Indigo 830

830

EDITORIAL Tuesday, 6th October 2020

2

www.palatinate.org.uk/category/indigo/

BOOKS 3 A reading tour of Durham FEATURES 4&5 The ultimate guide to fresher’s week FOOD 6 Durham’s takeaways: The top ten FILM 7 The legacy of Keeping Up with the Kardashians STAGE 8&9 In conversation with Caitlin McEwan and Do actors’ obituaries get it right?

FASHION

10 Waist up fashion: From home to runway VISUAL ARTS 11 ‘The Self’, schizophrenia and self-portraits INTERVIEW 12 & 13 MLAC and years abroad MUSIC 14 ‘Music Sampling’ : Criminal or a creative technique?

CREATIVE WRITING 15 Instapoetry and the illusion of depth TRAVEL 16 Escape to the country www.facebook.com/palindigo Follow us on Twitter and Instagram: @indigo_palatinate Have a question, comment, or an idea for a story you’d like to write?

Email indigo@palatinate.org.uk Logo: Chloe Wong Cathedral Artwork: Anna Gibbs Front Cover: Verity Laycock

As the new term commences, Durham students’ lives are filled with new beginnings. Our freshers are arriving at University for the first time, looking forward, we are sure, to experiencing new independence and the chance to reimagine themselves. Our returning students are coming back to a University that looks and functions a little differently, hopefully navigating the change with optimism and enjoying their newfound chance for tranquility and reflection. As Indigo Editors, we are enjoying a new beginning of our own – this will be our first edition together as co-editors.

As with most of our interactions recently, this edition has been entirely created and collaborated on over social media. More than ever we have realised the importance of communication and staying connected. It has been a real pleasure for us to continue working with and alongside our many section editors, who have produced brilliant content over lockdown. For both of us, Indigo has provided a unique way to stay in touch with friends and remind ourselves even in isolation, we are not alone.

Simply put, we are all heading into something different this year – whether it be dramatic or subtle – and hopefully this edition will make that change a little easier. This week, Features brings you everything you need to know about getting involved in societies this year, together with some helpful advice to support you through Fresher’s week; Books guides you through the most scenic spots to catch up on that summer reading list; Food and Drink highlights the top takeaways for nights in and Travel tours us through some socially-distanced day out ideas.

We wish you all the best luck for the coming term and we hope you enjoy this colourful edition.

Hugo Millard and Millicent Machell

INDIGO EDITORS Hugo Millard Millicent Machell FEATURES EDITORS Aadira Parakkat Elle Woods-Marshall Immy Higgins

CREATIVE WRITING EDITORS Jemima Gurney Meadbh Ni Mhorain STAGE EDITORS Harrison Newsham Isabel C. Davis VISUAL ARTS EDITOR Emma Tucker BOOKS EDITORS Millie Vickerstaff Sol Noya FASHION EDITORS Abbie Cooper Davies Emily Potts FOOD & DRINK EDITORS Constance Lam Meghna Amin TRAVEL EDITORS Emma Johnson Gracie Linthwaite FILM & TV EDITOR Madeleine Rosie Strom MUSIC EDITORS Martha Lily Dean Katherine Pittalis INTERVIEW EDITORS Aimee Dickenson Claudia Jacob

BOOKS 3

Tuesday, 6th October 2020

A reading tour of Durham April Howard recommends her favourite places to read around the city April Howard books@palatinate.org.uk

D

urham is an almost ridiculously picturesque city, filled with beautiful spots and gorgeous cafes, so it naturally has many excellent places to sit and read.

Being a literature student, my reading list is always very long and varied, and, when you spend most of your day reading, you tend to need to find different places to read, as too long spent in your bed or at your desk is no good. I hope at least one of my favourite spots for reading, be it academic or leisurely, works for you!

background. Its location also means it gets a lovely amount of sun, so it always feels bright and pretty. There is normally always a table or more free, especially before midday or after the lunchtime rush (but at any time really). I have read many books there, especially for my medieval modules, and it is always a very pleasant place with lovely staff.

“Beautiful and peaceful It is my personal favourite”

Though Durham is filled with charming independent cafes, such as Cafédral, Leonard’s or Chapters tearoom, all of which are excellent places to read, you do not need to splash out on coffee or food in order to find lovely places to read in Durham. If the weather is miserable, there is always the Billy B, but if it is just a reading spot, you are after, then maybe try your college library. They are generally small but with a few nice places to sit, maybe a sofa, and are convenient, quiet places to read.

The first place to mention would have to be Vennels Café. Beautiful and peaceful It is my personal favourite of Durham’s cafes. I would buy a coffee and perhaps a cake (they are very hard to resist) and take them upstairs where, from the window, you can see the castle watching over Durham. The interior of the café is in line with Durham’s medieval history and it truly feels like an idyll. They do not play music and the place is normally filled with students, couples on a romantic date or older ladies having a catch-up. The chattering is generally low and fades into the

If you want to get out of the college bubble, though, try Durham cathedral. While they have a café, they also have scenic cloisters. This courtyard normally always has benches available and offers a delightful spot to sit and read. You will be under cover (if the weather is not good) but still outside and somewhere different. Students often do not make nearly enough use of Durham’s gorgeous cathedral.

My final suggestion is really just picking one of the many beautiful outdoor spots around Durham. Palace Green is always a good option, with lots of space to sit on the grass and a beautiful view of the cathedral and castle. Then there is the river: I like to go down either via Prebends Bridge or via going down near the cathedral and there is always a bench to be found where you can sit and read in peace.

There’s also Observatory Hill, whose beautiful scenery makes it very popular among students generally, but which could also be a great reading spot when it is quieter. If you live in Gilesgate and want somewhere nearby, there is a green space at the back of Sherburn Road with a beautiful view and a community garden. Finally, you can try the Old Durham Gardens (open to all and very pretty) or the Botanic Garden (free to students and a convenient location for hill colleges).

“a quiet, aesthetic spot to sit and read” In a city as beautiful as Durham, if you want to find a quiet, aesthetic spot to sit and read, there are certainly many options to choose from. I suggest trying various different places to make the most of this incredible city during your time here.

Happy reading!

Model: Daniella Pollendine Image Credits: Hugo Millard

FEATURES 4

Tuesday, 6th October 2020

The ultimate Features guide to freshers’ week Features on getting involved in Durham University life this year Co-ordinated by the Features section features@palatinate.org.uk

W

ith insights from societies and advice from our contributors, this Features spread highlights the ways freshers can get involved in Durham University life this year.

Advice from the Features Editors “Looking back on my first year, I wish that I had thrown myself into an extracurricular activity more eagerly. Academics mattered too much to me, even though my final grade didn’t count towards my degree, and it was not until second year that I found a source for my energy and passion - Palatinate! Don’t have the same regret as me - find something in Year 1!”

- Immy Higgins “It’s okay if everything isn’t exactly how you had imagined. After months of summer filled with thinking about university, preparing and packing, it can feel frustrating if you don’t feel instantly settled in freshers week and beyond. For me, it took a while for Durham to be somewhere that felt like home. Be kind to yourself, give yourself time to adjust and enjoy the calmer moments as well as the exciting, hectic ones.”

- Elle Woods-Marshall “Fresher’s Week can feel like a race to quickly situate yourself in an exciting rhythm at university. The less glamorous truth is that finding your footing at university takes patience; forcing friendships and overextending yourself can burn you out before you even realise. Homesickness and loneliness are uncomfortable emotions, but don’t be too anxious to press fast-forward - trust the process and the discomfort will eventually fade.”

- Aadira Parakkat

Society Spotlight University is not just about your academics. There are a huge range of extra-curricular activities to get involved with, and below we have collated some insights into the different societies and organistions that Durham has to offer.

This year, the Freshers Fair can be accessed through one simple link: www.durhamsu.com/freshersfair.

‘This means anyone can browse, sign up and jump into video calls with hundreds of student groups,’ adds SU President Seun Twins. ‘Meet and Greet video calls will run 10:00-16:00 on Wednesday 30 September and Thursday 1 October, and Give It A Go week has been extended to a much more engaging and Give It A Go month. This means more opportunities for incoming students to explore everything that the Students Union offers in the safest way possible.’

“A wide range of different societies will be giving more information on what they do” Additionally, make sure to look out for different societies’ slots on Purple Radio, available to listen on air or on demand. A wide range of different societies will be giving more information on what they do and how to get stuck in across freshers week, so definitely tune in.

Purple Radio

By Elle Woods-Marshall Purple Radio, Durham’s award-winning student radio station, is a brilliant way to be involved in student broadcasting at university. At Purple there is always something to get involved in- whether it is live on air, recording a podcast, doing promotions or helping out with tech and website design. Email station.manager@purpleradio.co.uk with any questions and follow us on social media.

Palatinate

By Imogen Usherwood and Mosheim

Tash

Any current Durham student can get involved in Palatinate - writing, illustrating or photography is on a freelance basis. You can also apply for editorial roles when they open throughout the year. It’s a great chance to build some writing experience and cover topics from politics to fashion to science. If you have any questions, email us on editor@palatinate.org.uk!

DUCK

By Stella Amelie Peterson Durham University Charities Kommittee (DUCK) strives to empower Durham University students so that they can make a difference to amazing charities by engaging in unique experiences. The DUCK Officers lead teams of students to help with events, communication with charities, publicity and so much more. Whether you’d like to discover parts of the world through our expeditions, or join the team, we cannot wait to meet you!

FEATURES Tuesday, 6th October 2020

DST

By Gabbie Sills and Sophie Tice Durham Student Theatre (DST) is the home of theatre at Durham University. Whether you want to produce, direct, or run a theatre company, DST aims to support its members in doing what they love: to thrive, enjoy and make the most of the high-quality theatre our hard-working student body creates. From the implementation of socially distanced seating to online shows, we are working hard to make sure that theatre continues in these tough times. After all, the show must go on!

The Durham University Non-Law Into Law Society (NILS)

By Joe Zietman The Durham University Non-Law Into Law Society (NILS) aims to bridge the gap between non-law students and the legal profession. Non-law students acquire a very broad range of skills throughout their undergraduate degree and their value to the profession should not be underestimated.

NILS will be hosting a series of events throughout the year for non-law students that should help equip them with the skills and knowledge necessary to succeed in an increasingly competitive sector.

“Making new friends at Uni can be daunting for many at first, so just enjoy living in the moment”

Heads Up

By Nicola Thomson Heads Up is a student-led society focused on improving students’ mental health and wellbeing. It forms the Durham branch of Student Minds, a nationwide charity that raises awareness and support for mental health issues at university. Heads Up members can attend regular events to meet a supportive community outside of the collegiate system, and this year we have planned events ranging from a wellbeing walk to an exciting talk on mental health, as well as (possibly virtual) socials.

SSDP Durham

By Eleri Crossland SSDP Durham is part of an international student led organisation dedicated to reforming punitive drug policies and promoting sensible drug education. As part of our mission to ensure that Durham students can use drugs sensibly in a safe, non-judgemental environment, we task ourselves with campaigning against the university’s zero-tolerance drug policy, providing a space for students to discuss drug-related issues and distributing harm reduction information via leafleting and social media. Although SSDP neither condemns nor condones the use of any drugs, we believe that the war on drugs is a war on us and changing anti-drug attitudes will save lives.

Advice from our Writers ‘Don’t pressure yourself to stick to a friendship group: Making new friends at University can seem daunting for many at first, so just enjoy living in the moment.

Friendships will form naturally over time and they may or may not happen in the first week. Just go with the flow and be open to new people that you meet along the way.’

-Katie Heyes

5

“Don’t put so much ‘carpe diem’ pressure on yourself all the time” ‘Pace yourself: You’re at university for at least three years, which is longer than you realise. It’s very easy to go full throttle into the first term, only to burn out halfway through.

Don’t put so much ‘carpe diem’ pressure on yourself all the time; just pausing a moment and appreciating your surroundings can be invaluable. Sometimes taking time for yourself is the perfect remedy.’

- Johnny Tiplady ‘Homesickness is normal: Feeling daunted by the prospect of leaving home is completely normal. It doesn’t make you more immature than your seemingly fine, living-their-best-life flatmates, nor does it detract from your overall experience. These moments are fleeting, but one thing to remember is that you are forging a new kind of home here, with those you surround yourself with. If you’re feeling wobbly, reach out to those people and, if all else fails, a cup of tea and a favourite tv show are reliable antidotes.’

-Lily Riley ‘Add self-care to your calendar: When I think back to freshers’ week, I remember resolutely avoiding my dorm at all costs. For me, it meant succumbing to my comfort zone, and was counterproductive to making friends. We easily feel the fear of missing out, afraid everyone else becomes one step ahead in the friend-making race. But it is healthy to dedicate time for yourself, to speak with home friends, and you certainly should not feel guilty about doing so!’

- Becky Unsworth

FOOD AND DRINK 6

Tuesday, 6th October 2020

Durham’s takeaways: The top ten Madeleine Rosie Strom celebrates Durham’s top eateries Madeleine Rosie Strom food@palatinate.org.uk

1. Lotus Garden

Best Chinese takeway I have had in Durham and I have had a lot - trust me.

Delivery can sometimes extend further than expected, but you know what they say, distance makes the heart grow fonder.

Expect massive portion sizes that you can reheat for those healthy morning chicken chow mein breakfasts.

3. Lebaneat A Durham staple, the halloumi and falafel wrap is a wrap to end all wraps.For the carnivores amongst, try the mixed kofta wrap. Located on the Bailey, expect quick delivery times and exquisite Lebanese food.

4. Fat Hippo Another Saddler Street to Sofa takeaway, no need to wait for a table, just wait for the doorbell to ring!

With amazing vegan and meat burgers, the whole house can enjoy what Fat Hippo has to offer.

W be our Forget day, time

ith term starting and COVID regulations not easing any time soon, it looks like ordering in could new going out.

Players Wednesfor Takeaway Tuesday.

As someone who spent lockdown in Durham, it is safe to say that I have now become well acquainted with the takeaways of DH1. So here is a list of all the top places where you can splash out your maintenance loan. Put your feet up on the sofa - it is takeaway time!

2. Nandon Thai

Spring Rolls to die for and a brilliant Pad Thai, what’s not to love? If you want some great Thai food but cannot be asked to trek all the way to Crossgate (such an arduous trip I know), tap this in on the Deliveroo website and boom - dinner is ready.

7. The Court Inn

Bangers and mash, but make it delivered. That’s right, your favourite pub classics can be sent to you, all you need to do is make sure your favourite beverage (alcoholic or non alcoholic) is waiting for you in the fridge.

8. Greggs

Now this was a surprise to me.

A new addition on the JustEat website, the nation’s favourite bakery is going on tour! Hungover after a Zoom social? You can bag yourself a Breakfast Omelette Baguette for £2.85, or get a hot drink alongside it for only £4. What a bargain.

9. Stantons

5. Tango Opposite the Swan, this restaurant and takeaway place does the best nachos I have ever had. And I like my nachos. A lot.

A tad on the expensive side, but the taste truly is worth it.

Who needs the seaside view for a fish and chips, when you can just order from Stantons? Cod and chips for £6? Now that is a price I welcome warmly with open arms.

The cheesychips from here are also glorious.

10. Muntaha

6. Urban Oven

A true 2:30am post-club classic, now at any time! If you are truly missing your Friday Night Klute, why not purchase some cheesy chips or a kebab for your night in with some true cheese music playing the background, to truly get that ambience going.

Right, I am going to admit it, I cannot handle spice. So whilst I can only comment on the Korma and Pathia curry selection, I can wholeheartedly say you are in safe hands.

With a very wide range of Indian food, there’s something for everyone.

FILM & TV 7

Tuesday, 6th October 2020

The legacy of Keeping Up with the Kardashians Madeleine Rosie Strom explains why we can never escape the grasp the family has on Madeleine Rosie Strom culture and entertainment Film and TV Editor film@palatinate.org.uk

A

fter 13 years, 18 seasons and 256 episodes later, Keeping Up with the Kardashians is sadly leaving our telly screens at the start of next year.

It seems that we never truly asked for the Kardashians, but somehow, they always seem to make an appearance in showbiz news everyday. It could be an affair scandal, or a new lip kit, but whatever it is, we just cannot avoid that family.

“Kim K is a household name that truly describes the age of social media and celebrity culture” Let us have a look at the ‘cast’. We first have the matriarch, the mother figure that is Kris Jenner. And what a woman she is.

Say what you will, but her ability to exploit and monetise her own children is an incredible feat. The humble beginnings of the show are perhaps not too humble the leaking of Kim Kardashian’s sex tape.

Yet, it takes someone of great business knowledge and connections to build such an empire, purely out of one leaked video.

Of course, you then have Kim, the ‘star’ of the show. It should be noted however, that she was something of a Z lister before the reality series started. In fact, she was Paris Hilton’s stylist in 2003, when Paris had her own show ‘The Simple Life’. What a true noughties combination. Now? With 4 kids in tow, an enviable derriere and a rather turbulent marriage

with rapper, Kanye West, Kim K is a household name that truly describes the age of social media and celebrity culture.

Whilst the show predominantly focuses on Kim, it would be rude to not give honourable mentions to other cast members. Look at Kylie Jenner, who was only 10 years old when filming first started.

Standing now, with a net worth of $900 million dollars and the perhaps misleading title of Forbes’ ‘first self made millionaire’, the power of Instagram and a good publicist team has never been so apparent.

Or even her sister, Kendall Jenner, who is now a runway model. It has been argued that yes, whilst she is pretty, her status as a model never could have been recognised without her surname. That, I believe, is the success behind the Kardashian/Jenner clan. It does not matter how skilled one is, or how much knowledge one has. If you know the right people and have the right following, then you are sorted. Even Rob Kardashian, the less aired child of them all, has wriggled his way into the entertainment and fashion world with his own sock company.

“Is the show pure trash? Yes. 100%.

But it is brilliant trash”

A well off family has now seeped their way into every nook and cranny of the consumerist digital age we now live in. From the Met Gala to music videos, we are constantly thrust into the world of the KardashianJenner’s. There is a certain legacy behind KUWTK that other reality shows simply cannot compete with. Keeping Up with the Kardashians has brought some extremely memorable and quotable lines, a generator of comedy and memes that millennials and Gen Z would be especially familiar with: Kim Kardashian taking selfies in the car whilst her sister Khloe was going to jail Kylie Jenner thinking a pig was a chicken Kourtney and Khloe fighting each other with Louis Vuitton bags as weapons Kim losing her diamond earrings in the ocean, then being met Kourtney stating the iconic line‘Kim there’s people that are dying’ Is the show pure trash? Yes. 100%. But it is brilliant trash. The kind of trash where you do not realise the bland dialogue or the unwavering tone of voice from any of the cast (maybe Scott Disick and Khloe Kardashian should be exempt here), because you are too busy admiring how beautiful and luxurious their houses are.

However, this trash has been sitting in its bin bag for too long. The KardashianJenner empire have simply outgrown their show. Whilst it has been rebranded (and themselves have rebranded multiple times), the age of television is simply dying, to put it simply. With a combined following of 550 million followers on Instagram, the future is digital, rather than televised.

Am I still going to follow what the Kardashian-Jenner clan have planned? Of course I am. Am I proud of it? Not entirely.

You can hate and moan about this family, but we all know, we can never escape them.

Image: The Salvator via Wikimedia Commons

STAGE 8

Tuesday, 6th October 2020

In conversation with Caitlin McEwan Jacob Freda interviews Caitlin McEwan on breaking into professional theatre Jacob Freda stage@palatinate.org.uk

C

aitlin McEwan is a playwright and actor. Since graduating from Durham in 2014, she has written and performed numerous times at both the VAULT Festival and the Edinburgh Fringe. Her latest play, Everything Must Go, was one of 35 plays shortlisted for the inaugural Women’s Prize for Playwriting, out of 1,169 submissions.

Caitlin McEwan has certainly been keeping busy over lockdown. In the past month alone, her play Everything Must Go has been nominated for no fewer than three major writing awards: it was shortlisted for the Women’s Prize for Playwriting, shortlisted again for the Papatango New Writing Prize, and longlisted for the Soho Theatre’s Verity Bargate award.

The validation has been somewhat vindicating for the Durham graduate. Having received “a lot of no’s and a lot of maybebut-no’s” on the script, she submitted it to the three awards with an idea that “maybe something will come from one of them”.

To be recognised by all three has therefore come as a very welcome surprise.

Growing up in Edinburgh, Caitlin attended the Lyceum Youth Theatre, where she was given her first inclination of pursuing theatre as a career. “I think just knowing people who want to do it gives you a lot of confidence,” she says. “It’s like, if that person wants to do it then it’s okay that I also want to do it, and maybe we all can.”

But instead of going to drama school, Caitlin decided to pursue a degree in English at Durham University. Does she ever regret not going into formal training? “It’s hard to say. There is some sense with people who have trained that they know something I don’t, but I don’t think it’s ever really limited the opportunities I’ve had.”

As with most students involved in theatre, Caitlin admits she spent far more of her time at university acting than focusing on her degree. She immersed herself in Dur-

ham’s student theatre scene, performing with companies like DULOG, CTC (taking As You Like It to America), and DIM. Yet interestingly, Caitlin didn’t start writing until after she had finished her degree. “It was something I wanted to do but I think I had imposter syndrome”, she recalls. The prospect of putting your own work out there seemed daunting – “I’d never written a play before” – and it was only during the dead space between graduation and employment that she wrote her first play. She submitted the script to DDF, where it won Best New Writing, leading to her being invited to that year’s National Student Drama Festival.

She advises against taking things too seriously, however. “My experience with DST was really formative, but I think because Durham’s so small, you can over-think your place in the pecking order. I always wonder if I’d empowered myself more, and told myself, you can do this just because it’s an available option, then maybe I would have written here.”

A year after graduating, Caitlin teamed up with some friends from the year below to put on their first “semi-professional” play, in a fringe venue above a pub.

None of them had any idea how to get into the industry, so they just decided to go for it. “It was just me in a play with two of my friends f r o m uni – we could’ve

done that in the Assembly Rooms!”

Eventually, one project led to another, and while Caitlin is not yet able to live solely off writing (“it’s very, very boring how expensive it is to live in London”), she has been able to reduce her hours at the Royal Court box office to part-time, thanks to some recent commissions and the success of her latest Edinburgh Fringe play, Bible John.

“I’ve done almost every clichéd job you can imagine”, she tells me. One particularly gruelling stint at a West End box office saw her working 10-hour days, before being told that she would have to use up all her holiday pay in order to take time off for the Fringe.

“I was like, I’m not going on a little jolly, I’m going to Edinburgh to do two shows – and I’m responsible for whether they make any money or not! I came back straight afterwards, and within two weeks I had contracted gastric flu.” She describes this as an apt metaphor for trying to make a living while working as a creative.

What would she say is the most important thing a writer can have at the moment? “I guess it’s just hope, actually. It’s hope that things will return, and that you just have to keep writing because you love it, and eventually the stories you are writing will be able to be seen.

To write through a global crisis certainly takes a lot of hope.”

Image Credit: Andrew James

STAGE Tuesday, 6th October 2020

Do act0rs’ obituaries get it right?

9

Issy Flower reflects on the death of Diana Rigg and how we memorialise artists Issy Flower stage@palatinate.org.uk

W

hen Diana Rigg earlier this month, Twitter was flooded with memorial hashtags, childhood memories and photos. However relatively few of these were from her illustrious stage careerthe majority focused on her time in The Avengers and Game of Thrones with perhaps a smattering of Shakespeare and Chichester Festival here and there. Is this the right way to memorialise our actors, and do they deserve more focus given to their lives off the screen?

To some this might reveal a traditional bias, even classism, against television and film as ‘lesser’ formats for actors, suggesting that their performances are not as worthy, not as considered or intellectual as on the stage.

This is clearly rubbish as good actors are good actors, and they consistently lift good scripts and give performances regardless of the medium and these should be celebrated. Andrew Scott’s Hamlet was as good as his Moriarty, and viceversa, and both deservedly won awards.

Similarly, it is these screen performances that normally reach a wider audience— this often seems to be the case for ‘genre’ films and shows in particular, which are sneered at by critics and loved by viewers.

Edward Woodward, for instance, was an actor whose stage career spanned from the 1940s to the 2000s, but whose obituaries focused on two well-received spy shows and a folk horror in which he was brutally burnt to death. The same applies to Diana Rigg: her performances in The

Avengers and Game of Thrones brought her art to the attention of multiple generations, and to disvalue this impact is an insult to the people who watched and enjoyed those programmes as much as a night out in the West End. However, perhaps a little more consideration should be given to these actors’ theatrical art due to the impact it had on their own lives. After all, there is a reason that these actors, safe and secure in lucrative screen careers, kept coming back to the stage. Namely their love of it and the desire to really connect with an audience, as Diana Rigg put it, ‘bring them into your truth’ without the glass between you. Their passion for what they do is sometimes missed in favour of trotting out amusing anecdotes or trivia in obituaries and so a key part of their lives is ignored when celebrating them. Similarly, actors’ lives are often shaped by their experiences in the theatre: marriages, divorces, births, all play out against the backdrop of the theatrical community and so adding some of this context into an obituary may serve to allow a reader to understand the shape of a life as well as a career. Ian Holm’s marriage to Penelope Wilton maybe makes more sense when you separate them from their roles as Bilbo

and Harriet Jones MP, as both were respected stage and television actors with a particular line in Pinterian intensity. Art helps to understand life, and vice-versa.

“the intense impact they had on millions” In the celebration of iconic actors, their stage-work should neither be the sum of their lives nor the thing we forget. Although the screen is often what they are remembered for, and sometimes where they delivered some of their greatest performances, these actors were passionate about theatre, and to place more emphasis on it within an obituary pays tribute both to their love of their craft and the impact it had on their lives, without devaluing the intense impact they had on millions through their other work.

Yes, Diana Rigg was Emma Peel, but she was also Lady Macbeth, Medea, and Eliza Doolittle. Both sides are worth remembering.

Image Credits: Wikimedia Commons

FASHION 10

Tuesday, 6th October 2020

Waist up fashion: From home to runway Emily Potts discusses the growing fashion trend brought with life online Emily Potts Fashion Editor fashion@palatinate.org.uk

F

or some time, fashion has been trending toward ‘waist up’ clothing – a detailed and elegant top half of an outfit, complemented with a relaxed and elasticated bottom half.

This trend has been profoundly exacerbated by the coronavirus pandemic, bringing home the reality of this fashion, aligned with current online working and soon, online university education. Many designers have been inspired by this new and challenging way of working, with a vibrant top and a relaxed trouser being prominent at both London and Milan Fashion Weeks.

Alexandra Fullerton of Glamour Magazine noted that Roksanda heavily focused on tops and had their models “lounging” in their collection which was presented in a Kings Cross apartment.

Prada also acknowledged the pandemic and the integral part that technology has played in our working lives by moving the logo to a place it has never been before, the collars of the collections tops.

In March this year, many found that they were displaced to now be working at home, having to be in meetings over Zoom and Teams. No longer were millions of people selecting cohesive outfits to impress their professionalism upon the wider world but were dressing from the waist up, disregarding anything out of the view of their webcam.

“UK clothing sales collapsed by 34% in March”

Especially in 2020, with the ongoing climate crisis that the fashion industry has been criticised of contributing to, and then the current COVID-19 pandemic, the need for the industry and the subjectivity of style and expression has come into question. It is now, for what seems like the first time, that what we are doing at home or what is happing in society is having a greater influence on the fashion industry.

According to the Office for National Statistics (ONS), UK clothing sales collapsed by 34% in March, as a national lockdown depleted the need for new clothing. Workers traded in high-end suits in favour of convenient loungewear.

This saw a rise in profits for fast fashion brands such as Boohoo as their sales boomed with thanks to the sale of joggers.

Now, as Durham University takes a blended approach to learning, most of us find in-person teaching reduced and Zoom calls substituted in. Whilst some might say that you don’t need to think about what trousers you wear now, what you wear on your bottom half should become your top priority to ensure your comfort and style.

When it comes to finding brands that are ethical and inclusive, yet affordable, it isn’t always easy or realistic to check all three boxes. However, there are some great items available that meet most of these requirements.

H&M offers a good range of affordable options having many different styles and fits for all body types. The women’s section provides different colours from pastels to basics, as well as joggers that are at different price points from £8.99 to £79.99. Although the men’s section has less colour, it still has a great variety of style and pattern. The Black and White

Checked slim fit joggers, priced at £24.99, are a stand-out pair as they could be styled up or down if leaving the house for an in-person tutorial.

For men and women alike, the size of the jogging bottoms varies from XS – XXL, equivalent to a size 6 to a size 26.

H&M has taken steps to become more environmentally and ethically sustainable by having a conscious range, as well as being transparent with their production suppliers, albeit a brand that arguably still indulges in fast fashion with new arrivals occurring regularly, intensifying the need to consume.

Perhaps not the first place to try, Marks and Spencer’s offer the Cosy Lounge Cuff Jogger in short, regular and long sizes, from size 6-22 in all categories.

For those not wanting to buy first-hand, Depop also offers a range of second-hand joggers, for which you can personalise a price range.

All students can express themselves in whatever way they choose from the waist up, but it is the loungewear from the waist down that will become a staple in everybody’s wardrobe for the foreseeable future.

Image Credits: charlesdeluvio via Unsplash

VISUAL ARTS 11

Tuesday, 6th October 2020

‘The Self’, schizophrenia, and self-portraits Finlay Purcell explores identity and mental health in Bryan Charnley’s paintings Finlay Purcell visual.arts@palatinate.org.uk CW: Mental Health and Schizophrenia

T

here can be a tendency to interpret the behaviour of schizophrenics in clinical terms, to see ‘symptoms’ and ‘deficiency’. However, Bryan Charnley’s seventeen self-portraits that he created as he experimented with medication for his schizophrenia, eventually stopping completely, expose truths about the human experience that should not be swiftly labelled as ‘insane’. The self-portraits are

an exposition of a profound and common alienation of living in modern society.

When a schizophrenic retreats from our shared human experience, they gain a unique perspective on how society functions and how it can isolate the individual. In Charnley’s penultimate painting he lays bare his ontology. He shares the paranoia not solely of a schizophrenic, but one of alienation and fear that is common in the Modern city. Charnley displays (with

a fearful depiction of a city map closer to a soldier’s map than a self-portrait) the relationship in which urban life and paranoia are intimately linked in our own symbolic creations of the outside world.

The ever-growing abstraction as Charnley’s ego crumbles allows an interrogation of his own isolation. While each painting is an articulation of his intense alienation from society, the social is present everywhere; each arrow, each floating mouth is an indictment from the outside, each blank face a signifier of his disembodiment.

As the objective social logic of urban life and medicine crush Charnley’s self-perception, his art becomes a desperate deus ex machina. The set of notes that he kept refer fleetingly to his drug intake, insisting that his art is an arena in which his identity is not defined by his medication but rather by his creative output.

Charnley projects an abstract, symbolic and subjective identity onto his works in an attempt to isolate the boundaries within his disembodied, divided self.

Instead of seeing a ‘symptom’, we now see Charnley’s true self expressed. When in his delusion he is left aphasic, the loss of his authentic self leaves only visual symbols for Charnley to fully communicate with the viewer. A motif of mouths in bondage and nailed shut exhibits the withdrawal from speech. His frustration in trying to properly communicate his experience is one I believe all people have felt at some point in their life. The project is a venture to communicate the incommunicable and

through this Charnley allows us to understand our struggle within ourselves.

“it is the relationships between people that affirm our existence” It must also be recognised that part of the form of Charnley’s paintings is his easing off his medication. It is a deep irony that in delving into the murky waters of his subconscious to find his ‘real self’, the ‘schizophrene’, that Charnley’s last painting is no longer an abstraction of his ‘self’ but negates the self entirely. The last piece is covered in a vulgar combination of brown, yellow and red; Charnley found the permanence of his being in pain and anguish.

Despite his courageous efforts, Charnley’s roving ended tragically with his body being found next to his final piece in the series. For all the light that was shed on the condition of man and schizophrenia, Charnley’s existential reaction to living life in urban, modern capitalism highlights the failure of humanist individualism. The introspective search for ‘the real’ exorcised his demons, however, Charnley found peace with his inner self beyond the canvas. In his notes he talks of an infinitely powerful exchange with his brother that lessened his torment, noting “this was the first real help I had been given in my illness”. I would argue that Charnley proves that searching for inner transcendence or projecting meaning onto objects (art) will only alienate us more. In one way, Charnley understood that it is the relationships between people that affirm our existence.

Image Credits: Bryan Charnley via Creative Commons

INTERVIEW 12

Tuesday, 6th October 2020

On language degrees in the pandemic Modern Languages and Cultures Department: “Our agreed commitment is to get students abroad where we can, when we can” Claudia Jacob Interview Editor interview@palatinate.org.uk

A

Modern Languages and Cultures (MLAC) degree at Durham University is a particularly unique programme, given that students are required to undertake a compulsory year abroad in their third year of study, in order to be exposed to the language and culture first-hand. Students have the option of studying at a partner university or completing an internship in a field of their choice. It’s undoubtedly something that makes students stand out in the job market, since few others will have had the opportunity to live in a different country before having graduated. Professor Jonathan Long, Head of the Modern Languages and Cultures School, and Professor Santiago FouzHernández, outgoing Director of Education at MLAC (who has just come to the end of his term and has handed over to Professor Charles Burdett), explain the way that they envisage the year abroad going ahead this academic year, given the travel restrictions posed by Covid-19.

Santiago explains that, although the purpose of the year abroad is to “provide students with an authentic experience [of] working or studying in other countries”, unfortunately, the pandemic has meant that “the authentic experience for many students and professionals around the world at the moment is a virtual one”.

The outbreak in March 2020 meant that year abroad students were forced to return to the UK, due to concerns over the students’ welfare and the University’s insurance cover.

Since the University is committed to “ensur[ing] students’ safety”, the decision has been taken not to approve student travel to countries that are cur-

rently on the FCO restricted list, until it is safe to do so. However, if a country is not on the list on the day of departure, students will be allowed to travel as planned, as long as they respect the government guidelines and quarantine upon return to the UK (should the regulations require it).

The department emphasises that, should students choose to go abroad anyway, covered by their own private insurance, this will not officially count as a year abroad.

Instead, students will be required to sign up for the “virtual year abroad

support programme”, in order to retain their ‘with year abroad’ status.

The programme, which was developed during the Easter vacation for the 2019/20 cohort as an emergency measure, includes up to two weekly contact hours with Durham tutors online, optional 15 minute one-onone tutorials, and the submission of a piece of work which will be marked at the end of the academic year, as well as recommendations as to how independent language learning can be optimised. .

“ The University will not be able to support students financially if they have to pay additional expenses” The Target Language Research Project, which students are required to complete every year (irrespective of Covid-19), remains

INTERVIEW Tuesday, 6th October 2020

a necessary learning requirement, although the marking criteria have been altered slightly, to take into account the lack of direct cultural immersion The department is committed to being “as flexible as possible”, therefore, if students are forced to return to the UK earlier on in the year than planned, they’ll be able to start the virtual programme at any point. MLAC is encouraging its students to plan their year abroad as usual, but has stressed that they’ll need to be flexible and may need to adapt to a virtual year abroad should the situation change.

It adds that the University will not be able to support students financially, should they have to lose any deposits or have to pay additional expenses, nor will Erasmus. (Although the Erasmus grant has been guaranteed for 2020/21, this will only be available to students if they are abroad under the University’s insurance.)

In terms of the future, MLAC is being forced to consider how best to make a virtual year abroad work. It emphasises the fact that, like at Durham, many of the international partner universities have adapted their learning resources to be online. The School is also in the process of appointing a Virtual Year Abroad Officer, who will be committed to “developing virtual and online placements in order to offer additional options to students whose travel plans are disrupted”. The Department is “cautiously optimistic” that the majority of the students will be able to spend at least some time abroad this academic year, but it’s intended that in any case, the virtual programme will be sufficient in helping students to meet the learning outcomes of the year abroad.

It’s undeniable that students whose years abroad were curtailed will put them at a disadvantage linguistically, compared to previous cohorts. However, Jonathan is confident that the ways in which students have been able to adapt, given the restrictions caused by Covid-19, “has the potential to give them a real edge on the job market when the time comes, given the high premium placed by employers on precisely these qualities” The School is also looking into ways

to support the incoming finalists in their studies, to allow for the fact that some students have had little to no exposure to the language.

“We are determined to be flexible without compromising the high standards that employers expect from a Durham degree” The School is also looking into ways to support the incoming finalists in their studies, to allow for the fact that some students have had little to no exposure to the language. However, it emphasises that “above all, we are determined to be flexible but without

13

compromising the very high standards that employers expect from a Durham Languages and Cultures degree”, since Durham has one of the most prestigious Modern Foreign Languages institutions in the UK, both in terms of teaching and research.

The department would also be willing consider concessions enabling students to transfer to a 3-year programme, meaning that they would take their final exams in their third year, although this will be reviewed on a caseby-case basis and will by no means be the default solution.

Although the concept of a virtual year abroad may put future candidates off applying to study Modern Languages, Jonathan and Santiago are confident that “recent socio-political developments world-wide have increased the need for languages and cultures degrees”, adding that applications have increased considerably this academic year, despite the fact that the UK’s participation in the Erasmus scheme post-Brexit remains uncertain. It’s clear that year abroad students remain in limbo as to how exactly they’ll attain the language exposure necessary to be able to satisfy their degree requirements, but the department is hopeful that the current travel restrictions are temporary, although this, is of course, out of its control.

Please note this interview took place before the recent developments in student travel were announced.

Credits: NurPhoto via Getty Images

MUSIC 14

Tuesday, 6th October 2020

‘Music Sampling’: Criminal or creative technique?

Kat Pittalis Music Editor music@palatinate.org.uk

E

ver listened to a song and made a comment such as “this sounds exactly like the melody from another song”? Well, what you would have encountered is an artist using the technique of ‘Music Sampling’. Music sampling is known as the act of utilising or reusing a segment of a previously recorded track and implementing it into a current artists’ work. Within the current popular music scene, this technique is appearing to take a more prominent role amongst artists. The question is how one considers the true meaning behind using music sampling. Is it a complication due to the numerous lawsuits that it has caused alongside creative differences with the original artists or a technique that influences and develops music across all genres?

Although music sampling has been branded with legal controversy and the idea of ‘laziness’ amongst artists, it has paved its way into transforming creativity.

The renowned English DJ, Mark Ronson described sampling in his Ted Talk, How Sampling Transformed Music, as not “hijacking nostalgia wholesale” but instead artists “hear[ing] something in these [old tunes] that speaks to them”. He further goes on to say that “in music, we take something that we love, and we build on it”. For example, Ronson co-produced Amy Winehouse’s critically acclaimed album Back to Black, sampling vintage soul records for the production of her songs. “Tears Dry on Their Own” uses the same chord progression as featured in Marvin Gaye and Tami Terrell’s 1967 single “Ain’t No Mountain High Enough”.

This song clearly demonstrates

Ronson revitalising an existing track, putting emphasis on the new meaning provided by Winehouse’s lyricism.

Another track that needs to be taken into consideration when discussing music sampling is Doug E. fresh and Slick Rick’s 1984 single “La Di Da Di”. This track has been used countless times and adapted to be utilised in current musical trends through the decades. The Notorious B.I.G sampled the melody in his number one single “Hypnotize” and more than a decade later, Miley Cyrus injected aspects of this original melody into her 2013 song “We Can’t Stop” which achieved the second spot in the Billboard Top 100 that year. The fact that this sample was used within two generations demonstrates how timeless this melody is and that through an artists’ creativity and vision, depending on the musical trends, they are still able to produce popular tracks. Overall, Ronson and other modern music producers demonstrate that the sampling of classic songs in a modern, musical context spark an artists’ inspiration and interest in these timeless characteristics and further emphasises the creativity through the expression of giving a new essence of life to these old tracks.

On the other hand, one of the biggest complications to arise from the use of music sampling in the industry came from The Police’s 1982, Grammy winning, hit “Every Breath You Take”. The captivating melody led to other artists re-using it for their own creative purposes, with P. Diddy being one. The chorus of his 1998 Grammy-winning hit, “I’ll be Missing You”, demonstrates

the clear use of music sampling from The Police’s track. The complication that came from this was Puff Diddy’s and his record labels’ failure to request permission from the band to re-use their melody or even credit them at all. Andy Summers from The Police described the remixed song as “the major rip-off of all time”. This dispute overall led to the lead singer, Sting, filing a lawsuit against P. Diddy, resulting in him receiving 100% of the remix’s royalties.

Another similar situation occurred with Vanilla Ice’s “Ice Ice Baby”, where he failed to give any credit to Freddie Mercury and David Bowie for sampling their “Under Pressure” bassline. To avoid a lawsuit, Vanilla Ice ended up paying the artists and providing song-writing credit. In the cases presented, they demonstrate how the use of sampling causes consequences with the artists reputation being tarnished. Combined with these lawsuits, there are further arguments claiming that sampling demonstrates the artists’ ‘lack of creativity’. This is because of the modern artist featuring a hardly altered which to a listener can be interpreted as a complete copy of the original with the only exception being the altered lyrics as demonstrated with “I’ll Be Missing You”.

Overall, the question remains of whether music sampling is a creative approach to producing popular music tracks or if it is criminal. One might even go as far to say that all music is in some way sampled due to artists using the chord progressions and melodic writing that share similarities with the Classical or Baroque era.

The idea of revitalising music is crucial in the case of sampling as with P. Diddy, although he sampled The Police’s track without permission, the meaning behind the lyrics led him to winning a Grammy 14 years after the original track was released.

Image Credit: Mark Ronson at NH7 Weekender by OML Entertainment via Wikimedia Commons

CREATIVE WRITING 15

Tuesday, 6th October 2020

Instapoetry and the illusion of depth Abi Huke queries the value of Instapoetry in creative and public spaces Abi Huke creative.writing@palatinate.org.uk

A

cross the last decade a new type of poetry has emerged: Instapoetry. This latest wave of poetry was born after writers began to share their work on social media platforms (primarily Instagram, but also Twitter and Tumblr). The verse is characteristically short, with simple language, enjambed lines, and laid out in a manner which is visually appealing, often accompanied by a black-and-white line drawing.

Instapoetry is exactly that: instant poetry.

Instant in both creation and consumption.

It takes neither writer nor reader long to establish the poem’s message.

Instapoets have accumulated mass followings on social media platforms, many have gone on to sell millions of copies of their published works. Rupi Kaur is perhaps the most influential Instapoet, amassing a following of four million on Instagram, and being named the Writer of the Decade by the literary site, The New Republic. Kaur along with Amanda Lovelace, Lang Leav, and Atticus are amongst the most well-known Instapoets who have been credited with regenerating the art form to better suit a 21st century audience. However, is this next step in the evolutionary process of poetry damaging it rather than reviving it?

Instapoets have been the recipients of harsh criticism, and rightly so. Instapoetry lacks heart. The oversimplification of the form feels disingenuous. Despite tackling fairly universal topics such as self-love, feminism, relationships, and sexual abuse, the handling of these give the illusion of depth, while lacking in any real substance. The combination of the simple structure and confessional subject matter causes Instapoetry to read more like shower thoughts, or a late-night text conversation with a friend, rather

than a refined and revised piece of verse.

Poetry does not have to be complex to deserve literary merit. Simple poems can be beautiful. A lack of emotional depth, hidden meanings or ‘aha’ moments, however, leaves Instapoetry feeling hollow and soulless. The conclusion can be drawn that Instapoets have traded in integrity for accessibility and Instagram likes.

Social media is king in the twenty-first century. Therefore, it comes as no surprise that poetry has become a victim of the algorithm. Stripped to its bare bones,

watered down to the point of destruction, and oversimplified so that it has arguably lost its magic; Instapoets have succeeded in making poetry marketable, but in doing so have left it colourless and mediocre.

Instapoets have crafted their work into the most sellable version of itself and willingly participated in the commodification of the art form for capitalist endeavor. The formula for Instapoetry success is so simple and transparent that there have been countless parody accounts created on social media platforms to satirize the growing

popularity of this new subgenre. The lack of range and ingenuity across the Instapoet population proves that they have found a blueprint which sells. It is more profitable to churn out more of the same than to breathe any life into their own work.

Modern day life is jarringly fast paced.

Everything is created to be consumed quickly, so that we can consume a lot. Our fashion, our food, our media, and now our poetry. It makes perfect sense that this decade would create a type of literature which is the shortest, most accessible, easily understood, and with the simplest message to take away. But perhaps some things deserve to take up more time.

Some things deserve to take up more space. Poetry is one of those things. It should not be so easily digested within a minute.

Historically, poetry has been a method of social commentary.

Therefore, it is infuriating to see it being used in a way which is mercenary and ignorant of self.

It is this lack of self-awareness which characterizes both the readers and writers of Instapoetry. Whether they choose to ignore or cannot see that the new sub genre’s primary purpose is to fit with an aesthetic, and to give the illusion of depth without any work on behalf of the writer or reader, it makes a mockery of those who have worked for years to perfect their craft.

Instapoetry deserves a seat at the literary table, but it does not deserve the level of merit it has been awarded. It prefers style over substance and commits self-murder to squeeze itself into a box.

These poets claim to have given us a moment of honesty and authenticity in our news feed but have only added more superficiality under the guise of profundity.

Image Credit: SincerelyMedia via Unsplash

TRAVEL 16

Tuesday, 6th October 2020

Escape to the country Gracie Linthwaite explores five beauty spots around Durham Gracie Linthwaite Travel Editor travel@palatinate.org.uk

2. Barnard Castle

3. Cow Green Reservoir

1. Finchale Priory

Finchale Priory stands nestled in trees along the banks of the River Wear. The priory was once an outpost of Durham Cathedral and until its suppression in 1538, acted as a retreat for the monks of Durham. The priory is a 2 hour walk from the city centre, which is the perfect way to fill a spare afternoon.

4. Lindisfarne

There are many reasons to visit this charming town, but testing your eyesight shouldn’t be one of them. Wander through historic cobbled streets, visit independent shops and cafes, or perhaps go for a walk along the river. The castle itself is open to visitors and provides a great view over the Tees Gorge. For those wanting to explore the local wildlife, the circular walk through Flatt’s woods offers visitors flora such as bluebells and primroses in the spring, and holly and snowdrops in the winter.

The reservoir lies at the centre of the North Pennines Area of Outstanding Natural Beauty and has the most diverse range of upland habitats in Britain, ranging from lower lying hay meadows to limestone grassland and blanket bogs.

After a summer stuck inside, visitors can relish the vast open space on a moorland walk, or birdwatch along the banks of the reservoir.

5. Alnmouth and

Warkworth Castle

This historic tidal island lies just off the Northeast corner of England, and can only be accessed by a causeway which is covered by the sea twice every day. The island is renowned for its medieval religious heritage as well as its picturesque 16th century castle, but it is also home to a conservation area and pebbly beaches.

The world famous ‘Lindisfarne Mead’, a unique fortified wine, is also produced in St Aidan’s Winery on the island, and can be purchased in the shop.

Known as the ‘Tobermory of Northumberland’, the seaside town Almouth attracts visitors with its picturesque colourful houses, quiet beaches, and diverse collection of wildlife species.

Make sure to check the tide timetables before your visit, as it is easy to accidentally get stranded on the island!

Photography by Gracie Linthwaite