Indigo 824

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EDITORIAL Thursday, 23 January 2020

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www.palatinate.org.uk

VISUAL ARTS 3 The Return of Analogue FASHION 4&5 DUCFS 2020

BOOKS

6&7 The Portico Prize for Literature MUSIC 8 Albums of the Year 2019 CREATIVE WRITING 9 2019: In Reflection FILM & TV 10 & 11 Your Favourite Films & TV Shows of 2019 FOOD & DRINK 12 Finding the joy in food TRAVEL 13 Where to go in 2020 FEATURES 14 & 15 The legacy of Durham’s 900-year-old hospital STAGE 16 Does the National Theatre deserve funding?

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Email indigo@palatinate.org.uk Logo: Chloe Wong Cathedral Artwork: Anna Gibbs Front Cover: Olivia Amura

The first edition of term always forces me to look back over the last term and think about how quickly it all went, essays and editions of indigo which were my focus for weeks have blurred together to become one entity. It’s a bittersweet feeling, tasks which I was so stressed about at the time have become a vague memory and yet I’m scared it’s all going so quickly.

Still, we’re proud of what we did last term. Covering the arts and culture scene of Durham and more, as well as looking at social issues surrounding months like Movember, we put a lot of effort into indigo and hope to drive conversations in a way which is often more personal than news stories. In this edition, Food & Drink looks at the relationship with food during January- an entire month repurposed by health brands to repeat the mantra “New Year, New Me”.

This term we want to continue to drive discussion, as we look at mental health through Palatinate Campaigns and cover events such as DUCFS- this year supporting Fashion Revolution and STOP THE TRAFFIK (covered on p.4-5).

It’s an edition looking back at 2019 and looking forward to what 2020 offers. Music and Film & TV reflect on their favourites of the year just gone, whilst Travel looks forward to term being over, and offers three sustainable holiday destinations for you to visit.

We’re also celebrating what’s around us. Books review the Portico Prize Shortlist - a prize celebrating writers in the North - while Features looks at some local beauty in the surrounding landscape.

Shauna Lewis

INDIGO EDITORS Shauna Lewis Hugo Millard (deputy) FEATURES EDITORS Kleopatra Olympiou Mary Bradshaw (deputy)

CREATIVE WRITING EDITORS Catriona Inglis Meadbh Ni Mhorain

STAGE EDITORS Harrison Newsham Isabel C. Davis VISUAL ARTS EDITORS Faye Saulsbury Florie Moran BOOKS EDITORS Clara Knight Lotte Hall FASHION EDITORS Molly Goetzee FOOD & DRINK EDITORS Elle Woods-Marshall Imogen Higgins TRAVEL EDITORS Alex Bicknell-Cummins Gracie Linthwaite FILM & TV EDITORs Aadira Parakkat Madeleine Rosie Strom MUSIC EDITORS Matthew Prudham INTERVIEW EDITORS Julia Merican Millicent Machell

VISUAL ARTS 3

Thursday, 23 January 2020

The return of analogue Why are polaroids and vinyl records back in style?

By Tommy Williams visual.arts@palatinate.org.uk

I

n our current age it is easy for us to take listening to music or photography for granted.

These every day activities have been brought together in recent years and have become readily accessible by singular devices like the smartphone.

On the surface, this sounds like a technological advancement that would force its predecessors like the vinyl record or the non-digital camera into the obsolete, but in reality, this is not the case.

Everyone has their own answers as to why they choose ‘vintage’ technology over those more recent.

Common answers will be grounded in nostalgia or sentimentality, and more often than not, for the record collector in particular, it’s for the quality of sound.

“...engagement with the oldfashioned is a means of rekindling” Technology has developed to include cyberspace and cloud storage, but these developments blatantly disregard a crucial aspect which feels fundamental to us all. I’m of course referring to the tangible, physical nature of holding something in your hands.

Engaging with the old-fashioned is a means of rekindling that which is so natural to our being.

To me, physicality is at the core of anyone’s preference towards a more vintage technology and it is very much the common denominator.

I realise this is a reductionist approach, but from this perspective you can really begin to understand what all the fuss is about.

Our ever-transforming digital age has created an artificial experience which interferes with the appreciation for more tangible processes.

For example, the current nature of smartphone photography allows someone to take as many pictures as they desire in order to capture ‘the one’. With a film camera you essentially get ‘the one’ as soon as you take the shot, or you at least hope that you do.

Making endless copies with subtle differences allows people to idealise their shots, resulting in images that are ironically inauthentic and contrary to the notion of capturing the ‘moment’. This isn’t news and can be disputed, but bearing it in mind we can understand the charm of non-digital photography and other technologies such as the vinyl: they feel more real and less fabricated.

A big attraction towards owning a record is the quality of sound that you get, but a physical format of music also serves as a representation of your own interests and is an expression of such.

It’s a great way to make your personal space genuinely personal.

In our modern age, non-

physical music libraries are becoming the standard due to their accessibility, but these libraries once more ignore the aspect of physicality which allows for a deeper appreciation for listening to music.

It must also be said that vintage technologies often require considerable investment, presenting a barrier of accessibility.

“...new does not necessarily mean better” I do not mean to do a disservice towards the tremendous things that digital technologies have done for our society, especially in terms of accessibility.

I want to instead offer a reminder that new does not necessarily mean better.

Image Credit: Heidi Januszewski

FASHION 4

Thursday, 23 January 2020

DUCFS 2020 With one week to go, Palatinate looks into DUCFS’s #Shapeshift

By Molly Goetzee Fashion Editor fashion@palatinate.org.uk

D

urham University Charity Fashion Show is the biggest fashion event in the Durham calendar. DUCFS has grown exponentially year by year. Since it was founded in 1983, the charity has raised thousands of pounds for charity, and even more so recently. In 2013, £7,000 was raised for charity, but this rather pales in comparison to the last few fashion shows.

In 2018, DUCFS raised £105,000 for the charity MIND and last year a recordbreaking £150,000 was raised. This year is set to be bigger and better than ever, with huge sponsors such as Red Bull, Dominoes and Deliveroo.

“last year raised a record breaking £150,000 was raised” There is a reason why DUCFS is the largest student charity fashion show in the UK. From Kombucha to slavery-free Tony’s Chocolonely Chocolate, attendees with be treated to high quality and ethical food whilst watching the show. The Charity Fashion Show prides itself in the continuing championing of emerg-

ing designers within the industry.

Designers such as Alice Jane Potter, Rose Elizabeth Connor and Harry Odell have recently graced the DUCFS stage. The concept for this year’s fashion show is #shapeshift. Shapeshift describes the ambition to change the fashion landscape from being one of problematic moral mistreatment of workers on a mass scale.

It is a well known fact that the fashion industry is one of the largest culprits when it comes to modern slavery. It was reported that in 2016, 40.3 million people were in modern slavery. Out of those, 71 percent were women. #Shapeshift strives for a workplace of sustainable, humane and ethical practice all over the globe.

The two charities DUCFS are supporting this year are in pursuit of these aims, but

with slightly different emphases.

Fashion Revolution is a charity aiming to tackle issues in the fashion industry at large. This includes environmental, ethical and social concerns. Fashion Revolution campaigns against injustices throughout the fashion food

chain, from raw material producers to the biggest designer brands. It is a fast growing charity focussed on changing perceptions of the fashion industry, reaching 289 million people through their Fashion Revolution Week in 2019. They believe in enforcing action based change within the industry, encouraging each individual to understand that they can make a change.

A Round-Up of Durham’s Second Hand Shopping North Road is charity shop haven. Try Salvation Army at the end of the road.

Oxfam upstairs is great for vintage finds, but be willing to spend a bit more.

There’s always a vintage sale. The next is 25th January at the DSU.

FASHION

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Thursday, 23 January 2020

STOP THE TRAFFIK was founded in 2006 by Steve Chalke MBE. STOP THE TRAFFIK is a global organisation focusing on the cessation of human trafficking.

It monitors human trafficking and identifies the common routes across the globe through which people are trafficked; it aims to work with governments and police to help combat this humanitarian issue. 5.75 million people were reached through their social media campaigns in 2019. STOP THE TRAFFIK’s CEO Ruth Dearnley aims to use the global community as a way to combat the human trafficking crisis. Speaking to DUCFS, she said “We have an incredible opportunity to put people and technology together to disrupt a global crime in a way that’s never been done before.”

“the fashion industry is one of the largest culprits” It’s going to be exciting to see how they create an artistic vision of #shapeshift with designs, technology and production. Particularly in the current climate, it will be interesting whether their creative vision will take them so far in diversification.

Size inclusion is one of the most pressing issues facing the fashion world in recent years. Whilst the current model list does not seem particularly diverse in body type, I would be intrigued to see whether performers are any more diverse.

Photography: DUCFS The exploration of human trafficking as a social issue will influence every aspect of the creative vision. The artistic expression of the stories of survivors will be explored through the walks. Designers are increasingly engaging with creative storytelling on the catwalk, such as Rihanna’s iconic Savage X Fenty catwalk show in September 2019 and Undercover’s 2020 F/W Finale. DUCFS will explore issues surrounding human trafficking in a conceptual manner.

Want Something Newer?

DUCFS partner HireStreet allows you to rent the newest designs.

As long as you’re happy to commit or resell, Depop is a great option.

The show is exploring the root causes of these issues: entrapment issues often involve deceit and trickery; fake apprenticeship schemes in India trick people into working for factories; people are forced into 12 hour days, 6 or 7 days a week and left vulnerable to abuse. Hopefully the money raised by DUCFS this year will be larger than ever, to aid STOP THE TRAFFIK and Fashion Revolution to end these abuses of power.

Buying New? Check the Fashion Transparency Index to see a score of how ethical the brand is.

BOOKS 6

Thursday, 23 January 2020

The Portico Prize for Literature Discovering literature which best evokes the spirit of the North The Mating Habits of Stags by Ray Robinson

The Mating Habits of Stags enraptured my imagination from the very beginning. Robinson’s use of language is so captivating, with words effortlessly stitched together and creating thought provoking scenes of the Yorkshire Dales and the Moors. Jake’s life on the Yorkshire Moors has consisted of love, loss and vengeance. We meet him after he has just murdered a man named Charles Monroe and is on the run from both the police and Charles’ son seeking retribution. As the story unfolds, we travel back in time to discover the relationship between Jake’s late wife Edith and their son William. The tale is one that encapsulates a life of guilt and things that go unsaid. It is only when those truths are spoken and actions forgiven that you can truly live a life without guilt. Perhaps that was Robinson’s aim all along. To merely provide perspective on a life filled By Niamh Moody with guilt and unspoken truths, imploring us to do the opposite.

“words effortlessly stitched” Brown’s Ironopolis felt so cohesive Ironopolis by Glen James and well-developed that it was hard to believe this was a debut novel. It revolves around the demolition of the industrial Burn Estate over three generations of residents in Middlesbrough - known locally as ‘Ironopolis’. It follows six narratives and various characters: letters written by Jean who is dying from cancer; Jim’s life during the 1989 raves; Una Cruickshank the artist; Vincent Barr, the villain of the estate; the hairdresser Corina Clarke’s battle with gambling addiction; and Alan who is still haunted by events of his past. All of these stories combine to make a vivid and immersive mosaic of what seems to be a very real working class community. The novel should feel bleak, but I felt myself consistently drawn in by the warmth of each of the characters.Brown’s observational abilities meant I found a heightened sense of presence and reality within the book; the characters’ experiences may be far from my own, but their memories really began to feel like my own. Ironopolis showcases Brown’s exceptional ability to tell a story, gives a voice to stories which aren’t normally told,

By Matilda Cox and is a real testament to the spirit of the North.

A memoir of his experiences in adolescence, Graham Caveney’s The Boy with the Perpetual Nervousness is a harrowing read about the sexual abuse of his younger self at the hands of his priest and mentor. MovThe Boy with ing between the the Perpetual political and the personal, Nervousness Caveney’s narraby Graham tive is dryly funny, whilst being Caveney made of difficult matter. Undoubtedly it’s not an easy read. It’s uncomfortable and it makes your skin crawl as Caveney talks about the grooming he resented as a child, whilst also yearning for the cultural knowledge his abuser provided.At the edges of the novel, we get a hint of what has happened but never the full story. Too dark to disclose almost, it leaves the memoir feeling unfinished, but Caveney has to keep some of the story; we’re only entitled to so much.Caveney takes the past decade’s obsession with the personal essay and elevates it to be something unfiltered and more complicated than most, making it hard to stop reading.

By Shauna Lewis

BOOKS Thursday, 23 January 2020

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The Portico Prize is a celebration of northern literature that awards £10,000 and honorary membership to the Portico Library to the book that ‘best evokes the spirit of the North of England.’ The competition takes place biennially and accepts submissions from all genres, including poetry, short fiction and non-fiction. A longlist of fifteen texts was originally chosen, from which the following shortlist of six books has been identified. The winner of the overall prize will be announced on the 23rd January after consideration by a panel of five judges.

Saltwater explores the need to distance oneself from our created identity in order to find the true, raw self. Andrews takes pride in the negative stereotypes of ‘northern roughness’, creating a setting where characters bloom in the wake of their history and identity, blossoming in the echoes of the spirit of the North-East.

Protagonist Lucy interweaves stories of her Irish ancestry and her childhood in the North-East, followed by her move to London for university, mapping her tumultuous relationship with her mother along the way. Overwhelmed by her attempts to understand her position in the dynamic world of London, Lucy escapes to her ancestral home of Ireland to try and scope out her true identity. Saltwater shines as Andrews crosses boundaries with her working class heroine, appreciating, amongst other issues, female desire, alcoholism and the reality of male mental health. Andrews’ short chapters and the dynamic movement between periods of her life build up an almost tangible image of Lucy, prickling with nostalgia, desire, pride, and shame. Andrews does not shy away from the gritty parts of northern life in her full and honest recollections; the result is the creation of a raw voice of a

By Phoebe Vickery young adult appreciating her history.

Saltwater by Jessica Andrews

The life story of Andrea Dunbar could not have been more in her spirit than the way Adelle Stripe tells it in Black Teeth and a Brilliant Smile. The ease of Stripe’s simple, unpretentious style – almost as lifelike as Dunbar’s herself – draws the reader into Bradford and gives the place a character as much as the people in it. It is through her view of Dunbar’s life, presented without compromise, that the most steadfast and ultimately fascinating personality of the playwright emerges and demands attention for the stories she has made of her life. Black Teeth and a Brilliant Smile does what Dunbar’s plays do; it strips away all pretence from life and draws attention to the issues of contemporary society, without indulging in the pretence of absolute truth. There is no pity for the poverty or social issues at the estate, no complaint about the factory work in the north, just a clear, unflinching description, which interests, repels, endears and enrages. Feminism and racism – two hot topics of today – are viewed through Andrea’s eyes, and make important statements which show the problems of discussions around them which are still present today.

She faces poverty, racism, and domestic violence, but never loses her open mind. Stripe is an important female voice amongst the increasing xenophobic movements of today, but more importantly the voice of an extremely talented writer with a true and honest personality. A moving read.

By Janina Arndt

Black Teeth and a Brilliant Smile by Adelle Stripe

“blossoming in the echoes of the spirit of the North-East” Under The Rock is an interesting mix of genres. There’s a level of Hughesian connection with nature at work here - not unintentional, seeing as the central setting of the memoir is quite literally ‘under the rock’, at the site of Mytholmroyd, West Yorkshire, which is overshadowed by the craggy face of Scout Rock, also the site of Ted Hughes’ early life. Myers uses a range of stylistic approaches (photography, poetry and prose) to offer a multifaceted, diverse account of relocating to the northern countryside after five years of London drudgery. The thing is, some of it’s a bit dry. Maybe less accessible than Myers intended, like the hike up to Scout Rock. Although Myers references important current affairs, the majority of the text focuses on the visual, prosaic and literary qualities of the space. There’s stunning visual detail, incredible attention to the history of the place. The strongest part is the poetry; some of which is gorgeous. By engaging the reader from the outset, these poems would function as little tasters of what is to come rather than simply reinforcements of the same Image Credit: The Portico themes that Myers touches on in the previous section. He has obviously, painstakingly so, taken care to Prize for Literature, Portico demonstrate his love for this village, for the slowing down of life and the redisLibrary covery of an affinity with the land that so many have forgotten. For that, I can’t

By Imogen Marchant fault him.

Under the Rock by Benjamin Myers

MUSIC 8

Thursday, 23 January 2020

Our favourite albums of 2019 Music count down their favourite releases

By Matthew Prudham and Tom Hutchinson music@palatinate.org.uk 1. Slowthai - Nothing Great About Britain

2. Tyler, the Creator - IGOR

Nothing Great about Britain is a cataclysmic melting point of punk and hip-hop that exposes Slowthai as one of the most exciting artists operating in the UK today. With hilarious bars and vicious attack, Slowthai deconstructs the ruptured country in which he grew up in a way that is fiercely entertaining. The sound universe that Slowthai creates is expansive; he collaborates with Skepta (“Inglorious”) and Slaves (“Missing”), and employs clever sampling, skits and instrumentals. MP/TH

IGOR delights in its unusualness. Tyler calls out his haters, but in a relaxed, balladic way in “I THINK”. Psychedelia is the prevailing mood in his moody retrospective on gun control (“A BOY IS A GUN”)with an angry, yet defeatest tone here. There are parts which abound with vicious energy: “PUPPET” is a rare cut where the accompaniments are stripped bare at the start, allowing Tyler’s words to be clear in their bite. Nonetheless, Tyler proves himself as the antithesis of the trends in hip-hop. MP

3. Little Simz - Grey Area

4. Black Midi - Schlagenheim

From the opening drum break of “Offence” to the closing trumpets on “Flowers”, Grey Area possesses a rare, inescapable magnetism that threatens to never let you go. Clocking in at a snappy 35 minutes, the album serves up a relentless, kaleidoscopic stream of tracks, each sporting flawless instrumentals and pounding, witty verses. Second track “Boss” is a highlight: Simz’s voice squawks through a cranked megaphone above a battering bassline. A refreshing, coherent and trailblazing record. TH

Schlagenheim’s cover art pretty much sums up this album’s content, a scrapheap of noisy, industrial objects scraping against other, strewn together in a chaotic, metallic mess. Tracks like “Speedway” and “953” asound like the genesis of a new musical exploration. The vocal delivery is undeniably unique, at times terrifying and uncomfortable. Slowly however, the complex rhythms and jarring instrumentals are demystified, allowing a clear sight into the record’s futuristic, and compelling core. TH

5. Fontaines D.C. - Dogrel

6. Vampire Weekend - Father Of The Bride Vampire Weekend’s sonic universe has always been diverse - but the departure of Rostam has opened up their circle in their fourth record. Present is a trilogy of duets with Danielle Haim, injections of funk from Steve Lacy (“Sunflower”, “Flower Moon”), and even “Sympathy”, a cut reminiscent of early New Order. Ezra Koenig’s creative control is obvious from the reflective lyrics and tempered harmonies, but the fruits of his labour are fresher than ever. MP

Dogrel is a sardonic, angry record, but also one that is scenic and artistic.

The lyrics from Grian Chatten are poetic, spawned on the literature of Joyce, Heaney and Yeats, but delivered in such a way that they send a shiver down your spine. Meanwhile, the guitars sometimes bristlewith Britpop - the start of “Boys in the Better Land” recalls Blur’s “Parklife” – but can also churn out distortion and discord to their hearts content, as in the anxious but riveting “Big” and snarly “Hurricane Laughter”. MP/TH Photograph Credits: Ninara, Frank Schwichtenberg and Simoncromptonreid via Wikimedia Commons.

CREATIVE WRITING

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Thursday, 23 January 2020

In reflection of 2019 Catriona Inglis reflects on her writing from last year

By Catriona Inglis Co-Creative Writing Editor creative.writing@palatinate.org.uk

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t has been a good year for writing in 2019. Good for me personally and in the wider world. 2019 has gifted us with Ilya Kaminsky’s ‘Deaf Republic’, part-play part-poetry, an exploration of silence and deaf culture, and Andrea Cohen’s ‘Nightshade’, a poetry collection closer to home; my top two anthologies of the year which you should definitely check out.

2019 was also the year I had decided I was going to write religiously and the year I realised I am not a scheduled writer. My writing has always been maintained by eclectic bursts of random inspiration but this year, after trying unsuccessfully to write to given themes, I started to accept and tried to monopolise on this.

In a world which constantly seems to be filled with noise there is a tendency to fill silent moments with productivity:with a podcast, an audiobook or a conversation. I found this to be the death of my creativity

It was only when I turned these things off, contented myself with walking to my lectures or to the library in silence that I was able to write anything.

I am also a chronic re-drafter. In 2018 I wrote and performed a poem called ‘The Vampire Squid’ and I spent the better part of the first three months of 2019 obsessively writing and re-writing it. I now have a very different poem, whether it is better or not is up for debate.

“I am not a scheduled writer” This year has been a year of creative growth for me. As Creative Writing Editor I have been challenged to come up with interesting themes and have been inspired

by the submissions I have received (please keep sending them they honestly make my week). I have also tried to write to my own themes, although I must confess the products must never see the light of day.

My favourite poem I have written in 2019 was the poem I wrote to perform at the Poetry society’s four-letter word slam: ‘The Waiting Room’. Originally written on an obnoxiously long train journey, the final product was only the fifth draft which is pretty good for me. Performing it felt like jumping a hurdle for me and although my fingers itch to fix the clunkier lines I will leave it as it is.

In 2020 I would love to explore some different forms of poetry, realise my lifelong ambition to actually write a successful spoken word piece and challenge myself to actually learn how to rhyme.

Image Credit: flikr0029 via Flikr

The Waiting Room The silence of the room seems to rise above the buzz of activity The diagnosers flit from blood test to MRI to EMG ‘How long’ ‘What time’ Are you sure you’re not’ Breaks the foot-tapping watch-looking almost-pacing monotony of the parents Always one hospital shy of relief The backdrop of faded yellow More reminiscent of sick than sun does little to lighten the blue coated room Just as the toy scattered floor does little to distract from the laps and arms, filled and eerily empty And, through the clutter of bitten lips A rocking horse sits in the corner of the room Amidst toy cars, half scribbled colouring

books and that stupid game of pushing shapes More test than toy He is avoided Like the tissue on the seat of the latenight train. the weird brown spot on the floor of the toilet cubicle In need of a heavy dose of disinfectant But no amount of bleach can remove the trace of the hundreds of tiny fingerprints that have traced the length of his bridle, run down the curls of his mane and lived the lives of cowboy, fairy or knight.

This horse is spoken for A veteran in active service, both Peter Pan and Azrael He tracks the movement from door to ward and ward to door As closely as mothers track the length from last look

Their graveyard grim he guides from pain to escape Allowing the brief moments of freedom, of ‘outside’ that the anti-septic gel tries so hard to purge Princess Grand national joey Hell, a dinosaur fighting astronaut from the plant Jupiter All breathing, all truths though temporary And yet no father will allow their child such escape Lest they be forced to leave that place empty armed Their child to play forever in that waiting room trapped between corridors and too bright lights Only each other and that solitary horse for company.

FILM & TV 10

Thursday, 23 January 2020

Your favourite films of 2019 Film and TV compile a list of your favouite films of the past year film@palatinate.org.uk

Marriage Story Booksmart

This will undoubtedly be another strong year for Netflix as it storms into awards season. Marriage Story features two actors at the top of their game; Adam Driver and Scarlett Johansson. After a brief introduction, we are thrust into their divorce. Refreshingly, the film never picks a side - the ball is batted into either court throughout the runtime. This film could easily be placed amongst the great dramas of the past fifty years with exquisiteness found in every corner. Marriage Story proves the artistic freedom and resources supplied by Netflix will ultimately attract Hollywood’s most talented.

Jacob Branigan

Olivia Wilde’s debut film is a celebration not just of adolescence, friendship, and everything nerdy, but of a woman’s place in the film industry; presenting stunning examples of female direction, writing, and performance. On top of this, Booksmart deserves recognition for its shattering of stereotypes and its subsequent update of the teen comedy genre. Booksmart made me reflect on my first year in Durham, and notice how university inspires self-development, shifting us from teenagers into adults. The film’s hilariously honest take on the emotional strains of finishing school invites nostalgia as well as laughter from its audiences, whatever their place in the high-school hierarchy.

Carys Stallard

Little Women

Toy Story 4 You would be forgiven for thinking the saga of Andy’s beloved toys ended after the third instalment in the Toy Story universe, but they came for another adventure last summer. This beautiful story of the cowboy and the spork is a rollercoaster of emotions which will have you on the edge of your seat smiling for a good hour and a half. The comedic duo of Keegan-Michael Key and Jordan Peele as new toys ensure that the laughs don’t stop either.The film’s brilliance however, is found in its message; when you’re struggling for meaning in your life, just listen to the voice inside your head and follow your heart.

Jonny Tiplady

1917 The premise of 1917 is a simple one. Two British soldiers, Lance-Corporals Schofield and Blake, must deliver a message. If they fail, 1,600 men will advance into a trap and be slaughtered. The tension comes courtesy of superb cinematography and editing which make the film appear as though it is shot in one single, continuous take. Thanks to this, our view becomes limited to just that of our protagonists. The film is lent a sense of claustrophobia and immediacy which locks you in its grip and does not let you go.

It is a must-see story of the horror of war and the bravery of those caught up in it.

Ned Vessey

Greta Gerwig’s adaptation of Louisa May Alcott’s Little Women was arguably one of the most anticipated films of 2019, released in the last few days of the year. Gerwig’s interpretation boasts an impressive cast that includes Saoirse Ronan, Emma Watson, and Meryl Streep, and follows the much-loved March sisters as they navigate their teenage years.

The film tackles themes that range from female independence to wealth to the importance of family. Even though Alcott was writing in the nineteenth century, Gerwig’s refashioning of the story conveys how and why it remains relevant today.

Olivia Moody

Photograph: Myke Simon via Unsplash

FILM & TV Thursday, 23 January 2020

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Your favourite TV shows of 2019 Film and TV compile a list of your favourite televisions shows of the past year

Fleabag I was admittedly late to the party when I stumbled across the first season of Fleabag on my flight home last summer. The explosive genius of Fleabag’s first chapter was commendable on its own, but WallerBridge tops it and takes it to truly sublime heights in the second season. It was the beautifully complicated depiction of sisterly love between Fleabag and Claire that sealed the deal for me. Waller-Bridge has undoubtedly created a character that has captured the adoration of millions.

Being a part of Fleabag’s journey - from a cynical loner to a woman who begins to love and forgive fully, is an honour for anyone who signs up for the ride.

Aadira Parakkat

Ghosts From the makers of Horrible Histories came Ghosts, one of the only television series from 2019 which made my sides split in sheer laughter. Once again, the ensemble cast returned to create a show aimed at adults this time, a risky decision - yet certainly worth it. The show centres around a gothic mansion house which hosts 8 squabbling ghosts, intervening with the couple who have just moved in. The grand setting; the accurate period costumes; the use of camera angles all contributed to making this show a success. For those who have not watched Ghosts, the short episodes are perfect for your summative stress breaks.

Madeleine Rosie Strom

After Life After Life, to me, was one of the most memorable TV series of 2019. Not only does it remind me of the immeasurable talent of Ricky Gervais, it also perfectly encapsulates what a dark comedy should be in my eyes. The story follows a painfully cynical and suicidal man who has just lost his wife to breast cancer. In lieu of ending his own life, he decides to punish the world for his loss, taking every opportunity he has to bully the people around him. However sinister this may sound, Gervais has a talent for making what should be extremely awkward or unbearable, hilarious. With only six episodes in its first season, After Life is a quick but rewarding watch.

Chloe Waugh

Queer Eye: We’re In Japan!

The Marvellous Mrs Maisel My favourite show of 2019 was in its third season of what is fast becoming a modern classic: The Marvellous Mrs Maisel. For me, this season was Susie’s, as she deals with the cutthroat world of high profile clients and fights a growing gambling addiction, our foul-mouthed, ever stoic Susie’s mask begins to slip. As we are left with yet another tantalising ending, it remains to be seen if season 4 will live up to the rambunctious joy of the precedent set so far.

Lily Riley

OK, I’ll admit it: a ‘make-better’ show just sounds like an excuse for televised ego-pampering, virtue-signalling and product placement.

But Queer Eye’s latest expedition into Japan proves why it is one of the best TV shows of 2019. Each episode is crafted with smooth editing which intelligently balancaes the five separate narrative threads of one story. The experts are all ridiculously charismatic, effortlessly engaging the viewer with the heroes.

Each expert is committed to assisting their hero beyond the realm of their expertise. The thoughtful production, masterful editing and refreshingly empathetic lens creates some of the most riveting stories in reality television.

Alex Rigotti

Photograph: Glenn Carstens-Peters

FOOD & DRINK 12

Thursday, 23 January 2020

Finding the joy in food Elle Woods-Marshall takes a look at the her relationship with food in the current New Year, New Me culture

By Elle Woods-Marshall Food & Drink Co-Editor food@palatinate.org.uk Trigger Warning: Eating Disorders

J

anuary has been branded as the time for ‘new year, new me’ and although that can translate into many different resolutions, for many of us January feels like a time we need to change our bodies. It is very confusing to navigate a society that preaches self love and body acceptance whilst also endlessly advertising and promoting new (and often dangerous) diets and controls to the way we eat.

myself in the moments and memories of birthday’s and Christmas dinners.

Food is there no matter what: it is there for the ups and the downs, however it can be easy to forget the small moments of joy and happiness it gives us. In one of my favourite cook books ‘Eat Up’, Ruby Tandoh encourages us all to appreciate our food whether it is at its most extravagant or simple.

Even as someone who has been in strong recovery from an eating disorder for a number of years, I still find January tough to manage without being affected by the intense pressure to diet. This year, instead of focusing on the pressure that diet culture forces on us, I am striving to find the joy in food again.

During my eating disorder I found birthdays. and any occasion that involved food, really difficult. Looking back it makes me sad that I was not able to soak up the love that my mum poured into these cakes. In my recovery I have reclaimed the ability to fully immerse

Without sounding like I’m urging you to analyse your fridge Marie Kondo style, it is important to think about whether the food we are eating is bringing us joy.

I’ve found, especially in the later stages of recovery, food can become monotonous and repetitive. Although food is first and foremost fuel and essential to get through the day, food can also be fun and exciting.

When I started recovery, cooking and making food choices was not a viable option but I am glad to say I’m in a place where I am finally able to experiment with food. The act of picking up a recipe book, buying all the ingredients and cooking while singing along to the radio is really wonderful. The kitchen is now a joyful place for me, which is filled with coktails, laughter, study sessions, and always food.

For me, food and family are inextricably linked. Whether it is chip butties on a rainy day at the beach, my grandad’s Spaghetti Bolognese, or my nanny’s Sunday roast. For my family, like many, making food for each other is way of saying so many things ranging from ‘I love you’, ‘I’m really sorry’ to ‘get well soon’.

Food is paired with memories. One that stands out to me is birthday cake. Every year my mum lovingly bakes my birthday cake, and somehow each year is better than the last (with themes including unicorns, donuts and a barbie princess cake for my third birthday).

Although I used to find it embarrassing that people picked me out as ‘the foodie’, I now realise that loving and enjoying food is not shameful. Undeniably, one of my favourite parts of food is going out to eat. Picking a restaurant and sharing new experiences with friends and family has helped to make food synonymous with pure joy.

Ruby’s philosophy of eating what satisfies us, whether it is beans on toast or a full blown three course meal, without judgment is very refreshing. A quote of hers that stands out to me is “The way you feel about food sits hand in hand with the way you feel about yourself, and if you eat happily and wholeheartedly, food will make you strong.” The way Ruby frames food and appetite as natural, joyful and a part of our lives to cherish really helped me when I tried to rewire the way I view food.

Whether you decide this January or not, I urge you to take time to appreciate food that comforts you, hits the spot or that someone makes for you. The constant drive to detox can sometimes lead us to forget that food is something to be shared, and enjoyed. I am happy to express that I now see food as something much more wide ranging than an enemy or collection of numbers, I hope you can too.

Image via Unsplash

TRAVEL 13

Thursday, 23 January 2020

Where to go in 2020

Gracie Linthwaite discusses her top sustainable travel destinations

By Gracie Linthwaite travel@palatinate.org.uk It is no secret that flying is negatively affecting our planet, but in 2020 many people are pledging to significantly cut their carbon footprint and do their bit to help save the planet. Luckily there are fabulous locations out there, which are accessible by less polluting means of transport. Here are the editor’s favourite sustainable holiday destinations for 2020. Whether you are looking for a weekend away in the Scottish mountains, or a boozy break in Berlin, our guide has something for everyone.

BRUSSELS Eurostar from St Pancras - approx. £70 An often overlooked European capital, Brussels can offer all the delights of cities such as Budapest and Prague, but without having to travel by air. This lively city is perfect for a fun postexam holiday, as it is not only affordable but can be easily reached by Eurostar from St Pancras.

History and art lovers can enjoy perusing the museum quarter, whilst scientists can marvel at the 60ft stainless steel replica of an iron crystal and also enjoy panoramic views of the city. Day trips to Bruges and Ghent can give an insight into Belgian culture and history, as well as offering a relaxing boat trip along the river to end a busy weekend.

Beer - £1.70

BERLIN Eurostar from London to Brussels. Train from Brussels to Berlin - approx £41 Renowned for its exuberant nightlife and culture, Berlin is a popular destination among students. Don’t be dismayed if you are turned away from the Berghain, however, as Berlin offers a wealth of alternative restaurants, cafes, galleries and bars, as well as innovative architecture such as the Reichstag and the Bauhaus Museum. The East Side Gallery is a must see for those interested in art, culture and history with an intermingling of the modern and the old, and is free of charge! Berlin has also been voted one of the best vegan cities of 2019!

Beer - £2.39

COPENHAGEN

Eurostar from London to Brussels then travel by train to Copenhagen via Cologne and Hamburg. A great alternative to an unnecessary flight where the journey becomes part of the holiday.

The Danish capital can provide a perfect location for those looking for an action packed short break. Although it is a pricier destination, tourists can save money on public transport by purchasing a Copenhagen card. For those looking to explore outside the city, the Oresund Rund ticket gives you 48 hours to make a round trip across the Oresund Bridge and back, allowing visitors to explore the Swedish city of Malmo, as well attractions such as Louisiana Museum of Modern Art on the windy Danish coast.

Beer - £3.30

Images from Unsplash via julie_soul, AlexRVasey and PeterIveyPhotography

FEATURES 14

Thursday, 23 Jamuary 2020

The legacy of Durham’s 900-year-old hospital

Luke Payne explores the history of Durham’s long-forgotten Kepier Hospital

By Luke Payne features@palatinate.org.uk

A

short walk north of the Gilesgate roundabout lies a dirt track branching off from Orchard Drive. This track leads to an ancient gatehouse that forms part of the ruins of Kepier Hospital, an establishment with nearly a thousand years of history.

between William Cumin (the Lord Chancellor of Scotland) and William of St Barbara (Dean of York). This lead to Cumin burning the hospital in an attempt to prevent the advancing forces of William of St Barbara using it as a refuge. Cumin eventually surrendered the Bishopdom and the city on the 18th October 1144.

The story of Kepier Hospital begins around the year 1112 with the consecration of St Giles Church in Gilesgate.

Then known as The Hospital of St Giles, Durham, it was one of about 32 hospitals in England and the first to be built in County Durham. Standing 200 yards east of the stone church, the original hospital comprised of mostly wattle and daub buildings. The hospital was essentially an almshouse for old men who were no longer capable of working.

“It became embroiled in the 1100s AngloScottish conflicts”

Kepier Hospital became embroiled in the Anglo-Scottish conflicts of the 1100s due to Durham’s proximity to the Scottish border and the hospital’s strategic position overlooking the city. This included a violent dispute regarding the successor to the late Bishop of Durham

Around 1180, the hospital was re-founded at a new location on the river Wear known as Kepier. ‘Kepier’ was a word formed from two Old English words meaning ‘weir with a fish trap’. The new hospital became known as The Hospital of St Giles of Kepier or simply Kepier

Hospital. Rebuilt on a significant scale, the institution now included an infirmary, hall, church, dormitory and court, as well as facilities for a tannery, bakery, mill and farm complete with crops and livestock.

For several centuries the hospital acted as a guest house for pilgrims to Durham and its patrons, in addition to providing care for its permanent elderly male residents. On June 17th 1298, King Edward I of England stayed the night at Kepier following his invasion of Scotland. After the Scottish wars, when the hospital was frequently attacked, it underwent a period of rebuilding. The gatehouse that survives today was built during this time in the 1300s by Bishop Richard of Bury.

By the 16th century Kepier had become the wealthiest hospital in the Diocese of Durham. However, an uprising, known as the Pilgrimage of Grace, lead to King Henry VIII taking the greater monasteries into his possession. By early 1538 St Cuthbert’s Shrine at Durham Cathedral was pulled down and its treasures removed. After this, no more pilgrims came to Durham. The Act that legalised the dissolution of the monasteries also allowed the Crown to take possession of colleges and hospitals.

“The Act that dissolved the monasteries also allowed the Crown possession of colleges and hospitals”

FEATURES Thursday, 23 Jamuary 2020

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After a brief period, when Kepier was possessed by a close advisor to the King, it was sold to the Crown in the mid 1540s. Edward VI, King Henry’s son, leased out the Kepier estate in 1547. From this point on, Kepier would remain in private possession and cease to function as a hospital.

A successful merchant, John Heath, bought the estate in 1555 as an investment and an attempt to climb the social ladder. His son, another John, built a grand mansion at Kepier where it was believed the infirmary and chapel once stood. He also founded gardens at Kepier that would become a public attraction in the decades and centuries to come.

By 1827, the mansion house had become an inn called the White Bear. In 1841, descendants of the Heath family visited the inn as part of a tour of ancestral properties and were recorded as being happy with its position as a popular summer resort. The gardens continued to prosper throughout the nineteenth century; the Durham Chronicle referred to the gardens as ‘a favourite resort for the citizens of Durham and visitors from a distance’.

Decline in the prosperity of the area led to the inn closing by 1891. Despite a plea in The County Durham Advertiser that year lamenting the neglect of the building, the inn was ordered dismantled by its current owner Sir Richard Musgrave.

The ruins of the White Bear Inn, formerly Heath Mansion, lay exposed in a beautiful orchard beyond the gatehouse. Its sandstone columns are being slowly eroded by the relentless weathering of time. Perhaps unsurprisingly, the ruin is on the English Heritage’s Buildings At Risk register. The farmhouse and the gatehouse are the only intact remnants of the Kepier from its hospital days.

Photographs by Sam Bailey

STAGE 16

Thursday, 23 January 2020

Does the National Theatre deserve funding?

Isabel Carmichael-Davis discusses whether the London-centric National Theatre deserves funding

By Isabel Carmichael-Davis Stage Editor stage@palatinate.org.uk

T

he National Theatre receives £16.7 million each year from the Arts Council, and while any money invested into the arts is welcomed, does it fulfil the requirement of making theatre assessible to all? Does it, after all, deserve the title of ‘National’, when it is so London-centric?

Their ticket prices are undeniably cheap, starting from £15 and offering a ‘entry pass’ for 16-25-year olds with the offer of tickets for £7.50. This is a brilliant step towards making theatre more assessible, especially to young people whose future interest in theatre might rely on its accessibility.

the fact remains that this only really benefits thirteen percent of the UK’s population. While theatres such as the Northern Stage in Newcastle do receive Arts Council funding, the amount does not compare to that given to the National Theatre, and as a result their productions remain small scale, without any of the star names who feature in London. The fact remains that currently 32 percent of arts organisations who receive government funding are in London.

At the moment, they have sixteen pro-

However, while I come from a far from impoverished household, and one which has a genuine interest in theatre, the sixty-pound train ticket and almost a day’s worth of travelling makes it near impossible for me to take any advantage of this.

While extortionate train prices might not seem like the fault or responsibility of the National Theatre, it seems an obvious solution for them to have a Northern base which puts on the same shows as its London counterpart- as well as using some of the funding to produce shows of its own.

“Many of the well-reviewed shows remain in London” The issue is the same with the National Gallery and Portrait Gallery, that while using government funds to provide free and unlimited access to some of the best art in the country, is undoubtably noble,

internationally rather than making their way around the country. An example is this is current production of ‘The Lehman Trilogy’, starring famous actors Simon Russell Beale, Adam Godley and Ben Miles, which has been transferred to New York but otherwise has remained in the London theatre circle.

Touring may be expensive, but the RSC, while receiving less money from the Arts Council, still manages to make the trip from their base in Stratford to tour more frequently than the NT. The RSC has three of their new productions coming to the Royal Theatre in Newcastle during the next year, while there is no sign of the National Theatre.

“a poor substitute for the real thing” The National Theatre, of course, would argue that this is unfair. They use cinema broadcasts as a lazy and cheap way to appease the murmurs of discontent from the North and Midlands, and back the claim that their funding is benefitting the entire country. But anyone who understands the value of live theatre, which you would hope the director of the National Theatre would, appreciates that this is a poor substitute for the real thing. ductions in their new upcoming season, all of which are taking place in London theatres. They claim that touring makes up for this. But their last large-scale tour was in 2017, and even then, only ten shows were included, a fraction of what has been put on in London in the meantime. Many of the large, well-reviewed shows remain in London, or even tour

They are better than nothing and would certainly act as a good support alongside more frequent tours or a season at a ‘National’ Northern Theatre, but on their own they seem merely to legitimise the minimal attention paid to the rest of the country.

Images: Photo by Julius Jansson on Unsplash