Indigo 823

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EDITORIAL Thursday, 28 November 2019

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www.palatinate.org.uk

VISUAL ARTS 3 Man vs Nude FASHION 4&5 The Moustache Exposé

FOOD & DRINK

6 Growing up with celiac disease CREATIVE WRITING 7 Masculinity BOOKS 8&9 Unheard Voices & How to Be a Man this Movember TRAVEL 10 An ode to Paris MUSIC 11 Sir Thomas Allen’s “Five Mystical Songs” FASHION 12 & 13 Things my father taught me & In laughter: Redefining Masculinity STAGE 14 Moving in the right direction?

FILM & TV 15 Male mental health in film: Is it enough?

INTERVIEW 16 Time to Talk: George Woodward 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 Logo: Chloe Wong Cathedral Artwork: Anna Gibbs Front Cover: Navya Lobo, Heidi Januszewski and Amber Conway

It’s the last edition of term, although this is by no means a time to start winding down (unfortunately), as more deadlines approach. This last edition means we’ve made it pretty far though, and it’s rather satisfying to look back over the past two months and think about how we’ve made it up until now, surely we can push through the last few weeks. It seems like a rather bleak way to look at it, but at this point in term most people are feeling down, and I think you find optimism where you can.

In indigo, we’ve chosen to focus on Movember this time round. A month with an important purpose but also with its brighter sides. Books interviews Chris Hemmings, a reformed ‘lad’ about how he thinks we need to redefine masculinity and (p. 8) and Interview talk to Durham’s Movember ambassador.

Check Fashion (p. 4&5) for the history of moustaches and Features for lessons we learn from our fathers (p. 12).

I’m currently trying to make myself learn more outside of my degree, and the history of moustaches is certainly a niche place to start. Visual Arts also offers an interesting insight into the male nude and the female gaze on p.3, if you too are interested in reading something which isn’t prescribed.

I hope this issue makes you think about issues which you haven’t always considered, I know I’ve read some interesting insights. Good luck with the rest of term!

Shauna Lewis

INDIGO EDITORS Shauna Lewis Imogen Usherwood (deputy) FEATURES EDITORS Kleopatra Olympiou Mary Bradshaw (deputy)

CREATIVE WRITING EDITORS Catriona Inglis Meadbh Ni Mhorain

STAGE EDITORS Martha Wrench Gabriella Sills (deputy) VISUAL ARTS EDITORS Faye Saulsbury Florie Moran BOOKS EDITORS Clara Knight Lotte Hall FASHION EDITORS Molly Goetzee Hugo Millard(deputy) FOOD & DRINK EDITORS Elle Woods-Marshall Imogen Higgins TRAVEL EDITORS Alex Bicknell-Cummins FILM & TV EDITOR Aadira Parakkat Madeleine Rosie Strom MUSIC EDITORS Matthew Prudham Theo Golden INTERVIEW EDITORS Kiara Davies Rachael Brown

VISUAL ARTS 3

Thursday, 28 November 2019

Man vs Nude The subversive and revelatory potential of the gaze of the artist

By Amie Kirby visual.arts@palatinate.org.uk

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mongst historians, critics and art lovers, the portrayal of the nude has consistently fascinated people throughout the world.

In his seminal work Ways of Seeing, John Berger says that “To be naked is to be oneself. To be nude is to be seen naked by others and yet not recognised for oneself”.

This simple statement has led to extensive discussion postulating its meaning, but to me it is simple; ‘beauty’, or whatever you see when you look at an image or a piece of art, is in the eye of the beholder.

Our gaze as a viewer is pivotal to the meaning of the art itself, as is the gaze of the artist who produces such work.

This gaze is influenced by each individual’s desires, thoughts, and the image they hold of themselves. This, I feel, is why the nude has attracted so much attention in discussion of art. As Berger so eloquently put it, there is a difference between being naked and being nude.

“To be nude is to be seen naked, and yet not recognised for oneself” I would like to pose the importance of the male gaze’s impact on the male nude, using the example of Robert Mapplethorpe.

There is an overwhelming scope for discussing both the place of the nude in Western art, and the engendering of the nude. When Berger speaks about the nude, he talks of the male gaze and how it perpetuates the female nude.

There has been increasing discussion of the male nude specifi-

cally in the context of the female gaze, feminism and female liberation.

There is a growing body of art that reflects this, such as the work of Sylvia Sleigh.

Such works and discussions are noteworthy because of the power they give to women, liberating themselves from the male gaze by subverting artistic convention.

For example, Sleigh often reworks pieces which are known for their prominent female nudes by replacing the focal body with that of a male.

Whilst the concept of the female gaze on the male nude is important, we must also discuss the possibility of the male nude composed through the male gaze.

The image of the male nude as seen through the male gaze conveys both historical and contemporary attitudes to masculinity, and, to an extent, heteronormativity.

Both female artists like Sleigh, and male artists like Degas depict the male nude. Each depiction illustrates different ideas, motivations, and social conventions. Sleigh depicts the male nude as a feminist artist practicing subversion and role-reversal, whilst Degas, in his 1857 ‘Drawing of a Male Nude’, conveys a more traditional, masculine ideal.

This ideal is omorigins in the male nude— portrayed heroism— turies.

nipresent, from its Classical Greek which commonly athleticism and through to later cen-

Breaking this tradition, however, are contemporary artists who toy with gender roles, androgyny, and sexuality to depict the male nude in an alternative light.

Photographer Robert Mapplethorpe photographed a range of models in black and white throughout his career. This included himself, his girlfriend Patti Smith, and his later lover Samuel Wagstaff.

What is fascinating about Mapplethorpe is that he treats the female and male nude alike with equal sensitivity and appreciation for grace and nobility. He defies the traditional convention of the masculine male nude. Speaking about his 1986 series Black Book - which featured photographs of fragmented bodies such as torsos - Mapplethorpe said, “I zero in on the body part that I consider the most perfect part in that particular model”.

We can see Berger distinguish between the naked and the nude, of which the latter portrays a level of poise and grace that the artist, and later viewer, sees through their own gaze.

In her memoir, Just Kids, Patti Smith writes that Mapplethorpe “created a presence that was wholly male without sacrificing feminine grace”, and “sought to elevate aspects of the male experience, to imbue homosexuality with mysticism”.

Using the nude form, he sought to subert traditional ideas of masculinity, without attaching it to a heteronormative gaze.

Illustration by Navya Lobo

FASHION 4

Thursday, 28 November 2019

The Moustache Exposé Hugo Millard explores the historical secrets of the ‘tache

By Hugo Millard Deputy Fashion Editor fashion@palatinate.org.uk

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he Moustache. One of the most contentious forms of facial hair in history, dividing taste since the first caveman decided that ‘the natural look’ wasn’t the way to go.

Though it may have dipped in and out of popularity for centuries, the ‘tache has never completely disappeared from the upper lips of men across the globe. Starting with stone razors in the Neolithic times and ranging through the princes of Ancient Egypt, the early history of the moustache is relatively unknown, with the first documented moustache sported by an Iranian horseman in a 300 BC painting.

In her recent book, Moustaches, Whiskers and Beards, Lucinda Hawksley unveiled the complex and dramatic history of the moustache, laying out the history of facial hair for public enlightenment.

Though the ‘tache existed in England in the medieval period, with knights often having to have their armour specially fitted to allow for the fairly extensive moustaches they grew - yes Monty Python and the Holy Grail did get it right, the facial didn’t really catch on until the Tudor period when a poorly enforced beard tax was established. The beard gradually became a symbol of status and the moustache started to rise in popularity with the working and middle-classes who couldn’t afford to grow out their beards and pay the associated taxes.

However, the moustache truly established itself in British society in the early Jacobian era as the new court tried to establish a strong identity against the beards of the Elizabethan period, with Charles I promoting the handlebar and goatee combo that

quickly became seen as the epitome of fashion and good taste. From here-on-in the ‘tache only grew in popularity across Western-Europe, so much so that Peter the Great instituted a ‘beard tax’ in 1698 to bring Russia society alongside the new Western-European models. This ban was enforced by the police, who had permission to publicly shave offenders using as much force as necessary in response to the widespread resistance of the new policy.

The obsession with moustaches continued to develop throughout the 1700s, until the early 19th Century saw dramatic and extravagant ‘taches gracing the lips of European gentlemen, with facial hair becoming a social indicator of taste and wealth.

This all changed with the celebrity of Lord Byron, who influenced a new generation to rebel against over-thetop facial hair and sport simpler, more elegant versions of the moustache, quickly becoming a symbol of the ‘radical romantic’ figure and remaining in popularity for decades to come.

“The nations quickly associated beards with the idea of the ‘national hero’” War has proved massively influential in the shifting aesthetics and styles of a culture, and this remains true in the case of both fashion and facial hair. Following the Crimean war of 1853-56, beards made a dramatic comeback in the countries involved, with the many returning soldiers coming back with nearly two years of beard growth.

The nations quickly associated

FASHION 5

Thursday, 28 November 2019

beards with the idea of the ‘national hero’ and many men started to emulate this unintentional facial hair choice.

Developments in warfare meant that styles had to change and the introduction of chemical weapons in World War One heralded the end of any facial hair, as gas masks wouldn’t seal properly around either moustaches or beards. On top of this, only certain ranks in the military were permitted to grow moustaches, making the facial hair a new symbol of power and status among British soldiers. In reaction to the end of the First World War, Britain saw a massive boom in the popularity of moustaches as men who previously

weren’t allowed to grow facial hair were once gain given freedom over their personal groom ing. The moustache quickly became the aesthetic choice of the modern man, with the style becoming immortalised in popculture. A similar rise in moustaches also followed World War Two, with the handlebar moustache being celebrated as the new facial hair of heroes, with it being the style most commonly associated with the fighter pilots.

In 1940s Europe the ‘tache was as popular as ever, and surrealist painter Salvador Dalí’s moustache was one of his most iconic traits and became one of the most recognisable moustaches in history. That said, the moustache soon fell out of favour and despite some Hollywood representation, think Clark Gable in Gone with the Wind or Tom Selleck in Magnum, PI, the beard dominated the faces of the ever y - day men on the streets, and it became a bold, brave statement to wear a moustache.

“Developed in Australia and then spreading globally, the annual event slowly reinstates the moustache with every passing year” In 2003 the moustache’s cultural relevance received an enormous boost from the birth of Movember. Developed in Australia and then spreading globally, the annual event slowly reinstates the moustache with every passing year, and the facial hair has now started to settle back into Western culture with some celebrities, such as Michael B. Jordan and Henry Cavill, sporting it in their day-today look. Love it or hate it, the marmite of facial hair styles is coming back, and we all better be ready for when it does.

Image Credits: Molly Goetzee; Jack Taylor; Dom Gommo; Will Evans; Tom Whitehead; Jack Chivers

FOOD & DRINK 6

Thursday, 28 November 2019

Growing up with celiac disease In a world of masculine ideals, how does celiac affect your body image?

By Immy Higgins and Elle Woods-Marshall Food & Drink Editors food@palatinate.org.uk

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ince it is Movember, we have decided to explore how food links to concepts of masculinity and body image. We interviewed an individual who is a celiac to find out how he manages at university and how it has affected his body image.

Celiac disease is an intolerance to gluten, the protein found in wheat, barley and malt. If gluten is consumed by a celiac, it causes inflammation and damage to the small intestine. Many people with celiac disease suffer from bowel disorders when they eat gluten, but the individual we spoke to is asymptomatic. Before he was thirteen, there were no obvious signs of his condition, except from the fact that he was very underweight. He described how it would take him three hours to eat a plate of pasta at the kitchen table after school due to how difficult it was to digest food. He stated that “if someone had told me about celiac disease before I was thirteen, I could have told you I had it.” At the time, knowledge of celiac disease was not as thorough as today. A child in his situation now, he believes, would be diagnosed earlier.

“I avoided going swimming because it involved taking your top off” We asked about how he manages at university; he found that moving into his second-year house was much easier than living in college. Although, he was keen to emphasise that he “cannot fault” Hatfield for how they helped him.He now has his own toastie machine and toaster in his

house (with gluten-free labels) and can control what he eats.

Our focus for the interview was how celiac disease affected his feelings about body image. A key factor in this is being unable to drink beer because it contains gluten. He explained that when he was younger and his friends began to experiment with alcohol, it was easy for them to get hold of beers from their parents. Since he could not do this, he ended up drinking more spirits than he should have.

It is also a problem when he goes on holiday with friends in Europe, finding cider abroad is much harder than in England.

The effect of drinking a pint of Guinness, versus a double vodka coke, is very noticeable and has led to him getting into some messy situations. Although being unable to ‘have a beer with the lads’ has not made him feel totally isolated, his explanation makes it clear that being celiac does have an impact on how you navigate growing up.

When asked about the impact of celiac on his body image, the first thing he said was that “until I was sixteen, I avoid going swimming because it involved taking your top off.” Celiac disease often entails being underweight, and this made him feel insecure in a society which promotes the image of men as “big.”

The early years of secondary school were difficult because his two brothers were both “prolific rugby athletes”, whilst he was unable to play rugby because of his weight. “Four out of five lunch breaks” would involve rugby training and he recalls being unable to participate in these training sessions. On Saturdays his friends would go to rugby games together. and he knew that friendships were being built on those bus journeys and felt like he missed out.

He no longer experiences feelings of societal discomfort because of being celiac.

Over time he made trustworthy friends and feels that he would never feel insecure about being celiac in front of them.

Instead, he highlighted how he feels uncomfortable going out for dinner because he does not want to raise an issue and be a “hassle”. Many people are gluten-free today, for valid health reasons, but he explained that to some extent it has become a fad, damaging the celiac community.

People ask for gluten-free food at restaurants in a “flimsy” way and concede that they can have those “croutons” on their meal. The restaurant community have therefore built up a perception that when people ask for gluten-free food it isn’t important. We need to have respect for the celiac community, and he believes that if you go gluten-free you have to “do it properly”.

Being celiac is difficult, but finding friends that support you without judgement helps to make you feel more secure in your body. His main advice concerning masculine body concerns was to remember that every “bloke” has concerns about their body, especially during adolescence.

Often bullying someone for their body type arises from the bullies own insecurity about their body.

Illustration via Pixabay

Creative Writing 7

Thursday, 28 November 2019

Masculinity Poetry that explores the theme of masculity for Movember

By Jack Sandbach and Adrian Noble creative.writing@palatinate.org.uk

Astaroth is much prettier than me

The Age of the Twink

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n Ancient Greece was the first twink, immortalised in kitschy frescos and traced right up through us, to the revels of our prying eyes, of bodies. Pornhub Gay offers such genres as: the masculine is dominant, feminine submissive – understand that’s enough.

staroth is much prettier than me All black, Slathered in factory produced beauty, Eyes the size of dark stars, Nails and cheekbones that could cut glass…

But Astaroth is much prettier than me.

Athens’ twink is lightning – a flash in the pan of hot, white light, and, thousands of years from Greece, a lingering absurdity: we need these binaries. If he’s lucky, on Grindr, he’ll bag a real man, anything less than masc for a mask would be grotesque.

Kisses across the neck, the chest, Purple pulsating blisters of pure love, A bloody gash of lust across the throat.

Surely it’s enough?

But he is still so much prettier than me.

I love her.

She loves me I think?

But my best friend is so much prettier than me.

By Jack Sandbach

The Painting in my arms

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ove only felt one way, A Narcissist laments, How He took you for granted, In all the time you spent.

Together.

A shadow across the pillow, A scent upon the air, A reflection in the mirror, A presence no longer there Love only felt one way, The painting in My arms, The way you always should be, Never to be harmed.

By Jack Sandbach

So Aristophanes’ bottom-shaming endures, and this twink ages out, and the light goes out, and the thunder claps – before we know it, we’re in the sexualised, an age of Dionysus, where Hermaphroditus can play his role as the gods prescribed in kitschy frescos.

By Adrian Noble

Image by Levi Clancy via Unsplash

BOOKS 8

Thursday, 28 November 2019

Unheard Voices: Hayes Davis Rosie Catcheside explores an unsung male poet’s voice

By Rosie Catcheside books@palatinate.org.uk

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ayes Davis is a Cave Canem fellow, teacher and father. He is also a sensitive and talented poet whose work challenges ideas about masculinity and, in particular, the expectations of masculinity for AfricanAmerican men. Davis is especially skilled at expressing his longing to be a parent, as well as shining a light on the dangerous silence surrounding male emotions in society today.

“Challenges ideas about masculinity” Davis often draws from experiences and prejudices faced in his own life and in the lives of other men. Through his poetry, he attempts to challenge these preconceptions. In ‘Musings’, Davis confronts an assumption that, as a young African-American man, he would not want to be a father. Tackling this false supposition from the outset, Davis’ speaker writes, “If you believe studies, statistics, myth / I’ll leave when my wife’s belly swells.”

He refutes these stereotypes by candidly describing his personal desires and “baby-lust” even as a young man. Openly expressing his longing to be a “nurturing” and caring father, he refuses to entertain the notion that this desire is in any way incompatible with being a man.

The longing for fatherhood haunts Davis’ work. In ‘Dual Income, No Kids’, his speaker craves the inconveniences that children bring; from “little socks everywhere. And nowhere, books/ underfoot, the dog/ colored with crayon”,

to “tantrums, negotiations”, and “compromised/ intimacy” as he and his wife adjust to life as new parents. He dwells on the minutiae of fatherhood in a way which only someone who has thought about it obsessively could. As well as this, he proudly articulates his desire to be involved with every aspect of childrearing, whilst condemning anyone who suggests that being a loving, involved father is a threat to masculinity.

What is distinctive about Davis’ depictions of fatherhood, however, is that they are largely speculative; the heart-breaking final lines of ‘Dual Income, No Kids’ reveal that, instead of a proliferation of childhood experiences, the couple have instead been collecting “months upon months / upon months of empty”.

Davis acknowledges that infertility and the pain it causes can be a taboo topic among men, and uses his poetry to address this issue directly. “One myth that’s part truth”, he writes, “Is men don’t always share sadness that rests / on a foundation of vulnerability.”

As a result of this widespread silence around male emotions, there is no language with which to discuss male pain; “popular thought and culture give you no name, precedent for the ache and envy/ engendered in me by the sight of a newborn”, and so suffering and paternal longing lack a mode of expression.

“It is more important than ever to speak about male emotions”

As Movember statistics highlight, suicide is currently the leading cause of death for men aged 15-49 in England and Wales, making it more important than ever to speak openly about male emotions.

Davis’ poetry does this by bringing the hidden pains and desires which many men experience out of silence and into conversation.

Davis, therefore, is an overlooked but important poet who is changing the way in which masculinity and the male experience are portrayed.

He breaks the silence on male mental health, challenging toxic masculinity and the ‘macho’ image it perpetuates.

By creating sensitive male speakers who push against society’s rigid notions of what it means to be a man, Davis joins poets like Terrance Hayes and Danez Smith in ushering in a new image of the modern man. In doing so, he also challenges his readers to consider their own ideas about masculinity, and provides an important perspective for readers of all genders this Movember.

Image Credit: Photo by Neel on Unsplash

BOOKS Thursday, 28 November 2019

How to Be a Man this Movember

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Chris Hemmings on masculinity, emotion and his recent publication.

By Clara Knight Books Editor books@palatinate.org.uk

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our recent book Be a Man is not the first in recent years to discuss damaging male stereotypes and behaviours. Why do you think that the topic of masculinity has been growing in popularity in recent years?

As the world continues to change and progress, equality becomes unstoppable.

Traditional forms of masculinity are becoming less and less viable. Men are recognising that they have to adapt to this changing world, or risk being left behind.

Also, as more men speak out, more men recognise the issues they face. In that way, conversations amongst men are becoming increasingly frequent and the pace of change is gathering momentum.

Why do you should care very concept has allowed

ations are truly making them feel that they will start to open up to the possibility of calling out toxic traits in others.

Do you think there is a particular group of men who are vulnerable to concepts of masculinity, as you yourself felt you did at university? Why do you think this?

One thing I’ve learned in my years of research and conversations is that while the ways in which macho culture exhibits itself can be differ- ent across different social circles

think boys and men about tackling the of masculinity that them to thrive?

What is the first important step men should take in order to begin combatting the toxic aspects of masculinity?

To look within themselves and open up their empathy towards themselves.

It’s only when they recognise how situ-

What is your advice for those who recognise the behaviours you describe in your book within team sports, but don’t know how to go about stopping them?

If you don’t have the courage to intervene (and nobody will judge you if you don’t), you have a choice to make: stay, and remain a silent partner in the damaging environment being created, or walk away with your head held high knowing you’re no longer adding to the negative energy in the world.

“Be the change you want to see”

I don’t think it has allowed them to thrive. They may view the status quo as men experiencing success, but I happen to think far too many men are missing out on the true value of existence: empathetic, caring, compassionate relationships with anyone and everyone who comes into their lives.

“We as men don’t do nearly enough”

tion. The only reason I could write it was because I’d become so comfortable talking openly about my past experiences and my current state of mind.

In essence, the book had to come out of me as the final act of self-absolution.

What do you think students can do in support of Movember, a charity tackling prostate cancer, testicular cancer, mental health and suicide prevention this month?

and communities, the same driving forces are always at play. Anybody can fall under its spell, which is why I think it is imperative men from all walks of life engage in this discourse.

How do you think the process of writing a book has affected the way you have thought about your own masculinity?

The process of writing the book was a culmination of years of introspec-

I don’t personally grow a moustache for Movember (it makes me look too much like my dad, it’s just weird) but that decision is always down to the individual. Ultimately, we as men don’t do nearly enough to help out our brothers with their struggles. Even if it you’re only offering one man a shoulder to cry on, it’s one more opportunity for someone to open up. Each act of kindness begets more acts of kindness. Be the change you want to see, and don’t give up, even when those around you aren’t willing to listen or follow your lead.

Photo credit: Chris Hemmings

TRAVEL Thursday, 28 November 2019

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An ode to Paris

Interrogating the clichés of the French capital

By Claudia Jacob Travel@palatinate.org.uk

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on’t come back to Durham donning a beret, with a garland of garlic strung loosely around your neck. That was the most common response elicited by my chosen year abroad destination. And the fact that you can guess which city I’m referring to says it all! The city of romance, gastronomic delights and haute-couture, Paris is quite possibly the most stereotyped city of them all. But is it really as idyllic as we make out?

“The city of romance, gastronomic delights and haute-couture”

it’s inspiring to all. The sheer number of art galleries is staggering and almost overwhelming. Whether it’s the impressionist movement of the Musée d’Orsay or the rather zanier, Saatchi-esque Centre Pompidou floats your boat, there is something for everyone. Even the traditional métro signs are reminiscent of the terrifically nostalgic art-déco style, now very à la mode. The Musée d’Eugène Delacroix is seldom found in Paris’s guides but is a must-see, especially for the French Romantic pieces which attracted the likes of Shakespeare and

Paris attracts a vibrant art scene; whether that’s paintings, drawings or fashion,

Finally, the Shakespeare & Company bookshop on the Left Bank in the Latin Quarter, epitomises and celebrates the salient features of French antiquarian literary culture, incarnated today by the bouquinistes parisiens which line the banks of the Seine come rain or shine.

Like the younger sibling of Marylebone’s Daunt Books, stuffed behind the original façade are French classis, both new and second hand.

Most striking for me is the rousing sense of patriotism that pervades the capital. The French possess an intense affinity for their language and culture, which manifests itself within the French flags draped from buildings of national importance, accompanied by the infamous motto ‘Liberté, Egalité, Fraternité’ coined during the French Revolution.

It turns out, their obsession with bread, wine and cheese is palpable. My morning walk to work passes bars exuding the pungent aroma of coffee, an eager queue for the sacred daily baguette and of course, cigarette clouds in abundance, completing what is considered to be the Holy Trinity of Parisian morning indulgence. It isn’t just a stereotype, but a way of life, in which the Parisians take great pride.

Exquisitely decorated patisseries line the quintessentially Parisian cobbled streets, displaying all sorts of decadent delights: from glistening tartes aux pommes, to miniature macarons, to the luxurious éclair; the dessert scene here is not for the faint hearted. Their penchant for wine is second only to a boozy night at formal (only much more civilised) and the beautifully ornate buildings that adorn almost every street corner, do somewhat put Elvet Riverside’s architecture to shame.

shouldn’t be missed. Its unbelievably intricate mosaics, cerulean tiles and Islamicstyle fountains stand as a symbol of gratitude for the aid that the North African countries offered France during World War I.

Baudelaire. For me however, the Marais is the crowning jewel of the evocative memories of Renaissance Paris. The stunningly symmetrical mansions that surround the Place des Vosges, together with the Middle Eastern falafel on the Rue Vieille du Temple, is a feast for the senses In addition to the museums, Paris has a number of hidden gems I’ve been lucky enough to visit. The Promenade Plantée is the French offering of the New York High Line and promises a bit of tranquil escapism from the frenetic city centre. A visit to the Hispano-Moresque Grande Mosquée

On Armistice Day this is more pertinent than ever; the tricolour is draped from the buses as the country remembers the horrors that it experienced under the Vichy French government during the German occupation of France.

Paris is ultimately rich with idiosyncrasy and alive with the history not only of the metropolis, but equally of its colonialist roots. Whilst the grandiose Eiffel Tower has become synonymous with Parisian modernity and Durham’s cathedral rather the opposite, for me it is these towering landmarks which provide direction and meaning, allowing me to see Paris as a home away from home.

So, whilst it’s undeniable that Paris is highly romanticised, it is for good reason.

Photography by Léonard Cotte and via Unsplash

MUSIC 11

Thursday, 28 November 2019

Sir Thomas Allen’s “Five Mystical Songs” Tonya Alban discusses the Chancellor’s history with Vaughan Williams’ epic ByTonya Alban music@palatinate.org.uk

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ou have a great insight into Ralph Vaughan Williams’ Five Mystical Songs. The time at which this was written is dubbed a “renaissance” in English music. Is this true?

It think that’s true. There were a number of those composers around at the time.

When I was a student, every day I used to meet with Herbert Howells. Just like how you wish you asked your grandparents more about their time, I regret not asking Howells about Vaughan Williams, Holst and all the various other people that he knew.

Vaughan Williams was part of that regrowth of British music. I mean, a lot of people contended in 1695 when Purcell died, English music died too. In a way, they are just about right. There were lighter and less structured pieces. What occured on the continent was completely different and didn’t happen in Britain. Finally, along came heavy-weight Vaughan Williams and he started writing. It’s strange to think of Vaughan Williams being the student of Ravel. The music that he wrote has a wonderful melodic surge to it and, for a singer, it’s an absolute gift.

“Perfoming this work at the Last Night of the Proms was absolutely terrifying.”

I’ve known these songs since I was a student, a long time ago. I performed them for the first time at the Royal College of Music and became very aware of them. Time went by, I recorded them, sang them in one or two concerts. Then, I was asked by the BBC if I would perform at The Last Night of the Proms.

How was that for you?

Absolutely terrifying. You don’t sleep the night before. It’s just like before I played golf with Lee Travino and Sean Connery; I didn’t sleep the night before that either. I was supposed to be prepared for the music, but it’s a huge ask of any performer to walk out into the Albert Hall at any time.

On that evening you would think Queen Victoria was in the auditorium. All the flags were waving, and I had to sing.

It was the first performance of the work at the Proms. It had never been done before. They are sadly neglected and for the life of me I don’t know why. They say wonderful things. At the end of it all it’s just a glorious evening.

So these pieces, are they quintessentiallyBritish?

Yeah. You stand up and sing them and it’s like performig major verse anthems in any grand church. There’s no escaping the fact that we understand what this is about.

We hear right at the beginning, “Rise heart thy Lord is risen”and you think yes, this could be nothing but English. They are an absolute gift, they really are, but unmistakably belonging to that genre of English music of the early twentieth century.

Have you sung them abroad?

No. When you consider conductors like Simon Rattle and Colin Davis, who were taking twentieth century English music and performing it in Germany for the first time, it would not be as easy for them to transport this work. Yet, without a standard-bearer for this work in Europe, it’s very difficult to get it performed.

We must consider that we are an island

which developed differently from the arts everywhere else on the continent.

When you think about the richness of central Europe, it was inherent due to Catholicism. Our music was somehow left behind. But, at the beginning of the twentieth century with Vaughan Williams arriving and succeeding, we did start to produce some considerable music, and some has remained as core repertoire ever since.

What would you say to people who are torn between going to the pub or going to a the concert?

Go to the pub. I’m probably not supposed to say that am I? (laughs). I would say, go to the concert, and then go to the pub. But really go to the pub, because your pint will taste so much more sweet after you’ve heard this music.

Durham University Choral Society perform Vaughan Williams’ “Five Mystical Songs” as part of their Michaelmas Concert on 5th December, 7:30pm, at Elvet Methodist Church.

FEATURES 12

Thursday, 28 November 2019

Things my father taught me In light of Movember, Matthew Clarke reflects on some life lessons

By Matthew Clarke features@palatinate.org.uk I have more respect for my father than I have ever rightly expressed. Time and time again, in these years of supposed maturity, I have found more truth in his words than in all the countless hours spent in fruitless contemplation. His emphasis on mindfulness has only proven to serve my personal growth these past twenty-odd years and, at a time of year when our wellbeing is brought to the spotlight, these lessons are perhaps worth passing on.

Don’t make unnecessary excuses I remember once travelling with him during a somewhat reluctant year out, complaining about feeling stuck on some chapter of my life which was not moving anywhere. What I took from that conversation were three words which have stayed with me since: ‘Life takes over.’ Although we bargain with the future, telling ourselves that things will be easier when things ‘cool down’, we have to accept that often new obstacles emerge. Sometimes better doors open up down the road - as it turned out, my time out of academia proved to be one of the most rewarding experiences I ever undertook – nevertheless, my father warns against placing unnecessary barriers in front of what we want to do.

Be honest with yourself There have been times at university where I have been to some society social or party and felt surrounded by people putting on some front or façade. At some point, we have all been guilty of this, putting on affectations to impress or hide some insecurity. Naturally, this is not limited to academia: even in the workplace, as padre tells me, you find people putting on airs to only alienate those around them. This becomes a double-edged sword: lying to ourselves and others not only limits any meaningful relationship we can have but derails us from what we hold dear. We all feel pressured to fit in at times, though, further down the line, doing so can cost us dearly.

Photograph by Robyn Jay via Creative Commons and Flickr

There’s no shame in asking for help

Remember to stop and reflect

The question of where self-reliance ends and seeking help begins has always baffled me. However, if my father has taught me anything, it is that although our abilities can surprise us, we have our limits. In the end, we are all human and sometimes that means listening to our gut – be that needing more sleep or some fresh air - and reaching out when we need a hand.

Life, especially university, can be pretty relentless at times and, sadly, it often takes something devastating for us to gain some perspective. Losing both my grandfathers in 2011 naturally brought everyone at home to a place of reflection. It can be easy to get caught up in trivial matters at times but, amidst the pressures from ourselves and others, we need to find time to press the pause button, look inwards, and remind ourselves what is important. I cannot profess to be the ideal son, though if I ever needed anyone to look up to, I know where to look.

FEATURES

13

Thursday, 28 November 2019

In laugher: Redefining masculinity Male comedians in the light of changing perceptions of gender

By Aadira Parakkat features@palatinate.org.uk

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he world of stand-up comedy has been often labelled as a boys’ club by women who’ve attempted to approach the threshold.

Increasingly, female comics are becoming a more common sighting; we live in a world with refreshing perspectives on motherhood, dating, and social anxiety amongst other experiences, a breath of relief from the undertones of misogyny and toxic masculinity which have defined the comedy stage for decades. Satire has always been a vehicle of subliminal messaging. This November, as we take a special focus on men’s mental health, it becomes imperative to look at the messaging which prompts so many men to squirm in the traditional boundaries of their gender role.

How are today’s comics changing that messaging and keeping up with an audience which is becoming increasingly resistant to being boxed into regressive ideas? How does comedy - a form of expression that relies heavily on tropes, stereotypes and sweeping generalisations - evolve with a demographic that is becoming increasingly individualistic?

Perhaps the answer lies in self-deprecation, especially for the straight white male comedian, an angle successfully implemented in the recent stand-up routines of Seth Meyers and John Mulaney.

By poking fun at their own inadequacy in living up to the societal expectations of men, these comics use their privilege as punchlines and break down the walls of alienation – if you can’t generate laughs by ridiculing other groups, ridiculing your own behaviours and habits makes for an equally, if not more successful, alternative. Meyers does this by making his Netflix special Lobby Baby a love letter to his wife and his marriage, even performing a segment where he speaks from her perspective about her “annoying husband.”

This offers a trusty blueprint to the straight white male comic; in a climate where so many of them feel threatened by the onset of “woke culture” (I’m looking at

you,Todd Phillips), comedy rooted in the light-hearted challenging and celebration of the world’s differences seem to be the best approach.

A sideeffect of this is occasionally stepping back and letting the historically less-represented flourish, and there’s no shortage of talent from that part of the sphere to choose from.

“Laughter is more gratifying when it isn’t malicious” Take Trevor Noah for instance, another late night host with comic sensibilities.

Being a black man of South African origin, he is able to bring a new perspective to the foreground with his individualistic take on politics and social issues. One of these issues is toxic masculinity: in his comedy special Son of Patricia, Noah recounts an incident in Bali where a French man ridiculed him for moving away from the front row of an “authentic” snake show. “It’s a snake!” he shouts, prompting uproars of laughter.

Another voice surfacing in these exciting times is the queer voice. Non-white comedians like Jaboukie Young-White and Joel Kim Booster are of Jamaican and Korean descent respectively, each

with experiences of queer identity, which form the subject of a lot of their material.

Both comedians broaden the horizons of comedy and refusing to succumb to the toxic constraints of gender expectations.

Another loud voice in the comedic landscape is Jonathan Van Ness; Queer Eye hair expert, activist, bestselling author, and stand-up comedian. His recent tour, following him coming out as non-binary (his preferred pronouns are he/him), is a confident celebration of his flamboyance and disregard for convention. His observations about societal structures are so incredibly clever and nuanced, all without a hint of traditional masculine behaviour.

These comedians are changing the messaging that we send to young boys growing up in today’s dynamic climate, slowly, but surely. Instead of being laughed at for not living up to a historic ideal, as has been the case of comedy for decades, there are people reframing this “inadequacy” as strength and the basis of connection.

Laughter is more gratifying when it isn’t malicious, and the defiant self-expression of comedians like Noah, Young-White, Booster and Van Ness is a testament to this fact. In due time, these comics’ efforts may turn masculinity from a stick with which to berate people, into a liberating ground for expression and coexistence.

Image credit: fun4all via Pixabay

STAGE 14

Thursday, 28 November 2019

Moving in the right direction?

Stage shines a spotlight on theatre’s treatment of men’s mental health.

By Harrison Newsham stage@palatinate.org.uk

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n the UK, 12.5% of men are suffering from at least one of the common mental health disorders. With this in mind, it is important to reflect upon how male mental health is portrayed in the theatre, and how its presentation has changed. Modern theatre has become very supportive and transparent regarding mental health, becoming a place of reflection, expression and openness.

However, it is important to remember how disengaged theatre once was and consider improvements which can still be made.

One of the first instances of male mental health in theatre is Shakespeare’s Hamlet.

The Prince of Denmark, the most popular tragic hero suffers immensely from suicidal thoughts and depression. He wishes his ‘sullied flesh would melt’ and his famous ‘to be or not to be’ soliloquy emulates viscerally the dichotomous, swinging conflict a person suffering from suicidal thoughts may experience internally.

However, Hamlet was written at a time where suicide was considered a sin before God and punished by the law and, though one of the greatest plays ever written, its mental health message is not one of empowerment and hope. Hamlet’s poor mental health is left unattended because Shakespeare fails to invite the audience to support and sympathize with him. He is left battling alone and consequently; his actions cause the fall of Denmark – a macrocosm for internal self-destruction.

It is easy to acknowledge that men’s mental health in theatre was poorly depicted at the turn of the 17th Century.

It becomes harder to digest when you consider that men’s mental health was still treated as taboo in theatre less than 60 years ago. The Southern Gothic tragedy, Cat on a Hot Tin Roof by Tennessee Williams really struggles to articulate the suffering that Brick endures. It is not stated explicitly, but we can infer that Brick is a closeted gay man trapped in a marriage he detests, causing him immense anguish and frustration. These emotions bleed

undetected into the fabric of the family.

The raging battle of ideals between him and his conservative family members presents mental illness is something to be hidden, to be ashamed of. Despite Williams’ own struggle with his homosexuality, the play presents men’s mental health as inappropriate for theatrical consumption, because at the time it was believed that men should not be emotional or show vulnerability.

“Men’s mental health is now beginning to exit the shadows”

Men’s mental health is now beginning to exit the shadows as playwrights endeavour to create a platform which inspires men to feel comfortable enough to share and express their feelings. The musical Dear Evan Hansen explores the devastating impact mental illness can have on men and their immediate communities.

Connor’s suicide is treated with sensitivity but shows how a community can pull themselves together afterwards. Men expressing emotion is no taboo in this musical. Evan, who suffers from anxiety, shows his vulnerability when he cries onstage – a massive contrast to Brick.

Lyrics such as “step out of the sun if you keep getting burned” offer a sense of hope for anyone suffering; the song ‘You Will Be Found’ displays that no matter how dark the world may seem, it is important to realise that “you are not alone.”

It is important that prominent figures support theatre which humanizes men struggling with mental illness. The play Distance, which closed at the Park Theatre in 2018, was directed by Simon Pittman and examined the mental illness of lead character Steven. The impact that high-profile figures such as Pittman can have upon the understanding of mental illness is paramount. His influence stresses the urgent need for more awareness about the problem.

The portrayal of men’s mental health in theatre has improved massively in recent decades. However, more work can still be done. Men and boys must feel more comfortable about performing.

Many theatre-loving young men lack the confidence to join theatre groups, as it is still deemed a feminine sphere.

Boys can then feel isolated and lonely, feelings which can make them more susceptible to mental illness. The best antidote to mental illness is community – something which theatre can provide.

Images: Creative Commons

FILM & TV 15

Thursday, 28 November 2019

Male mental illness in film: Is it enough?

Anton Blaubach highlights Hollywood’s recent portrayals of male mental health ByAnton Blaubach film@palatinate.org.uk

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ith an abundance of readily available streaming services that allow our ever-shorter attention spans to be entertained, cinema acts as a heavy influence on our perceptions and opinions. A frequent complaint towards Hollywood has been lack of positive representations of male characters coping with mental illness. In return, this perpetuates feelings of forlornness in the relevant demographic .The question stands: is enough being done to erase the stigma around mental illness in men?

Having watched Beautiful Boy, I think it is a great example of a film that takes drug addiction and mental trauma head on. No one is ever blamed for the addiction in the course of the film and with no signs of mental or physical trauma during Nic’s childhood, his adult state comes as a shock. Nic Sheff himself said that one of the things he hopes people will take from this film is that ‘addiction is a disease not a choice’. In a study headed by Dr. Stacy L. Smith in May 2019, from a sample of nearly 5,000, only 1.7% of characters portrayed in popular films were shown with a mental health condition. Meanwhile, the television statistic stood at 7% - this is still far below the roughly 25% of Britons who experience a mental health problem every year.

“Being representative should be of utmost import”

Nonetheless, if we have targeted films (like Beautiful Boy) that directly address mental health, then perhaps these are more important than having a representative portion of mentally ill characters across all film and television. The criticism about representation on screen is a difficult one to make because it depends on one’s view of the purpose of cinema – do filmmakers have a responsibility for the influence they might have on viewers? If we see cinema as shapers of society and of our culture, then maybe being representative should be of utmost import to filmmakers.

Joker, the highest grossing R-rated movie of all time, has become a highly contentious piece of cinema since its release. After protagonist Arthur Fleck is no longer able to receive his medication due to cuts to social welfare funding, his transformation into the Joker begins. The film makes it ambiguous whether the lack of medication plays any role in bringing about his violent craze. Although this is an extreme case of mental illness , it shows the emotional state that one can be left in if a victim of mental sickness is left alone and untreated. On the other hand, some have accused the film’s hackneyed link between violence and mental disorder as continuing stigma.

Perhaps then, just because a character in film is depicted with a mental illness, the way in which it is conveyed can actually adverse-

ly it

affect our understanding of and of coping mechanisms.

“These films are enabling conversations about mental health” Whatever your opinion of the aforementioned films and whether they give an accurate representation of men’s mental illness, the silver lining is that people are having these conversations.As a global audience, we are constantly engaging with our art and observing our relationship with it, and ultimately, this does hold some influence on the art made for our entertainment. It may be long before the film industry satisfactorily addresses these issues.However, the most important thing is that these films are enabling conversations about mental health.

Image via Peakpx

INTERVIEW 16

Thursday, 28 November 2019

Time to Talk: George Woodward Durham’s Ambassador for Movember talks about raising awareness of men’s mental and physical health in Durham

By Kiara Davies Interview co-Editor interview@palatinate.org.uk

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or many, or perhaps just me, Movember is largely associated with seeing a few questionablelooking moustaches on our male friends for a month. My attitude, however, all changed when I met George Woodward to have a chat about his role as Ambassador for Movember in Durham.

ever, not to agree with him about the state of affairs during exam time, in which we all are at risk due to the high-level of stress we feel and the environment surrounding us.

But whether or not it is exam time, George points out that “mental health tran-

What clearly makes George such a successful fit – as only the second Ambassador that Durham has had – is his honesty when it comes to admitting his own struggles with mental health. “If I didn’t deal with it, it could have become something serious but it still took me a while to reach out to someone”. He attributes the difficulty in speaking out in our generation to the social media. It can be dangerous in that it portrays people seemingly having the perfect life.

Worse, those that do use it as a platform to air their difficulties, get told that they are “looking for attention”.

He acknowledges that there is a counselling service that the university offers, and that the DSU has got much better in acting as a support system. It is hard how-

George’s passion for this makes me think not only of the number of men that recieve a late diagnosis of prostate cancer, but the women who recieve an often toolate, diagnosis of cervical cancer, which could have been prevented with a trip to the doctors.

“Reach out and talk more”

“Mental health transcends boundaries” Contributing to this, George highlights that the university is not doing enough to help. “While signposting is fine, They need to get out that basic message of just to reach out and talk more.

When it comes to exam time, it seems that it is just student groups, not the university that is recognising the harsh environment that Durham becomes”.

something is not okay”.

scends boundaries. It is not selective”. This is where Movember fits in perfectly with the issue of men’s mental health, which it particularly tries to highlight every year, with 75% of suicides attributed to men in the UK. Men, as George highlights, are “far more insular because of the stereotypes that are placed upon them”. This does not just apply to their mental health but also their physical health and why “it is so important for men, and everyone, to be more in touch with their bodies and admit when

But people are trying to talk about it more and more. At the forefront of that is George in Durham. Not only is he the Ambassador, he has personally raised £353 through his various activities; including the growing of the classic moustache. He was also brave enough to row 60 kilometres, alongside his friend Jack Morgan, for the 60 men who are lost to suicide every 60 minutes. “At first I thought it would be fun. Then at one point I was close to giving up.

The massive amount of support I recieved kept me going. Give me a good month of R&R and I’d do it again! With enough water and different snacks other than custard creams. Hopefully we could get more people doing it as well”.

As well as doing this challenge, George even agreed to wax of his chest hair if he could raise over £150 before finishing his 60k. He did. After having waxed my own leg once, I can promise him that this will hurt even more than 60 kilometres of rowing.

Photography: Nathan Hall