Indigo 798 final

indigo

i798

www.palatinate.org.uk

EDITORIAL Thursday, 19 October 2017

2

F EATURES 3 Internet Poetry: the creation of a new form?

4 The Makeup Revolution: inclusivity in the cosmetics industry F O O D & DRINK 5 Raising a toast to the art of making bread F ASHION 6&7 The Shape of Now: in conversation with the DUCFS exec about the upcoming Fashion Show F ILM & TV 8 Is Hollywood under-representing diversity - of gender, sexuality and ethnicity?

MUSIC 9 Trapping your demons: the portrayal of mental health in hip hop V I S UAL ARTS 10 & 11 ‘The Men’s Voices Project’: what does it mean to be a man?

BOOKS 12 The Modern Poetess: female poets in the 21st century

CREATIVE WRITING

13 An exclusive interview with Jen Campbell, award-winning short story writer STAGE 14 Is student playwriting anything more than a self-indulgence?

Two female directors; twenty-six shows: why are women dropping off the theatre scene post-university?

TRAVEL 15 Navigating northern Spain: a road trip through the land of sangria, siesta and sunshine I N TERVIEW 16 Jack Hardwick: celebrated lead of Noel Coward’s comedy of manners, ‘Private Lives’

Cover Photograph from DUCFS photo shoot: Bryony Duff, Creative Vice President Alasdair Harriss, Creative Director Hannah Debson, Creative Director Special thanks to Flora Stafford for her help on the shoot and styling

www.facebook.com/palindigo Follow us on Twitter and Instagram: @indigodurham

INDIGO EDITORS Tamsin Bracher Adele Cooke (deputy)

ast Friday night I went to a drag show. And I had the best time. ‘Bonnie and the Bonnettes’, a theatre company based in Newcastle, performed an autobiographical piece about the ‘uncertainty of your own identity, the creation of a new one, and finding a safe place between the two’. It was a fabulous fusion of queerness and drag: a wonderful exploration of gender and sexuality.

But the most striking moment of the evening was when the man next to me turned and said, “I’m sixty years old and I loved every minute – that has completely opened my mind”. This is what it is all about: the need for dialogue, empathy, equality and openness. It is, Ross Raisin writes in a recent article for The Guardian, about moving the “conversation on from ‘how to be a man’ [or indeed a woman] to ‘how to be a person’.”

Identity politics is a hallmark of our age. And questions surrounding the way in which we perceive and express ourselves are fundamental to all art forms. Inevitably, therefore, this edition of Indigo contains writing that both explores and gives voice to issues concerning who we are.

Visual Arts features ‘The Men’s Voices Project’, a multimedia art exhibition, which ran last week in Empty Shop’s TESTT Space.

Madeleine Cater interviews soundscape artist, Rupert Philbrick, on traditional notions of masculinity and what it means to be a man.

Books, Stage and Film and TV further explore questions of gender in their respective fields: Alice Chambers discusses why managerial roles in theatre are still predominantly occupied by men, Books asks its writers to present their favourite ‘modern poetess’, and George Broughton considers whether representation in Hollywood is really getting any better.

In an exclusive preview of the DUCFS, Creative Vice President Bryony Duff outlines their campaign to “understand the ways that fashion, art, music and all forms of creativity can act as political and social statements”.

Drag is both exciting and provocative.

It writes across binaries and deconstructs identity categories: today, it is more relevant than ever as a means of expression.

(Plus, when it comes down to it - who wouldn’t want an alter-ego called Bonnie Love?)

TB

FEATURES EDITORS Divya Shastri Katie Anderson (deputy)

L

#readpalatinate

CREATIVE WRITING EDITORS Chloe Uwitonze Scaling Kleopatra Olympiou (deputy) STAGE EDITORS Helena Snider Helen Chatterton (deputy) VISUAL ARTS EDITOR Madeleine Cater BOOKS EDITOR Julia Atherley FASHION EDITORS Anna Gibbs Emma Denison (deputy) FOOD & DRINK EDITORS Emma Taylor Sapphire Demirsöz (deputy) TRAVEL EDITOR Harriet Willis FILM & TV EDITORS Meghan Hosch Imogen Kaufman MUSIC EDITORS Tom Watling Ashleigh Goodall (deputy)

Have a question, comment, or an idea for a story you’d like to write?

Email indigo@palatinate.org.uk to get in touch.

FEATURES Thursday, 19 October 2017

3

Internet Poetry: the creation of a new form?

By Caitlin Allard Deputy Editor deputy.editor@palatinate.org.uk

through non-traditional, accessible means. Publishing can now be done with a simple press of a button on any social media platform, meaning anyone can reach a wide audience. This is particularly important considering the lack of diversity in the publishing industry: according to the Diversity Baseline Survey, 79% of people in the publishing industry are white, and 82% in the Editorial sector are white.It seems no coincidence that many of the most successful internet poets are women of colour ¬– the internet offers a platform for their talent, to boost their careers, away from any racial bias in the publishing industry. Nikita Gill received 137 rejections from publishers prior to her success on social media – the internet offered a way for her talent to be appreciated without the restriction of bias in the publishing industry.

T

he past decade has seen the rise of internet poets: poets that predominantly publish their work on social media, some gaining a substantial enough following to publish their works in book form.

Names you may have spotted include Rupi Kaur (@rupikaur_ on Instagram) who has just published her second poetry collection ‘The Sun and her Flowers’, Nikita Gill (@nikita_gill on Instagram), Michael Faudet (michaelfaudet.tumblr.com) and Lang Leav (langleav.tumblr.com).

Instagram and Tumblr offer attractive platforms for poets for their ability to add visual elements to their poetry. Despite the massive success of many internet poets with millions of followers and successful publishing deals, many have come under criticism for producing trite, mediocre and superficial work.

Rupi Kaur has faced much ridicule in past months with mocking imitations of her work being turned into memes.

Non-traditional works are being published through non-traditional, accessible means

Writers like Rupi Kaur are carving out their own new traditions through the medium of the internet However, poetry that so many can connect to must surely be called a success? If poetry does not abide by standards of the so-called Western literary canon, it is not necessarily of poor quality. Instead, it poses an exciting possibility of a new era in poetry itself, the creation of new forms and genres beyond what the world has seen before.

Poetry began within communities, to serve a purpose in an age of oral tradition. It belonged to the common people, with no need for literacy, to tell of genealogies, histories, laws and stories, often in song-form. In the past three millenniums, poetry has taken on innumerable forms. In terms of the West, we’ve been left with centuries worth of literary criticism, poetic forms, and the ‘Western canon’ itself. It has all contributed to our society’s attitude to poetry today – a very disconnected attitude. Outside of academic circles and enthusiasts, poetry often seems to be perceived as a ‘higher art’, not for the general-public but instead for a chosen few.

Internet poetry brings poetry back into ‘normal’ lives. Slotting into the normality of social media, internet poetry finds a way to seep into our everyday lives. People that may have never otherwise considered purchasing a poetry book are inspired, people that may have never independently chosen to read poetry choose to seek it out. It is accessible. It is able to make people feel something. Poetry can connect with people, as it used to when it originated.

Photograph by Divya Shastri Modernist poets in the early 20th century seemed to be arguing for this. After the war, society was in upheaval and canonic literature seemed to lose its status as entirely pivotal next to the massive change in society brought about by the destruction of war. T.S. Eliot’s ‘The Waste Land’ is compiled of innumerable references to other literary works, to the point at which the work itself is in some ways impenetrable, as so many works need to have been read in depth to attempt to understand the meaning of the author. This web of references displays how relying heavily on literary tradition has the potential to render poetry inaccessible, and thus for many lessen the meaning of a work rather than increase it.

Internet poetry brings poetry back into ‘normal’ lives Writers like Rupi Kaur are carving out their own new traditions through the medium of the internet. Their focus on current experiences makes people feel emotion rather than predominantly despair over the mass of literary works lying before them that would require a lifetime to read.

Non-traditional works are being published

Although wider accessibility allows a greater diversity of talent to be celebrated, it also means that the traditional filter on quality, publishing houses, is lost. William Wordsworth stated in the Preface to his and Samuel Taylor Coleridge’s Lyrical Ballad that good poetry is “the spontaneous overflow of powerful feelings.”

This is evident in a lot of internet poetry. Wordsworth continues, however, that it must be written by someone “possessed of more than usual organic sensibility [who has] also thought long and deeply.”

Internet poetry does not always fit into this definition ¬– there is room for mediocrity. Collin Yost (@ collin_andrew_yost on Instagram) has been widely accused of mediocrity due to his style of writing, strategic placements of cigarettes and penchant for using a typewriter. His poems include sentences such as: “for now / I’m a bad boy that she seems to think / is intellectual. / I am.” The aesthetics of his account seem to have overridden the need for quality generally required by publishing houses.

However, with a following of 15.4k on Instagram, his writing, however mediocre it may be in a technical sense, must make 15.4k people feel something.

Therefore, it is, to some extent, a success.

Through the internet, literature has the ability to become democratic. People have the power to support writers that otherwise may not have been published. It is no longer primarily up to editors: public opinion has far greater power on the publishing industry than ever before. Although not all poetry given a platform by the internet will be of ‘good’ quality, social media has allowed brilliance to shine through where otherwise it may never have had the chance; giving an appreciation of poetry to those who may never have otherwise thought about it.

FEATURES Thursday, 19 October 2017

4

The Makeup Revolution Pop artist Rihanna becomes champion of inclusivity in the cosmetics industry

By Katie Anderson Deputy Features Editor deputy.features@palatinate.org.uk

W

omen of colour have continually faced dire under-representation and restricted choice within the cutthroat world of cosmetics. Despite the widened colour selection since the turn of the millennium and the recent influx of high-pigment products for darker skin, the choices available across the price point spectrum still fail to accurately reflect the ethnic realities of the consumer market. The overwhelming reception of Rihanna’s new make-up line ‘Fenty Beauty’ stands as a testament to the troubles experienced by women of colour; frustratingly in the year 2017 people are still exhaling a sigh of relief at the introduction of an inclusive, complexion-focused brand.

Rihanna’s brand stands as a beacon of hope in comparison to brands such as Bourjois and Yves Saint Laurent Although many sceptics will be quick to assume that Rihanna’s motives are purely financial, the products released after two years of research have been praised for their diversity and quality, placing them above other misleading and cheap celebrity products. The cruelty-free range, which boasts forty shades of foundation and thirty highlighting tools, fills a gaping hole in the market. Much like the historic introduction of Maybelline’s ‘Shades of You’ campaign in the 1990s, it is having an explosive impact within the industry. Rihanna’s brand stands as a beacon of hope in comparison to the limited scope of high-street brands such as Bourjois (a meagre nine shades for foundation) or even high-end brands such as YSL (which was recently forced to retract its new foundation after customers labelled it ’fifty shades of white’). In her statement for Bazaar magazine she assured customers that “I didn’t care how long it took, I was going to make sure that we covered most skin tones”. Just a quick scan of her personal Instagram account ‘Bad RiRi’ unveils Rihanna’s position as an advocator of social progression as well as the aesthetic appeal of makeup. Images include artwork celebrating the recent liberation granted to Saudi women and photography of black British model Leomie Anderson and Somali-American model Halima Aden wearing her range.

Rihanna chose the U.S based cosmetic retailer Sephora to stock her products and it was here that the seven darkest shades sold out first. This challenges the notion that the consumer market in darker shades isn’t worth investment from bottom end beauty brands. The retail chain, which occupies a middle ground between drug store style convenience and the snooty luxury of high end department stores, has grown massively in recent years due to its reputable focus on user experience and its progressive stance. It is famed for propel-

ling lesser known brands into the limelight. It stocks, for example, ‘IMAN’ and ‘Black Up’ both of which are brands which aim not only to match darker skin tones but to enhance them.

In the UK on the other hand, smaller brands that specifically cater to women of colour are harder to locate on the high street and Rihanna’s decision to launch her range in Harvey Nichols may further perpetuate this feeling. With foundations priced at £26 and a contouring kit at £46, the high prices mean that this kind of inclusive range remains out of reach for a large proportion of society. Despite the increase in women of colour as brand ambassadors, like the radiant Lupita Nyong’o for Lancome or Frieda Pinto for L’Oreal, everyday over the counter experience often remains a disappointment. When it comes down to tracking a celebrity-endorsed shade in commonplace establishments such as Boots or Superdrug for a reasonable price, the range remains shifted towards the paler end of the spectrum.

One of the only encouraging cases comes from Sleek, which has just launched a life-proof foundation in twenty-four shades at an affordable price of £8.

The melting-pot character of our world means that new shades of skin are literally being produced every day; companies will have to address and celebrate this reality As a result, women of colour are habitually obliged to conduct separate research and order their cosmetics online, which means they are unable to test their choices before committing to a purchase. The experience can become an ordeal rather than an enjoyable stint of retail therapy.

Such difficulties have led to the creation of a social justice initiative B.O.M.B challenge, which asks Youtubers (white ones in particular), to support (B)lack (O)wned (M)akeup (B)usinesses. The aim is to confront the dominion of the trio of beauty companies that own 99% of mainstream brands, bringing to light how smaller brands are overshadowed by less inclusive monopolies.

It remains frustrating however, that the creation of ethnic specific brands is still a necessity, and such discrepancies must be corrected with urgency if cosmetic companies are to keep up with contemporary cultural and biological currents.

Illustration by Faye Chua Karen Buglisi Weiler, the global brand president of M.A.C, admits that while currently the company’s largest markets are Britain, the United States and Canada, it is experiencing the “highest growth in the margin markets” of Brazil, India and China.

The melting-pot character of our world means that new shades of skin are literally being produced every day, and companies will have to address and celebrate this reality by working increasingly hard to improve their tone ranges as well as textures.

Hopefully the future will see more research and development being spent on appreciating this complexity and brands will not simply box off ‘dark skin’, but recognise the cosmetic requirements of those with cool and warm undertones as well as olive and Asian skin tones.

Despite Rihanna’s ‘Fenty Beauty’ range being a little on the expensive side, she should be commended for her determination to create a range where the branding is not obviously geared towards any specific ethnicity and neither lighter nor darker skin are presented as the target audience.

Although she is not the first to try, the brand can be seen as a pioneer of assumptive inclusivity rather than tokenism, which is a model that the whole industry should undoubtedly adopt. It should be an unspoken expectation that brands should provide a decent match and wide shade range. Even if Rihanna is just simply another celebrity with a money-making agenda, her buyers surely have the right to invest in a company that is attempting to make money in an ethical, inclusive way.

FOOD & DRINK

5

Thursday, 19 October 2017

Raising a toast to the art of making bread Chloe Scaling explains to Food and Drink the joys of rising to the challenge and doughing it well ...

By Chloe Scaling food@palatinate.org.uk

S

ince the Easter holidays, I’ve been making my own bread, using a variety of flours and techniques, but limited equipment: the only bread-maker in my kitchen is me! I’ve barely bought a loaf in six months and I’ve never been happier.

One of the techniques James Morton’s Brilliant Bread has taught me is to leave bread in the fridge for a longer prove (all day or all night), as the yeast still works its magic and more complex flavours are able to develop. Personally, I’m not sure about the difference in flavour, but it’s incredibly practical for people with busy lives and I think it proves that most people have time to make their own bread. All you need is a couple of hours here and there.

Watching dough grow is incredible, as if you’ve enchanted it to become something more It’s no secret that bread-making is therapeutic, with the process of kneading dough being similar to using a stress ball, but I often find that the act of weighing out flour, salt, yeast and water is enough to relax me. There’s something special about using only four simple, cheap ingredients, to make something which will fill the house with the best smell on earth, and taste divine.

Bringing dry ingredients together, adding water and moving it around forcefully before applying heat seems like an odd hobby, but watching dough grow is incredible, as if you’ve enchanted it to become something more. The sight of the complex strands of gluten as you pull the dough (which is twice the size as it was pre-prove) away from the side of the mixing bowl will never cease to amaze me.

As I try new recipes and watch dough grow, I feel like a proud mother: bread is my baby Whether I’m making a simple white loaf, pitta breads to eat with hummus, naans to eat with curry or creating a recipe, I’m happy. As I try new recipes and watch dough grow, I feel almost like a proud mother: bread is my baby.

Photographs by Chloe Scaling and Rosie Russell-Cohen

Inspired by this year’s Bake Off bread week, I’ve tried incorporating winter squash into my bread, which makes the dough a beautiful colour.

I’m looking into using beetroot and pumpkin too: rainbow bread should be the new rainbow cake.

Colourful, homemade food gives me so much joy, I don’t think I can explain it coherently to people who don’t enjoy cooking or baking.

I’ve barely bought a loaf in six months and I’ve never been happier I’ve said to friends so many times over the past few months: if I could spend all day watching Netflix or listening to podcasts and making food, I definitely would. Now, let me go and feed my sourdough starter…

FASHION 6

Thursday, 19 October 2017

#TheShapeOfNow With preparations for the much-hyped up Durham University Fashion Show (DUCFS) well underway, Fashion caught up with the main players on the exec

By Anna Gibbs Fashion Editor fashion@palatinate.org.uk

“

Over summer the Creative team have taken DUCFS further afield,’’ says Bryony Duff, the fashion show’s Creative Vice President. ‘‘The team spent a fantastic day... on the Barbican Estate in London shooting the first photoshoot and recording our promotional video, which we are very excited to share with you!”

She continued: “This year our theme is Evolution Revolution. So it’s all about change. We want to encourage people to think about and understand the ways that fashion, art, music and all forms of creativity can act as political and social statements. This year our campaign is not only a force pushing us to question the status quo and direction of our society. It is also a huge force for good with our chosen charity, Mind, at its core.

“This year we wanted to make the campaign even more ‘creative’ and cutting-edge. Our theme does not simply look at fashion, but at every affiliated aspect of the arts. Therefore the location of every shoot is just as important as the clothes themselves. We are taking this opportunity to integrate all forms of creativity into a more holistic campaign.”

The key event in the Durham University social calendar appears to have been given a new burst of energy this time round, judging by the words of DUCFS President Iona Cameron, who says: “The creative team on the exec is the biggest and most talented we have ever had.

We’ve all been busy over summer on shoots, promo videos and more.

New and exciting stuff [is] coming soon so stay tuned.”

It seems that this year in particular, the creative minds behind the annual event are sharply on trend, even addressing current movements for awareness with regard to their chosen charity. Speaking about the recently revealed charity the show is in aid of, Cameron mused, “DUCFS is in a unique position to raise awareness for the issues that resonate with students at Durham University. This year we are thrilled to be working with Mind; the UK’s leading mental health charity. Our aim is to stimulate conversation and eliminate the stigma surrounding mental health.”

Jacqueline Baker, Head of PR & Marketing, added: “This year the DUCFS campaign invites you to join us on our movement to take a stance and look beyond the norm. We need to look around us and ask ourselves, where are our journeys taking us? Are we moving in the right direction? Join us on this exploration together as we explore #TheShapeOfNow.” If you’d like to be involved, DUCFS told Palatinate Fashion that ‘‘Castings for models and comperes will take place on 22 and 29 October 2017. We want everyone. We want all shapes, sizes and ethnicities to join the DUCFS team. We also welcome anyone who wishes to audition in pairs.’’

It looks set to be an interesting rendition of a familiar template this time around, and with the first photo shoot already showing great promise (and lots of yellow, we’re liking the yellow), we look forward to seeing the fruits of the exec’s work in February 2018.

FASHION Thursday, 19 October 2017

7 Photo shoot credit: Bryony Duff, Creative Vice President Alasdair Harriss, Creative Director Hannah Debson, Creative Director Special thanks to Flora Stafford for her help on the shoot and styling

FILM & TV 8

Thursday, 19 October 2017

Prejudices that keep on perpetuating Is representation in Hollywood really getting any better?

Film & TV investigates

By George Broughton film@palatinate.org.uk

“

I can’t mount a film of this budget... and say that my lead actor is Mohammed soand-so from such-and-such. I’m just not going to get it financed. So, the question doesn’t even come up.”

The above quote is from an interview with esteemed director Ridley Scott, the man responsible for Gladiator, the Alien franchise, and the original Blade Runner. In the interview, Scott is responding to the criticism he received after casting white American actors in the roles of Moses and Rameses II for his 2014 action-adventure flop Exodus: Gods and Kings. Representation in cinema, the inclusion of actors and characters with diverse ethnicities, genders and sexualities, is one of the main issues being debated in and around the film industry today. It’s often comments like Scott’s, the blunt and insensitive remarks of people in positions of authority, which really sum up the problems surrounding representation: if Scott is right in assuming that a Muslim lead will kill a film’s chance of being financed, that’s a pretty horrible reality. Whether he’s right or wrong, the assumption itself is enough to perpetuate the prejudices that have kept Hollywood films homogenous for so long.

If so, are the prejudices which held it back being overcome, or just temporarily set aside?

I think it’s important to keep sentiments like these in mind when we consider what we want from movies in terms of representation and how we want it. Is Hollywood changing? If so, are the prejudices which held it back being overcome, or just temporarily set aside? 2017 has seen the first ever Muslim actor win an Oscar as well as the first successful on-screen superheroine. Some of its highlights have been films that offer real insight into the complexities of race and sexuality in the modern world. Get Out tackles less obvious, more insidious types of racism. Moonlight, which got its UK release in January, confronts themes like the masculinity expected in African-American men and how it can affect a person’s sexuality. Even popcorn flicks like Spider-Man: Homecoming have boasted refreshingly diverse - not to mention, very talented - casts.

In short, it looks like Ridley Scott’s three-year-old statement is out of date, that the question of representation in cinema is being addressed.

It’s when you take a closer look that the cracks start to appear. Get Out and Moonlight, while both wildly successful, are low-budget (they cost $4.5 and $4 million, respectively) passion projects which were picked up by smaller studios, namely Plan B and Blumhouse. Put simply, these films don’t

represent any significant change in Hollywood’s willingness to put big bucks behind diverse casts and challenging subject matters. Of course, they’re only half the story. The blockbusters of the year still gave us strong female leads in Wonder Woman and three-dimensional multiethnic characters in Spider-Man. But 2017 has also given us the underdeveloped female protagonist of Atomic Blonde, who plays the role of male fantasy fulfilment more than that of empowering femme fatale. It’s seen unabashed whitewashing (Ghost in the Shell) and the same stream of action flicks with almost all-white, all-straight casts, like The Mummy or Transformers: The Last Knight. The latest report by the GLAAD points out that only two of this year’s twenty-five major summer releases feature LGBTQ characters, one of these films being the deeply offensive comedy Hazlo Como Hombre. Unfortunately, the representation of LGBTQ people is still often relegated to token mentions as in Beauty and the Beast.

Of the sixty most senior executives running the ‘Big Six’ film studios, only eighteen are women. Four have Asian backgrounds. One is black.

The rest are white men.

So, we’ve still got a long way to go. But this year had also seen change, and that change should be celebrated. Kids have got a strong female superhero on the big screen to look up to, just as two years ago we were given a female Jedi. It’s not all bad news, but it’s not all good either. By and large, it looks like

the Ridley Scott view still holds a lot of currency, but I think it’s worth reflecting on why that is. Of the sixty most senior executives running the ‘Big Six’ film studios, only eighteen are women. Four have Asian backgrounds. One is black. The rest are white men. What we’re seeing when we look at the lack of diversity in cinema is the homogeneity of the executives being passed on to the creative teams behind movies. According to The Centre for Study of Women in TV and Film, women comprise 52% of the average audience, but only 4% of the directors chosen to helm Hollywood’s biggest blockbusters.

In turn, only 29% of protagonists in those films are women.

Women comprise 52% of the average audience, but only 4% of the directors I don’t think it’s a coincidence that Lucasfilm, whose President Kathleen Kennedy is one of those eighteen women, has given us two strong female protagonists in the last two years. We need to stop simply demanding more diversity in characters, and start asking for more creative control to be given to people who understand the importance of diversity, like Patty Jenkins and Ryan Coogler. These are directors capable of making blockbusters with mainstream appeal, that also understand issues of race and gender. If executives and creatives like these had more control of the industry, maybe the question of film’s responsibility to represent different people equally would come up in the writer’s room more often.

Photograph by Katie Harbath via Creative Commons

MUSIC

9

Thursday, 19 October 2017

Trapping your demons Music explores the portrayal of mental health in hip hop

By Tara Garman music@palatinate.org.uk

A

s I sit down to listen to ‘17’, the debut album of the renownded rapper, XXXTENTACION, it’s safe to say I have my reservations. The history of X reveals a host of arrests including for robbery, assault with a deadly weapon and aggravated battery of a pregnant woman. This makes for a disturbing introduction but certainly implicates an all-too-familiar aggressive trap sound. However, as I listen to ‘The Explanation’ which X opens his album with, it’s clear that I have been mistaken.

The track consists of the rapper talking about the meaning behind his tracks and after learning about his notorious reputation I was shocked to hear X present ‘17’ as his ‘pain and thoughts put into words’. He further details how he hopes that it can ‘help cure or at least numb your depression’ and prepares me for an album which is much more intimate and authentic than I had anticipated.

The second song on the album, ‘Jocelyn Flores’, describes X’s experience of a friend committing suicide and the psychologically detrimental effects this has on the rapper. X’s lyrics strike me with a shockingly profound sense of honesty and despair as he candidly admits ‘I’m in pain, wanna put ten shots in my brain’ and claims that the experience has led him to suffer with post-traumatic stress disorder. Tracks such as ‘Carry On’ and ‘Depression & Obsession’ further affirm the themes of mental illness with X noting that despite ‘the pain inside of my chest, got no choice but to carry on’. X’s acute address of mental health issues and suicide within this album establishes his role amongst the new wave of hip hop and rap artists beginning to bring these topics to the forefront of modern music.

Often it is rarely even known that a person has ever even been affected... by mental health issues until after their passing.

After his feature on Migos’ 2016 hit ‘Bad and Boujee’, I was unsure about the longevity of Lil Uzi Vert’s presence in the rap industry. Whilst slightly amused by the boastful nature of his lyrics paired with his uniquely nasal tone, I felt there was no real substance to his lyrics. Despite this, the arrival of Uzi’s debut album ‘Luv is Rage 2’ demonstrates a welcome change in tone epitomised by the album’s

Photograph by Christian Scheja via Creative Commons leading single ‘XO TOUR Llif3’. This dark hiphop track allows Uzi to resist caricature as he raps openly about his relationship with his ex-girlfriend and the effects of their breakup. The line ‘push me to the edge, all my friends are dead’ rings throughout the song, creating a haunting effect that can only impassion the listener with a sense of apathy. Whilst tracks on Uzi’s album, such as ‘No Sleep Leak’, fall victim to the common tropes of rap music, ‘XO TOUR Llif3’ is a valuable and refreshing asset that successfully merges a catchy hook with an important and intriguing subject matter.

X’s lyrics strike me with a shockingly profound sense of honesty and despair The topic of mental health in the music industry reached the height of discussion back in July with the tragic suicide of Linkin Park frontman, Chester Bennington.

In the February before his death, Bennington was interviewed by Los Angeles Radio Station 102.7 KISS-FM and admitted that he ‘had a hard time with life…sometimes’. Although he spoke openly about his unhealthy relationship with himself, it was only until after his death that people began to take notice of the potency of his words. When considering Bennington’s recent passing, rapper Logic’s latest release, ‘1-800-273-8255’, which features Alessia Cara and Khalid. This song is especially poignant and reminds people about both the prevalence of suicide in modern society and the importance of offering support to those in need.

Logic directly addreses the issue of suicide as he documents a conversation between a person preparing to take their own life and a phone operator on the National Suicide Prevention Lifeline.

Released in partnership with the NSPL and using

their helpline number as the title, the track honestly explores the suicidal thoughts of the anonymous caller as they admit ‘I don’t wanna be alive…I just wanna die today’. The directness of this track urges people to consider the number if people suffering as Bennington did, and in need of help.

Often, it is rarely even known that a person has ever even been affected, or at least the extent to which they have been affected, by mental health issues until after their passing. This issue continues to surface across the hip hop genre and raises questions about how much of an artist we truly get to see through their music.

After joining Cash Money Records at just 9 years old, rapper Lil Wayne has enjoyed a largely successful career. His witty rap style, along with collaborations with the likes of Nicki Minaj, Drake and Chris Brown has made him a prominent figure in the music industry. However, I was shocked to read recently that he had openly spoken about a suicide attempt in a feature on Solange’s track ‘Mad’, which involved him shooting himself at age 12. Whilst Lil Wayne has claimed the incident was an accident in previous interviews, in this feature he directly referred to it as an attempt on his life as he raps ‘when I attempted suicide, I didn’t die, I remember how mad I was on that day’. Similarly, on the track ‘u’ from his 2016 album ‘To Pimp a Butterfly’ Kendrick Lamar spoke frankly about his ‘suicidal weakness’ caused by his guilt about leaving Compton and struggling to reconcile his wealthy life as a rapper with his hometown, where many live amongst gun and gang violence. These brief glimpses into these artists’ private lives reflects how the bravado of affluence which rappers exude in their songs may hide a multitude of personal issues often unknown to their listeners.

An album which is much more intimate and authentic than I had anticipated Over time, the discussion of mental health in hip hop music has become more common and is currently leading the charts. Whilst creating cool trap beats, rappers are revealing a vulnerability with their music and creating tracks which are relatable to their young audience, more so than those glorifying fast cars and diamonds. Most importantly, the focus on mental health in current rap music is allowing listeners to find meaning in artists’ lyrics and thus helping them to understand the mind behind the melody.

VISUAL ARTS

10

Thursday, 19 October 2017

‘Recipe for Man’ “Ingredients: 2 oz of penis, 1 pint of deep voice, 2kg of balls ...”

Image by Louise Taylor and Pollyanna Turner

By Madeleine Cater Visual Arts Editor visual.arts@palatinate.org.uk ‘Ingredients: 2 oz, of penis, 1 pint of deep voice, 2kg of balls…’ (Pupil of The Woodlands School) What exactly makes up a man? And are the ‘ingredients’ that spring to mind when considering views of masculinity positive for our male population’s mental wellbeing? These are the questions that ‘The Men’s Voices Project, created by Changing Relations C.I.C , are asking and challenging.

This project came about as a product of Changing Relations’s 2016 ‘Women’s Voices Project’, the play ‘Make do and Mend’, which shared stories of women who had suffered domestic abuse. The play was a resounding success and is securing funding to film the production to make into an education tool to be used within schools and work places.

Should there be any one ‘recipe’ that makes up a man?

One question which arose from the performances, however, was why much of the domestic abuse in the UK is perpetrated by men. Two statistics stuck out for Changing Relations; that 86% of violent crime is committed by men (Reference: Men’s Health Forum) and that 76% of suicides are by men (Reference: ONS).

Changing Relations decided to investigate whether these statistics were linked and explore whether violence and silence have become synonymous with masculinity. Do our societal expectations and norms negatively affect British men? Is the pressure to appear strong and be a breadwinner becoming so stifling that many resort to violence as an outlet?

Should there be any one ‘recipe’ that makes up a man?

Have violence and silence become synonymous with masculinity?

The initiative brought together marginalised men and boys from Deerbolt Young Offenders institution, Barnardos Domestic Violence Perpetrator programme, The Woodlands School and Stanley & Eldon Men’s crees. These men participated in artistic workshops which were led with the question ‘What does it mean to be a man?’

The workshops culminated in a multimedia exhibition collaboratively created by visual artist Polly Turner, sound and visual artist Rupert Philbrick and performance poet Chris Robinson who all ran these workshops. The art was exhibited in the TESTT Space, the new visual arts venue on the North Road run by Empty Shop; a space designed to gather research from these types of projects over the next twelve months for their action research and development.

The exhibition itself was a space crafted to make you stop and think. Rupert’s soundscape both enhanced the visual art, and was something to contemplate within itself . Rupert explains that the sounds ‘encapsulate the spirit of the conversation[s]’ shared with him. These conversations, with their mixed emotion and confusion, can be heard within the ebb and flow of the soundscape and aims to portray the complicated nature of what it is to be a man today.

Polly Turner, one of the visual artists working with the men, created works using textiles and stitching. She explains this was a deliberate decision as

textiles have ‘strong associations with the feminine’ which she hoped would confront the viewer about assumptions they might be making subconsciously.

Alongside Polly’s work were poems by Chris Robinson whose initial inspiration came from workshops with the men. She explored what impact views of masculinity have had and will continue to have of both men and society as a whole. By using language, Chris was able to weave together an overarching view of frustration, kindness and confusion which must have been prevalent throughout the workshops she led.

Polly notes that as a young woman of this generation she feels empowered to be part of a culture which is striving for gender equality yet speaking to the men in the workshops she saw a completely different side to this new culture. The older men ‘struggled to feel they knew what their role was and were often made to feel helpless…or less of a man.’

Now that the week-long exhibition has finished, Changing Relations hopes to gather and analyse data surrounding the project. Armed with this data they hope to secure funding to tour the exhibition and run more workshops within the North East community to help bring people together. They also hope to create an educational resource, like with their ‘Women’s Voices Project’, which can be used to empower men and boys.

An overarching view of frustration, kindness and confusion By giving these men a creative platform, Changing Relations have initiated a conversation about masculinity and men’s wellbeing which should only be encouraged.

VISUAL ARTS

11

Thursday, 19 October 2017

By Madeleine Cater Visual Arts Editor visual.arts@palatinate.org.uk

From Blokes to Notes independence.

However, it was clear that when challenged many of the participants were aware of how they did not fit the mould, nor many of their peers. The conversations shared over successive weeks brought to the surface a general sense of frustration with their situations – that they no longer knew which role to take – or to which norms they should conform to.

Visual Arts was lucky enough to speak to ‘Men’s Voices’ artist, Rupert Philbrick, whose series of soundscapes accompanied the exhibition.

Did you have any preconceived ideas about the workshops you ran?

Rupert: From my experiences as a community arts facilitator and particularly working within the North East over the last five years, I’ve learnt that going into these kinds of workshops with preconceived ideas – whether of the participants or the artistic outcomes – can be a barrier to the process as a whole.

In what way do you think the artistic nature of this project has helped (and will continue to help) the dialogue about masculinity?

You have to enter into the experience as a blank slate. And allow yourself to react instinctively to the responses and ideas offered by participants.

the surface and tap into the undercurrents and influences that build the structures through which we interact with the world at large.

In my work, one of the most important considerations is about sustaining a degree of transparency in the representation of participant narratives, honouring their views and opinions – even if they are in conflict with my own.

Delivering this kind of work is for me about offering up vantage points for the public on the microcosms of our society. And in doing so trying to dig beneath

Were you surprised by the men’s responses?

Reflecting on the responses of the men and boys who participated in the project, I think that for me it became clear that the stereotypes and assumed traditional roles remained prevalent amongst the groups; each offering variants on a theme, of the provider, the man’s man, of strength and

Rupert: The holistic nature of the workshops in utilising a range of arts methods allowed for participants to approach the themes of the project from different perspectives.

Though the project only allowed for 4 workshops with each group, spacing these over the course of a month allowed participants and facilitators the opportunity to reflect on the points raised in each session - meaning that across the entirety of each programme, the depth of conversations that were had provided powerful insights in to individual and collective experiences of masculinity and life within the northeast.

Impressions from an Invigilator’s Chair

Image by Tamsin Bracher

By Tamsin Bracher Indigo Editor indigo@palatinate.org.uk It is somewhat strange listening to a soundscape on repeat – especially when you consider that most people will only hear a fraction of it. And yet this strangeness quickly becomes vital. The ‘spirit of the conversations’ (Rupert Philbrick) becomes far-reaching and multi-faceted; the individual narratives are brought together with a growing resonance, and ‘myriad masculinities’ (Ross Raisin) are shown to co-exist.

One woman, after spending thirty minutes looking at the exhibition, commented that the various forms of art on display felt ‘like different voices’. The interaction of these voices, and the voices within the works, is hugely important to the project. In its attempt to highlight the disparity between the real and the conceptual – between all kinds of ‘men’ and what it is to be a ‘man’ – Changing Relations immerses itself in a ‘fragmented world full of contradictions’ (Rupert Philbrick).

The primitiveness of the music (one interviewee observes that man’s desire to dominate is a ‘primal thing’) is complicated by the range of human experience it gives sound to. The traditional association of textiles with femininity is complicated by the use of khaki print and ‘male’ colours. And the individual voice challenges the collective expectation.

Various people attended this exhibition – of different ages, occupations and, most importantly, of both genders. And in Empty Shop’s TESTT Space, the pressure on men to ‘Show fear with your fists / Stifle tears with stiff lips’ (‘Manbot’ by Chris Robinson) was countered by personal messages attendees wrote and planted in the soil under the banner, ‘Grow a Pair’.

“Run the good race”, “Share – thoughts, feelings, responsibilities …”, “Dare to be you – it’s ok”, “Asymmetry of expectation is toxic”, “Don’t shut yourself off when things go wrong”, “Showing vulnerability is actually one of the bravest things you can do”, “Caring doesn’t make you less of a man” …

It is somewhat strange that art doesn’t really exist until people are talking about it. However, Changing Relations has opened the conversation with a mixture of provocation and empathy, presenting art that is ‘both confronting and confessional’ (Pollyanna Turner). And the longer I sat there, the more I realised the importance of the small detail: each fragment, each voice, is vital.

Image by Pollyanna Turner

BOOKS 12

Thursday, 19 October 2017

The Modern Poetess

Books explores what it means to be a female poet in the 21st century

By Julia Atherley Books Editor books@palatinate.org.uk

T

o celebrate the release of Rupi Kaur’s next collection The Sun and her Flowers, Books looks at some of the most exciting modern female poets. The term ‘poetess’ which began as a lesser version of the masculine ‘poet’ is now a symbol of these writers’ innate identification with the female plight. A modern poetess is someone who is not defined by their gender but deepened by it.

Kate Tempest

By Alex William Leggatt Kate Tempest is a poet admired by many for making poetry relevant again; deftly blending spoken word poetry with rapping and, more recently, music. Her performances highlight how she fully inhabits her art yet also shed light on her disillusionment through references to a troubled childhood.Her work is characteristically bleak and firmly placed in the traditions of classical tragedy. And yet she breathes new life into old myths and gives a voice to the forgotten and the ignored.

Tempest’s cynicism with modern society is never more fully realised than in her 2013 work, Brand New Ancients. Greek Gods and ancient heroes are not found in this poem but instead are domesticated in the context of contemporary urban London.

Through demoting lofty notions of heroes, Tempest seeks to empower the downtrodden; “the Gods are in us”. The poem’s allusions to Hellenic myths offer an insight into human experience. She mythologises her figures in a way that readers can relate to, even if these experiences are not deemed acceptable by societal standards: “the gods are in the toilets having unprotected sex”.

Kate Tempest breathes new life into old myths and gives a voice to the forgotten and the ignored Tempest acknowledges that “there’s always been villains”, and that there is ‘no difference’ between the Gods of Olympus and the Londoners that inhabit Brand New Ancients, we all have the capacity for “greed…ambition” and “jealousy”.

However, this does not mean that the poem lacks hope. Tempest ensures this work is an affront to readers’ preconceptions. It frequently implores the reader/listener to “see” the “burning…purpose” in everyone, rather than ostracise individuals based on creed, gender or race. Instead, an “epic narrative” from “everyday odysseys” can be found in all lives, not merely those who have been privileged enough to pen their stories. Tempest’s ability to switch the poem’s focus from the commonplace to the classical to the philosophical demonstrates not only her poetic skill but mimics a society’s collective consciousness.

Kate Tempest: Photograph by Birte Fritsch via Flickr

locked in a fight to death? What Elisabeth Hewer does is one of the many qualities of her poetry: she makes ancient history and myths come back to life with a twist.

By reinterpreting stories of Olympus and even episodes from the Bible, this British poetess gives women a place in history. Helen of Troy is no longer a symbol of vain, fickle beauty; Eve is not the portrait of sin and human weakness: she is curiosity and pure gumption. They are flesh and bones.

The mythical atmosphere doesn’t drown out the noise of today’s hardships. If anything, it helps bring them to light in all of their misguided glory. Some poems are therefore unequivocally angry: angry at men acting as predators as if in their God-given right, angry at what this world wants and demands from women.

Even looking at one’s reflection in the mirror becomes a moment worthy of lyricism. Because sometimes the body you see feels like a cage when you’d want nothing more than for it to be an ocean, boundless and wild.

Elisabeth Hewer gives women a place in history Clementine von Radics

By Rhiannon Morris

Elisabeth Hewer

By Chiara Brogi

For a long time I was sceptical of contemporary poetry. Maybe that was because I loved reading classic literature when I was young and so I’d formed some unshakeable impression that good poetry had born and died with the Romantics. I suppose I thought respecting tradition equated to good taste.

I don’t know if it is a common experience among Millennials, but modern-day poetry welcomed me with Love Letters from Helen of Troy; who is by all accounts an underestimated character. Supposedly, her face launched a thousand ships but who worries about her destiny when Achilles and Hector are

However, in my early teens I discovered the American poet Clementine von Radics and realised that contemporary poetry was still good in its simple honesty. In many ways, she shocked me. Her confessional style of poetry has an unashamed rawness which plays out moments of romantic intimacy

in naked detail in a way that isn’t gratuitous or embellished. It is thrillingly private yet relatable.

I suppose I thought respecting tradition equated to good taste Von Radics takes the facts of her own experience and with confidence shows she is prey to faults and weaknesses without dramatizing them into tragic flaws. She discusses failures in love without despondency. Instead she portrays a delicate selfconscious awareness of the very active process of living. Though touched with nostalgia, her poems leave you with the values of resilience and the tenacity of spirit that faces the reality of life with a quiet beauty of knowledge; we are being constantly made and unmade by the challenges we face.

Holly McNish

By Shauna Lewis McNish’s entrance into the performance scene allowed you to feel the tangible anger riddled throughout her poems. Her own experiences as a woman are ones that so many of us have shared and so her poems affect such a wide audience.

Her debut for Picador Poetry, ‘Plum’ attacks inequality and cultural issues in a similar fashion to its predecessors. It unfolds amongst the naivety of childhood as McNish takes us from her adolescence to adulthood. Her criticism of female oppression and environmental issues emerges alongside poems about ‘Midsomer Murders’ and ‘Frozen’. Her writing mirrors the ceaseless movement of life that carries on as individuals face adversity. Most of all, McNish acts as a voice for the experiences that many women encounter as they grow up. She shows the resilience made when we are forced to adapt in an environment that seeks to constantly push us down.

We draw on our own strength to overcome it.

CREATIVE WRITING 13

Thursday, 19 October 2017

Writing Across Genres Creative Writing sit down for an exclusive interview with Jen Campbell, acclaimed poet and short story writer

By Chloe Scaling Creative Writing Editor creative.writing@palatinate.org.uk

J

en Campbell is an award-winning poet and short story writer. Her debut short story collection The Beginning of the World in the Middle of the Night is being published

by Two Roads and her children’s book Franklin’s Flying Bookshop is published by Thames & Hudson. She is also the Sunday Times bestselling author of the Weird Things Customers Say in Bookshops series and The Bookshop Book. She won an Eric Gregory Award in 2016.

In advance of her workshop at the Durham Book Festival this year, Creative Writing was lucky enough to get in contact with Jen Campbell to discuss her first fiction book for adults, which will be published on the 2 November 2017.

What is your preferred genre?

Oh, that’s so tricky. I’ve written fiction, poetry and non-fiction. At the moment, I’m definitely drawn more to fiction. A touch of magical realism, a touch of fairy tale.

that’s my process, but it really works for me, and I enjoy it.

How do you think writing short fiction differs from writing novels or longer form prose?

Ask me again this time next year, as trying to write a novel is my next project. I love short stories because you can ask the reader to truly believe in something extraordinary over a short period of time.

“You can have odd situations and build extreme worlds” You can have odd situations and build extreme worlds that wouldn’t work with a longer narrative.

So, going forward, it’s going to be a balancing act to see what works in longer form and what doesn’t.

That’s both scary and exciting.

Where did you get the inspiration for ‘The Beginning of the World in the Middle of the Night’ from?

All over the place. I enjoy creating thematic nets.

One story in the collection called ‘Margaret and Mary and the End of the World’ was inspired by a painting at the Tate Britain. A narrative emerged from that where I brought together the tale of Mary, Christina Rossetti (who had posed as Mary for this painting), Hansel and Gretel and a teenage girl exploring what body is.

That sounds like a lot of things in one place. I promise – or at least very much hope – that it’s fluid. Stories cross paths all the time, and I find those intersections the most interesting places to explore.

Which is your favourite short story in the collection?

That’s like asking me to pick a favourite child, so I’m going to politely pass.

What are your plans or goals following the publication of ‘The Beginning of the World in the Middle of the Night’?

“I began with fact and moved into fiction, weaving them together”

My first children’s picture book came out this year, Franklin’s Flying Bookshop. The sequel will be out next year, so I’ll be working on that. I’m also scribbling ideas for a novel.

How do your processes for writing and researching different genres differ?

What advice do you have for students pursuing creative writing in their spare time?

For many of the short stories in my new collection, I actually began by researching a topic. The history of hearts and heart transplants; all the strange fish that live at the bottom of the ocean; the history of the freak show; medical cases of plants that have grown inside people.

I offer writing workshops, if anyone would like specific, tailored writing advice (www.jen-campbell.com/writing-workshops). But general advice? In the words of Philip Pullman: “read like a butterfly, write like a bee.”

So, I began with fact and moved into fiction, weaving them together. I’m sure this is because I originally wrote non-fiction, so

Pollenate.

Photograph of Jen Campbell by Two Roads Publishers

STAGE 14

Thursday, 19 October 2017

Is student playwriting anything more than a self-indulgence?

By Sanya Marthur stage@palatinate.org.uk

increasingly difficult in a world where it seems ‘everything has been done before’. Diwa Shah, also a student of Durham University (MA Creative Writing), says her time in India has revealed to her the impact of theatre in a contemporary form.

I

pose the question to Christine Keogan, a student doing her MA in Medieval and Renaissance literature at Durham. She managed a group called ‘The Humor Code’ back in the United States, which wrote and performed sketch comedy. She says, “Just because we have classic literature doesn’t mean that people [should] stop writing. We are contributing to the literary world, so why would we stop contributing to theatre?”

“Classics are great but they are also history; that has already happened,” she says. “It is contemporary writing that allows us to bring social and political issues to the audience in a fresh format. What the students write is able to convey more contemporary and significant ideas.”

The classics are great but they are also history: that has already happened

Trying to express oneself originally is becoming increasingly difficult in a world where it seems ‘everything has been done before’ Christine suggests another reason is that with practise and commitment one might finally yield the work that will perhaps eventually be considered a ‘classic’. Shakespeare wasn’t necessarily considered the undisputed greatest playwright during Elizabethan era; it was a judgement made by his readers in retrospect. Moreover, practising creativity yields results beyond the finished product itself.

Trying to express oneself originally is becoming

Student plays are where aspiring writers can fully experiment without any kind of pressure, learn, fail, understand and experience the rush of seeing your creation come to life - a feeling that is much less pronounced when recreating someone else’s work.

But more than that, Diwa says, as she parts with me, theatre is about “breaking stereotypes, bringing out new forms and creating new ideas”.

Illustration by Katie Butler

While the students grow more confident in their skillw, vitally new and stimulating ideas are expressed to the audience through entertainment.

At the end of the day, student theatre is where all

Twenty-six shows. Two female directors Why are women dropping off the theatre scene post-university? encourages new and old writing for the experienced and inexperienced, do we promote both female and male leadership on the stage? I would argue that the directorship weighs mainly on the female side. But why does the number of female directors drop so drastically after university?

The unexpected announcement of Michelle Terry as the new director of the Globe has created much buzz around this question.

By Alice Chambers stage@palatinate.org.uk

A

s the autumnal winds blow us back up north, I have found myself reflecting on the last few months, more specifically my trips to the theatre. From the Edinburgh Fringe to the Barbican, from improvised comedy to spoken word, this summer I have been lucky enough to appreciate a range of performances. However, what struck me was this: out of the twenty-six shows I saw, only two were directed by women.

For a creative industry that is very much populated by the fairer sex, it is strange to realise that the managerial roles are mostly left to men. When I spoke to Cressida Peever who wrote and produced the engaging Sex Education, I was impressed by her determination to expose her authentic creativity to the critical public (and with such successful results). Moreover, Lions and Tigers at the Sam Wanamaker Playhouse, directed by Pooja Ghai, was particularly stunning in its representation of India under colonist occupation. What is clear is that women are challenging conventions and

competing with – and often rising above – their male counterparts.

With these thoughts in mind, I was left to think about Durham and its wealth of female actresses, directors, and writers. In an environment that

However, it is not that which we should be concerned about, but the previous dismissal of Emma Rice. It is said that this was owing to “a lack of respect from the board” and her exclusion “from the rooms where decisions are made.” Perhaps, it is simply as a result of the clash between a traditionalist board and ‘Rice the innovator’. Or perhaps, a strongminded, questioning woman threatened the board. It would not be surprising then if so few women shied away from tackling not only a creative barrier, but a gender one too.

I am excited to see what decisions Terry will make in her reign.

Photograph by City of Boston Archives via Creative Commons

TRAVEL Thursday, 19 October 2017

15

Navigating northern Spain A road-trip through the land of sangria, siesta and sunshine

By Rachel Tan travel@palatinate.org.uk

I

think I’ve found my dream home; I’ve fallen in love with the vibrancy of Spain.

I began my journey on a language course in Valladolid, the serene capital of the Castilla and Leon region. Resting just a couple of hours’ drive north of Madrid, it lies amidst the copious expanse of Spanish countryside and vineyards. The region is known for an ‘accentless’ form of spoken Spanish, easily understood by los extranjeros (foreigners), providing the perfect opportunity to learn more about Spanish language and culture.

Valladolid Valladolid’s quiet streets are adorned with affordable tapas bars, serving up bite-size gastronomical delights and a range of cervezas (beers). We found ourselves enjoying our evenings in a local bar (fondly nicknamed “Marco’s” after our favourite waiter) and

sampling local tapas along the streets near the main plaza. The Campo Grande park boasts a beautiful lake, populated with free-roaming peacocks and swans, while the city is home to various historic museums, including one dedicated to Christopher Colombus’ death and burial. In the evening the city becomes flooded with people. University students can be found crowded under the crimson-tinted glow of outdoor heated lamps, with bars playing a mix of latin and international music in the background.

What began as a language course soon morphed into a road trip, after realising that renting a car agrees with a student budget.

Bilbao A three-hour drive past an imposing mountainous terrain led us to the heart of the Basque country, lined with its expanse of gothic-meets-modern architecture.

We headed straight to Casco Viejo, the old town, and ventured through the seven parallel streets that were crammed with popular Basque pintxo bars. Usually, most shops in Spain have a siesta, which leaves the alleys peaceful (albeit eery) in the afternoon. When driving, we took in the colourful energy of the city along the Nervión river and climbed the sloping terrain that presented Bilbao in panorama. I met up with my high-school Spanish teacher, who had first introduced me to the language. She thought that my spoken Spanish was still pretty horrible and was incredulous when we told her that our day trip did not include a visit to the nearby beaches or the Bilbao fiesta (nightlife).

ant sun in the Plaza del Reina, and whilst the paella received mixed reviews, we thoroughly enjoyed glasses of sangria and caña con limón (beer with lemon).

Madrid By this time, the siesta life had hit us hard, leaving us to spend much of our time in blissful, comatoselike sleep. However, we managed to cram in a visit to the opulent Royal Palace (albeit it was smaller than we had thought), fulfilled our shopping needs at the beautiful Gran Via and had the best chocolate and churros at Chocolatería San Ginés. My college rowing experience came in useful in the sprawling Retiro park as we rented a rowboat on the aquamarine lake whilst soaking in the beaming sunshine. I was also fortunate to spend two Sunday afternoons at El Rastro market, which sells everything - from tapestries to jewellery (and even live animals!) at a bargain. The food at the nearby market Mercado de San Miguel is a must-try for a variety of excellent (but slightly pricey) tapas, oysters, and wine.

As usual, I found myself chasing some pretty spectacular sunsets during the journey, whilst quite possibly leaving a piece of my heart amidst the blended colour of the Spanish horizon.

Valencia Durham’s icy winter had taken its toll, so the promise of 22 degree weather brought us to the eastern Spanish Coast. The city seemed awash with a pastel glow, with wide cinematic plazas and sprawling streets elegantly lined with palm trees and greenery.

Valencia balances its numerous historical and cultural sites with strikingly futuristic mega-structures. As a coastal city, the white expanse of sand and shimmering turquoise water of beaches such as Malvarrosa did not disappoint. Valencia is the birthplace of paella, typically served here with rabbit and snail meat. We gave it a try under the radiPhotographs by Rachel Tan

The Budapest Menu

By Anna Ley travel@palatinate.org.uk

B

udapest is a city as rich in flavours, textures and tastes as it is in history. A food-lover’s paradise, the capital is seasoned with fantastic eating experiences at the very heart of its culture. Most tourists will be dipping into the many thermal baths Budapest boasts, but very few will submerge their taste buds into the tantalising taste of its traditional cuisine.

If you are rushing through the city as part of a long interrail route or just a quick mini break, Karavan is a great spot to experience the highlights of Hungarian

flavours, all in one place. This quirky courtyard boasts a spread of traditional snacks and meals sold in kiosks and stands. Enjoy your traditional sausage, langos and goulash al fresco in this well-priced and relaxed courtyard.

Culinary delights can be sourced elsewhere for cheaper if you go looking for them. Lángos are littered all over Budapest, in every tourist market stall and café. For the best price, head off the beaten track and into the backstreets of Budapest to Tomi Langos where you can indulge in Hungary’s fatty favourite for only £2. This deep fried bread snack, traditionally smothered with a rich sour cream and sprinkled with cheese, is a must have on Budapest’s best eats and will likely leave you so stuffed that you do not need to eat again.

For the sweet-toothed amongst us, chimney cake will complete your Budapest menu. The warmth of this sweet, cinnamon cake makes it the perfect snack to feast on while strolling down the banks of the river.

A real Hungarian food experience is incomplete without the perfect year-round comfort food: a warm bowl of goulash soup followed by Chicken paprikash.

Chicken paprikash is typically served as a chicken thigh lathered with creamy paprika sauce and accompanied with some odd-looking noodles. Your goulash and paprikash fix can be found at the many taverns dotted around the city, such as Dionysus Taverna, in which you can feast to the backdrop of Hungarian folk music. To go easy on the student budget, check out Mistro Bistro, a restaurant hidden amongst the expensive eateries of Budapest’s seventh district. Here, you can indulge in an inexpensive three course set menu.

Finish with a palate cleanse of a round of Palinka, a traditional Hungarian brandy, in one of the city’s many ruin pubs. At £5 a time, don’t be fooled into thinking this is a long and enjoyable drink, rather, knock back a shot of this sickeningly strong shot to a roar of egészségedre! (cheers).

THE indigo INTERVIEW Thursday, 19 October 2017

16

A Public Account of ‘Private Lives’ indigo interview Jack Hardwick, the celebrated lead in Noel Coward’s comedy of manners ...

By Ben Clark and Helen Chatterton Deputy Stage Editor deputy.stage@palatinate.org.uk

think it’s so successful. People are fascinated by other people’s lives, especially characters of different social classes, and I think Coward really taps into that. Act II was Coward’s version of Big Brother in 1930: you witness the best and worst times of these characters. Nothing really happens but everything unfolds before your eyes.

L

ast week Noel Coward’s comedy, Private Lives, played at the Gala Theatre, starring Jack Hardwick as leading character Elyot.

Between performances Hardwick took the time to answer a series of questions about the production.

Why should people see the play?

I think everyone should see at least one Coward play in their life. He is a massive part of historical culture, and there’s no better play than ‘Private Lives’. Our production is fast paced, quick witted and stylish.

What appealed to you about Noel Coward’s ‘Private Lives’?

My first real taste of Coward was whilst training at drama school when we did ‘Hay Fever’, and since then I have loved his work. I saw the 2013 West End run of ‘Private Lives’ with Anna Chancellor and Toby Stephens, and absolutely loved it. From that moment I added it to my list of parts I’d like to play. It’s fast paced, quick witted and the writing is brilliant.

Even though the play is set in 1930, do you think it is still relevant to 21st century current affairs?

Although it was written and set in the 1930s, what’s incredible is that it can still feel and sound as if it was written for today’s audience, it really is timeless. It is a snapshot into people’s private worlds, how they act, what they say, essentially how they relax behind closed doors, and I think audiences then and now find that fascinating. It’s like a live version of reality shows like Big Brother, Love Island or even Gogglebox, which currently are very popular.

You have appeared in both TV shows (Misfits, Law and Order) and plays.

Which do you prefer and why?

Photograph by Paul Marotta via Flickr and Creative Commons

What is your interpretation of Elyot as a character? How did you find embodying the character, and were there any difficulties?

When looking back at the incredible actors that have played the role before, many of them were older than described in the script, and understandably so, as in today’s life and times you would consider someone who has been married for three years and divorced for five to be older than 30.

By the casting of this production sticking to the ages in the script, we have a truer picture of Coward’s vision, coming at it from a more youthful perspective.

Both are extremely different styles of acting, so I don’t really have a preference. Every job you do is totally different and calls upon different techniques, so to be able to do both and continue learning my craft on each job is extremely rewarding.

What has been your favourite role to date?

Every role I’ve played holds a special place for me, but playing Peter in ‘The Railway Children’ in King’s Cross was a highlight. Having grown up reading the book and then being able to actually be one of the Railway Children in the most spectacular setting was incredible. Sharing a stage with a real life 60 tonne stream engine was amazing!

Is there a city you are particularly excited to perform in?

Your character, Elyot, has been played by Noel Coward himself, as well as by hugely successful actors such as the late, great Alan Rickman. What do you think is the appeal of this role?

Elyot is an incredibly laid back, effortlessly stylish, and confident character. But coming into contact with certain other characters his temper can flare and he has no problem speaking his mind.

Getting to explore these characteristics made rehearsals highly enjoyable.

Huge shoes to fill. I think the fact that the writing is so brilliant and it’s a widely celebrated play makes it extremely appealing for any actor. Coward wrote himself a confident, funny, stylish character.

Who wouldn’t want to follow in his footsteps!

Although the script has many Coward tongue twisters, and due to the fast paced nature of the show it’s taken a lot of practice to be able to get the words out!

Finally, if you could play any part (film or theatre) what would you choose and why?

John Lahr of The New Yorker described Private Lives as a “Plotless play for purposeless people”. How accurate do you think this is?

There are lots of parts I’d like to play, and the more plays I read/see the longer the list gets, I’m not sure I could pick just one!

I think that is partly accurate, yes. It’s a snapshot of people’s private lives in the 1930s, which is why I

If you are interested, you can follow Jack on Twitter @JackHardwick86

And of course, who you are acting alongside (whoever plays Amanda) can be hugely appealing. If the dynamic is right then it makes it equally exciting and extremely enjoyable.

I’m going to have to say St. Albans, as it’s my home town! It will be amazing to have my secondary school drama teacher, who got me into acting in the first place, sitting in the audience!

Ooh hard question!