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EDITORIAL 2

Thursday, 1 November 2018

www.palatinate.org.uk

FOOD & DRINK 3 Review: Whitechurch Free House FASHION 4&5 The Street Style Edition: Elvet Riverside

VISUAL ARTS

6 TESTT: Bringing Locals and Students Together FEATURES 7 Confession Time: An analysis of Durfess CREATIVE WRITING 8&9 “Where there is no imagination there is no horror” The woods are lovely, dark and deep STAGE 10 Brexit: The End of British Theatre FILM & TV 11 Netflix’s Maniac: as Visually Seductive as it is Mind-Bending TRAVEL 12 & 13 Morocco: a Divided Nation MUSIC 14 Is Drill Music the Cause of Escalating Violence?

BOOKS 15 Internet Poetry: The Death of Nuance INTERVIEW 16 ‘Is it not better to have uncomfortable conversations?’ indigo interviews Seun Twins, president of Durham’s People of Colour Association

I’ll be honest, before this week I’d never given much thought to the #RippedOff campaign. Sure, accommodation prices were increasing, but I presumed this was in line with inflation. However, the protest this week got me thinking- am I really being ripped off?

A standard single non-ensuite room with catered food at Durham will cost you £201 a week in 2018/19 (based on a 37-week lease with 21 meals a week). In 2019/20 this will increase to £207. However, at the University of Exeter a similar standard room will cost you £177 (based on a let of 32 weeks, with 16 meals a week). At Leeds a standard single is £152 a week (with 12 meals a week). Sure, at Durham I’m given 21 catered meals a week, 5 more than Exeter and 9 more than Leeds, but are they really worth an extra £24 or £49 a week respectively?

Comparing data on this topic will only produce ambiguous results, but one thing became clear- Durham is more expensive than the majority of top-ranking universities. Students at Exeter will pay a total of £5,646.55 for the academic year 2018/19. At Bath this is £6,590 and at St Andrews this is £6,630. Yet a standard single room at Durham is £7,422.

These costs are only set to rise. In 2014/2015 a standard single catered room was £4854 a year. In 2019/20 this is set to increase to £7672- an increase of £853.

This left me with one conclusion- why come to Durham when you can recieve a good quality education at a more resonable price point elsewhere?

INDIGO EDITORS Adele Cooke Alex Leggatt (deputy) FEATURES EDITORS Kleopatra Olympiou Imogen Usherwood

CREATIVE WRITING EDITORS Rhiannon Morris Susie Bradley (deputy)

STAGE EDITORS Kishore Thiagarajan Martha Wrench (deputy) VISUAL ARTS EDITOR Stella Botes Jo Chandler (deputy) BOOKS EDITORS Freya Neason Shauna Lewis FASHION EDITORS Anna Gibbs Ana Hamilton (deputy) FOOD & DRINK EDITORS Rebecca Russell Piers Eaton (deputy) FILM & TV EDITORS Hugh Johnson Sander Priston (deputy) MUSIC EDITORS Fran Howard Tom Watling INTERVIEW Nathan Kelly Zue Wei Long

I’m feeling #RippedOff. AC

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

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

Food and Drink Thursday, 1 November 2018

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Review: Whitechurch Free House Constance Lam describes the feel, food and drinks at Durham’s newest café

By Constance Lam Food@palatinate.org.uk

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alking into Whitechurch is akin to walking into a furniture showroom. As the name suggests, the interiors are clean, white, and modern, with pale grey marble tables and verdant green plants.

The wooden furniture adds a rustic element to the modern design, and songs from The Supremes and the Temptations are playing in the background at a comfortable volume. There is an outdoor seating area where fairy lights hang overhead. The combination of both the outdoor and indoor seating, and the modern and rustic aesthetic highlights the versatility of Whitechurch – café by day, pub by night.

At 10am on a Sunday morning, the café was quiet save for a few small groups. However, lunch on a weekday was a completely different scenario, as there was not enough seating in the restaurant. On Sunday, the service was prompt, warm and friendly, though there was room for improvement.

Attempts to make a reservation were unsuccessful because nobody answered the phone number listed on Google. Despite only ordering one drink and pastry per person, we needed to repeat our order several times. Fortunately, the food and the drinks came promptly, and the cashier kindly offered to bring us our change at our table because there was not enough cash at the till.

The brunch menu looks extensive and delicious, containing classics such as a bacon sandwich, bruschetta, and rarebit.

Upon examination of the prices, we observed the food was slightly more expensive than Flat White. For instance, the bacon sandwich is £5.50 at Whitechurch and £5 in Flat White, but the scrambled eggs on toast are 45p cheaper in Whitechurch (£5.50) than in Flat White (£5.95). However, upon our

contrast, the hazelnut brownie was otherworldly.

The fudgy consistency of the brownie is complemented perfectly by the crunch and fragrance of the hazelnut. Dense and delectable, the brownie is on par with Flat White’s.

Likewise, the drinks we ordered were delicious: the vanilla Chai Latte and London Fog (both £3.20). 20p more expensive than their equivalents at Flat White, the vanilla chai latte was dusted with a generous sprinkling of cinnamon, and the flavour was comparable to liquid gingerbread.

Upon trying the latte, one of my friends gushed that it tasted “like Christmas, friendship, and hugs”. The London Fog, which I later learnt was an ethereal cloud of steamed milk on earl grey, was slightly sweetened and paired excellently with my scone.

arrival, we were told that brunch was not available on Sundays, though this was not indicated on the menu. There were only pastries on offer, so we ordered the cheese scone (£2.20), pain au raisin (£1.95), and hazelnut brownie (£3).

My first bite marked my descent into a rich, dark, chocolatey reverie Warm from the oven, the cheese scone had a perfect crumb and was delightfully savoury, a refreshing change from other cheese scones that are too doughy or savoury. The scone came with butter; however, it was flavourful enough to be eaten plain. The pain au raisin was sweet and buttery, albeit rather non-descript. In

Walking into Whitechurch is akin to walking into a furniture showroom Though the selection at the time of review was limited, most of the drinks and pastries on offer were excellent, particularly the cheese scone and the vanilla chai latte. However, more information would help improve my experience at Whitechurch, particularly about the availability of the brunch menu. Given that Whitechurch is a relatively new restaurant, there are obstacles that it needs to overcome, but based on its immense popularity and high-quality food, it is likely to remain successful.

Image Credit: Constance Lam

Food 8/10 Drinks 10/10 Atmosphere 10/10 Service 7/10

Fashion 4

Thursday, 1 November

The Street Style Edition: Elvet Riverside

Clara, Collingwood, English Literature, and Emily, Collingwood, English Literature

By Anna Gibbs, Ana Hamilton and Frankie Reffell

This week, the Palatinate Fashion team spent a chilly Friday afternoon seeking out the best dressed humanities students to tumble out of their lectures in Elvet Riverside. From block colours to IKEA chic, here we bring you our favourite autumnal ensembles of Michaelmas term so far.

Victor, St Cuthbert’s Society, History of Art

Photographs: Anna Gibbs @gibbsofengland

Fashion

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Thursday, 1 November

Emilia Zewławska, St Cuthbert’s Society, Chinese Studies @emiemie and sister Misia @misianka

Elena, John Snow, Accounting and Finance @elaillam Ana, St Aidan’s, Anthropology and Archeaology

Abi, St Cuthbert’s Society, Geography @abibrownieee

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Visual Arts 6

Thursday, 1 November 2018

TESTT: Bringing Locals and Students Together

By Jo Chandler

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ucked away above the bus station is an initiative which is beginning to tackle the division between Durham University students and the local population. Since 2016, TESTT Space has been growing into an exciting centre of integration and conversation, a place where students and locals work together.

TESTT feels like it is at a critical moment in its development

with the goal of encouraging more integration between the local artists and the student studio. As well as placing the newly open-plan student area in the centre of the complex, where all the studio members pass through, he has constructed a long table from scaffolding boards which is shared by the community, and acts as a platform for sharing ideas and building friendship. ‘We’ve just got so much to learn from each other,’ says Mick. There is an almost tangible sense of excitement.

TESTT feels like it is at a critical moment in its development: ‘I think we laid the foundations last year,’ says Mick, ‘and now, we build!’

With more integration, students would be encouraged to put down roots in the North East

Taking over what was a derelict office space, TESTT is a visual arts venue which was born out of Empty Shop, and is run by Nick Malyan and Carlo Viglianisi. Over the summer, the venue has been re-modelled with a new emphasis. Rather than primarily functioning as a gallery and prioritising exhibitions, the space is now focusing more on the community which it houses.

The number of permanent studio holders has increased to 23, not counting members of the student space.

Light artist Mick Stephenson, who works from TESTT, has re-designed the layout

Whilst the picture is generally one of peaceful coexistence, it is widely acknowledged that there is relatively little interaction between the student body and the local community. The students are often perceived as existing in a bubble, indifferent to integration. As the university continues to expand, there is a growing animosity among the locals (directed at the institution, not the students). Tensions are only set to grow, unless students start to understand themselves as part of a more cohesive Durham community. Until the students of Durham pop their bubble, the problem will not go away.

Eliza, who graduated from Durham last year but has decided to say in the city, describes how the community at TESTT has changed her: ‘TESTT changed my relationship to work and the university. It has shifted my life, and is why I have decided to stay in Durham’. With more integration, students would be encouraged to put down roots in the North East and make Durham their home. This could transform the social and economic landscape.

If the university wants to improve their reputation with locals, they should learn from what is happening at TESTT. Forced integration is likely to be shallow and contrived, but if the university were to encourage grassroots movements by creating new structures for locals and students to meet, there is real potential for authentic ties to be made between the two groups.

Students and residents are equals. We have been brought together by a shared passion for art

If the university wants to improve their reputation with locals, they should learn from what is happening at TESTT This may be more easily said than done.

Top-down efforts coming from the university seem to be more about ticking a box than implementing authentic change. The promise shown by the creative community at TESTT highlights that with the right structures in place, students and locals can bridge the divide.

Images, from left to right: Angela’s studio at TESTT, community space at TESTT. Both courtesy of Jo Chandler

FEATURES Thursday, 1 November 2018

Confession Time:

By Imogen Usherwood Deputy Fashion Editor features@palatinate.org.uk

An analysis of Durfess

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That said, it’s not fair to think of Durfess as a faceless community of anonymous confessions, ave you because that undermines the immense amount of good it does for those who are suffering with seen Durfess their mental health. When I spoke to the creators of the page, they explained that its origins yet?’ lay in the reality that ‘people had things to say and didn’t have a place to say them freely.

It was a common This meant both the fun things and the serious, much less enjoyable stuff.’ They told me question during freshers’ week. about the sense of community they think it inspires: ‘every serious Something we had all looked and sad post receives messages of outpouring and at prior to arriving at Durham, a support from students and lecturers offercommon source of laughter (usually at ing to help. Somebody [said in a post that Hatfield’s expense). Any chronic prothey] couldn’t buy food – twenty people crastinators will no doubt be familiar offered food for them. It’s a nice thing with the worrying amounts of time to see.’ one can spend scrolling through the Durfess feed – as I did, in my bid The crucial thing that Durfess to conduct ‘valuable research’ for can show us about the student this feature. Since its inception community is just that – we’re a just over a year ago, it has picked community. United by a love/hate up over ten thousand likes relationship with Klute as much amongst the student community, as by our own personal struggles with ‘confessions’ being posted and the help that we can offer several times a day. Content each other, Durfess shows that, ranges from the hilarious to the while most of us are finding life heart-breaking, falling broadly a little harder than we might care into three categories. to admit in public, everyone understands that difficulty and there A lot of the feed is taken up with is always, always someone willing to funny observations of university life, lend an ear, or just offer a few kind from ‘My housemate put a lobster in the words. tumble dryer’ to ‘Yellow frep tops: who wore them better, Van Mildert or Josephine (If you are struggling with your menButler?’ This kind of thing, along the lines of @ tal health and don’t know who to turn Illlustration by overheardindurham on Instagram, is usually harm

to, make time to find out about your Kleopatra Olympiou less and leads to a few people casually tagging their friends in the comments. college’s facilities or the univerIt’s amusing, it’s relatable and often painfully true: ‘Enter sity counselling service. Durfess ing the lecture theatre to a sea of glistening brand-new Macs…’ is great for general support, but please seek professionOther posts present themselves as public service announcements, often in the form of a good old al help if you need it.) rant; I’m thinking of the recent post outlining ‘library hierarchy’ to clueless freshers (‘know your floors, know your place’). Equally, sometimes people feel the need to express genuine concern and disgust at certain aspects of the Durham community, notably ‘the skinny culture for girls in Durham’ a few days ago.

Of course, the third kind of post sees students confessing their fears, worries or insecurities, often when their mental health is at its very lowest. From freshers who feel ‘ridiculously out of place’ to returning students who are ‘already as miserable as I was last year’, these posts nearly always receive kind, supportive comments, and sometimes an actual Durfess post goes up offering this support, such as one during freshers’ week ‘to all the people struggling tonight’ as the author told us about the death of their childhood best friend during freshers’ three years ago.

On one level, the way Durfess has flourished suggests that we as students feel more isolated than ever; finding it easier to explain your feelings anonymously within a public forum than to seek help face-to-face suggests that, whether you think there is anyone to turn to (be it on a personal, collegiate or university-wide level), you simply don’t feel like you can. It’s just easier to fill out an online form and wait for the supportive comments to appear.

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CREATIVE WRITING

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Thursday, 1 November 2018

“Where there is no imagination there is no horror,” The Blackness

By Holly Parkinson There are a set of tarot cards congealed to the locker in order: ink-bled parchment, tacky substance, oilslicked gunmetal, sacred sequence under semi-lit halls of chandeliers, of candles, cutting straight lines through viscous air, of circles cast and ribbon knots untiedperhaps your arms are heavy now, cloak and pauldrons sagging, dripping, velvet weight amongst dusted darkness, twisting and undulating through pools of stars in every cavity, jewel in your hilt alive your mouth is full of sand and syrupnamely Death rears her head in eponymous pride, astride a horse emblazoned, armoured, flagged; a dusky sunrise dares to beacon, wide eyed and confronted.

Sailing into the Unknown

By Munia Shethi As the burden of the world rests upon his departed soul All he wants is to leave his own self behind Into the void, the unknown.

Being completely selfish Yet too selfless in his own belief and suspicion He sets his sail following the midnight shadows, the waves and the heartbreaks Which befriended him and all his sorrows And, amongst them he has found new life To tell his stories of love, the pain and the grand simplicity of life.

Did you know the library is haunted?

By Holly Murphy

Did you know the library is haunted?

After closing time, when the night sets in, Out come monsters and lost souls unwanted.

Let the tour of this haunted palace begin.

In the bathrooms bats can be found, Like ink-stains smeared on the ceiling.

A glimpse of those yellow camera shutter eyes, Will leave you with an unnerving feeling.

He died before for a thousand times In the darkness of inauspicious nights.

Now, almost surrendering to the material world And embracing the eternal sunshine He left for eternity into the brave new world of

Bored of the Oriental Museum, Mummies escape in the light of the moon, Down to the archives: a new mausoleum, Where now fallen like bunting, their bandages are strewn.

Solitude and everlasting trust.

Gossiping witches gather on Level Two, Performing spells among a viridescent glow.

While skeletal cats yawn nearby, with a view Of sprites who dance and twirl, to and fro.

There are those who sort and tidy the books: Vampires, who act as night-librarians.

Soundlessly they weave through the other spooks, As naturally excellent antiquarians.

Did you know the library was haunted?

This really happens - don’t feel daunted.

So next time your visit is full of dread, Think that you don’t have to mingle with the dead.

By Sawdia Rakib, Flickr via Creative Commons

CREATIVE WRITING

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Thursday, 1 November 2018

The woods are lovely, dark and deep

By Namrata Menon Just like that, I’d outgrown the hood that once trailed behind me like a cape. Grandma insisted upon my wearing it every time I went to visit, for her house was deep in the woods and she didn’t trust the ways of the wilderness. “If you get lost, Little Red, all the better to find you with.”

Twirling in front of the mirror, the cloak is now a mere scarf. I don’t know how to tell Grandma that I cannot curb my hunger; I cannot stop myself from growing—and that I simply cannot wear this ludicrous cape anymore. Outside, the moon is full and heavy, hanging like a ripe cashew. I salivate.

My sister and I help ourselves to dinner gone long cold. I squirm inside the chair, for the furniture at home no longer accommodates me. “Are you on steroids? You seem to grow every second.” My sister asks me skeptically, adjusting her hat, pulling it below her eyes. I don’t get her strange obsession with wearing hats of late, even indoors. Whenever I ask her about it, she just shrugs mysteriously.

“Grandma promised me a couch.” I growl. At the mention of Grandma my sister freezes, and her slate-grey eyes fix upon the hearth in a deathly stare. Grandma has made it ample clear that I am her unrivalled favourite. My sister and I share a tense relationship, stemming in large part, from Grandma’s prejudice. But now

is not the time to address this growing divide. Tonight is for the outdoors, I cannot resist the deep tug of the low moon.

So I set off into the woods, where I know every bristle, every bramble.

Stopping right outside Grandma’s cottage, I forget to knock. Instead, my nails scratch the door excitedly. “Who is it?” mumbles a voice from within. Grandma’s voice sounds warm and thick and filled with the promise of sleep. “It’s me, Grandma,” I say, my breathing shallow, my voice coarse. “Little Red! Why are you not in bed?” asks Grandma, unlatching the door.

She stares at me in wonder. “Look how you’ve grown, Little Red, and my, what big teeth...”

I must say I did a thorough job, and when I head back it is cold, so cold that my bones rattle inside me. Not just my bones, but also Grandma’s.

Because I am so preoccupied with my own changes, it takes me a while to notice them in my sister. She refuses to take off her hat—a now permanent fixture upon her head. I am dying to know what her hair looks like beneath it, for I cannot remember.

Soon enough, she knows about Grandma; there are only so many secrets you can keep from your sister. Behind us, Grandma’s house looms ominously. “She was old. She had to go,” I say feebly. My sister is shaking with rage, and the silver moon quivers with her.

You are so selfish! YOU won Grandma’s affection, but you didn’t give ME the chance to destroy it!” So saying, she flings her hat to the ground, her hair springing out in wild curls. I shrink in horror when I realise they are not curls at all, but hissing serpents, twisting and coiling from her head. My sister, Medusa.

I cannot bring myself to look at her, so I glance at the moon instead, awaiting my imminent transformation. Before she reaches out to grab my face and meet her gaze, I leap back, full wolf, summoning my lupine strength to take a swipe at my terrible, beautiful sister. My claws slash her skin, just as her eyes rise to meet mine.

One final time. But when I turn to stone, it’s she who howls.

Laura Grimsley Photography via Flickr and Creative Commons. Moon image by Trasoid via Flickr and Creative Commons. Little red riding hood image via wikimedia Commons.

STAGE Thursday 1 November 2018

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Brexit: the death of British theatre?

By Martha Wrench Deputy Stage Editor stage@palatinate.org.uk

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ith Brexit just around the corner and still no prospect of a deal with the EU any time soon, more and more questions are being raised. One question that has not been front and centre of debates is the impact that Brexit will have on the creative industries in the UK, most particularly theatre. A recent poll by the Arts Council England showed that only six percent of organisations were not concerned about economic uncertainty. But is this worry justified or will Brexit highlight just how resilient the UK’s creative industry is?

These include extra documents for the temporary movement of goods, and possibly more complex tax procedures and custom checks. This may limit the ability of certain companies to tour, most particularly smaller companies whose financial backgrounds are smaller and less secure. Furthermore, the closing of the UK’s borders may also disincline foreign companies from including the UK in their tours, detracting from the currently rich

The main point of concern for many industry professionals is the likelihood of restricted freedom of movement postBrexit Sir Nicholas Hytner, former director of the National Theatre, in a recent interview with The Guardian said, “We are so dependent on ideas, talent, people moving freely. Freedom of movement was nothing but good for us”, furthering his negative forecast of events by describing Brexit as “an enormous black cloud on the horizon”.

Indeed, Hytner’s idea that art should not be constrained by borders is one that is shared amongst the majority of industry professionals, with the Creative Industries Federation finding that 96% of its members voted Remain in the 2016 referendum. It is argued that the closing of the UK’s borders will decrease the pool of creative talent available to UK theatre companies and decrease the number of partnerships with EU organisations. In particular, touring companies may face increased administrative costs due to the complications that the loss of free movement will create.

portfolio of theatre on offer in the UK as a result of its internationality.

With economic uncertainty ever-growing, government funding for the arts is being drastically cut The other main impact that Brexit will have on the UK theatre industry is the decrease in funding from EU organisations such as the Creative Europe Programme. According to the Arts Council England, over £345 million was received from the EU by English organisations between 2007 and 2016. These funds significantly aid smaller organisations to realise their artistic goals and so the withdrawal of these funds has created worries that the UK’s creative industry will

increasingly only be open to those with the financial ability to do so, furthering the elitism within the industry.

Thus, not only are current theatre companies having to work harder to find the funding they need, the nurturing of future talent is also being constrained, potentially stunting the future of the UK’s creative industry.

Of course, recent figures have shown that the impact of Brexit has not yet had a detrimental impact on UK theatre. In fact, in 2017 more than fifteen million theatre tickets were sold in London’s West End – the highest number since records began thirty years ago. This nine percent boost in revenue has been attributed to the post-Brexit tourist boom, signalling that Brexit has had some positive benefits. However, whether this increase in ticket sales will last is not certain. Many of these ticket sales can be said to reflect recent commercial successes such as Hamilton and Harry Potter and the Cursed Child, with no indication that this increase in ticket sales has benefited smaller productions.

Members of touring companies will most likely have to obtain visas for countries that they travel to Brexit can therefore be said to cast a doubtful shadow over the future of the UK creative industry. Cuts in funding will surely affect the output of projects and the restriction to freedom of movement will certainly change how shows are produced, most significantly for smaller companies. It is hard to say how the UK will be affected for certain, however, hopefully its international reputation for the arts will withstand this drastic change in circumstances and continue to allow the UK to produce great quality theatre both domestically and internationally.

Image: Google via Creative Commons

FILM & TV Thursday, 1 November 2018

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Netflix’s Maniac: as Visually Seductive as it is Mind-Bending

By Hugh Johnson

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aniac is an American psychological dark comedy made by Netflix, premiering on September the 21st, 2018. The show is directed by Cary Joji Fukunaga, whose previous works include the critically acclaimed first season of True Detective and the harrowing film Beasts of No Nation. Recently, it has been announced that he will be the next Bond director, which is an odd choice given his quirky and dark directorial style.

What follows is almost like watching a dream

Google Via Creative Commons

The premise of Maniac is a bold one: the show explores the unconscious mind, a challenge that few directors would willingly take on. The story follows Annie Landsberg, played by Emma Stone, and Owen Milgrim, played by Jonah Hill, as two strangers drawn to the late stages of a mysterious pharmaceutical trial. Emma Stone plays a drug addict fixated on her broken relationship with her sister, who is drawn to the trial because one of the drugs they administer is the drug she is addicted to, whereas Jonah Hill has the more difficult task of playing an introverted son of a billionaire, suffering from schizophrenia. Both Emma Stone and Jonah Hill reach new heights in

this mini series. While Emma Stone’s performance is somewhat reminiscent of her acting in Birdman, Jonah Hill’s portrayal of the isolated and mentally unstable Owen Milgrim is a highlight of the show. This could be seen as a turning point in Jonah Hill’s career.

Pushing boundaries in visual storytelling is what we, as viewers, should be encouraging The show itself deals with countless philosophical themes. Firstly, it deals with levels of the mind, looking into the unconscious mind and the way that repressed thoughts affect our day to day behaviours. But this is barely scratching the surface of the themes the show develops, themes such as artificial intelligence, the complexity of human emotion, what love and relationships truly mean, and the level to which pharmaceutical drugs can be used to treat mental disorders. The world that the show inhabits is a dystopian representation of New York, in which comedic and shocking moments are played against each other to represent a surreal reality that always leaves the viewer questioning what is real and what isn’t.

Perhaps the greatest achievement of the show is its visual aspect. From the third episode onward, the viewer is taken on a journey inside the minds of Owen Milgrim and Annie Landsberg as they embark on the psychological drug trial. Cary Joji Fukunaga thus has the task of maintaining

a meaningful narrative in a surreal, dream-like and ever changing world that is supposed to represent the repressed, unconscious and unhappy minds of the test subjects. What follows is almost like watching a dream. Fukunaga’s use of colour and environment to tell this story is as visually seductive as it is maddening, and leaves the viewer wanting answers.

You never know where the story will go next, and subtle clues as well as recurrent themes throughout the episodes leave you wanting more. An example of this is when Owen falls over when walking down the street, opens his eyes, and finds the street is now the same width as his body and begins crawling over cars and buildings, while the camera pans backwards along the street. Few directors would attempt anything this ambitious, and it is a testament to the Fukunaga that he can pull it off.

This show is one of the only to be really pushing the boundary of what is possible in film and tv This show is one of the only to be really pushing the boundary of what is possible in film and tv. As visual effects have become more and more readily available to directors, new storytelling realms have opened up. The unconscious mind, schizophrenia, psycho-active drugs: all of these were things that film and tv previously strayed away from as could not accurately represent, but in 2018 thelimits on what is possible in visual storytelling are being broken down. Maniac is like nothing that has been seen before in television, and if anything should simply be watched for the experience. After all, pushing boundaries in visual storytelling is what we, as viewers, should be encouraging.

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TRAVEL Thursday, 1 November 2018

TRAVEL 13

Thursday, 1 November 2018

Morocco: A Divided Nation

By KT Anderson

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here’s a frenzied energy that enshrouds Morocco, and its palpable from the touchdown.

My friends and I spent our three weeks in the country muttering praise for GPS as we negotiated our way haphazardly through labyrinthine medina after medina, amazed by the inexhaustible hustle and bustle.

Away from the rampant cityscapes however, for those willing to explore, there is the offer of spell-bounding landscapes and lazy tranquillity. As we journeyed South to North, it was this rollercoaster of dynamism which made for such a dizzying, yet enchanting trip.

mint tea whilst he told us of his book just published, a whole volume dedicated to the history of the area. His kind-heartedness made a real impact, especially given the torrent of harassment we had received in Marrakech. The remainder of our stay was flitted away in blissful, sunny contentedness.

The calmness continued as we pushed on into the Sahara. Arriving at our camp, the sand had retained some heat from the day, comforting our bruised backsides, fresh from a choppy camel ride.

There’s a frenzied energy that enshrouds Morocco, and it’s palpable from the touchdown

As night fell, the sound of the traditional Berber drumming quietened too and against the backdrop of silence we were able to appreciate the immense smattering of stars that decorated the blackness above. A storm flashed and reverberated around the peripheries of the sky as we lay, reminding us of the outside world, but not quite enough to urge us back to civilization.

The sprawling city of Marrakech, rich in red tones and plentiful dialects, marked the beginning of our visually effusive tour.

Whilst the whole citadel brims with bright tiles, crumbling facades and lush greenery, it’s within the Souks that the ‘cheerleader effect’ is seen in full bloom.

Given the seaside magic and natural wonders we had experienced, moving back into a big city was always destined to be difficult. Fez did little to subdue these fears. The shabby streets, which elsewhere in Morocco held a certain charm, here appeared menacing and claustrophobic.

Whether it’s shelves of coloured spices or an alcove dedicated solely to slippers, it’s easy to become entranced. Amongst the ramparts of beaten clay, consumerism is natural, and eye-strain is unavoidable.

Travelling out to the coastal town of Essaouira, we were met with a dramatic alternative. Boasting salty sea air, an affliction for folk music and coyly strippedback pastel paint, the centre has an easy, breezy appeal, far removed from the crowded metropolis.

It was strolling by the water that we met Abdelkader Mana, a man-about-town, wrestling an enormous fresh squid into a plastic bag. Before whisking it home for tea, he made it his duty to initiate us girls into the laidback Moroccan cafe culture.

Leading us to his favourite spot, he instructed us to enjoy a round of sugared

Consumerism is natural, and eye-strain is unavoidable By the second night, our group had unanimously settled on a 9 o’clock curfew.

Despite our efforts to dress conservatively, any visits out during the evening meant facing a chorus of abuse, stalking and even threats. The experience left us cynical.

Moving onto Chefchaouen was a welcome and needed relief. The place draws in those searching for an impressive Instagram photoshoot, but also as the ‘Amsterdam’ of Morocco, a suspiciously chilledout crowd.

The entirety of the central medina, which was once colonised by the Spanish, is coated in blue and white paint. Some locals explain the colouring as a method

to ward off mosquitos, other sources suggest that the azure tones are symbolic of Godliness.

After climbing to the Spanish Mosque, a structure of brilliant white which stands above the city, I felt inclined to believe the latter. Watching the peachy sunset from this vantage point, the ethereal quality of the place became clear.

The final destination of our trip, Tangier, was a mixed bag, reflective it seems of our trip to Morocco as a whole. The hubbub of urban life, and the harassment that goes with it, returned with full force. This time however there was an edgy delight given the fusing of African and European culture.

The three weeks we spent in Morocco were a zig-zag of bewildering heights, and frustrating lows We stumbled upon two uproarious occasions which really exhibited the spirit of the city. The first, a Jazz Festival which quickly spiralled from a sophisticated sitdown event, into a mosh-pitting celebration.

The second was a wedding parade, which saw the bride aboard a throne that was being carried along the swamped city streets. The mass of celebrating bodieslaughing, shouting and singing, pulled the newly married pair downstream.

Overall, the three weeks we spent in Morocco can only be summarised as a zigzag of bewildering heights, and frustrating lows. The only thing that remained consistent was the bread. Without fail each meal we were served came accompanied by ‘Khobz’, the much-loved carb of the region.

As recommendations go, I couldn’t say whether I think others would love or hate the country. But I do certainly think it’s worth sampling the mix yourself.

Images by Charlotte Lacy

MUSIC Thursday, 1 November 2018

14

Is Drill Music the Cause of Escalating Violence?

Music considers the impact of drill music on violence in the UK

U

By Xhulio Ismalaj music@palatinate.org.uk K drill, a musical subgenre of US-originated Chicago drill, typically contains lyrics detailing gang activity and, subsequently, has been blamed for a significant increase in violence throughout London, during a year in which knife crime in England and Wales has reached a peak not seen since 2010. But can we really blame drill artists for this increase in crime?

Drill music has seen massive growth in recent years, with even global superstar Drake recording a Link Up TV Behind Barz freestyle on a drill-fused instrumental. The UK edition of drill has even managed to return to its origin in the US, with the creation of ‘Pitbulls’ by Skegdo & AM featuring drill pioneer Chief Keef.

Social media plays a pivotal role in the distribution of drill music.

In May, Met Police Commisioner Cressida Dick accused drill music of inciting the rise in violence within London, and consequently removed more than thirty drill music videos from online platforms.

The standardisation of this form of criminal activity, Dick believes, is likely to influence those in vulnerable situations to commit crime. Some would even go so far as to claim that the threatening of individuals by virtue of music should be treated as a standard threat – perhaps even of a terrorist nature. Social media plays a pivotal role in Image via Flickr by Yoann Design

the distribution of drill music. Instagram pages, such as UK Drill News (UDN), are thought to perpetuate violence by acting as an intermediary between opposing gangs.

Music, in general, has been blamed for the criminality of youth for generations Sadiq Khan, however, attributes blame of the significant increase in violence throughout London to cuts in police officers. Khan argued that cuts to the police and the closure of over 600 youth clubs in the UK, since 2010 austerity measures were implemented, have been the major contributions to the ripple of violence seen today.

be beacons of inspiration for the younger generation, as some artists headline festival stages and have their music played on prime-time TV. Drill artists can also step into the mainstream; an artist can breakthrough with drill music, but expand to alternative genres.

When looking at solutions for the escalation in violence, one must acknowledge the requirement for a stronger communications between government and the underprivileged. Drill creators should be seen as genuine professionals paving a career within the music industry, as opposed to unresponsive criminals. The removal of instagram pages which act as an intermediary between gangs can be a step towards preventing the instigation of violence.

The question of whether drill music breeds violence or whether drill music is the consequence of violence bares many similarities with the old-age philosophical question of the chicken and the egg. Music, in general, has been blamed for the criminality of youth for generations. Indeed, in the 1950s, Rock was cited as a factor for the increase in drug-use amongst youth.

Scribz, a member of the infamous drill group 67, noted in a BBC Newsnight segment, that the drill music affords the individual the opportunity for self-expression: “You’re way more productive; you’re way more creative; you come up with ideas. It gives you more knowledge.”

Creators of drill music argue that the often graphic lyrics are a representation of the hardships that they are faced with, and the banning of drill music has removed the opportunity for some young creators to break from their underprivileged background. Drill artists can

Image via Flickr by Karo4greatness

BOOKS 15

Thursday, 1 November 2018

Internet poetry: the death of nuance Books considers the place of poetry in the digital age

By Fergus Burnett-Skelding books@palatinate.org.uk

O

urs is the time to mourn the passing of measured argument.

From Trump’s polarisation of a nation to Labour’s internecine issues, public discourse has become a forum for extremes. Worryingly, the literati can no longer provide sanctuary in this ideological war zone. Binary extremism has begun to insinuate itself into literary criticism.

The debate on the latest phenomenon in poetry is illustrative. Published initially on social media - and, having garnered a sufficient following, published in hard copy by canny publishers - internet poetry has produced two critical camps positioned in irrationally diametric opposition.

In the blue corner, a group of critics defer to that well known yardstick of merit, the approbation of the masses. They proffer the number of ‘likes’ internet poets can muster as absolute proof of artistic talent, and politicise poets by lauding their gender, class, or race, over their literary ability.

Binary extremism has begun to insinuate itself into literary criticism Rupi Kaur, 25-year-old CanadianPunjabi Instagram poet, is a prime beneficiary of these poetic partisans.

Kaur’s millions of Instagram followers have seemingly had an amnesic impact on some. By praising Kaur’s attempts to pass her banal views on race, gender, and heartbreak off as universal aphorism, such supporters seem to have forgotten that poetry is the transcription of timeless epiphany, requiring more than unconsidered line breaks or the eschewal of capital letters.

But where is the harm in this flagrant rejection of critical faculties? What is the impact of treating such lines as ‘she was music/but he had his ears cut off’ positively everywhere from Radio 4’s Woman’s Hour to this very paper?

For one, the idea that a legitimate metric for poetic quality is the number of virtual thumbs up it can accrue reveals a worrying paradigm shift amongst this group of critics. Poetry has ceased to be celebrated for the evocativeness of its language or the resonance of its concepts, instead being judged on its ‘accessibility’.

In the age of Twitter and Deliveroo, ‘accessible’ denotes nothing more than an admixture of brevity, simplicity and instant gratification, something that truly great poetry will always struggle to offer. Hardy, Plath, Swinburne and the gang require an investment of time and thought; Kaur’s merry band of sycophants marginalise this truly life enhancing poetry.

The other harmful consequence is that, as defenders of more traditional poetry inflate with irritation, they abandon balance in their own critique of internet poetry. In order to effectively scupper the rise of the bad, they are indiscriminate in their hatred of it all. These are the occupants of the red corner: suspiciously technophobic writers disavowing the work of anyone who dare be so base as to mix social media and poetry.

Technophobic writers disavow the work of anyone who dare be so base as to mix social media and poetry These critics portray a serious lack of nuance by lumping very successful poets in with the coterie of woe-is-me solipsists. One such victim is Charly Cox, the author of the collection She Must Be Mad. Published after Cox’s Instagram popularity came to the attention of HarperCollins, her collection is 2018’s best-selling book of poetry. Predominantly focusing on her own mental health, it would be easy to accuse Cox of Kauresque self-indulgence. But she is quite different. A plaintive understanding of the irony of modern life permeates her work, and her linguistic dexterity marks her out as worth a read.

As with any sector of literature, it is impossible to paint all internet poets with the same brush. Let us, then, resuscitate failing nuance, and start to winnow the wheaten stanzas from the platitudinous chaff.

Image credits: Google via Creative Commons

THE indigo INTERVIEW 16

‘Is it not better to have uncomfortable conversations?’

By Zue Leong Interview Editor

Thursday, 1 November 2018

The panel, ‘Who is the Black Woman’s strongest ally?’, was even more narrow as it touched on the dynamics of allyship between black women and the wider community. We looked at the statistics of black women being more likely to be molested, raped or sexually assaulted and being less likely to be married. We anticipated an intense debate, to the point where even some of my male friends of colour did not attend the session because they felt that the conversation was too uncomfortable and targeted against them.

Complex questions like,

D

urham’s People of Colour Association (DPOCA) has only been running for three years but this year will see some of its biggest campaigns, says President Seun Twins as she sits down with indigo to discuss DPOCA’s recent panel sessions, and Black History Month series.

For example, during the B(l)ack Handed Compliments panel, we discussed the history of white supremacy and how that has affected the way we perceive skin colours, in that we celebrate a proximity to whiteness, but also how subconscious anti-blackness has been especially traumatic for the black community. From there, we could dissect the black woman’s relationship with beauty – how come they make up only 13% of the American population but are in the majority 78% of consumers of hair and beauty products?

Although there are black entrepreneurs now entering this industry, many don’t realise that they are socialised to reject their natural hair and contour their noses, and are being exploited by consumerism for which the White Man is the face.

So, yeah, it is very difficult because making our events more palatable or dumbing down the conversation would really devalue the topic and quality of our discussion. These may be very intense conversations that we’re having but that’s not a bad thing because they are conversations that are never had and if you come along, you will learn.

And what is DPOCA’s new campaign, ‘Decolonise Durham’, looking to do?

‘Decolonise Durham’ is a campaign to decolonise the university experience. It’s led by DPOCA’s co-campaign officers, Sabrina Citra and Sebastián SánchezSchilling and is inspired by the ‘Why is my curriculum white?’ campaign, part of the wider movement in the UK to make changes to our white and Eurocentric curriculum. It revolves around our reading lists, our resources, the ways we are taught by professors, the ratio of white to POC professors…

Tell us more about your experience leading and moderating these panel sessions with your vice president, Princess Banda.

I’m proper proud of our Black History Month series. They were two hour long sessions, so we actually had the time to address and unpick complex issues. I was happy with the turn out and the quality of the debate, but also the variety of conversations we were having – especially uncomfortable conversations. They were so much deeper than the fluff pieces that you normally get on social media.

criticism recently on Durfess, speaking out against our ‘Decolonise Durham’ campaign and I found it so funny because whoever it was based his opinion on the name of the campaign before knowing or understanding the complex issues that we will be addressing.

do we need a 2018 Malcolm X? how do we navigate interracial dating? How can we live in oppressive institutional structures while breaking them down at the same time? Do we need new metrics of measuring black success? I’m so happy that we’ve created something for the next generation of DPOCA to carry on and take even further than we have this year.

What would you say to those who feel unwelcome or uncomfortable attending DPOCA events as the conversation may target them?

I would say, is it not better to have these uncomfortable conversations? If there is an issue that might involve you, shouldn’t you come and address it head first, even more so if it makes you uncomfortable?

We create these spaces of dialogue and discussion but there must be agency on your part to invite yourself and participate in them. For example, we had some public

If universities are meant to be hubs for creating new ideas and growing one’s knowledge, how can they do this on the same views of five old men from five similar countries? We need postmodernist studies to play a bigger part in our syllabus, especially for humanities subjects as we study a subjective truth. It has to do with unlearning and relearning different concepts, particularly if taught by professors with different backgrounds and perspectives.

‘Decolonise Durham’ is going to be a great and very thorough campaign. It has connections with different institutions throughout the UK and many academics and lecturers will be coming to share their opinions and suggestions. And I especially like the alliteration of ‘Decolonise Durham’ because I feel like it gives us an edge over ‘Decolonise Cambridge’.

Image via Seun Twins