed lines and tracksuits. Currently trending ‘athleisure’ pieces harking to the infamous Yeezy brand are riddled with rips and holes, torn and stained. They stand in stark contrast to the rich Renaissance costumes seen in Franco Zeffirelli’s 1968 film, or the eclectic glamour of Baz Luhrmann’s modern 1996 revamp.

One element of the costume design is sure to shock: evocative red body cages and studded chokers in a controversial S&M style. Why push the costumes to such an extreme? Hattie’s interpretation rests on the premise that while the play has acquired an iconic exalted status as the greatest love story ever told, base sexuality remains one of its major themes. The events that unfold are merely consequences of powerful physical attractions between an objectified Juliet and a testosterone-driven, impetuous Romeo. This destructive side of their relationship is explored through the allusions to fetish gear and bondage. Even Friar (symbolic of a moral Christian presence) wears a spiked rubber choker as a dog collar, marking a provocative assertion that the world of Romeo and Juliet is not the idealised romantic one our culture has imagined.

 
Playing on gender and body stereotypes, underwear is worn as outerwear. The presence of such overt sexuality undermines the purity of Romeo and Juliet’s romance. Colour connotations are also woven into the fabric of gendered costume design: warm and cool colour tone groups are used for the Montague and Capulet rivals respectively. Hattie takes inspiration from the nude palette of Kanye’s designs and the subversion of ‘girl’ and ‘boy’ colours.

 
The famous masquerade ball, an event usually synonymous with luxurious excess, is represented through surgical masks and ultra-violet paint. This clinical look foreshadows the downwards spiral of the narrative and dystopian aura. Hair and makeup complete the look, with a slicked back style accessorised with metallic foil. Make-up reflects the drama in vibrant shades of blue and pink irrespective of role or gender groups.

 
The futurism however does not entirely displace the history of the production. Functional t-shirts are paired with silk slips in jewel tones, using rich texture to toy with the brutalist look. The costumes are yet to be embellished with glittering stars and shiny silver foil, a hint of the opulent drama of Romeo and Juliet productions past.

 
From the star-spangled lovers to the red rubber-caged pair clothed in camis and tracksuits, RxJ takes costume design to the extremes. Tickets have already sold out in only a few hours of going online, and the lucky few who have snagged them can look forward to an exciting show from every artistic front. This production promises to take art to its most intense level and brings Shakespeare out of his conventional cage into the harsh limelight of the 21st century.

Mirror synesthesia

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Imagine what it would feel like to watch a film and physically experience the emotions and sensations of each and every character that you saw on screen. This could be the salty taste and crunchy texture of a handful of chips being chewed in your mouth, or the excruciating pain from a gunshot to your leg. Far from offering you the glamorous life of a movie star, this rare neurological condition which causes people to hyper-empathise with the people and animals that they observe is both draining and potentially severely dangerous.
Many of us are already familiar with the concept of synesthesia, which literally means “the mixing of the senses”. It is a term used to describe the condition whereby one feels a sensation in one area of the body produced by stimulation in another, often totally unrelated, part (famous sufferers include Vladimir Nabokov and Wassily Kandinsky).

Common examples of this include seeing emotions as colours and smelling sounds.
However, acutely feeling everything that the people around you feel takes this confusion of the senses to a whole new level, and has been given the name of “mirror-touch synesthesia”. It was not until 2005 that scientists began to research this fascinating condition. The first woman upon whom research was conducted explained how as a child her abnormally strong reactions to other people’s pain were dismissed as a sign of social anxiety, but studies have shown that they in fact have a physiological cause. Have you ever flinched at the sight of someone being hit in the face by a football? This reflexive reaction would have been carried out by what is known as your ‘mirror-touch system’. It is precisely the over activity of this system in certain individuals that explains the symptoms of mirror-touch synesthesia. It goes without saying that suffering from this condition can make being in social situations very difficult; being surrounded by such a plethora of feelings and emotions must lead to confusion over which ones are actually your own.

Sometimes the brain’s response to what it sees can be so strong that it causes actual physical harm to the body. Indeed, it was only after the boyfriend of the first woman to have been diagnosed with this condition returned to his car one day to find her unconscious following witnessing a brawl that she decided to seek medical help.

This being said, it isn’t all bad. This unusual kind of synesthesia presents those that have it with the possibility of experiencing feelings that many of us will never experience. One woman explained that she enjoys watching birds fly in the sky because in doing so she receives the vivid impression that she is flying. Another seeks comfort and warmth from observing other people hug one another. Finally, although we might not want to suffer from mirror-touch synesthesia ourselves, we would certainly all benefit from a friend who does, because there are undoubtedly few other people who would have a better understanding of our own feelings.

The reality of homelessness in Oxford and the imperative of helping

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We’ve all experienced it. We’re walking down Cornmarket or Broad Street, and someone walks up. “Please, have you got 20p?” The normal reaction is one of fundamental embarrassment. We avoid eye contact, mumble something about not having any change, and walk on as quickly as possible. A few of us might occasionally fumble about awkwardly and fish out a few pennies, but that’s about it. This experience, common to so many Oxford students, is symptomatic of one of the deepest and most persistent problems of Oxford life, homelessness.

The raw numbers at first glance don’t seem too large. In this paper in 2011 a representative of Oxford Homeless Pathways gave the figures as roughly thirty people sleeping rough, 90 sleeping in bedsits, and over 200 with insecure access to accommodation. It doesn’t seem so bad, in a city of 150,000 people, 0.02 per cent of the population. To take this view is to ignore the colossal human suffering of this situation. As winter draws on any student who has worked with the charities supporting the homeless population can tell you stories of handing a cup of coffee to someone shivering so much they can barely hold it. They can tell you stories of diabetics abandoned outside Tesco’s or Sainsbury’s, barely any medical help available to them. The real miracle of these people’s lives is sadly that they’ve lived this long. They even tell you stories of breakfast runs which encounter no homeless people at all, the population having been ‘moved on’ from what meagre shelter they have managed to find.

That’s not to say there aren’t many, many people and organisations working their guts out to support the homeless and the helpless in this city. Particular mention must go the Companions of the Order of Malta and to the Icolyn Smith foundation. The one sends out frequent soup runs through central Oxford, providing supper and breakfast. The other runs soup kitchens, helping the homeless get a hot meal. It should be noted that this is far from the limit of what either charity does. Even more important is the excellent work of O’Hanlon House, a dedicated Homeless Centre which provides basic dignities such as a bed, a shower, a decent meal, and even more importantly the support needed to get the governmental support of benefits, a council home, and the other simple help needed to get on the lower rungs of society’s ladder.

Where, might you ask, is the local council, whose responsibility the homeless population should primarily be, in all this? They seem set on ‘dealing with’ rather than solving the problem. In 2015 the council proposed the ‘Public Spaces Protection Order’ illegalising rough sleeping in the city centre. October 15 of the same year saw this act put into effect for three years. The council claims that it aims to stop beggars coming into the city centre for profit. Charity workers recognise it as an ill thought through attempt to tar all homeless people with the same brush. It is indicative of a degree of callousness designed to clean the problem from the eyes of the population, without actually solving it.

What then, can Oxford students do? The answer is not to fumble awkwardly in one’s pocket looking for those shreds of shrapnel which might just scrape together a lunch on a good day. The answer is to volunteer. Any of the charities which serve the most in need in our city are always glad for volunteers, and do not demand great swathes of time. A soup run need take no more than an hour, a kitchen a morning. More innovative events have included fundraising and sleepouts to raise awareness of the problem. We may not be able to solve the problem of Oxford homelessness ourselves, that will only come by finding these people homes and jobs, but the least we can do is strive our hardest to ameliorate it. There are nearly 12,000 undergraduates at Oxford. Each of us giving a small amount of time could solve this problem in short order. It is a moral imperative that we do.

Preview: Much Ado About Nothing

A slow, sexy soundtrack, a flicker of suggestive eye contact, a charged exchange of sassy one liners, too much wine and too little sleep. If this sounds more like a Bridge Thursday than a Shakespearean comedy, then Jack Bradfield’s upcoming seventh week production of Much Ado about Nothing at the Pilch has got something very right. The obsession of Shakespeare directors everywhere is relevance, working out how the words of a 16th century playwright can speak to our lives today. And this production, with its millennial setting, onstage TV screen and cross gender casting promises to engage with the original themes of the text in a thoroughly modern way. The thrills and spills of a messy teenage house party are placed within the villainous schemes and hilarious misunderstandings of one of the most loved plays of our most loved playwright. It promises to be a fantastic night out.

The setting is a bold update: New Year’s Eve, 1999. Bradfield explains that the idea developed out of conversations with cast members about the so-called “Millennium bug”. In late 1999 the idea that computer clocks’ inability to recognise the year 2000 would cause a technological melt down saw a wave of panic sweep the country. In the end it turned out to be totally unfounded, you might even say it was much ado about…you know where I’m going with this. The setting, then, is playing around with the same ideas as the play itself: just as Claudio’s glimpse of an encounter between two servants leads to Hero’s public humiliation, something trivial is blown completely out of proportion. It’s a creative twist totally in keeping with the themes of the text.much-ado-poster

Watching the cast rehearse part of the opening scene I could immediately see Bradfield’s central concept: the idea of distorted vision, of seeing and misinterpreting. As the characters arrive at the party, the upbeat rhythm of Alice Boyd’s original sound track slows every now again to allow pairs of characters to maintain long, lingering eye contact. The effect is one of palpable tension – atmospheres of suspicion, of scrutiny, of magnetic attraction and sexual power play mingle before the audience’s eyes. Alice Moore and Adam Goodbody are a dynamic central duo as Benedick and Beatrice. They handle their verbally knotty first exchange with ease, firing razor-sharp insults back and forth like players in a grand slam final. Yet they also display a compelling mutual tenderness: watching a snippet of a later scene I felt surprisingly moved by Moore’s simple action of sitting down beside a dejected Goodbody and tucking her chin into his shoulder. The casting of Georgia Figgis as Claudio is an interesting choice – the archetypal misogynist played by a woman. The effect is to make him a more sympathetic character; you can’t help but smile as he shyly reveals his love for Hero to his friends and then bounces around the stage with childlike excitement.

Bradfield explained to me that the iconic status of the play means it carries a huge amount of cultural baggage. One of the ways he has freed himself from the influence of past productions is by incorporating technology. The production manager Charles Pidgeon enthusiastically told me that the characters of Dogberry and Verges will appear on a TV screen as they speak into a camera offstage providing a live feed. The idea is to break away from the larger than life characterization these comic roles usually entail and force them into a smaller scale, contained comedy. The end result should have something of the mockumentary flavour of Twenty Twelve or W1A, a refreshingly contemporary cultural reference.

The team behind this lively show is clearly aware of the pressure for originality in a Shakespeare production.  Whether they can carry it off on the day remains to be seen but it’s looking very much like a party you don’t want to miss.

Much Ado About Nothing is on at the Michael Pilch Studio at 7:30pm throughout 7th Week, running from the 23rd to the 26th of November. 

Not Wong: Depression

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Hello, Darkness, My Old Friend.
I’ve come to talk with you again –

You wake up to the worn midday sunlight, whose rays are juxtaposed against your fumbled mental state. You reach for the alarm clock next to your bed, before realising that it has fallen into a corner of your room: two steps away and yet too far for you to reach. Your body has had 12 hours of intermittent sleep—and yet you feel as if your mind has been running non-stop on half-emptied cans of Red Bull and endless cups of coffee for the past 60 hours.

Because a vision softly creeping,
Left its seeds while I was sleeping.

Lying on your bed, you ponder the tasks that confront you for the day. Two essays. Two reading lists. Titles and authors and names and terms you find too daunting to recall and yet too important to forget. A voice nags within you, reminding you of the fact that you are an impostor who only faked their way into Oxford by sheer luck and the interviewer’s incompetence; you experience a complex mixture of expectation and self-rejection—one second, you are energised, with hopes that you will be able to finish off your work (for once) on time; the next, you are desolate and drained, before barriers which feel insurmountable. You are inadequate. You are incompetent. You are not good enough.

And the vision that was planted in my brain,
Still remains
Within the sound of silence.

You stare into the mirror. Like the soldier in Owen’s Disabled, you find yourself a shell – on the surface, save for your unkempt hair and slightly blackened eye rings, you appear normal. You get dressed, you shower, you perform the daily rituals that induce some sense of control into a life of disarray—techniques that make you “healthy” and “freshened up” for the day. You cheer yourself up: today will be different. Or will it?

In restless dreams I walked alone,
Narrow streets of cobblestone.

And then you don your mask—you put on your clothes; then a lopsided smile, adjusted for public consumption; you become the performer and audience at once—the individual viewing themselves through the Panopticon. You make small talk with your neighbours and people who pass you by; you attend your tutorials and adhere to the mathematical order of your timetable; you feign understanding in dreary lectures. You wander in some gardens aimlessly, hearing and seeing nothing but a haze of greyness. It begins to rain, and you hear your footsteps echoing down the lonely path and splashing through murky puddles. You have become lost.

‘Neath the halo of a street lamp,
I turned my collar to the cold and damp.

You are told to toughen up, to lighten up, to check your privilege as an Oxford student. You are told that it is best not to treat emotional characteristics as diseases, to evaluate mental illnesses through the lens of science. You find it curious that the one thing that draws your peers and Foucault together is their willingness to dismiss the medicalisation of depression. You begin to question how much those around you actually know about you. You realise that you know—in fact—very little about yourself.

When my eyes were stabbed by the flash of a neon light,
That split the night,
And touched the sound of silence. 

You hear stories about others. About someone “sent down” by their college, that odd preposition embedded with admonishment and shame. About the Others, who failed collections as they found it hard to breathe during a panic attack. About individuals who were not good enough to “hold it out”, about people who “couldn’t hold it together”, about voices that were hushed as they tried calling for help—and realised that the only help they had was in themselves.

And in the naked light I saw 
Ten thousand people maybe more.

And you start to question your life choices. You seek refuge: in speaking and debating, in painkillers, even in the white walls next to your bed. And yet you live in silence, an imagined member of an imaginary community: a community that is united in its difference, its separation. You become one of them. They are you, and you are them.

People talking without speaking,
People hearing without listening,
People writing songs that voices never shared,
No one dare disturb the sound of silence.

Preview: Tremor at Modern Art Oxford

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Tremor is a live music and art event taking place on November 25 at Modern Art Oxford. Both the basement and the ground floor of the venue will be utilised. Live music will be played all night in the basement, whilst a social art space will be installed upstairs.

The musical genres covered at Tremor range from electronica to jazz, contemporary classical to ambient. This expansive range of genres is reflective of the tastes of those organising the event, all of whom have a will for these genres to exist together in one space.

Whilst there are strongly established scenes for classical and jazz music in Oxford, there are very few events which cohesively bring together other genres of music under one roof. Tremor arose from a desire to present a diverse range of musical styles in one context. As well as this, there is very little popular or electronic music being performed live in Oxford, and so Tremor strives to fill this gap.

The combination of musical acts performing at Tremor not only represent a diverse range of genres, but also a group of musicians who each blur genre boundaries themselves. Perhaps the strongest crossover of genres being performed at Tremor is Baker’s Dozen, a thirteen-piece hybrid ensemble assembled and directed by Harry Baker, a second-year music student at St Anne’s. Baker’s Dozen blends the line up of a contemporary classical orchestra with that of a jazz or popular music combo, through integral use of a
rhythm section.

Baker’s Dozen will be premiering four new compositions at Tremor, all by current students at Oxford, with influences once more ranging between contemporary classical, jazz, and RnB. The majority of musical acts at Tremor will be performing live for the first time on the night.

Sal Para is an electronic music project, which until Tremor will only have existed as sound files. Sal Para’s current output has been purely laptop-based, but will be brought to life by a four-piece live band at Tremor.

Wandering Wires will also be making their live premiere. It is a project which started as a recording project but will now be realised in a live context, with elements of jazz improvisation present. Tremor will combine live music with art, with films being projected as the acts play in the basement throughout the night.

As well as this, a team of artists from the Ruskin School of Art, and others at the university, will be creating a space on the ground floor of Modern Art. This space will be one in which those attending Tremor can socialise with each other, through dividing the large space of the venue into multiple smaller
spaces.

Visuals are an important aspect of the night, and one which marks it out from simply being a musical concert. The night will be an experience for all participating. The venue’s capacity is quite small we hope that it will be an experience shared by all, rather than just a number of small groups.

Preview: Dates

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Given the opportunity, I think many of us wouldn’t mind skipping the traumatic year that has been 2016. And yet when Jeremy (played by Stephen Rose) finds himself in this very situation, having spent the year in a coma, he is presented with more problems than might be expected. His woes are brought to a peak when he tries to re-enter the dating scene, having to be cruelly brought up to speed by Karen (Sarah Borg) as the two go on their first date together. Plenty of misunderstandings ensue, and the audience is left laughing at the absurdity of the political and social events that have happened over the course of this year.

This is the premise of ‘Coma 2016’, the first of three sketches of Dates that I was treated to last week. Written by fourth year linguist Rebecca Heitlinger and produced by Charlie Silver, the show is made up of eight distinct comedy sketches, all highlighting various tribulations faced by young people today. The show can trace its roots back to the end of the last academic year, when Heitlinger and Silver made a successful bid to put on the show, and it was written over the course of the summer vacation. As such, Dates is able to play with the most recent of political and social themes – the rise of Donald Trump, the fall out from Brexit, and the collapse of high street giant BHS are all sources of humour.

But it would be wrong to characterise Dates as show focused on current affairs. The show is at its best when exploring some of the tensions young people face in their romantic and social lives, as I witnessed in a sketch called ‘Tudor Tinder’. Here, the fictional Lady Anne (played by Sophie Stiewe) is introduced to the 15th century’s answer to online dating. It’s not quite as easy as today’s Tinder, with the court aristocracy having to exchange portraits and rely on the hilariously curt Count Tinder (Alex Matraxia) to pass on any messages, but the characters revel at the newfound freedom it gives them. At one point Lady Anne is so enthused with the ability to choose a partner (and to be able to choose based on looks, rather than on the wealth of a prospective suitor’s estate) that she exclaims “Finally I can stop being the property of my father, now I can be the property of another man!”

Despite the fact that the cast were still fine-tuning the show when I came to watch it, the acting was professional and the jokes felt well delivered. And you would expect it to be, given that six cast members (Heitlinger too plays various roles as well as having written it) were chosen from more than 40 auditionees.

The last sketch I was presented with demonstrated flexibility that comes with a talented cast. In ‘iPhone vs. Samsung’, a smug iPhone (Alex Matraxia) gloats of his prowess in front of a woeful but ultimately likeable Samsung phone (Oli Thompson). Both deal with their struggles to ‘connect’ in different ways, but an audience will be able to laugh as the sketch emphasizes the ridiculousness of masculine competitiveness and the (often silly) social expectations we accept as part and parcel of dating.

Sketch comedy can be difficult to pull off–especially when it seeks to tackle diverse and pertinent social issues without sacrificing humour. But Dates manages to keep the jokes consistently funny thanks to a highly effective cast and by being unafraid to base sketches on unusual premises.

As the show reminds us in its opening sketch, 2016 has been a rough year. But if you want something to make you laugh before it’s all over, you could do a lot worse than Dates.

Dates is on at the Burton Taylor Studio daily at 9:30pm from the 22nd until the 26th of November inclusive. Tickets are available from the Oxford Playhouse website.

Is it wrong for a dictionary to offend me?

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Recently over social media, there has been controversy as the Oxford English Dictionary has defined ‘Essex Girl’ as “a type of young woman… variously characterised as unintelligent, promiscuous, and materialistic.” To add to this complementary description, just some of the example sentences of usage online include “An Essex girl goes to the council to register for child benefit”. As an ‘Essex Girl’ myself, born and bred, you can imagine my initial response. To have such an important, world-renowned publication define you in such a way for future generations is startling to say the least. However, as an English Language and Literature student, I am forced to reflect on the reasons why this definition has become recorded.

The OED defines itself as a “historical dictionary” which is “very different from dictionaries of current English where the focus is on present-day meanings.” Words and phrases need to be used over a length of time in various situations to be recorded. However, the issue arises when the OED’s idealised view of how their dictionary is used meets reality. Much of the public look towards the dictionary to prescribe the ‘correct’ usage of a word or phrase, which is what caused such an uproar from the general public. Some may argue that the definition does state it is a ‘derogatory’ term, but many still view the dictionary as a prescriptive rather than descriptive text.

Linguists may only be implementing their belief of reporting the use of language that surrounds them, but this surely should make us question why this phrase is being used widely enough to be recorded by the OED. Our society too often divulges in and encourages stereotypes of regions, with reality television programmes such as The Only Way is Essex and Made In Chelsea only adding fuel to the fire. Clearly, these shows do not truly represent the variety and complexity of areas in the United Kingdom. If you took TOWIE to be a true depiction of women in Essex, you would believe that we were all beauticians, hairdressers and generally concerned with our appearances rather than pushing our intellectual capabilities.

A video of TV personality Gemma Collins being interviewed on Sky news does not aid the situation as it spreads across the internet. In the interview, she makes incredibly valid points on how hard-working Essex girls do feel that the line has been crossed with such a derogatory definition. She also defends her position as a TOWIE cast-member, highlighting her business endeavours and school qualifications. Unfortunately, the only part of the video that went viral was when she described herself as a “massive fan” of the dictionary and became quite tongue-tied. This convinces the public that the definition is true and usable, as sadly many, myself included, only fixated on a few seconds of the video rather than listening to her whole argument on the matter.

9,239 people have signed a petition, set up by Natasha Sawkins and Juliet Thomas, for the definition to be removed, but there were many similar battles recently over ‘slang’ and ‘improper’ words making their way into the dictionary. The only way we can fight these new derogatory definitions is to change the way we use the word, taking back ownership of what intends to put us down. The trend #IAmAnEssexGirl has taken a brilliant approach to the issue, and I have loved reading posts on social media about the incredible achievements of supposedly “unintelligent” Essex girls.

I am in an odd position. On the one hand, I understand that the OED is only reporting the real, lexical changes in our language. If we opposed every entry that causes offence, then we would lose track of real developments in our vocabulary. However, I believe that events like this should force us all to look at the stereotypes we enforce on areas in the United Kingdom and throughout the globe. I am an Essex girl working hard towards achieving a degree from the University of Oxford, and know that the OED does not define me.

On the incompleteness of reading

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“The more personal the metabolism, the deeper the satisfaction…it is not a question of borrowing only, or of imitation, but of bringing forth in one’s own language what has been experienced in another.” Barbara Reynolds’ definition evokes something intangible: a feeling of reassuring illogicality that nevertheless makes perfect sense. But trying to conflate two different expressions of an experience generates resistance. One version of Federico Garcia Lorca’s poem ‘Night’ visualises the boundaries of translation that suggest ultimately irreconcilable meanings—the reader’s eye immediately catches on the word “saeta” dappling the English. “La constelación de la saeta” becomes “the saeta’s constellation”. The simplicity of this phrase only makes the untranslatable element more apparent.

“Saeta” (“dart”) reappears in many others of this edition’s English versions of the poems, along with other non-translated words that create gaps which delay any sense of a complete understanding of a poem. Stopping to Google-translate “saeta” mid-Lorca doesn’t lend itself well to discovering a poem for the first time. In his translator’s note, Sorrell explains how “Lorca’s poetry poses the recognised problems of translation in an intense way. His Spanish is highly charged, culturally specific, strongly rhythmic, always musical.” So much so that sometimes, there simply isn’t a word that can replace and reconfigure.

The English “arrow” only reaches for what the Spanish encompasses. For a non-Spanish speaker, the accompanying Spanish text in Sorrell’s edition only increases an awareness of a gap between the original and the translation, a gap into which words and meanings fall. Most frustrating of all is not being able to know precisely what has been lost. But the translation gap is also productive. Though reading something in translation is to read it at a remove from an original, it is still an experience that is singular, not superficial or lacking.

Sorrell’s translations are echoing and elegant and the result will still produce personal responses that belong outside the realm of comparison or loss. The English translations are their own work of literature, by no means superior to the original, just a new dimension unfolding from the edges. And Lorca’s poetry itself conveys a way of thinking about writing which touches on an important aspect of translation: its minimalist, sparse style “reminds us that poems work on the basis of what comes out of them rather than what allegedly goes into them.” It would seem that translation only literalises what all reading is, a process of the reader’s private articulation of a writer’s expression.

Though reminding us of the privacy of reading, translation’s purposes look outward too. Indeed, it is often used as a marker of a poet or novelist’s commercial success, presented as a requirement generated by the text itself. Harry Potter has been translated into over seventy different languages and dialects—information usually included in the introductory note or the blurb for example. But it is of course a testament to the imaginative element of Rowling’s story too. In the Ancient Greek version of Harry Potter and the Philosopher’s Stone (incidentally, the first children’s book to have been translated into that language) the translator decided to keep the unique vocabulary of the fantasy world, such as technical Quidditch terms. Rather than show up as an irritating limitation, this amusingly reaffirms the inventiveness of language, and captures the way in which different contexts and vocabularies can be patched together.

Translation reminds us of the countless possibilities for interpretation of a text, though some might remain inaccessible to us. New meanings are generated by a Shakespeare play reworked in modern contexts, the realisation of an individual director’s vision; listening to the cover of a favourite song produces new emotions via an appreciation of choices and changes. The incompleteness of reading is worth celebrating too.