Indigo 804

indigo

EDITORIAL Thursday, 22 February 2018

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F EATURES 3 Left to Rot? Durham momuments that have been abandoned, vandalised and forgotten F O OD & DRINK 4&5 French cuisine: it’s got that ‘je ne sais quoi’ Charles Richardson reflects upon a wonderful lunchtime in the heart of rural Normandy F ASHION 6 Durham University Charity Fashion Show 2018: A Review V I S UAL ARTS 7 Constellation of Mind: Yayoi Kusama F I LM & TV 8&9 Searching for Ourselves: LGTB+ Representation on Screen MUSIC 10 Image: the sepulchral DOOM of Music Tom Watling explores the inescapable importance of image to music TRAVEL 11 Time-sensitive destinations - will they still be there when we want to visit them?

CREATIVE WRITING

12 & 13 Poems inspired by the themes of ‘Home’ and ‘Belonging’ STAGE 14 In conversation with ‘Lefty Scum’: “Politics belongs to everyone” BOOKS 15 Returning to their Roots? A closer look at how international writers bring their upbringing to bear on their work I N TERVIEW 16 Surya: A Star on the Rise? An interview with Durham student, Surya Varatharajan, on his music and recent radio success

Cover photographs by Lotus Pilgrim via Flickr and Creative Commons

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xtreme passion, extreme pitch, extremely long: opera brings to mind many things. All of which are traditionally associated with high culture, artistic elitism and inaccessibility. The storyline is difficult to follow, the language is foreign and the tickets are expensive.

And yet the Durham Opera Ensemble’s rendition of The Magic Flute last weekend was not only in English but also set in the modern day. Alabama Jackson wrote in her director’s welcome that “by using video footage, animations, and a contemporary setting” throughout the performance, she hoped to “highlight that opera is not a ‘dying art’ […] rather it is a highly relevant art form accessible to all, across all ages and time periods.”

Currently there is an exhibition running to the same purpose at the V&A in collaboration with the Royal Opera House. It analyses the development of the art form over nearly 400 years and considers its “active role”, The Guardian writes, “in society and politics”.

From Venice to London to Milan to Paris to Dresden to Leningrad, the show reminds everyone of “the cultural links that bind Europe together”. With Brexit all around us, art becomes a powerful means of interconnection.

And opera, it seems, “still has things to say.”

Several sections in this week’s Indigo consider our relationship to cultural mediums and art forms: while Creative Writing features four poems themed around the notion of home and belonging, Books discusses how birth and origin affects international author’s writing.

Music, Stage, and Visual Arts all take a closer look at these points of intersection by exploring the links between voice and image, politics and performance, mental health and art. And finally, Film and TV give us a double page spread on the nature and lack of LGBT+ representation in the film industry.

We sometimes need the reminder: Art is for the many, and not only the few.

INDIGO EDITORS Tamsin Bracher Adele Cooke (deputy) FEATURES EDITORS Rosie Dowsing Katie Anderson (deputy)

CREATIVE WRITING EDITORS Chloe Uwitonze Scaling Kleopatra Olympiou (deputy) STAGE EDITORS Helena Snider Helen Chatterton (deputy) VISUAL ARTS EDITOR Madeleine Cater Anna Thomas (deputy) BOOKS EDITORS Tanvi Pahwa Alexander Leggatt FASHION EDITORS Anna Gibbs Francesca Reffell (deputy) FOOD & DRINK EDITORS Emma Taylor Sapphire Demirsöz (deputy) TRAVEL EDITOR Harriet Willis FILM & TV EDITORS Imogen Kaufman Sander Priston (deputy) MUSIC EDITORS Tom Watling Ashleigh Goodall

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FEATURES 3

Thursday, 22 February 2018

Left To Rot? Durham monuments that have been abandoned, vandalised and forgotten

By Luke Payne features@palatinate.org.uk

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ignificant sites, part of Durham’s rich history, are at risk of being forgotten and falling further into decay. A pair of historical wells, hundreds-of-years old, and other remnants of the city’s past are part of a trove of historical sites around Durham city centre which are currently in an abysmal abandoned state.

steep banks of the River Wear. It is roughly three metres deep and one-and-a-half metres wide and high. The cavern is filled with water which flows out down the slopes to the Wear. Access is extremely precarious as one must go off the footpath and descend the steep river bank in order to view it.

Many will be familiar with the Count’s House, which is a small Greek-style summer house on the southern point of the Bailey near the river.

However, few will be aware of the secrets lurking in the trees behind the house, the remains of the

Many sites are mere metres away from popular footpaths, but access has dissipated and there are no public information signs Photographs by Luke Payne

A trove of historical sites around Durham are currently in an abysmal abandoned state Dated 1690, St Cuthbert’s Well sits atop a set of dilapidated concrete stairs on the western bank of the Bailey just outside the World Heritage Site zone. The sandstone construct, engraved with “FONS CUTHBERT”, still functions as a source of water but has been blighted by litter, spray-paint and neglect. Despite being a listed structure, safe access to the site has not been maintained and the public can be forgiven for being oblivious to its existence.

are unlikely to be aware of them because access has dissipated over the years and no public information signs exist within their vicinity (Charley’s Cross used to have a plaque but it has been missing for years). In most cases, modern maps do not contain any mention of these sites and one must acquire old Ordinance Survey maps to ascertain their location.

St Cuthbert’s Well

St Oswald’s Well

Ice House

St Cuthbert’s Well has been blighted by litter, spray-paint and neglect A few years ago Jon Williams, the then land agent Inside St Cuthbert’s Well South Street Wall for the Cathedral, stated there were “no plans to restore the well” stone staircases and other masonry once part of long because of a subsidence issue affecting the access forgotten and overgrown gardens that stretched all steps. The quoted cost to rectify the issue was £1-2 the way to the river from the townhouses on the million with no guarantee of prolonged success.

Bailey. The real gemstone though, is the ice house.

Further, it was claimed the well was kept unkempt Dated circa 1800, the listed ice house is a stone “in order to persuade people not to clamber into tunnel leading four meters into the bank where ice the unstable area”. Despite this, given the state of could be stowed during the winter months for use litter and graffiti at the well, this is not a sufficient around the year. disincentive to those who wish to spoil the city’s heritage.

Similarly forgotten is the well behind the river path at the back of St Oswald’s Church. St Oswald’s Well was once a site of beautiful arches and basins.

Unfortunately, these were destroyed by vandals in the 19th century, although what remains today is still impressive. The well consists of a large cavern hewn into a sandstone outcrop part-way down the

Few will be aware of the secrets lurking behind the Count’s house

Numerous other sites can be named, such as South Street Well near Prebend’s bridge or Charley’s Cross at the New Inn crossroads. Many of these sites are mere metres away from popular footpaths around the Bailey, but the general public

Charley’s Cross There may have been some hope for a few of these sites in recent years; a Durham City Conservation Area document from Durham County Council dated July 2016 suggested reopening St Cuthbert’s Well. Unfortunately, when the council was contacted, Stuart Timmiss, Durham County Council’s head of planning and assets, said: “We do not own any of these locations and whilst we are not aware of any plans for them at the moment, we are always happy to work with the owners of sites like these to encourage and facilitate improvement.”

St Oswald’s Well was once a site of beautiful arches and basins; however, it these were destroyed by vandals in the 19th century

FOOD AND DRINK 4

Thursday, 22 February 2018

FRENCH CUISINE: it

Charles Richardson reflects upon a wonderful lu

By Charles Richardson food@palatinate.org.uk

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t all began in a tiny hamlet in Normandy, when does it not? Staying with my better half and her parents in rural, northern France was everything I expected; hammering rain, desolate isolation and icy dreariness. But it mattered not because yin would get its yang, in the form of deliciously roaring fires, a strong will to do the sum total of absolutely nothing, drain-unblocker Calvados and unctuous food - cooked with all of the love and attention that one would expect of people cooking in the world’s finest culinary country.

Unctuous food cooked with all of the love and attention one would expect in the world’s finest culinary country My partner – although of Anglo-Irish parentage – was raised in Paris from a very young age and was put through a gruelling French school system. Her family have owned a thatched, logged cottage in Normandy for almost as many years as they’ve lived in Paris, and so – despite the paucity of neighbours (there are six) and the fact that their hamlet is stereotypically, traditionally French – one might assume that this Anglo-Irish family are relative outsiders to the tiny hamlet of Mélogis.

Well, one would be wrong. Their closest neighbours, Madeleine and Michel, are two passionate, proud Normans who have lived in the area for decades – Michel was even born just around the corner. Their natural warmth and hospitable raison d’etre have resulted in the surrogate adoption of my partner – this loving, Norman couple are the acting grandparents of a snazzy Anglo-Irish Parisian who – despite her hustle-and-bustle roots – feels most at home in their company. Who’d have guessed it.

Silky, sugary honey that is as elegant as fairy dust Michel has a penchant for bees - he has the lot, I’ve seen it all. Apiaries, hives, colonies as well as all the necessary protective gear, but what use is it all without the final flourish?

Luckily, he has that flourish; silky, sugary honey that is as elegant as fairy dust. Michel takes it in his morning coffee, so upon meeting him for

the first time I naturally assumed him to be a maniac.

But in actual fact, I was maniacal for doubting him – it works as well as butter on toast. Then there is Madeleine; her niche is some of the most intricate, meticulous embroidery that would not be out of place at one of the top Parisian haute couture fashion houses and – as is so often the case for sixty-something, portly French women – cooking. It is for that reason that my ropey French and I are sat in their house. We have been invited for lunch.

I spot heavy-as-fudge terrine laid out on the table alongside a crisp, tanned baguette Madeleine – whose recipes have featured alongside those of Michelin-starred chefs in The Independent as an authentic arbiter of Norman cuisine – is beyond ecstatic to welcome us in.

Upon passing the threshold into their similarlylogged cottage, you enter straight into the heart of rural France – an open fire sears and the sumptuous stench of cheese thumps; the lips lick in vicious anticipation. The customary bise follow and we are immediately sat down on an unpretentious wooden bench which sets the mood for what is to come.

My carousel eyes survey the room and they glisten. I spot heavy-as-fudge terrine already

laid out on the table alongside a crisp, tanned baguette. A quiche bubbles away in the oven and there is seasoned bavette steak on the counter. Homemade frites relax in a basket, dangling – poised – just above a pot of hot oil. I suddenly realise I’m in deep; I mentally prepare myself for the inevitable waddle home and for the loosening of my belt by a buckle.

Skipping breakfast has now gone from looking like a decent decision to an outright necessity.

We begin with Madeleine’s homemade terrine and baguette from the local boulangerie. The terrine is as smooth as shined wood, with all the richness of the duck that it contains. I am surprised by their willingness to eat the terrine without the baguette accompaniment, but

FOOD AND DRINK Thursday, 22 February 2018

t’s got that je ne sais quoi

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unchtime in the heart of rural Normandy I soon come to my senses; when something tastes that good, why bother padding it out and watering it down? The baguette is discarded and Madeleine smiles, she obviously interprets this as a subtle, back-handed thumbs up for her terrine, and her interpretation is entirely correct.The quiche comes from the oven and my insatiable eyes swell in their sockets. There is enough for dinner for six, let alone as a starter for four. The pastry is buttery and crisp, the filling has richness of egg and the saltiness of bacon cuts through majestically. And just in case there was any doubt that we would not quite reach our guideline daily calorie intake, a bubbling gruyère topping puts the mind at ease. But the secret? “Les œufs”, Madeleine blurts.

being chased out of the house by two furious Normans with frying pans. Camembert is their bread-and-butter; a Cornish man’s pasty, a Yorkshireman’s pudding, a Scot’s whisky.

A seasoned quiche expert as you might expect, she is adamant that the end product is better after using free-range eggs, despite the fact that they’re being cooked with a plethora of other ingredients – a ringing indictment for the free-range poultry industry. After this explanation, I’m served another slice without consultation whilst the steak pan heats up.

Complain, I do not.

I decide against explaining that the current British trend is to bake Camembert, at the risk of being chased out of the house

White wine is served with dessert which is a custardy-éclair affair. And here comes one of the meal’s great controversies: the wine comes out of a box. Exquisite culinary detail, the finest ingredients, knowing where to find them, and then…wine from a box? It is the day’s mystery that I can’t quite get to grips with. Surprisingly the wine is perfectly drinkable, it won’t trouble any judges of award ceremonies, but as a dessert accompaniment it is bland enough to allow the éclair to prosper, but with enough bite to cleanse, wash and fill the palette.

to this mystery - it has been a day of no-frills cooking; without pomp, without circumstance, without pretence and certainly without snobbishness. And yet, in terms of the crux of the purpose of food, the taste, there is not one thing that you could possibly fault. It was hearty, rustic cooking crafted with more than a tablespoon of love and a ladle of know-how.

And it was the same for the wine – if it tastes good enough, who cares what it’s served in?

Who cares what it looks like? And who cares how you drink it?

I thank them both for their immensely generous hospitality, but it is hardly acknowledged. I realise that this is just what they do. They do not need congratulations nor thanks – if they did then they would be inviting people to dine with them regularly, but they do not. As we leave, Michel begins the dishes as Madeleine leisurely eyes up a spot of sewing.

We step out into the howling wind where we contemplate how business as usual for some can have such a lasting, touching effect on others.

My partner would later offer an explanation

The conversation is rudely interrupted by the piercing sizzling of steak. Bavette is a very thin cut and so it does not take long to cook, particularly as the French custom is to merely allow the steak to flirt with the pan rather than to allow it to hit the heat. But the result is sumptuously tender. It is seasoned with white pepper and salt, accompanied with thin, crispy chips and demolished in a matter of minutes.

Luckily I have another waiting for me which, again, comes without consultation. I decide that it would simply be rude to turn it down, and therefore reluctantly decide to eat the second.

French custom is to let the steak flirt with the pan rather than allow it to hit the heat I can feel the thread of my shirt buttons groaning in pain, my belt buckle squeaks like an unoiled wheel and yet my brain wishes to continue. The human body is a cruel, oxymoronic mess. Velvety Camembert from only sixty kilometres from the table accompanies sharp Roquefort, and I decide against explaining that the current British trend is to bake Camembert, at the risk of

Illustrations by Katie Butler

FASHION 6

Thursday, 22 February 2018

Durham University Charity Fashion Show 2018: A Review “Something for everyone”: Fashion Editor Anna Gibbs gives her take on the largest student-led charitable event in the United Kingdom, the various designers showcased and the overall atmosphere of the night

By Anna Gibbs fashion@palatinate.org.uk

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he spectacle of DUCFS began with the mesmerising, unashamedly bright blue designs of Alice Jane Potter. The mixture of futuristic tear shaped cut-outs in flowing ankle-length coats, gravity defying tulle sleeves, and various satin and glitter shines gave the audience the impression that the models were almost mythical beings who had just now stepped out from the depths of the sea. The detail in the fixings, and generous layering of fabrics also brought to mind the idea of a fisherman’s boat and net. The designs were hypnotising and the execution was sharp.

I have to say, it wasn’t just the models who were glowing from the inside out either, but sharp suits on both female and male attendees, lots of fur and careful on-trend accessories made the audience themselves a vision to admire on the night. The energetic buzz in the venue was consistent throughout the night as students cheered on their friends on the catwalk, not looking too shabby themselves.

The show was a mix of tried and tested classic, traditional and highquality conventions fused with the contemporary and excitement for what is to come in the near future There was something for everyone; my housemate was delighted when she spotted the pink pom-poms of the Dysnea collection, which bounced behind the models as they swayed up and down the catwalk. This collection included a questionable Jessica Straword body suit, and one frankly horrendous outfit by Dmitry Gotsfird that I wish I could unsee, so with my more androgynous tastes I was a tad lost by what she found so striking at this point. Then again, when I marvelled at Isabel Schwartz’s rich, sweeping robe-esque coats in various velvet gemstone tones, she wasn’t quite as keen.

Next came the Sahira Boora collection. For me, this collection stripped back our ideas of design to the beginnings of the arts of both cut and drapery, and in doing so with muted tones, brought to mind classical archetypes with a potent simplicity which was also echoed in the mood of the Mara Hoffman pieces.

Despite the theme, #shapeofnow, I felt diversity in this area was lacking. A clear point for improvement was thus the need for a greater variety of body shapes. Surely the #shapeofnow is a multitude of shapes? Then again, it seems that the exec can only cast those who present themselves at the auditions - so perhaps for 2019 the run-up marketing visuals could include a wider base of body types in order to encourage a more authentic representation. Again this is something that cannot be changed overnight (or can it?) and that must first be given due attention from top designers and fashion weeks. However, the student population can often be highly and impressively innovative, as shown throughout DUCFS, and this could have been something that DUCFS really addressed. With such a large audience, they had the perfect platform to encourage open minded thinking and body diversity.

Despite the theme, I felt diversity in this area was lacking: a clear point for improvement was thus the need for a greater variety of body shapes Nonetheless, at the end of the day, this was and does not pretend to be anything other than a fun, charity-focused student event. It clearly cannot be entirely judged by the same criteria of the main fashion weeks and walks because the aim is entirely different; although the level of professionalism notably similar. The important group here seemed to be the audience and their experience during the night, and every member of the audience appeared to have a brilliant time.

The underwear and swimwear walks were executed in a much more tasteful way that I was anticipating, and the fact that the personalities of the models were allowed to shine through was an added bonus. Dora Larsen’s confident juxtaposition of neon green lace against the dainty rose petal pinks of her lingerie wonderfully encapsulated the show for me: a mix of tried and tested classic, traditional and high-quality conventions fused with the contemporary and excitement for what is to come in the near future.

To put it simply, the graphics and marketing were excellent and took the quality of DUCFS to the next level. The video footage throughout could have comfortably sat beside professional marketing campaigns. The audience was also nearly always included. Before attending, I was fully expecting to dislike the vast majority of the content of DUCFS, imagining a simple cocktail of all of the most unpleasant, elite characteristics of Durham University, but I was on the whole pleasantly proven otherwise. Although yes, the auction was frankly bizarre and I didn’t understand several of the in-jokes because I hadn’t heard of the ‘BNOCs’ involved, these were merely minor annoyances which were easily brushed aside.

The important group seemed to be the audience and every member appeared to have a brilliant time Overall, I am glad I went. DUCFS 2018 was a strong, consistent and dazzling event that gave you a little to think about. Perhaps more importantly, though, it was also a memorable night out that provided a platform to combat the stigmas around mental health in a fun, unpatronising, student-led way.

I’m already planning my outfit for DUCFS 2019.

Photography: Loy Yin wears Mara Hoffman by James Gourlay

VISUAL ARTS 7

Thursday, 22 February 2018

Constellation of Mind: Yayoi Kusama

By Melissa Frateantonio visual.arts@palatinate.org.uk

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ayoi Kusama is most recognised for her wild, unfurling contemporary art installations and exhibitions which are characterised by an expansiveness — an infinitive continuality of dots, of mirrors, of light.

Kusama’s exhibitions are defined by their expansiveness - an infinitive continuality of dots, of mirrors, of lights However, few onlookers of her artwork

delve beyond the spectacle itself. What is perhaps most remarkable about Kusama is the underlying force of her artwork: the inextricability of her condition of mental health from her practice of art.

Mental health is inextricable from Kusama’s practice of art Of this she says: “My art originates from hallucinations only I can see. I translate the hallucinations and obsessional images that plague me into sculptures and paintings.”

Since her childhood growing up in Nagano, Japan, she has coped with severe psychological difficulties. She began to experience “visual and aural hallucinations”, whereupon she

would run home to draw them.

“One day, I suddenly looked up to find that each and every violet had its own individual, human-like facial expression, and to my astonishment they were all talking to me.”

She continued to suffer regular episodes of neurosis upon moving to New York in pursuit of her burgeoning artistic career inspired greatly by her written exchanges with Georgia O’Keefe.

“My art originates from hallucinations only I can see.”

In her studio there, her neuroticism continued: she talks of the nets and polka dots which crawled from her canvas to the plains of the furniture, the floor, swathing her body; she became the patterns, part of the room itself.

However, after her pursuit of fame in New York, her ongoing traumatic experiences of mental illness led her to move back to Tokyo.

She has voluntarily lived in a psychiatric institute there since 1977. She still travels to her art studio across the street every day where she continues to create.

This is not to romanticise Kusama’s suffering, but rather to elucidate her resilience Despite her tumultuous, ongoing journey grappling with mental illness, her art embodies her. It is where her happiness, her suffering, her love, her everything, coalesces into being. Her mental health is a centripetal force spurring her creativity.

Now, of course, this is not to romanticise Kusama’s suffering, but rather to elucidate the resilience and the embracing of her personal journey with mental health.

Her art embodies her: it is where her happiness, her suffering, her love, coalesces into being Illustration by Anna Thomas

FILM & TV 8

Thursday, 22 February 2018

Searching For Ourselves: LGBT+ representation on screen Third Year English Student Identifies as Bisexual

Third Year History Student Identifies as Lesbian

rowing up only ever seeing straight people on the TV, I didn’t even realise I was living in a closet until I was twenty-one. Good representation is like someone gently knocking on the door, saying ‘Hi, it’s safe out here, you can come out if you want’. As a teenager still stubbornly insisting she was straight, I remember the fierce protectiveness I felt over Kurt and Blaine on Glee, the first time I’d seen a same-sex relationship that was positive and healthy and fulfilling, even though I didn’t really see myself in either character.

Until I was seventeen I didn’t even consider that I wasn’t straight. I came to university telling people I was pansexual but deep down I knew this wasn’t true. I was a lesbian and I was just afraid to say it. Now I’m not saying that my slow self-realisation and following denial was down to a lack of representation in media, but it certainly didn’t help. Why didn’t I realise sooner?

I know I would have been happier and my life would have been a lot easier, but I didn’t.

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The first time I had seen bisexuality celebrated; it was the affirmaion I didn’t know I needed The representation I’d been waiting for eventually came in the form of Darryl from Crazy Ex-Girlfriend, who comes out to his colleagues with a literal song and dance. Seeing a character utter the word ‘bisexual’ still feels revolutionary to me. After years of people who have ‘turned gay’ or who ‘don’t like labels’, sometimes it seems like ‘bisexual’ is a dirty word. This was the first time I had seen bisexuality celebrated, not treated as a fad, or a bad-girl trope, or a tragedy, and watching it as I was in the process of coming to terms with my own bisexuality was the affirmation I didn’t know I needed.

Seeing a character utter the word ‘bisexual’ still feels revolutionary to me Coming out to yourself is scary, but sometimes all you need is a 80s-style dance pop number and a ridiculous saxophone solo to help you get bi.

I was a lesbian and I was just afraid to say it I have vague memories of a Sue Perkins documentary as a child. I knew she was gay but that is my only memory of seeing a lesbian on screen growing up. As a teen I became obsessed with gay fan fiction and video games that allowed gay romance options. But films and television had still given me nothing.

The lack of representation had and has a big impact on my life People berate me for complaining there’s no LGBT representation in the films I watch today. They think I’m being petty or set my standards too high. But for me, the lack of representation had and has a big impact on my life. It made coming out harder. It made my life harder. It wasn’t easy working out I was a lesbian when there weren’t any around me.

And I worry about other Sapphic women growing up now and whether they’re going through the same thing.

If we let lesbian women stay in the background, they remain invisible. We remain invisible If other people won’t engage in these sorts of conversations, then what does that say? If we let lesbian women stay in the background, if we let them keep dying on screen, then they remain invisible. We remain invisible.

Illustrations by Katie Butler

FILM & TV 9

Thursday, 22 February 2018

Third Year English Student Identifies as Bisexual As someone who identifies as bi but isn’t very out about it (I’ll mention it in person if it comes up, but won’t post it online), representation in the media is important to me: it normalises the romantic, physical, or emotional attraction that I feel towards people, regardless of gender.

Representation in the media normalises the romantic, physical, or emotional attraction that I feel towards people I struggled to come up with someone who was bi in the media off the top of my

head, let alone someone I identified with.

The portrayal of Remy “Thirteen” Hadley’s sexuality in House M.D. was highly problematic, considering the constant stream of jokes House directed at her.

The Doctor in Doctor Who is presumably bi, considering the Ninth Doctor’s flirtations with Captain Jack Harkness (who is, of course, bi), but while I love them both, as a shy introverted person, I’m not sure their outgoing flirtations resonate with me either.

I look forward to the day where admitting your non-heteronormative sexuality is no longer a nerve-wracking experience I was watching a show with my parents at one point, and my dad said: ‘That’s disgusting’ to a female/female couple. It made me defensive, but also a little sad. His reaction is a reflection of the knee-jerk sexualisation of female pairings that makes it more difficult for anyone questioning their sexuality. It also makes our society feel less safe for anyone who might otherwise admit those butterflies to their crush, or kiss their partner in public.

Representation of healthy relationships across a range of sexualities, and the acceptance thereof in character, is the first step towards changing those attitudes, and I look forward to the day where admitting your nonheteronormative sexuality is no longer a nerve-wracking experience.

Representation of healthy relationships across a range of sexualities is the first step towards changing attitudes

Third Year PPE Student Identifies as Bisexual I remember the first time I saw a gay person on TV. I was twenty years old and I was at my aunt’s house. Sitting on the floor in the living room, the whole family was crammed into one room chatting. The TV was on in the corner and I was engrossed. All of a sudden two men start kissing on the television. My jaw drops. I looked at my parents but no one else seems to be reacting. For a few seconds I remain stunned. I’d never seen two men kissing before. I mean I’d seen two people of the same-sex in relationships, of course. Auntie Gliness’ partner was a woman but I mean they’re just two good friends who live together ... right?

The TV was on in the corner and all of a sudden two men start kissing. My jaw drops. I’d never seen two men kissing before Content in my version of the story, I jump back into the programme. It took a second before it clicked, but all of a sudden it did. And everything I knew about her fell into place. I always knew she was in a relationship with a woman, I just never knew it was the same as how my mum and dad were together. I remember being that convinced that although they held hands in public, and shared a bed, they didn’t kiss. I mean I’d never seen them do it.

I knew my aunt was in a relationship with a woman, I just never knew it was the same as how my mum and dad were together

Film and TV talks to Durham’s LGBT+ student community about how representation on screen (or lack thereof) has impacted their lives.

Music 10

Thursday, 22 February 2018

Image: the sepulchral DOOM of Music In a world of Taylor Swifts and Yeezy’s, Music explores the inescapable importance of image to music

By Tom Watling Music Editor music@palatinate.org.uk

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read an article just over a week ago discussing the sexualisation of women in the music industry – a fantastic piece – and it posited the idea that “in such a digitalised world, image quite possibly overtakes voice,” a notion that seems overtly evident but has never quite occurred to me fully. And ever since I read this it has arrested my thoughts.

Image isn’t what makes music but rather what facilitates it. Whether it be an album cover, a Facebook profile or just what one imagines when they listen to certain music, it is an inescapable fact that music is intrinsically linked to image. So, to say that image has become more important now than ever is only true if the presumption is accurately made that music has always been about image.

Music is, and always has been, intrinsically linked to image If we look at Elvis Presley, probably the first major and global musical star, and before any means of social media, his image was as iconic as his voice. In fact, to some degree his image was the only true aspect of him, for few people know that he never actually wrote a single lyric or musical note of his own – he was merely a fashionable front for popular music. Sadly, the most iconic aspect of Presley isn’t ‘Jailhouse Rock’ or his (very average) talent on a guitar, but his infinitely-replicated hairstyle and dancing feet. And so, to say the recent digital world has induced an era where image has overtaken voice is inaccurate if it does not accept that image has always had the ability to overtake voice in its importance and influence. That is not to say it always does, but rather it isn’t just social media that is responsible for the preponderance of image over voice.

digital world on music is that the image of an artist has become far more accessible than ever before, and because of this, the likelihood of a musician succeeding in this current climate is based a lot more on image than ever before. In fact, the selection process for musicians will now inevitably be compounded by whether they have the appropriate look. The increasingly bad talent shows, such as the X-Factor and The Voice, serve as a perfect example of this, where, at its most simplistic, merely a reality TV show, the public is not only encouraged but forced to vote for an artist because of who they are, not what they sound like.

Now, what must be said of the effect of the

Social media and the digital world has now compounded the importance of image over voice further, for if a certain artist cannot be categorised into a certain fashion circle or image, it is a lot harder to maintain success or achieve relatability. A fan is more likely to be drawn to an artist because of what they read about them in a politicised newspaper, as opposed to what they are writing in their music.

Joplin and the Dead became the anti-traditional images of Rock n’Roll; the untraditional of the untraditional

A fan is more likely to be drawn to an artist because of what they read about them in a politicised newspaper, as opposed to what they are writing in their music

Although the most obviSusan Boyle, hearts of the a timid, stereowoman with You may say actly the optaking voice, said that her considered unappealing the minute

I’d like to finish with an example of what I deem to be one of the greatest rappers to date, the metalmasked MF DOOM. He who only ever appears behind a mask has said that “It don’t matter what I look like, you know, it don’t matter what the artists look like, its more what the artists sound like, so the mask really represents the whole, like, thing to rebel against trying to sell the product as a human being, it’s more of a sound.” And Stones Throw Records, littered with phenomenal artists – Madlib, Peanut Butter Wolf and the late great J Dilla to name a few – embody this message of the importance of music over image.

this may sound harsh, ous example of this is who captured the world because she was typically unattractive an exceptional voice. she exemplifies exposite of image overbut it must firstly be voice was only ever amidst the apparent image of her. From she became known it

What I find troubling and upsetting but nevertheless true: the mask of DOOM, a symbol of the disinterest in image, has become one of the most iconic things about him, despite the fact that his lyrics and beats are unbelievable. HipHopDX alluded to this in his YouTube video entitled ‘The Hypocrisy of DOOM fans,’ him being one of them, when he said, whilst discussing the greatly distasted tendency of DOOM to send out masked imposters in place of him, “As DOOM fans isn’t it DOOM who we truly love anyway. Would any of us pay anything to see Zev Love X (DOOM’s alias before the mask) rap if he never put the mask on?” And the fact that I, who deeply resents the need for image in music along with many others, and prefer the intricate word play and beats of the man himself, wear the ring-version of that mask, is testament to that.

No less important is the inescapable relationship between image and music. For example, the 60s and 70s issued a new era of rock music of all sorts, seemingly all about the new musical movement as opposed to the image-savvy pop icons that existed before, after and alongside them. However, even before the movement grasped its hold on popular culture, the Rockstar image – the long-haired, rowdy, drug-induced lunatic – was of great importance.

And by the time it became a popular form of musical expression, the likes of Led Zeppelin and the Rolling Stones embodied what it was to be a rockstar, which was not just a musician. There are of course exceptions to that rule, and examples such as the Grateful Dead and Janis Joplin spring to mind, but regardless of the seeming lack of importance attributed to the image of these two examples, there is still a corresponding image to the sound: Joplin and the Dead became the anti-traditional images of Rock n’ Roll; the untraditional of the untraditional.

The image of an artist has become far more accessible in the digital world

idea that someone unattractive could sing that well, as if the two were mutually exclusive.

Ironically, the mask of DOOM, a symbol of disinterest in image, has become one of the most iconic things about him

was always in light of her appearance. The very fact that people didn’t just look at her, for better or worse, and admire her voice as opposed to qualifying it with observations on her appearance, is testament not only to the fact that image has certainly become of great importance, now more than ever, but also so much so that the public was quite astounded by the

I guess the simple truth is this: image will always be integral to music, as hard as that is to swallow, and although social media has made that fact more overt and transparent, it has only exaggerated a fact that has always been true. So, what more is there to do than let the DOOM mask remain on one’s middle finger as an ironic “fuck that and fuck you too?”

Illustration by Katie Butler .

TRAVEL Thursday 22 February 2018

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The countdown to climate change We all have a list of places we want to visit one day, but what if those places are no longer there when ‘one day’ comes along?

By Georgia Clarke travel@palatinate.org.uk

G

lobal temperatures are predicted to rise up to 4°C by the end of the century, bringing with it a whole host of changes to many regions. UNESCO has put together a list of World Heritage Sites that are likely to be impacted by climate change and have their unique environment altered forever. So, if you are considering where to go on your next adventure, you might want to think about visiting one of these time-sensitive destinations.

ing Darwin’s theory of evolution by natural selection.

The varying environments on each island have led to a great richness of species in the area, including the Galápagos tortoise, marine iguanas and blue-footed boobies. Many of these species, however, are vulnerable to warming oceans and more extreme weather brought about by global warming.

As temperatures rise, it is predicted that there will be changes to the El Niño Southern Oscillation, which is characterised by warm and nutrient-poor waters. If El Niño events occur more frequently, marine species may experience food shortages, as populations of phytoplankton are less accessible. Also, during El Niño years, soils tend to be moister and colder, which may lead to diminishing numbers of turtle nests.

03: Stonehenge

ferent islands of the city and many people talk about the beauty of walking over the many bridges and getting ‘lost’ in the city. However, choosing the right time to visit is a trade-off between weather, crowds and ‘acqua alta’, in which the city floods towards the end of the year. Generally, it seems that spring and autumn are the best times to visit in order to avoid crowds whilst still experiencing some warm weather.

Venice has always had issues with flooding, but rising sea levels are exacerbating the issues Venice has always had issues with flooding, but rising sea levels are exacerbating the issue. The flood barriers built by the city to manage flooding will eventually be overwhelmed and parts of the city will flood for more than just a few weeks of the year.

01: Yellowstone Yellowstone is renowned for its geothermal features, such as erupting geysers like Old Faithful and colourful hot springs including Grand Prismatic. If this isn’t enough to tempt you to visit, the wildlife in Yellowstone is enough of a reason to go. Bears, wolves, bison, moose, raptors and eagles frequent the area and can be spotted whilst driving and hiking through the area. The many campsites and trails throughout the park make this a destination perfect for anyone looking to escape to the great outdoors.

Global temperatures are predicted to rise by up to 4°C by the end of the century However, some of the area’s species are at risk as temperatures continue to rise. Yellowstone is experiencing shorter winters and less snowfall, affecting the volume of water in rivers and lakes, which are gradually becoming shallower and warmer. Many of the area’s wetlands are also reducing in size. These changes are greatly impacting many of the species that rely on these ecosystems, meaning the richness of species in Yellowstone could be altered drastically in the years

Stonehenge is one of the world’s most famous prehistoric monuments and is much closer to home than the other destinations on this list, and brilliant for a smaller budget. The structure was built around 5,000 years ago during the Neolithic era, with many recovered objects from this time on show at the accompanying visitor centre. However, warmer temperatures and increased precipitation threaten the site.

Warmer winters may result in increases in populations of burrowing animals like moles, causing soil erosion that can weaken the foundations of the stonework. Similarly, more rainfall and subsequent flooding can cause soil erosion. These changes could cause the monuments at Stonehenge to be destabilised and so the original design may be under threat.

04: Venice

Bangladesh has something for every visitor, from the bustling city of Dhaka filled with temples, mosques and markets, to the mangroves in which Bengal tigers roam. You can spend one day tasting tea in the tea region of Sreemangal and the next day relaxing on the beach at Cox’s Bazar.

Natural disasters are predicted to become more frequent as our climate continues to change However, Bangladesh has been pinned as one of the countries in South Asia that will be most affected by climate change. The country extends across the largest delta in the world, meaning the area is low-lying and subject to frequent flooding. As sea levels rise, more land is lost to the sea and people are being forced to move inland into temporary settlements. Furthermore, natural disasters are predicted to become more frequent as our climate continues to change. So, if visiting Bangladesh is on your list, you may want to visit before any more land is lost.

02: The Galápagos The Galápagos Islands are located off the coast of Ecuador and are perhaps most well known for inspir-

05: Bangladesh

Venice is a city rich in culture, crammed with brilliant architecture, churches and museums that attract millions of visitors each year. Canals connect the dif-

Images (in order) by: Georgia Clarke, Paul Krawczuk, Carol Smith, Pablo Szekely, Jabid Ishtiaque via Flickr Creative Commons

CREATIVE WRITING 12

Thursday, 22 February 2018

How I Found Home

By Chloe Scaling Creative Writing Editor creative.writing@palatinate.org.uk I’d done my research and Knew the values they held dear I expected silence, but comfort and I was optimistic, I’ll admit: When I first went down to sit In that circle of chairs, I’d already thought, perhaps, This might be the place for me.

I know since I started to think critically, On pacifism, truth and equality we agree, Sustainability and simplicity are key Before I went, I could tell you for free, My echo-chamber is a wonderful place to be.

In meeting, I found people, I now call them Friends, Eccentric with smiles, As they welcomed me, I thought maybe I’d stay for a while.

The silence reassures me, We hold stillness together, When the cafetiere arrives, flock Like birds of a feather.

We’re spiritually diverse, Each Quaker unique, But we grow and develop Each week that we meet.

Every chat over coffee, Piece of ministry backed by a passing siren or lorry Gives a chance to reflect, Something to discuss When we see each other next.

As relationships are formed And shaking hands becomes the norm, I start to feel like I fit in, Like a Quaker is something I’ve always been.

Now maybe Durham meeting Is no longer where I go, But where I come from: A place to call home.

A Place That Wasn’t Mine

By Holly Parkinson creative.writing@palatinate.org.uk I pick you out on a map a year ago today Received the blueprints for the house and traced every sliver of white with my fingers To then be demolished A hole within me cut clearly with a tower Chiselled by a morning choir I am reduced to nothing stripped bare and splayed on glorified parchment and perhaps a little girl still reaches out for a dark blue ribbon and perhaps a spinster cranes her neck to look above again but perhaps a hand will brush your walls and perhaps the wall will exert equal in return to breathe with me respire with my very being even if for just a second for the same soft navy to loop around my wrist and wave, wave you down the river I still bow to you, but perhaps you should bow to me and ask ‘why do you kneel for what is really only bricks and mortar?’

CREATIVE WRITING Thursday, 22 February 2018

13

In this edition, Creative Writing contributors delve deep and explore the themes of home and belonging. From living in different countries to finding a spiritual home, or even acknowledging the absence of home; each is a personal reflection.

Homes

By Kleopatra Olympiou Deputy Creative Writing Editor creative.writing@palatinate.org.uk

thunderstorm

By Sandhita Chandra creative.writing@palatinate.org.uk I hold glass bottles to the sky In thunderstorms, I go home and shelf them for light.

I crawl up and back into you In thunderstorms and wrap in warmth till I can’t breathe.

Drown me In thunderstorms; Hold my head down inside your veins.

Your goosebumps hug me to you, snug, In thunderstorms When I find asylum under Your thumb.

In thunderstorms, I love you again. Just for a while, While my mind pours columns of cold, In thunderstorms That hang over my head and haunt Me with self-doubt till I stress out.

In thunderstorms, I watch the rain drip down my brain And cut through ice and chloroform.

I grow into it.

The comfortable skin of a foreigner. I notice a lack of cheese, olive oil, oregano.

I have my toast differently.

I long for winter sun, life besieging my closed eyelids.

A constant count of days, numbers, months. Planes, flights, kilometres. Not miles.

I hear talk of feet and inches, think in the metric system, blink blankly at copper coins.

I am here, my ear picks up the sound of a magpie, I try out the taste of the word daffodil, find strange delight in uttering it, feeling it flutter on my lips, attend Evensong. In the heavenly magic of a world that is alien to me, I carve a home. Now I am here and there, there and here, missing the sun, the daffodils. I wait for tangy orange blossoms, the fluid happiness of honey. I walk by a line of evergreen trees. We greet each other.

Soon I will go home again, wearing the comfortable skin of a foreigner.

You can buy Sandhita Chandra’s collection of poetry, ‘Soot Red’ on Amazon.

Illustration by Kleopatra Olympiou

14

STAGE

Thursday, 22 February 2018

Lefty Scum:“Politics belongs to everyone” Stage speaks to the Lefy Scum about comedy, activism and their special message to UKIP ahead of their Gala performance.

By Martin Docherty stage@palatinate.org.uk

that he is absolutely not a listener. So why bother saying anything? We’d just spray paint ‘cockhead’ onto his face and body, cover him in wet manure and take photos.

L

efty Scum is the stage name Petrie, Jonny and the Baptists, and Josie Long have adopted for their roving comedy troupe. It’s a bold choice of name, but a good one, because it robs the alt-right, who have risen in today’s political world, the ability to call them it first. And robbing the right wing of power through comedy seems to be the mission statement of this group.

What was the favourite line you got sent from UKIP supporters in the post after your tour Stop UKIP? “UKIP is the party of free speech, but this tour must be stopped”. It’s extraordinary how stupid you can be in so few words.

JOSIE LONG

GRACE PETRIE

Described as “the David Bowie of standup” by Nish Kumar, Josie Long is a stand-up comedian, writer, cartoonist and social justice activist. She has toured with Stewart Lee and has been nominated for Best Show at the Fringe three times.

Rising to prominence with 2010’s hit ‘Farewell To Welfare’, Grace Petrie is a protest singer/songwriter and activist’ who has written songs for Radio 4. She was voted one of the Independent’s most influential LGBTQ+ people in 2013.

What got you started in stand-up comedy?

You’ve previously criticised The Guardian for denying the existence of protest singers in the modern era, who’s your favourite protest artist working today?

There used to be an arts centre near me and when I was a teenager I went along to some stand up workshops. They were supposed to be for adults, and as a 14 year-old I was a bit like a mascot for them. The first time I tried it I really fell in love with it and I don’t think I’ve ever got over that obsession. It’s been my creative outlet for my entire adult life, it’s been a constant companion and I can’t imagine life without it.

In opening this year’s Comedy Allstar Supershow, one of your punchlines was “this is how fascism starts”.

How do you think comedy can be used to combat the rise of the far right in today’s world?

I think comedy can be useful in so many ways politically, and personally I feel I often provide some support to people who might share my views, enabling them to keep going, and to achieve bigger things than I’m capable of. I don’t know how much I personally can convince far right or alt right people to change their minds.

I’m very into some awesome queer punk bands at the moment whose music is very political from an identity-based perspective. Colour Me Wednesday, Personal Best and Kermes, who are from my home of Leicester, are awesome.

JONNY AND THE BAPTISTS They’ve been featured on Radio 4’s The Now Show, The Infinite Monkey Cage, Sketchorama and Channel Five’s The Gadget Show. They’ve also had the honour of receiving postal harassment from UKIP members and Paul Nuttall after their Stop Ukip tour.

How did the two of you meet, and what made you decide to turn to political comedy songs as a recurring theme?

Paddy and I met at his older brother’s wedding.

Jonny wasn’t dancing because he had hurt his foot.

Paddy wasn’t dancing because he hates to dance in front of people. We got drunk and talked about music and comedy and politics and found out we had very similar tastes in all three. By the end of the night, we couldn’t remember much but we did remember we’d agreed to form a political musicalcomedy band.

Your dislike of Nigel Farage and disgust at the sound his name makes is well documented on tracks from UKIP to Farage, if you were able to say one thing to him in person, what would it be and why?

He’s the most dishonest man in politics, which is quite an achievement, and there are so many things we’d loved to pick him up on. But it’s very clear

On ‘A Revolutionary in the Wrong Time’, you said you “never understood the books on neo-marxist thought”, what do you think could be done by the left to better communicate their ideas to the public?

I think it’s getting better; the campaign Labour ran last year did an amazing job of taking political discourse back from the kind of elitist, PPEgraduate-dominated circles it had strayed into when New Labour stopped trying to talk to working class people. Ultimately politics is for and belongs to everyone and I think the upswing in turnout, especially young people last year was evidence that everyday people are getting engaged again.

Photographs by Anna Soderblom

BOOKS 15

Thursday, 22 February 2018

Returning to their Roots?

Books investigates how international writers bring their upbringing to bear on their work Cold War efforts in China through the eyes of a child is accented by the magic of an old man who uses Chinese characters to tell fortunes.

The shocking finale illustrates the atrocities performed by both sides of the conflict. In a story similar and yet opposite to the previous one, The Paper Menagerie (the book’s namesake) describes the journey of a young halfChinese boy growing up in suburban America.

The rejection of the boy’s Chinese heritage due to embarrassment and shame is heartbreaking, and feels so visceral that it is hard to believe the story was written without some inspiration from Liu’s personal life.

Liu has been described as the “the unofficial link between China’s science-fiction scene and Western readers”

Image by Howard County Library System via Flickr Ken Liu

By Ewan Jones

K

en Liu is a Chinese-born American fantasy writer best known for his short stories and Tolkein-esque Dandelion Dynasty fantasy series. His short story The Paper Menagerie won the Nebula, Hugo, and World Fantasy awards for best short story in 2011 and 2012, whilst his other works of fiction have been nominated for a range of accolades. Much of Liu’s work focuses on the meeting of East and West, often featuring American protagonists exposed to Eastern ideas or events, or vice-versa. His natural ability to depict these ‘culture-melding’ stories stems from his life experiences, having grown up in Lanzhou, China, and subsequently moving to the US at the age of eleven. Liu’s extensive knowledge regarding pivotal historical events in both China and the US inspires many of the settings for his stories, while hints of fantasy offer enthralling plots.

Liu’s extensive knowledge of both China and the US inspires many of the settings for his stories The Paper Menagerie and Other Stories is an anthology of Liu’s best short stories, and serves as an introduction to his unique world-building and writing styles. One of these stories, The Literomancer, features an American girl moving to Taiwan in 1961 due to her father’s involvement in the military.

An engaging storyline which documents American

The South China Morning Post has called Liu “the unofficial link between China’s sciencefiction scene and Western readers”, and it is not difficult to see why. His stories provide easy access to Chinese ideas and themes, being written in English and utilising traditional Western literary style whilst being inspired

by Liu’s Chinese heritage. In addition to his own works, Liu is also the leading translator of Chinese science-fiction to English. Liu’s unique position as an expert on both cultures and as an accomplished author leaves him in the ideal place to translate Chinese sci-fi for the Western market.

He is able to retain the literary quirks and style that make sci-fi what it is as well as supply footnotes and explanations of concepts that may appear foreign to Anglophone readers.

Chimamanda Ngozi Adichie

By Lauren James

ploration of a young Nigerian encountering race in America.

A complete grasp of human nature enables all readers to identify and relate to Adichie’s characters Fiction borrows from life and it is easy to see the extent to which her Nigerian culture is imbued in Adichie’s work. Linguistically, she agrees that the Igbo language is influential, given that it is the dialect of her novels’ protagonists. Moreover, the majority of her fiction is set in Nigeria, defining her as a Nigerian writer of Nigerian novels, best placed to detail her nation’s history.

However, she asserts that such assumptive generalisations are reductive, shrinking authors from a whole to a mere part. The setting of fiction, for example, is not of primary concern; both the character and story take precedence. This is evidenced in Americanah’s protagonists, Ifemelu and Obinze, who meet first as teenage classmates in Nigeria.

Their love affair is of universal appeal as, ultimately, emotion transcends national borders.

Nigeria is her fiction’s backdrop, but its essence is the exploration of humanity It is this complete grasp of human nature which enables all readers to identify and relate to Adichie’s characters. Equally, the poignant themes with which she grapples go beyond her fiction’s Nigerian setting. Whilst culture is intrinsic to a novel’s atmosphere and sense of place, Adichie upholds the truth that the universality of a book’s themes is at its core. Nigeria is her fiction’s backdrop, but its essence is the exploration of humanity.

Born in the Nigerian city of Enugu, Chimamanda Ngozi Adichie is one of our generation’s pre-eminent novelists and feminists whose work has already been translated into over thirty languages. Her influence is global; a pioneering anglophone author who is succeeding in attracting a new wave of readers to African literature.

A pioneering anglophone author attracting a new wave of readers to African literature Purple Hibiscus, her first novel, was the recipient of wide critical acclaim whilst her second, Half of a Yellow Sun was awarded the 2007 Orange Prize for Fiction. Set before and during the Nigerian Civil War, the plot centres on the short-lived nation of Biafra challenging perceptions of nationality, identity and culture. Similarly, Americanah, her latest work of fiction, follows the ex-

Image by Henry Söderlund via Wikimedia Commons

THE indigo INTERVIEW Thursday, 22 February 2018

16

Surya: A Star On The Rise indigo talks to Durham student Surya Varatharajan about his recent radio success

By Ashleigh Goodall Music Editor deputy.music@palatinate.org.uk

But after exams are over, I intend on doing as many shows as I can.

Your music was recently played on BBC Radio 6, BBC Radio Berkshire and BBC Asian Network… how did that come about? How did you feel when you found out about it?

S

urya Varatharajan is a third year PPE student at St. Aidan’s College. He was born in the south of India but moved to the UK when he was nine years old, growing up in West London. He released his first LP ‘Adolesscence’ at the end of 2017, and since then his music has been played on several BBC radio stations – including a feature on the BBC Introducing Mixtape, hand-picked

by BBC Radio 6’s Tom Robinson.

It’s absolutely amazing because…

I have no contacts in the industry, but what I did was I made these songs, and I was part of this incredible scheme called the Emerging Artists Programme, at the Roundhouse in London.They are an amazing charity, they get £5 million endowment from the National Counsel of Arts every year and then they give concession studio time for emerging artists who show potential between the ages of 16 and 25.

So, I got [an opportunity] through that, recorded my songs, and then I put them onto BBC Introducing where you can just upload tracks.

There’s, like, thousands of tracks that go into their portal, and luckily they picked mine. And it’s incredible because it’s such an amazing form of validation, because five of the six songs that I uploaded, they picked up. And genuinely… I am just so lucky and humbled to have had that opportunity. So yeah, I am eternally grateful. It was crazy, it was crazy.

First of all when we got the email, me and my housemates, we were going crazy.

When did you start making music?

I’ve been making music since I was a child, but I never exposed it to anyone because I thought that me doing music might attract negative criticism, and because it was such a personal thing for me, I didn’t want that negative criticism to put me off doing the thing that I really like doing… so I kind of just kept all that stuff to myself.

But I kind of believe in it, so maybe in the early stages if I had come out and said [I make music], people would have kind of said, “oh, it’s not that great”, but because I took the time to work on it within myself for so many years, now they’re like “oh… what?! When did you do the music stuff?” Because I’ve been doing it for a really long time!

What have you got planned for the future?

How did you get into making music in the first place?

I really like listening to music, I used to sing. Whenever I heard something really cool, I liked to replicate it. That was when I was, 9 or 10… you know, everyone sings in the shower! But then I started to really delve into different styles of music such as Hip Hop and R&B. Hip Hop for the message and the way in which the lyrics were written, I had a fascination for the way in which they told stories. And R&B, and even pop, I really love the way they put forward accessible melodies. And what I did was I started making beats on my Nokia phone… you know the ringtone app, where you used to type in a number and it used to make a noise? Then it went to Garage Band on my phone and my iPad and then I got this music production software called Logic, which my friend gave to me right before I came to university, and when I came here I used to skip lectures and I was just making beats and writing songs.

choice that I’m making. I’m making something which… I hate to say this, but it’s true to myself.

That sounds so pretentious! But you know what I mean, it’s just stimulated by what I like, and of course if there are influences which influence the way in which I make music, it’s because I like the music that I listen to, and it’s great, but I do think that because I have different palates… I like jazz and I listen to a lot of world music from various cultures, and I think it’s just a variation of different music that I like, and it comes out as my own brand of music.

How would you describe your music – is it completely unique, or does it reflect any musical influences you have?

Will we be seeing you at any venues or events around Durham any time soon?

I think I do try to be both things, I don’t want to sound like anyone else, but it’s not a conscious

Erm… maybe, but I’m kind of concentrating on the dissertation and the summatives for the next couple of months! I just need to get the grades!

Photographs by Rachel Lipsitz

I’m definitely gonna stick with the music, for sure. I would definitely like to work on music, but then again I don’t wanna give up the stuff that stimulates me within my degree.

With regards to the future projects, I’m working on two of them right now, trying to get them sorted… they should be released later in the year, hopefully after I graduate… with a decent grade! But I’ve been in talks with some record companies in London, which is very nice that they’re showing interest. But yeah, it’s just to keep on building myself. Considering myself as an ‘artist’ is quite new to me right now, because it’s gone from something that’s so personal, to something that’s getting there… I’m not saying it’s huge yet, but still, it’s gaining some recognition and people are talking to me as an artist which is quite weird, seeing as I didn’t see myself as an artist to the world until a couple of months ago. So yeah, I’m working on the two projects, I’m hoping to do lots of live shows after I graduate here and in London, I’m talking to management companies and some record companies too, so we’ll see how it goes.

Surya’s album, ‘Adolesscence’, is available to listen to now on Spotify and YouTube.