Indigo 816

indigo 816

EDITORIAL Thursday, 7 March 2019

2

www.palatinate.org.uk

VISUAL ARTS 3 Everyone is welcome: Combatting racism in the art industry FASHION 4-5 St Aidan’s College Charity Fashion Show 2019: A Midsummer Night’s Dream BOOKS 6 Breaking the mould

MUSIC 7

Should we leave Post (M)alone?

CREATIVE WRITING 8-9 Voices of Durham FILM AND TV 10 Roma review FOOD AND DRINK 11 Dumplings for days: food that gets you through the day FEATURES 12-13 Towering above us: the story behind Durham Cathedral’s tower STAGE 14 What’s on?

TRAVEL 15 Shocking, Scary and Sublime INTERVIEW 16 The Green Conference for locals and students alike

During last week’s Academy Awards, Lady Gaga spoke about the importance of being determined, impassioned and believing in yourself. Her self-confidence radiated through her speech and was at the very least, inspiring. Gaga’s words prompted me to reflect on my own struggles with self-confidence and self-belief.

For myself, and I’m sure for many others too, maintaining self-belief and self-confidence can be extremely tough, particularly at university. I often contemplate my capability to succeed and fulfil my goals. I sometimes doubt my intellect and consider myself incompetent and unworthy of being at Durham. I sometimes become overwhelmed by challenges that arise and wonder how on earth I can overcome them. Although this may not apply to all individuals, doubting oneself seems to be a prevalent issue amongst students.

To those who do lack self-belief and confidence at times, the advice I’d give to you is ‘if you can believe it, you can achieve it’. It is imperative that if you do ever doubt your capability, to remind yourself of why you are here.

I urge you to reinvigorate the motivation and determination that got you to where you are today. Remind yourself of your strength and your capability to succeed. Be confident and embrace your abilities. You should definitely give yourself some credit as your hard work has brought you this far, so keep fighting on.

This advice has certainly aided me this week.

Following the resignation of our editor, I have been faced with the challenge of leading Indigo. At first, I felt extremely apprehensive as I have only 3 editions worth of editing experience. However, reminding myself of my abilities greatly contributed to my self-confidence and soon the apprehension became motivation. I was determined to succeed despite the tricky situation surrounding the publication of this edition. It is this self-encouragement and motivation, along with the brilliant cooperation of the indigo section editors, and the support of both editors in-chief that this edition of indigo has been made possible.

INDIGO EDITORS Shauna Lewis Carys Frost (deputy) FEATURES EDITORS Kleopatra Olympiou Imogen Usherwood (deputy)

CREATIVE WRITING EDITORS Rhiannon Morris Susie Bradley (deputy)

STAGE EDITORS Martha Wrench Gabriella Sills (deputy) VISUAL ARTS EDITORS Stella Botes Jo Chandler (deputy) BOOKS EDITORS Freya Neason FASHION EDITORS Anna Gibbs Ana Hamilton (deputy) Frankie Reffell (deputy) FOOD & DRINK EDITORS Piers Eaton Philippa Murrison TRAVEL EDITORS Abir Mishra Alex Bicknell Cummins (deputy) FILM & TV EDITORS Hugh Johnson Josh Sagoo (deputy) MUSIC EDITORS Fran Howard Tom Watling

CF www.facebook.com/palindigo Follow us on Twitter and Instagram: @indigodurham Have a question, comment, or an idea for a story you’d like to write?

Email indigo@palatinate.org.uk

VISUAL ARTS

3

Thursday, 7 March 2019

Everyone Is Welcome Combatting racism in the art industry

By Kimberly Hermo

A

recent study has discovered that 85% of artists represented in U.S. art institutions are white. Yet, the population of North America is only 60.7% white. Is this discrepancy indicative of racism in the art world, both in the U.S. and closer to home?

We all must be active in demanding a diverse collection to support artists of colour The reasons for racial imbalance in art collections are, of course, complicated - so much so that they often go unquestioned.

A popular defence of the lack of representation is that art by people of colour was never favoured in its time. Yet art being unappreciated ‘in its day’ hasn’t stopped white artists like Van Gogh from being shown in galleries – so why is this excuse used for artists of colour? This view also biases European history as the supreme influencer in art history – what about Native and Latin American art, Asian art, African art? Shockingly, the survey discovered that 88% of art institutes’ collections are about European and North American art. The root of this problem does not seem to be historical accuracy, but a collective disinterest in recognising the contributions of other cultures.

As long as white people get to tell the story, people of colour will be misrepresented. The preference for white art under any pretext inevitably leads to a normalisation of the ‘white gaze’.

Art by people of colour is necessary f o r a wider pro-

gressive movement that challenges the assumption of beauty and good art. Prioritising white artists for the sake of ‘history’ is, whether unintentional or not, a political statement that is being hijacked as an acceptance of white supremacy. which should be reason enough for us to challenge the control of the white perspective over art institutions.

Some galleries have taken measures to confront the destructive colonial attitudes evidenced in so much white art. For example, the Met Museum is currently showing “Artistic Encounters with Indigenous America” where Native American artist Wendy Red Star questions and reveals racist stereotypes fuelling these depictions, alongside the colonialists’ artwork.

This is a good start, but it still cannot justify the discrepancy of artists shown.

A new narrative must be put forth in order to reflect, and re-balance, the ethnic diversity of artists throughout history.

Racism is more subliminal, weaving its way into our consciousness I believe one solution lies in employing more people of colour in influential roles.

According to a comprehensive survey of U.S. art institutions, despite a 4% increase since 2015, people of colour are consistently underrepresented as museum staff.

Curator and art historian LaTanya S. Autry noted that for years she has been the only person of colour at curator meetings. In conse-

quence, when she “proposed programming centred on issues of racial inequality, white co-workers told [her] that the museum had to maintain a neutral stance”.

We all must be active in demanding a diverse collection to support artists of colour and the perspective they represent.

One way we can do this is through making art institutions conscious of their unconscious bias towards white people. The artist Elizabeth Meggs noticed that The Morgan, a large museum hosting multiple exhibitions, has scheduled exclusively white male artists in their upcoming 2019 exhibitions.

Her consequent change. org petition gained traction and resulted in response and change by the museum.

Small acts like these show it’s worth putting pressure on museums to diversify their collection. This is something we can all do, through tweets and petitions alike.

If we want to celebrate diversity, let’s start here

Illustrations by Kaitoise

So, are art institutions racist? Yes, but not in a Hollywood way where white folk parade around abhorred at the celebration of a black artist. Racism, as in many creative areas, is more subliminal, weaving its way into our consciousness through appreciation of art that is imbued with a white European perspective, leading us to think that this is a cultural norm. Research like this is vital in revealing subconscious white power even in ‘progressive’ fields like art. If we want to celebrate diversity in our societies, we can start here: the place where tourists visit to learn about our values, the place that kids may go on school trips and holidays, the place where history is expressed and creativity is championed. I hope one day any person of colour can feel as welcomed there as I, a white person, do.

FASHION 4

Thursday, 7 March 2019

St Aidan’s College Charity Fashion Show 2019: A Midsummer Night’s Dream

By Anna Gibbs and Ana Hamilton Fashion Editor and Deputy The 2019 St Aidan’s Fashion show exhibited a variety of colourful and vibrant pieces, which allowed for a fusion of different styles. This catered well to the theme of ‘A Midsummer Night’s Dream,’ which gave an aura of pastel enchantment to the show.

For a college fashion show, the high quality of the clothes was verging on DUCFS levels, however the diversity of the models, both in appearance and size did well to improve on DUCFS’s lack of body diversity, demonstrating that beauty is not one set ideal.

Amy Louise Redford’s ruffled mint, lemon and dusty pink dresses were another highlight , with both a classic and futuristic air about the robe-esque flowing dresses.

Rebecca Dixon, a NTU Fashion Design 2018 Graduate, showed a collection which again featured explorative, almost sculptural tailoring along with bold use of colour, with her pink dress especially reminding me of a scrunched up piece of sugar paper (in a very on-trend way). The use of designers which complemented one another, meant near seamless switches from walk to walk, yet also exhibited a vast variety of design concepts and build up a solid theme.

The light colour scheme and the whimsical evening wear succeeded in conjuring up other-worldly visions of a Shakespearean dream state. It was this confident sense of theatricality which set this show above other college fashion shows.

The denim walks displayed a collection from Demoo Jeans, a Durham student-run brand. The flared jeans and headbands exuberated a bohemian warmth , a refreshing addition to the common contemporary vibe of college fashion shows. The use of a Durham student brand was encouraging for the

FASHION 5

Thursday, 7 March 2019 creative and entrepreneurial side to Durham student life, which can easily be over-shadowed by the strong emphasis on academics.

Nature Illustrations: @annagibbsillustration

Particularly notable was the line named ‘Places We’ve Been Touched’, which gave a more sensitive take on fashion, to highlight the stories of female sexual abuse.

Straight from New York Fashion week, Imogen Evans brought her AW19 collection to Durham, described by the SACFS executive team on their official Instagram page as ‘creating a balance between art on the body and wearable, yet alternative clothing.’

The masks worn over the models mouths, indicative of the silent suffering of those who have been sexually assaulted, were intensely powerful in their message. This is a wonderful example of how fashion can be used to give people voices in an expressive, accessible and creative way. It also communicated how integral fashion is within our daily lives, just as our human rights and freedom of speech are, and thus how it can be utilised as a positive catalyst for change and progress regarding the latter.

Photographs: Kaira Lawrence and Peter Watson

Whilst this was an extremely powerful display of the creative power of fashion, inspired by the stories of sexual assault victims, the placement of the line within the show, by which time the crowd was quite rowdy, seemed insensitive and ample prominence and warning was not given to the audience as such an important delicate subject.

Overall, the calibre of designers presented was extremely impressive for a college charity fashion show, and this made up somewhat for its short length, as did the supportive atmosphere emanating from the captive audience and the clear enjoyment yet professionalism of the models sashaying down the catwalk.

.

BOOKS Thursday, 7 March 2019

6

Breaking the mould Books looks at the changing model of the publishing industry

By Emily Griffiths books@palatinate.org.uk

I

’m sure everyone who loves reading has at least entertained the thought of a career in publishing, I certainly have. Working with books and being surrounded by people who are equally passionate about reading as well as the chance to brush shoulders with a famous author: as a book lover, it all seems too good to be true.

And unfortunately for most, it is. The publishing industry, amongst every other industry, has not escaped one of the defining issues of our generation: that of inclusivity.

unpaid are able to apply. It also means that those who are not fortunate enough to live in London, where most of the opportunities are, can afford to live whilst they are there.

Another focus for publishing houses is increased representation, something which

Reni Eddo-Lodge’s Why I’m No Longer Talking to White People about Race and Angie Thomas’ The Hate U Give, further show that there is an appetite for books which speak from a perspective the publishing industry has previously excluded, and the industry has recognised this.

So, where, exactly, does the industry sit within the vast and wide-ranging inequality? The main conclusion of the many, many surveys is that the publishing industry remains predominantly white and middle-class. In 2015, a survey of 1,000 people in the industry found that 90% classify themselves as White-British. A further study highlights that almost 80% of people in the industry who identify as working class feel that this fact has had an adverse effect on their publishing career.

It would be unfair to suggest that some juggernauts within the publishing industry have not attempted to help with some of these issues. Penguin Random House recognises that in an increasingly competitive industry, the importance of gaining internship experience is growing ever stronger.

The company pay interns the London Living Wage, meaning that less wealthy applicants who cannot afford to give up their time

1

into the industry. It is also heartening to see that this diversity is increasingly re flected in the books which appear on our shelves – something which is perhaps a nat ural progression of the broader spectrum of people in publishing. So often, bigots attribute inclusivity to political correctness, but it is a matter of including and showcasing the talent within society which has previously been excluded.

HarperCollins appears to have taken in its stride, launching their own BAME traineeship in 2016. On paper, there have been valiant attempts to answer calls for greater inclusivity, and there are numerous success stories to tell, with more diverse applicants successfully breaking

We should applaud these successes. It does seem, after all, that the industry is heading in the right direction. However, now is not the time for the industry to sit back.

Publishers should be cautious of putting a fence around inclusivity and treating it as a separate, distinct topic. It is vital that publishing houses view diversity not as a trend, nor as merely an answer to this generation’s calls for more diversity, but rather as both a societal and business need that they should continue to strive for. It means to support a range of perspectives, life experiences and ideas. And it will be the bookshelves of the future which reap the rewards.

Image by ninocare via Pixabay

Tips from Charlotte Coulthard, Rights and Publications Associate at Samuel French

Society of Young Publishers and The Bookseller

Keep an eye on these for news about the publishing industry. They also post about jobs and internships.

2

Twitter

Loads of publishers now use social media as a way to post their opportunities, so to maintain social media presence is important.

3

Experience

Make sure the experience you apply for is definitely structured and worthwhile! It’s also valuable looking at work experience with literary agents.

MUSIC

7

Thursday, 6 March 2019

Should we leave Post (M)alone?

Music explores the concept of whiteness in the Hip-Hop industry

By Tom Watling music@palatinate.org.uk

E

minem may have been the first white person to popularise rap, and indeed the first rapper to exponentialize demand for the genre, but Post Malone is the face of the second-wave, twice as removed from the origins of the genrehe represents and thus twice as problematic. It is not surprising that the only thorn in the side of his monumental success is the accusation of cultural appropriation, and the intermittent cries from his detractors denouncing him as no more than a ‘culture vulture’.

Post Malone appears to be the perfect phenotype of the successful musician, hardworking, melodic, laconic and white, and the rapidity of his growth attests to this, but to what extent is his success to the detriment of the genre he operates within?

Messages of minority-empowerment cannot survive popularisation in this current climate In this climate of ‘fake-news’ and insoluble realities, enmeshed within a post-racial outlook and delimited by a self-regulating free-market, it is oftentimes impossible to propose arguments that do not fall upon the deaf ears of those who disagree with you. And nowhere is this more evident than arguments claiming the negative effect of whiteness on the market.

A market dominated by white people will more often than not yield results for white people; the music industry is no different. Consumer culture is, for the

most part, white, and it is far easier for a white consumer to relate to a white artist (seller) than to someone of a different colour. Neoliberal market principles, alongside a post-racial outlook characterised by ‘racism without the racists’, exacerbate white success. Consumers are not racist for gravitating toward white artists; the system within which they operate ensures that they remain ignorant to the racist consequences of their own actions.

In relation to Hip-Hop, a genre that was started by African-Americans, it could be said, then, that its success was capped from the beginning. The neoliberal climate in which it entered, and the post-racial climate in which it (inadvertently) helped to create, ensured that either it was limited to subcultural influence, afforded the ability to empower only on a relatively miniscule stage, or metastasized to such a degree that the message of empowerment was inevitably diluted, even perhaps purloined, by an array of white imitators, imposters or assimilators popularised, at least partially, as a result of their white skin. That is not to say that Hip Hop was given the choice to stay underground or go mainstream, that is a choice available only to individuals, but that these were the only two outcomes possible. Messages of minority-empowerment cannot survive popularisation in this current climate.

So, should we leave Post alone? Well, no, but to concentrate criticism on white rappers alone is tantamount to attacking only the foot-soldier; it is only one small part of toppling the army. Post is not a thoughtless product of the neoliberal, post-racial system - his comments denouncing the

Editor’s Picks Earl Sweatshirt Some Rap Songs Some Rap Songs is the long-awaited return of lyricist and young rap-icon Earl Sweatshirt

Freddie Gibbs & Madlib Flat Tummy Tea Released 20th February, FTF is the single for the up-andcoming follow-up album to Piñata.

emotivity and power of Hip-Hop exemplify this - but he isn’t the cause of it either.

He is merely a symptom. It is the neoliberal free-market, the post-racial climate and the befogging of the truth that require more thorough reproach. The longer Post is scapegoated for issues far greater than himself, the longer his success will prevail.

The message of empowerment was inevitably diluted by an array of white imitators

Photos by Nicole Doherty, Ralph Arvesen (up) & scannerfm_flickr, Kmeron and Justin de Nooijer (down)

Yussef Dayes, Mansur Brown & Crew Love is the Message

A 10-minute product of what some of London’s best jazz musicians have to offer.

CREATIVE WRITING Thursday, 7 March 2019

8

Voices of Durham: Prose

Creative Writing explores the creative voices of Durham’s students Midnight Meandering

By Ellen Bao creative.writing@palatinate.org.uk

W

hen I say ‘goodnight’ what I am really trying to say is that night exposes me like a naked stone in a maniac’s hand and morphs me into everything and nothing at once—an edge, an amnesiac body, a nesting shadow on the wall, the ghost of a swallow blinking its eyes and flapping its wings. The dark corners of my room whisper in my ear and somewhere up in the thin air an old pendulum clock goes tick-tack, tick-tack like a curse or a promise. When I say ‘goodnight’ what I am really trying to say is that a flurry of minutes flies out into the land of dreams and a swarm of implacable words swirls in my brain giving birth to the language of solitude. The wakeful words mirror me, ensnare me and consume me like clouds of dust. When I say ‘goodnight’ what I am really trying to say is that as night vanishes into light and light vanishes into the distance will you stay with me a little longer?

The Charge

By James Lendrum

T

o the left of the library interior, great glass panes trap students in a prism of light. Nothing like the Sun that soaked into the pavements of his childhood. Summer days are behind him now, and the shoes he wears are not dirty from outside play.

Ha! Soleless. Filth amassed between threads like an ugly linear bruise. Worn differently. And weathered by much more than the muck.

Eight weeks ago, an ambition ate through him—electricity beneath the skin. He snatches at the shelf now, the current thinned to a brute hum, but there, waiting. Thumbing through a contents page, skin splits, and eyes widen to the push of red. It paints some gluey image into

his palm. Fixed back into place, the book hangs grimly, brothers and sisters bound by leather, suspended in rows. It is no use; the words bleed together. He will try again tomorrow.

Back in his room, the walls seem to close in. He bargains: it is nothing more than shadow play. A cup of warm squash glows like lithium in water on the bedside table, and the high black shapes arrange themselves into daggers, pointing to the pill box. Nausea spools behind his right eye socket. He is going to vomit. A tuna sandwich is heaped grimly in the toilet bowl.

With tissue, he cleans the rim of its flecks, making it white again. Cold light flushes at the room’s penumbra, and his black sweater does not absorb the light as black so often will, but shrinks beneath it, like some homeowner pillow-smothered by a thief. With a yank of the chain, that acidic churn is set into motion, and tuna is dashed, pulled down, buried. The door clicks shut behind him to seal in the darkness.

Sheathed in cotton, he turns, burning.

The ambivalent clock. North, north-east, east, south-east, south. Outside, crickets sizzle in dusk. Nothing will bring him back. Not even the slant of antiseptic moonlight carving across his brow, or the papery shout of a crow, arrowing itself through the night quite astonishingly against the quiet. The pill box flanks him.

In those capsules, every grain of pain-taker sits ready for another time. At the hilt of the sky, morning rises, slick, orange. Its fizz eats out for miles. Yellow beats at his window, and he stirs, doused in the wash of a new day. Inside him, the sickness retreats. It is annexed behind his left eye.

Right there. Waiting.

Image by James Mcroy via Pixabay

CREATIVE WRITING Thursday, 7 Marxh 2019

9

Voices of Durham: Poetry Night Poem

Affable Indifference

Image

By Tom Rainbow

By Ethan Green

By Amy Strong

It’s pitch-black, apart from the street lamps, smeared from being too close. it’s all been silenced now. no words squeezed beside and I drop my feet – slack down. the bells chime, twelve times and every note pushes something in-between.

I don’t know what it is yet.

I think I’ll catch it, but then we’re left flying again.

Regard the world with affable indifference Don’t burn by fires of hatred, rage, or fear, But keep yourself apart a measured distance Just close enough to feel the warmth of cheer.

Critical and narcissistic: She inspects, with a malicious Fastidiousness, her mirrored Image.

Oak Valley, LA.

By Tom Rainbow Seeing the Italian marble, weathered in the face.

A Hercules or some other god, we throw around our heads.

I remember in the Tuileries, how Hercules stood so proud.

White, the sun reflected off of hair, told me what sculpture was for.

But standing here, sky overcast, clouds scattered over a tableau of oaks, Mississippi. Mississipi, rolls off the tongue like some sticky sap from a fallen branch.

It caught Hercules in the lush spanish moss.

Yellow flower by Michael Levine-Clark via Flickr Dame’s Violet by Peter O’Connor via Flickr

Regard the world with affable indifference When others talk you down or sing your praise Don’t sway along to human inconsistence: Hold steady in yourself, and keep your poise.

Regard the world with affable indifference Your trials and tribulations cannot last; The future takes us forward, bears us hence From all the pain and pathos of the past.

Regard the world with affable indifference And even yet indulge a little laughter ‘Cause in the end it doesn’t make a difference: There is no meaning here, and none Hereafter.

Regard the world with affable indifference And everything will mostly be okay; Our suffering will never make much sense Just smile, and let your problems flow away.

With paintbrushes and needles – With mercury and moonlight – With rose petals and razors – She sculpts.

Star dust: To make her eyes glint; Red wine: To make her cheeks blush; Shadows Of self-doubt: to darken The hollows of her face.

Vain and insecure: She carves out of sleet A summer bright smile.

Film and TV Thursday, 7th March 2019

10

Roma review Anton Blaubach reviews the critically acclaimed film by Alfonso Cuarón

By Anton Blaubach

T

his semi-biographical drama set in the early 1970s, is based on Alfonso Cuarón’s memory of his own upbringing in the middleclass neighbourhood of Roma in Mexico City. Cuarón wrote, directed, co-produced, co-edited and shot the film himself. Having listened to and read some interviews with the director who, due to his emotions admits he was afraid to make this film, I would best describe this as an ode of sorts to the role that women played at this point in his life.

lighted by the poster of Roma, which shows the kids huddled around Cleo and their mother, behind and literally in the shadow of Cleo as someone who clearly played a lesser role in caring for and being there for the children.

An ode of sorts to the role that women played at this point in his life One of the key themes of Roma is that of social hierarchy. Cuarón contrasts the lifestyle of his housemaid Libo (whose character in the film is Cleo) with that of his own middleclass upbringing, which she played such a key role in. Cuarón says it’s like she came “from a complete different universe” and he likens the role of Cleo in his life to that of a mother in a Director’s Cut DGA podcast. He says however, that he didn’t want to be subjective or nostalgic, but simply that it was him presenting his memories in film format, even Alejandro Iñárritu who interviews him in the podcast argues that it is not a film, but more something of a work of art. Iñárritu praises the way that Cuarón balanced the focus of the film such that it concentrated on Cleo’s life, without ever abandoning himself and his perspective as a child. Nonetheless, Cuarón says he had no interested in making a film about himself and that his character in the film is quite secondary.

At the heart of the film are two women who, in spite of their completely different lifestyles and socio-economic backgrounds, face the same problems of the betrayal and abandonment by men.

The motherly role that Cleo plays is high-

tentious status symbol than his own family.

A notable camera technique that Cuarón uses on multiple occasions is a 360 degree pan, that reflects his aim with the film, which was to give the whole picture of his childhood memories. There are some truly brilliantly made sequences in this film, one of my favourites being the naked martial arts ritual performed by Fermín to a slightly bewildered Cleo. A lot of the symbolism however, I am sure went straight over my head and I would need to rewatch the film a number of times to notice and better understand them all.

The decision for black and white cinematography was likely there to heighten the sense that this was Cuarón’s memory. It was shot on a 65mm digital format, and made by Netflix, but Cuarón has insisted it is a film that ought to be watched in the cinema. I have only seen the film once myself at home on TV with a relatively good sound system, but would gladly re-watch the film and must say I would love for my second time to be in the cinema.

In the podcast, Cuarón speaks about humanity and the meaning of life, and he says “life is absolutely meaningless… and as it doesn’t have any meaning, the only hope and the only thing that gives any meaning is those bonds of affection”. Cleo goes through immense pain but never lets go of her humanity. She comes from extreme poverty, is a woman and has an indigenous background, “which in Mexican society is a triple whammy of social disadvantage”.

Cinematographically the film is stunning Cinematographically the film is stunning.

What really stood out to me was the introduction of the father, who with great care squeezes into a tiny garage in a monstrous Ford Galaxy, caring far more for this pre-

Cuarón has insisted it is a film that ought to be watched in the cinema Iñárritu and Cuarón grew up in neighbouring regions in Mexico City, and they spoke about how the film builds and becomes a representation not just of the middle-class family and the experiences of those in poverty, but later of wider politics and the whole country at the time. This has never really been the focus of a large-scale feature film before, and I hope many more people see it. Admittedly I haven’t yet watched all the contenders but I do hope that Roma wins best picture at the Oscars or at least best foreign language film.

Image by pixabay

Food and Drink Thursday, 7 March 2019

11

Dumplings for days Constance Lam takes us through the food that gets her through the day, nourishing her body and soul

By Constance Lam food@palatinate.org.uk

A

fter discovering that some of my future housemates were fire hazards in the ktichen, I took it upon myself to learn how to cook Chinese food so I could share my culture with them while minimising the risk of accidents.

At home, I mostly cook and eat fresh, simple, and delicious Cantonese cuisine that is easy to prepare. My family and I buy fresh vegetables, fruit, and meat from the market and we cook our favourite dishes.

When the stress of summatives and the greasy blandness of college food hits too hard, I cook dumplings and noodles However, at university, I was faced with a new set of challenges: I wasn’t able to easily access the produce I could buy cheaply back home in Hong Kong and I had a limited set of kitchen appliances. Now, after experimenting in the kitchen and cooking for many different people, I have several go-to dishes that I can quickly prepare that taste just like home.

W h e n the stress of summatives and the greasy blandness of college food hits too hard, I cook dumplings and noodles for my friends and I use my £2 saucepan from Poundland that has remained intact to this day.

Illustrations by Jieun Yu

These dumplings are frozen ones that I purchased from the Chinese supermarket on Silver Street; they offer various different fillings such as pork and cabbage, chicken and mushroom, and other vegetarian options.

Nothing beats handmade dumplings by my grandmother, but these dumplings get the job done and take less than 1w0 minutes to cook. At the same time, I cook thick, chewy noodles, and once the dumplings and noodles are done, I season the noodles with Sichuan chili oil and scallions. The warm, comforting spice of the noodles and the aroma of the dumplings make this a satisfying meal that simultaneously reminds me of home and fills a void in my soul.

oil.

I’ve also experimented with cooking stir-fried vegetables: these aren’t the same vegetables I use when I’m cooking at home, but I used Tesco’s shredded carrots, c a b bage, a n d pepp e r s ( £ 1 ) and a tomatogarlic stir fry sauce from the same Chinese supermarket, while adding thin noodles coated in scallion

At home, I add fresh ginger and garlic,

soy sauce, oyster sauce, and sesame oil to my stir-fry. Here, I used what was on hand and used garlic and ginger paste for convenience – the flavours were more subtle but still present!

The warm, comforting spice of the noodles and the aroma of the dumplings make this a satisfying meal that simultaneously reminds me of home I love the versatility of stir-frying vegetables: anyone can do it, everyone enjoys it, you can add anything you want to it (add protein for a fuller meal or steamed rice to soak up the sauces), and it’s ready almost instantly.

Whatever works for you personally, it’s worth finding your dumplings, the food that helps with the summative blues and gets you through the day.

Nothing beats handmade dumplings by my grandmother, but these dumplings get the job done

FEATURES 12

Thursday, 7 March 2019

Towering Above Us: The story of Durham Cathedral’s tower

By Alex Hibberts features@palatinate.org.uk

A

fter several years of waiting and the ruin of many a graduation photo, it has finally been announced that the scaffolding atop Durham Cathedral’s 218 ft (66 m) tower is to be taken down after its protective cladding was removed last December.

Yet, this is not the first time this sandstone monolith, which dominates the city huddled below, has been extensively repaired or restored. In fact, the stones of this tower have, many times before, echoed with the sound of the mason’s chisel.

The stones of this tower have, many times before, echoed with the sound of the mason’s chisel By squinting a little harder at the tower perched on lofty heights above us we can seek to read the story woven into its ancient masonry of how the tower was built (and re-built) and begin to interpret the meaning that those, who hauled

Photograph by Alex Hibberts

block after block of hand cut stone into the sky, believed their cathedral to embody.

centuries before our own tower came into being is a considerable challenge.

Small Beginnings The current cathedral, upon whose mighty back our tower rests, was begun in 1093 with construction starting at the east end. This Norman cathedral, at least by the 12th century, would have probably had a small tower above the crossing.

In the 13th century, the tower was modified twice

This Norman cathedral, at least by the 12th century, would have probably had a small tower above the crossing However, little remains of this original turret apart from its feet, four large stone piers and arches, that shelter under the cathedral’s roof, in the warm interior below.

Lightning Strikes Calculating the height of this first tower and working out by what extent it was enlarged in the intervening

But medieval documents at least allow us to hazard a guess. For example, it is known that, in the 13th century, the tower was modified twice, once between 1258 and 1272, and later between 1286 and 1290.

This building work, ascribed to Prior Darlington, was badly damaged by a lightning strike. As a result, the tower had to be repaired in a seven-year-long building campaign between 1430 and 1437.

The tower had to be repaired in a seven-year-long building campaign But these earlier towers were tiny in comparison to our contemporary monolith and the most substantial build-

FEATURES 13

Thursday, 7 March 2019

As the Cathedral starts to lose its scaffolding, Alex Hibberts explores the history of the tower through the ages, from its origins in the 11th century to the present day ing work would take place throughout the course of the 15th century.

The most substantial building work would take place during the 15th century Ambitious Heights From the base of the tower, where it erupts from its lead-lined girdle, the cathedral roof, allow your sight to drift upwards to where the final stones give way to the heavens.

This stone tapestry before us is essentially a story of 15th century ambition and civic pride of the church and people of Durham.

This stone tapestry before us is essentially a story of 15th century ambition and civic pride of the church and people of Durham.

The tower’s lower storey, marked by

two long gaping perpendicular windows on each side, was all that was originally planned when the building of a new tower was begun around 1465. This graceful medieval high rise was capped with a row of panelled crenellations and a substantial roof, still partly in place.

A tower this short was not enough Yet, for Durham, a tower this short was not enough. Between 1483 and 1490, an awkward second level was added. This stunted storey with its much shorter, less elegant windows, was evidently a medieval afterthought. But, despite its structural shortcomings, its pierced battlements provided the cathedral’s final crown.

Its pierced battlements provided the cathedral’s final crown

Eternal Transience To the medieval onlooker, the cathedral tower was first and foremost a symbol of the power of the medieval church. In the case of Durham, it was also a blatant emblem of Norman dominance in the NorthEast, one of the last regions to rebel against William the Conqueror following 1066.

The cathedral tower was first and foremost a symbol of the power of the medieval church But the constant changes that this symbol of apparent permanence underwent, with modifications being made as late as the 19th century, reveal that those things we consider permanent are as transient as our lives are and, like us, Durham’s Cathedral tower has its own story, literally in this case, of ups and downs but also of endurance.

Photograph by Maddie Flisher

STAGE 14

Thursday, 7 March 2019

What’s on?

The best ways to splash your cash at the theatre this Easter

By Gabriella Sills Deputy Stage Editor stage@palatinate.org.uk

W

ith term beginning to draw towards a close, we can all start to think about returning to civilisation to see those shows that don’t fall under the DST umbrella (and sadly don’t have the same price tag). However, before heading off home, catch the production of ‘Miss Julie’ at The Gala Theatre (23rd March), presented by Elysium Theatre Company who aim to bring drama to the north. It features individuals involved in DST and comes at the affordable price of £10 for DST members. The show looks set to tackle the key themes of sex and class within the play and is claimed it will come ‘to passionate life in a powerful new production’.

Miss Julie comes at the affordable price of £10 for DST members

If you haven’t done at least one dance warm up to a song from the new musical ‘Six’ this term, I would be highly surprised.

The catchy tunes and fun lyrics mean the show is now booking until January 2020 at The Arts Theatre, and tickets prices start at £19.50 but you need to book early to ensure the cheapest seats aren’t sold out (they predominately are for March).

There is a wealth of star-studded productions to choose from at the moment, from Lily James to Patti Lu Pone, but Pinter’s ‘Betrayal’ starring Tom Hiddleston looks like it will have interesting content as well as the big name. As a major Pinter interpreter, how Jamie Lloyd tackles the play’s reverse chronology will be an area of intrigue.

You need to book early to ensure the cheapest seats aren’t sold out Arguably the best under 25’s scheme around is The National Theatre’s ‘Entry Pass’ which gives you access to tickets for just £7.50 and generally reserves these seats in the first couple of rows. Just sign up to the scheme online and then you’ll easily be able to book these discounted tickets and can helpfully buy two per show.

Their production of Caryl Churchill’s Top Girls which opens 26th March (listen up, first year English students who only watch the plays/books they should be reading), looks set to be a suitably updated and relevant version of the play set in London. Also seize the chance to get any tickets to their recommissioning of Sondheim’s ‘Follies’ – even without stars such as Imelda Staunton in the cast

this time round, the production is far superior to ‘Company’, currently playing at the Gielgud Theatre, which lacks the overwhelming emotional connection of the former.

The best under 25’s scheme around is The National Theatre’s ‘Entry Pass’ Many touring musicals are doing the rounds to regional theatres. If the looming exam season is getting you down and you need some comedic relief, find your nearest venue for the touring production of ‘Avenue Q’. Those classic songs such as ‘Everyone’s a Little Bit Racist’ and ‘The Internet is for Porn’ are sure to make even non-theatre goers laugh, so it’s a great one to take sceptical friends to. Maybe steer away from the tour of ‘Fame’, as it would be great if supposed ballet dancers could d a n c e .

Happy theatre going!

Images via Wikimedia Commons

TRAVEL Thursday, 7 March 2019

15

Shocking, Scary, Sublime Lottie Dick explores the benefits of embracing fear whilst travelling

By Lottie Dick travel@palatinate.org.uk

I

suppose I should’ve been warned about the struggles of travelling alone.

I’m on the metro in Guangzhou (Southern China) and a middle-aged woman is trying to secretly take a video of me—unsuccessfully. As I shift uncomfortably in my seat, I notice the family sitting to my right staring directly at me, smiling creepily. The father asks if he can take a photo of me with his child. Considering they helped me find my way to the platform earlier I politely yet nervously oblige.

They’re a young family; it must be safe, right?

This was one of the many strange experiences I had whilst travelling around China, one of the most beautiful, culturally elusive and captivating places I have ever seen— but challenging when travelling alone. I was walking along the street and a herd of primary school children bombarded me, shoving paper and pens in my face to ask for my autograph, leaving me rather confused.

Fear and novelty soon disappear One of the most wonderful things about the internet is the plethora of discourses about cultural dynamics all over the world, making some of what I experienced somewhat anticipated. Both pale and blonde, I looked visibly different, particularly in the remote parts of Southern China I visited. Whilst this did wonders for my confidence, it was also rather scary at times; I was not prepared for neither the frequency nor the intensity with

which I experienced my distinctness.

As a young girl, I’m often discouraged from travelling alone for reasons like tourist exploitation. Having struggled with health issues, food experimentation and certain environments are very dangerous, forcing me to be a well-prepared traveller. I’ve never let this stop me, however; challenge and risk is the best part of travelling! And whilst you should never be naïve about the places you’re visiting or the risks you’re taking, the experience is made so much more exhilarating having dived into the deep end and challenged yourself. Communicate with the local people, try new foods & activities and, most importantly, be adventurous!

Standing in Terminal 4 at Heathrow airport was probably the scariest three hours of my life. I’d had four people try to communicate with me not even having left British soil; not to mention the fact that I’d been surrounded by 30 Tibetan monks. I’ve never been one to be scared of a challenge and had travelled alone for the first time at 15, but this was very different. Going to a European country where I can read the alphabet, use social media outlets without breaking the law and understand the currency and local culture makes it all a totally different ball game.

In China, Facebook and Snapchat were outlawed in favour of WeChat, which was not only a social media forum but a system of payment and a casual/professional communications platform. I could not even understand the signs in a train station to know which stop to get off at, let alone order food in a restaurant competently.

The experience is made so much more exhilarating if you dive in the deep end and challenge yourself But all this fear and novelty soon disappears and you are left with the most eye-opening and wonderful cultural experience. Overcoming all of these

challenges was the hard part, but they were nothing in comparison to the high points.

I can’t drive, yet I learnt to ride a moped through Yangshuo, a dramatic forest of karst peaks mimicking giant teeth rising from wild blue and green terrain. I paid homage within a sea of Buddhist monks to one of their divine beings. I hiked for half a day up a stone forest, swimming inside a butterfly cave. I was served tea from a teapot with a spout that was over a metre long and tried a boiled chicken foot. I danced in what only later revealed itself to be a Chinese strip club. I went up a mountain in a hot air balloon and down it by slide. I was taught Chinese by natives who I now call my friends and taught English to a class of 30 children who I couldn’t bear to leave.

You have to be brave and you have to be strong On my way home no longer was there any fear. I had shared a room with travellers going onward to Vietnam, Japan and South Korea, and I was itching at the prospect of going with them. It really is true what they say about the travel bug.

You have to be brave and you have to be strong, resilient and prepared. Don’t be an idiot - do the research. Once you are there, however, embrace every challenge possible.

You have the privilege and opportunity like no other to see and experience our global world. Grab it with both hands and don’t let go! Don’t be afraid. Challenge yourself.

Images by Lottie Dick

16

THE indigo INTERVIEW Thursday, 7 March 2019

The Green Conference for locals and students alike indigo discusses this year’s Footprint conference with Will Jollans and Jess Chadwick

By Nathan Kelly Interview Editor interview@palatinate.org.uk

H

What will happen at the conference?

eld on the 13th and 14th June, Footprint is a student organised conference which aims to generate discussions on climate change. indigo caught up with this year’s organisers, Will Jollans and Jess Chadwick, to ask what the conference entailed, why they were organising it and what they hoped to achieve.

The conference compromises of a twoday event, running 10am to 5pm and held in Durham’s historic Town Hall, and will be constituted of speeches, workshops and art pieces. The aim is to have speakers from both a local and national level, from a variety of sectors and backgrounds to speak about how climate change will affect their fields.

What is Footprint?

Footprint is a free environmental conference that aims to foster open discussions between staff, students and local residents of Durham City around climate change. The aim is to create a creative forum and welcoming environment where people can feel comfortable discussing many different aspects of climate change, such as sustainable fashion, philanthropy and technological solutions.

We hope that opening up the conversation to all parts of the Durham community will encourage greater collaboration and a more environmentally aware and active city.

How did Footprint come about?

For example, we have a workshop from the local REfUSE café who are discussing how to use food that is being thrown out or is unnecessarily past its sell-by date.

There will also be talks from the likes of Mike Berners-Lee – author of ‘There’s no Planet B’ – who is a leading expert in carbon footprinting. As well as the UK CEO of the Global Green Grants Fund, who have donated $71 million to climate change issues since 1993.

What do you hope to achieve with the Conference?

Footprint was started last year by Sarah Mercer and Matthew Warren, this year however we have moved it outside of the University and into the Town Hall in the hope of making it a more inclusive, community-focused event. Hopefully this will bring a larger audience as a result.

The main aim is to generate a discussion on climate change with a wide range of people, hopefully this will remove the taboos surrounding climate change discussions.

We’d like to encourage people to make a difference in whatever way they can and inform them about the many aspects of their life affected by climate change that they otherwise wouldn’t have thought about.

Sarah started Footprint as a climate change conference with a heavy emphasis on discussion and audience participation. Rather than being lectured at, Footprint aims to foster discussion between audience and speakers with all being on the same level.

For example, a lot of people don’t acknowledge or realise that climate change is already having an effect upon our lives: last year $135 billion was paid out in insurance due to climate-related issues, another $195 billion is estimated to have been lost altogether.

How can students get involved?

The best way for students to get involved is to come along to the conference – it’s free! Tickets are available to book now.

If you’d like to help out on the day or with the conference, then please contact us as all help is greatly appreciated.

If you’re interested in attending the conference or helping out, visit: www.footprintconference.com Alternatively, contact: footprintconference@gmail.com