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EDITORIAL Thursday 19, November 2020

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www.palatinate.org.uk/category/indigo/

FASHION 3 The relationship between fashion and feminism FEATURES 4&5 Creating household traditions in lockdown and ‘I’ll have a Corona, please’ FOOD AND DRINK 6 Come dine with me: Lockdown edit FILM AND TV 7 US elections: Televised BOOKS 8&9 The sound and silence of the US election

VISUAL ARTS

10 Revising the canon: Laura Wheeler Warning INTERVIEW 11 Introducing Durham’s Mixed Society MUSIC 12 & 13 DH1 records: Meet the team STAGE 14 Grayson Perry’s controversial statement on theatre CREATIVE WRITING 15 Around the world TRAVEL 16 A Grecian Odyssey www.facebook.com/palindigo Follow us on Twitter and Instagram: @indigo_palatinate 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: Jennifer Leigh

Following the US election, we feel there’s some new hope for the future. Whilst Biden and Harris are by no means perfect candidates and have a lot to be held accountable for, we look forward to seeing how the promises they made on their campaign trail shape America for the better.

The election showed the power of unified individuals striving for change and brings to mind the importance of voting in our own elections and coming together to make a difference in the societies in which we live.

Thinking on the subject of unity and contribution, this is the first week that the our section editors have been able to lay up their own pages since March. There have been many hours of coordinated effort put in and we are excited to showcase the unique perspectives of our editors and contributors this week.

As deadline season fast approaches and our caffeine addictions re-emerge, take a minute to relax before your all-nighters with an espresso martini. We recommend one part of vodka to one part coffee liqueur and one part espresso vigorously shaken over ice. Top with one or two coffee beans if you’re feeling fancy. Or if you prefer a non-alcoholic alternative, boil a teabag in a saucepan of milk and add some cinnamon, ginger, a few cloves and maybe a dash of maple syrup. Simmer to your preferred temperature and strain into a mug and enjoy.

In this edition our editors explore how the US election has permeated different aspects of the world of art and culture.

Features explores the various student experiences of lockdown whilst fashion and visual arts explore the importance of feminism in their respective fields and Interview talks to the presidents of the new Durham mixed soc.

We hope you enjoy this edition and our exploration of the theme of unity.

Hugo Millard and Millicent Machell

INDIGO EDITORS Hugo Millard Millicent Machell FEATURES EDITORS Aadira Parakkat Elle Woods-Marshall Immy Higgins

CREATIVE WRITING EDITORS Jemima Gurney Meadbh Ni Mhorain STAGE EDITORS Isabel C. Davis VISUAL ARTS EDITOR Emma Tucker Carys Stallard BOOKS EDITORS Millie Vickerstaff Sol Noya FASHION EDITORS Abbie Cooper Davies Emily Potts FOOD & DRINK EDITORS Constance Lam Meghna Amin TRAVEL EDITORS Emma Johnson Gracie Linthwaite FILM & TV EDITOR Madeleine Rosie Strom MUSIC EDITORS Martha Lily Dean Katherine Pittalis INTERVIEW EDITORS Aimee Dickinson Claudia Jacob

FASHION Thursday, 19th November 2020

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The relationship between fashion and feminism Emily Potts explores the complicated history between fashion and feminism Emily Potts Fashion Editor fashion@palatinate.org.uk

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hroughout history, the relationship between feminism and the use of fashion as a tool to create social change has been complex. Social media’s influence on our consumerism has grown massively and has helped cultivate the use of fashion for socio-political movements. The use of clothing is not simply an aesthetic form of expression, but a statement.

that anybody could join the movement, allowing for accessibility of the cause.

From the early 20th century, which saw the Suffragette movement come into full force, to the present day, fashion has been used to progress the feminist agenda usually through shared symbolism. Although individuals can make political statements through their clothing, the relationship between fashion and feminism has become strained through the growing market of fast fashion. Fashion editor Emily Potts explores how fashion and feminism have evolved together, and how some brands take advantage of this link.

Firstly, white outfits were seen again in this setting through the political social media movements #wearwhitetovote and #pantsuitnation, where women celebrated the choice of Hilary Clinton as the first woman as a major party’s candidate for president. Clinton herself wore a white pantsuit as she accepted the Democratic nomination for president in 2016.

“women’s rights movements have been aided by the use of fashion” Feminism became linked with fashion in the early 20th century, as white was the colour chosen to be worn to lead the campaign behind the Suffragette Movement.

The use of all-white clothing, coupled with the traditional dresses of the time, meant that instead of challenging the impractical dress itself, the Suffragettes appropriated the use of white as a ‘pure’ colour to counter with their apparent immorality from their opponents perspective. By using a colour rather than an outfit, it meant

Women’s rights movements have been aided by the use of fashion and, fashion pieces have subsequently become symbolic. Wearing all-white and paying ode to the Suffragette Movement, has been a frequent choice for Democratic women in the House of Representatives.

In 2019, renowned progressive member of the House, Alexandria OcasioCortez chose to wear all-white whilst been sworn in, writing on twitter that this choice was “to honour the women who paved the path before me”.

Now, Kamala Harris has made history being the first female Vice PresidentElect, as well as being the first woman of colour, being the daughter of Jamaican and Indian immigrants. By wearing a white pantsuit at her first public appearance as the Vice President-Elect, the wearing of all-white by political figures represents not only the ambition to reach the heights of the White House, but now stands for having reached this goal.

Although fashion allows individual women to make powerful political statements in this way, big fashion brands don’t always engage with feminism in a convincing way. Brands are continually engaging with social issues, allowing the consumer to have more of a choice in what to invest in.

However, despite their social media engagement, many brands refuse to actually make a physical change within

their business model and continue to be online slacktivists.

Fast fashion is a feminist issue, albeit a complicated one. Back in March earlier this year, the camp a i g n Labour Behind the Label reported that approximately 80% of garment workers are women aged 18-35, many of which are the main earners for their families and children.

In Bangladesh, the workers have the monthly income of 5000 takas which is equivalent to £44. Not only are workers underpaid and reliant on the work, the health and safety of many women is placed at risk by their employers.The Rana Plaza disaster in Bangladesh in 2013, killed at least 1,132 people and left more than 2,500 injured.

Many fashion brands use political and feminist movements for commercial use, rather than acknowledging how their own companies have disproportionate negative effects on women of colour.

Whilst you can fight for feminism and still buy these products due to a lack of affordable alternatives, be mindful that the companies that supply these products do not seem to share your values.

Fashion can be an aid to Feminist Movements and can help symbolise the need for social change, whilst simultaneously being used as a tool which undermines this very message.

Image by Gage Skidmore via flickr creative commons.

FEATURES 4

Thursday, 19th November 2020

Creating household traditions in lockdown Aisha Sembhi reflects on how her household makes lockdown more bearable Aisha Sembhi features@palatinate.org.uk

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everal students are blessed to find ‘their people’ early on during their university years, and a select few within this group are able to understand the elation that comes alongside living with these friends.

I was lucky enough to experience such a thing – living with my best friends during my second year gave me a newfound sense of confidence and security, allowing for the full indulgence in what is considered the typical university experience of late nights and later starts.

And then, the universe decided we were enjoying ourselves too much, and decided to introduce a pandemic to our timeline, confining us to our homes. What now?

“as it turns out, I truly enjoy the plainer aspects of socialising” The beginning of this academic year has certainly been a personal period of reflection over the last two years, forcing me to relearn my idea of ‘fun’. I’ve come to realise that, whilst my second-year had felt jam-packed with event after event, the only real social time our household shared was either wholly related to our academic endeavours (mid-lecture chats, pre-seminar panics, and hours-long library sessions that we utilised as an excuse to catch-up), or in preparation for a night out. I found myself slowly morphing into a routine that consisted solely of turbulent evenings and mornings in recovery, unable to do much beyond getting out of bed.

Socialising only under stressful or chaotic circumstances is something I have no intent on romanticising. However, the reality is that it was a routine I, like so many other univer-

sity students, understood as the norm.

And yet, without really meaning to, my housemates and I have successfully found worthwhile replacements during the lockdown. The unintentional creation of household traditions has allowed for us to create social time that is entirely separate from academic-related stress. Thursday nights are dedicated to our movie of choice and a takeaway, whilst weekend mornings are for coffees and catch-ups in the kitchen.

Other less consolidated traditions include attempts to find alternatives to our individual hobbies and interests that have been cancelled, including college sport.

What started out as an ironic suggestion to do Zumba in the living room has evolved into my housemates and I following YouTube workout videos, half tackling it with seriousness and half being unable to concentrate because we’re laughing too hard.

Perhaps more revitalising is the realisation that socialising within the household does not have to be limited to these pre-arranged activities. Afternoons follow us with our laptop’s downstairs, sprawled across the communal living spaces, enjoying the silent company we did not know was possible beyond the Bill Bryson Library as we engage in individual study.

In the evenings we share the kitchen space, enjoying a meal as a household before engaging in heated FIFA tournaments or pointless YouTube marathons.

What are intended to be five-minute coffee breaks between lectures turn into hours-long chats in the living room over anything and everything – political persuasions, religious and spiritual beliefs, childhood stories, and beyond. For the first time, I see my living space as a peaceful environment, one in which I can immerse myself and live comfortably.

This is not to say I do not miss the chaos of last year. There is something so irreplaceably hilarious about hearing of house-

mates’ one-night stands and bonding over a hangover after midday. However, the substitutes have provided more amusement than I could have ever imagined. In no way has this pandemic been a ‘blessing’, as so many are insistent on. But it has forced a reconsideration of my idea of fun, and ultimately, this reflection has been positive.

“I see my living space as a peaceful environment” As it turns out, I truly enjoy the plainer aspects of socialising. I am yet to decide if the gravity of this revelation is depressing, or if the simplicity of it is replenishing. Most likely, it is a bit of both. Either way, I am grateful for its occurrence, and even more so for my housemates.

Image credit: Aisha Sembhi

FEATURES Thursday, 19th November 2020

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‘I’ll have a Corona, please’ Ellen Morgan speaks about her experience working part-time as a student Ellen Morgan features@palatinate.org.uk

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y shifts at my College Bar are some of the highlights of my week. The culture of students taking on parttime jobs at Durham is strange, because there isn’t really one – and serving so many familiar faces while working in the heart of college makes working there feel easier than any job I’ve ever had.

the only legal way we can serve customers, slows everything down and I do have to wonder when people get disgruntled about not getting their drinks right away: where are they planning on rushing off to when everywhere else is shutting at 10pm? All other bars are the same at the moment – it’s this or drink at home.

“since Fresher’s Week, more and more have been coming to the bar, but it’s clear that it is no longer the place to be”

“Going to work felt like something normal amidst all the upheaval of this year”

This year has been a shock to say the least. The Wednesday nights treading wof each other’s feet as we frantically serve a throng of footballers dressed in fairy wings are gone. There’s no more thrill of finding random things left behind from socials (a whole pack of unbroken eggs or puddles of milk, wanyone?) and wondering what vicious for-

feit they were a part of. And the evenings of swaying arm-in-arm singing rowdily are, like everything else from our pre-pandemic lives, are tinged with nostalgia and disbelief that they ever actually happened.

It didn’t hit me how different working at my college bar was until Fresher’s Week.

Within a few days, it became clear: this year’s Freshers had no way of knowing how quintessential the bar was to college life. How could they? It was both financially and socially more appealing to mix their own drinks at home, where they could party with more than six people. Since Fresher’s Week, more and more have been coming to the bar, but it’s clear that it is no longer the place to be: it is just a change of scene when they get sick of their flat.

With the University collegiate system already becoming more centralised, it does make you wonder what the future of college bars will be and what changes the current circumstances will accelerate.

Shouting through my face mask, I’ve told what feels like hundreds of Freshers how good the bar is normally. They nod and raise their eyebrows and I feel like a parent trying to get their kids to eat broccoli.

Being students ourselves, there is only so much we can control. My college bar has outdoor seating, which is great because we can take a larger capacity of students. However, table service, while

We also can’t stop students mixing households and the drunker they get, the less they try to hide it. It’s completely understandable: being out surrounded by so many people, is a flicker of normality… but it isn’t allowed. The number of people sneaking in through the back entrance to the bar, conveniently ‘forgetting’ their campus cards when the bar staff know for a fact they’re not from the same household or even the same college… while I personally hate the blame culture the pandemic has nurtured within the Durham student community, when you’re working this kind of thing gets to you.

College bars are closed for the foreseeable future, probably until the end of term. It’s a shame because going to work felt like something normal amidst all the upheaval of this year, and it was an easy way to socialise (even if at a distance.) At least now I won’t have to hear anymore terrible jokes about ordering a Corona.

Image credits: Aisha Sembhi, Arnaud Steckle and Tim Mossholder via Unsplash

FOOD & DRINK Thursday, 19th November 2020

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Come Dine With Me: Lockdown edit Food & Drink shares how home cooking can help you unwind Constance Lam and Meghna Amin Food & Drink Editors food@palatinate.org.uk

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ith the second national lockdown in full swing, students’ anxieties are escalating, with many of us only leaving the house for a food shop. And as exciting as that can be, it’s fair to say being stuck within four walls, your home away from home, lockdown is certainly one of the most stressful, albeit unexpected, parts of student life.

Which is why so many of us have planned our days differently this time around, with goals to achieve and hobbies to pursue.

“easing your mind and mental health through learning to cook” Although we may need a reminder that there’s enough going on in the world without the added pressure of productivity, easing your mind and mental health through learning to cook, or finally baking that cheesecake you’ve been meaning to, is the perfect place to start.

Anticipating that I would be a homebody for most of my third year, I returned to Durham with a suitcase full of cake pans and instant noodles. Despite my newfound love for cooking and baking, I am certainly not immune to culinary ruts — these can be attributed to little else but sheer laziness.

This year, I’ve eaten far too many onepot meals straight from the rice cooker, and frozen food straight from the oven tray. As someone who doesn’t cook much, and can survive for longer than I should off Tesco’s meal deals and more Lebaneat than anyone should ever admit, lockdown has allowed me ample time to flick through a Gordon Ramsay cookbook, experiment with more than just gnocchi and pesto, and reach into the far depths of my house’s

baking cupboard.

In light of the evergrowing queue outside Tesco’s, I’ve been procrastinating on my weekly food shop. As a result, I’ve created some questionable concoctions, none of which I am particularly proud of. The selection includes soy sauce spaghetti (an unsuccessful and overly ambitious fusion), chicken curry with dinosaur nuggets (in place of a katsu fillet), and recently, pesto toast when I ran out of pasta.

Luckily, lockdown has coaxed me to compensate for my lack of culinary creativity.

This term, you’ll find me preparing a constant stream of baked goods: my housemates have certainly reaped the benefits of this.

Last year, some of my favourite memories were spent baking at home with my friends.

I firmly stand by the opinion that baking is an excellent way to de-stress, especially for a group of voracious eaters who won’t be venturing out of the house anytime soon.

“baking is an excellent way to de-stress” Few things can compete with the aroma of apple crumble in autumn. Except for the joy of watching chocolate chip cookies expand in the oven: the only thing better than this might be mochi-filled cookies.

Aside from your own mental health being supported as you delve into yet another cake recipe, cooking and baking within my household has enabled my friends and I

to actually spend some time tog e t h e r.

Which seems inevitable c o n s i d e ring we are, quite literally, stuck in the house, however, sometimes that has reduced to us all isolating within our rooms, more of a coping mechanism than sharing our sorrows. Yet, once the sweet, sweet scent of cinnamon buns comes wafting through the doors, and we all prowl downstairs to find the oven booming with chocolatey gooeyness, there’s nothing more familial and homely.

Due to the pandemic, friends’ birthdays are no longer chaotic and crowded affairs.

Instead, small, household celebrations call for smaller and more customisable cakes, to be collected at an appropriate social distance. Recently, I tried my hand at Tasty’s Ultimate Chocolate Cake.

Now, late-night snack runs, post night out pizza, and impromptu brunches are a thing of the past. Whether you’re coming together as a house, or spending some time alone, the mostly wholesome (and sometimes messy) joy of cooking might help you unwind after a long day. There’s something very cathartic about chopping vegetables (perhaps not onions, but in my experience mushrooms are very fun to chop) and watching pizza dough rise.

To my housemates, I kindly dedicate four words: come dine with me?

Photography by Constance Lam

FILM AND TV 7

Thursday 19th November 2020

US Elections: Televised Madeleine Strom reflects on how the recent US election was covered in the media Madeleine Rosie Strom Film and TV Editor film@palatinate.org.uk

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y boyfriend is a news junkie.

He is obsessed with checking BBC News; he always asks for people’s opinions on politics and he is constantly asking for my thoughts on the US election.

It’s addictive, there’s demand for a 24hour news cycle and Trump helps to provide. Ultimately, cable news is now competing with the internet, so all of Trumps scandals are perfect for the sound bites that the networks need to rival the meme culture of social media. Whether its Donald Trump dancing to YMCA, the presidential debate itself, or Trump’s offensive tweets - all of them dominate my social media feeds, and they dominate the TV. There were 73 million viewers for the Trump vs Biden Presidential debate and although it’s a 13% decline in spectators from Trump vs Clinton it’s still the third most watched Presidential debate of all time. The Presidential debate is now comparable to the Superbowl, and it has the same ad space too.

“the more that the news is made into entertainment ... the more our lives are going to become satire”

made into entertainment (with no fact checking and no integrity) the more that our lives are going to become satire. Ultimately this mocking of Trump on the news is what gave him the election because it made the Democrats secure in the knowledge that they were ‘better than’ and it made those who enjoyed the conservative values of Trump angry because they were being mocked by the media.

In Grayson Perry’s recent documentary series, ‘Grayson Perry’s Big American Road trip’, he visits the liberal elite, on their literal island of knowledge and money, and interrogates them about their ivory towers. The documentary explores this new brand of neo-liberalism, which in effect shows that many Democrats in America condemn Republicans for being crazy conservative but are doing very little with their own wealth to affect any real change. The news cycle undoubtedly contributes to this trend of saying a lot of things and feeling like we’re creating change when in actuality we’re doing the bare minimum.

However, where previously the media were weak in the face of Trump, now the news cycles have chosen to report that Trump is making claims without foundation about voter fraud. This U-turn has also been reflected in Twitter’s use of dis-

claimers on Trumps tweets. Perhaps, both have realised their culpability in creating a post-truth America and are doing their best to rectify.

“I’m sure there are many more examples of tragedy” But the malign power of the news cycle doesn’t just extend to politics. O J Simpson’s acquittal, the suicide of Caroline Flack and the death of Jeffrey Epstein, all arguably have the 24-hour news cycle to blame, and I’m sure there are many more examples of tragedy that have sprung from the demand for constant headlines.

Personally, I’m pessimistic about the Biden presidency, because I know that the beast of the 24-hour news coverage is still waiting to be fed. Even with the election of a different candidate all the fundamentals of news coverage in the US are the same.

And although me and my boyfriend will most likely continue to gobble up every news story, I’m definitely starting to become aware of the calories.

The dangerous thing about the news coverage like this, and what has changed my overall perception of 24 hour reporting, is that the more that the news is Illustration by heblo from Pixabay

BOOKS 8

Thursday, 19th November 2020

The sound and silence of the US election Anna De Vivo turns to the poetry of Kenneth Fearing in the aftermath of the US election Anna De Vivo books@palatinate.org.uk

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ilence. It is undoubtedly the biggest threat to democracy: as a political system that hails the involvement of its people, it is integral that everyone gets involved. Yet, what is deeply troubling is that this had to be said during an election campaign fraught with tension – the 2020 US election was unlike any other. With the results floating in recent memory and indeed some still coming through, people across the globe feel relief. Many have described the feeling of Trump’s loss as akin to being able to breathe again after four years of social, political, and, yes, emotional turmoil.

Upon my reading, I chanced upon American Rhapsody by Kenneth Fearing, which best summed my feelings about the results. Fearing’s work may not be an obvious choice for poetry about electoral victory: pushed aside to relative obscurity, he and his troupe of “proletarian poets” later went on to inspire a swathe of blue-collar artists such as Bob Dylan and Bruce Springsteen. But, apart from this legacy, he also wrote in the turbulent waters of economic uncertainty as well as the threat of authoritarianism.

“there are calls to noise again” What if that threat of authoritarianism is home grown? Fearing portrays a regenerative moment pertinent to a post-Trump America as much of American Rhapsody is about heralding a new age. Laden with images of victory much like that seen on the streets after Trump’s loss, the opening line hails new beginnings as the speaker

ism that mars celebratory impulses, notes of hesitancy which bring the speaker to a standstill and perhaps back to reality.

The silver glosses of celebration merely work to conceal something structurally inefficient.

This begs the question, what fear do these lines speak to?

The final stanza works to complete this sentiment, and best sums up what many citizens’ reactions to the election results were:

proclaims, “Tomorrow, yes, tomorrow/ there will suddenly be a new success”. The emphasis – at least on the surface – is on celebration, as “Rockets, rockets, Roman candles, flares, will burst in every/corner of the night”. Images of fireworks exploding in the air in a triumphant exhortation of victory undoubtedly remind us of the streets of New York a few nights ago.

Yet one of the most fascinating images that Fearing renders is the conflict between silence and sound or stagnation and action, contrasts which he threads throughout his poem. The speaker proclaims that “There will be the sound of silvery thunder again to drown the insane silence” and “a new tremendous sound will shatter the final unspoken/ question and drown the last, mute, terrible reply”. Images of silence are almost exclusively fraught with tension. Reflecting the moments of mass disenfranchisement and silencing that occurred during the Trump administration, there are calls to noise again, voicing the revival and reanimation of what seemed to be a dying democracy (much like the efforts to increase turnout this year).

But the apparent simplicity of this poem is deceptive: Fearing needles through veins of uncertainty. As the speaker celebrates new beginnings, he cautions us.

There is a sense of despair and nihil-

“Tomorrow, yes, tomorrow, surely we begin at last to live, With lots and lots of laughter, Solid silver laughter, Laughter, with a few simple instructions, and a bona-fide guarantee.”

The main tone of this poem is one of hope, but this feeling works against uncertainty with the key word here being “surely”. These lines blend optimism with hesitancy, fitting as we both celebrate the end of Trump and anticipate what the Biden administration will bring.

“the battle for justice may only be half won” While we all sigh in relief that America may be reverting back to normal, we also have to confront what that normality will bring. Yes, the orange-man is finally out of the White House, and that indeed is a momentous cause for celebration! But with a large proportion of the American population still supporting Trump’s policies, a need to flip the senate, and fears of complacency after this electoral run, this poem reminds one not to take their foot off the gas as the battle for justice may only be half won.

Image: Amber Conway

BOOKS Thursday, 19th November 2020

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In conversation with Naomi Booth Sol Noya Carreno speaks to author and Durham Assistant Professor Naomi Booth Sol Noya Carreno Books Editor books@palatinate.org.uk

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r. Naomi Booth, an Assistant Professor at Durham’s English department, has recently published her second novel, Exit Management, to much critical acclaim. I was able to sit down with her (via Zoom, as unprecedented times extend to interviews these days), where she was incredibly patient and keen to discuss all things books and Durham –especially considering I had to keep checking on a cake that was taking too long in the oven during our interview and the inevitable failure of my wi-fi.

something else too, being the last years before COVID-19.

You mentioned that one of your characters is from Yorkshire, and you’ve been at Durham for the last couple of years.

How does the North relate to and inspire your work?

How did you end up in Durham, and how long have you been here?

Naomi: This is actually the beginning of my second year, so I still feel like a newbie!

I had a slightly unusual route into creative writing. I did my first degree in English Literature and worked in publishing for a while, until I realised I wanted to write. I then did an MA and PhD in Sussex, researching the literature of swooning. Within this – admittedly niche! – field, I’ve worked creatively and critically: my first novella was about swooning.

I do realise you’re quite new to Durham, but have you had a favourite module to teach?

Naomi: I think the third-year module I co-direct with the brilliant Sunjeev Sahota, on writing prose fiction. It gives students a chance to write their own work, and it’s wonderful to see them explore the things they’ve wanted to write for years as well as experiment with new ideas.

How do you see the role of fiction in today’s world?

Naomi: I often come back to Susan Sontag’s reflection that writing is about paying attention – fiction is a way to notice things that are important in the world.

It’s a sort of oppositional consciousness; it allows us to carve out the space to see things differently. Literature, generally, forces us to pay attention in a way we usually don’t in everyday life.

On to discussing your actual writing! Could you tell our readers a bit about your latest novel, Exit Management?

Naomi: The novel follows three main characters whose lives become interconnected within a house in London. Two of the protagonists are young: Lauren, who’s from West Yorkshire, specialises in exit management in HR and Callum, who’s struggling to find work in London, makes a living by looking after the homes of rich people in London. The third protagonist is Jószef, the Hungarian émigré whose house Callum takes care of.

The novel is about work, and security, and all the different ways that people relate to property. And the title comes from Lauren’s work, but also from how the story deals with different kinds of exits – Jószef is very ill, and it’s all set in 2018 and 2019, with the build-up to Brexit.

It’s funny, because I was writing and revising it in real time, and back then I thought that we’d look back on those years as the build-up to Brexit. But of course, now they’ve come to signify

Naomi: Well, I’m from Yorkshire originally: I grew up in West Yorkshire, spent some time in London and Brighton, and now I live in York. My publisher, Dead Ink Books, is based in the North – I feel affiliated to a culture of publishing and literature here. My first published work, the novella, begins in the Calder Valley in West Yorkshire. I’m also working on a short story collection, and most are based in places in the North.

How did lockdown affect your writing?

Naomi: Initially, lockdown made writing feel quite hard, especially with teaching and having a three-year-old in the house.

Though I haven’t been writing directly about COVID-19, I think it definitely will affect what people are writing. I’ve certainly come back to my writing with a new eye. Sometimes, writers write from a place of anxiety about where the world is at now, and sometimes those anxieties are proved true. I find myself increasingly grappling with how to balance hope and anxiety within my own writing.

Thank you so much, Naomi! Have you got any final thoughts you want to share?

Naomi: I think writing is often a really valuable practice even if you’re not looking to be published. Taking notice and keeping notes can be very useful practice, especially in times of anxiety and stress like these, to make room for different kinds of thinking.

Image: Anna Kuptsova

VISUAL ARTS 10

Thursdau 19th November

Revising the Canon: Laura Wheeler Warning Emma Tucker explores the legacy of Afro-American artist Laura Wheeler Warning Emma Tucker Visual Arts Ediotr visualarts@palatinate.org.uk

access to money and education in America. Young black writers and painters converged on the Harlem district of Upper Manhattan in the mid-1920s, connected by their racial pride, strong self-reliance and a mutual pursuit of the American Dream. Anticipating Harris, Waring used her art to asseert a black, female voice in American political discourse. Through The Harmon Foundation, Waring met and painted significant African American figures leading the Harlem Renaissance. Her portraits include civil rights activist W.E.B Du Bois and acclaimed singer Marian Anderson. Other notable women artists associated with the Harlem Renaissance include the sculptor Augusta Savage, Lois Mailou Jones, Gwendolyn Bennett and Meta Warrick Fuller.

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amala Harris’ glass-ceiling shattering election to Vice President-Election has signalled the diversification of US politics and it seems as though the voices of BAME women are finally being heard.

Yet in order to progress, we should acknowledge the repressed voices of BAME women of the past. Laura Wheeler Waring was an African American woman who fought against racial and gender barriers to become an award-winning artist in the 1920s, over a century before Harris’ diversification of US power.

Laura Wheeler Waring, born in the late-1880s to a wealthy African American family, studied for six years at the Pennsylvania Academy of the Fine Arts (19061912) before graduating at the top of her class with the Cresson Traveling Scholarship. She was the first African American woman to win this prestigious prize, which led her to tour the capitals of Western Europe in the Summer of 1914.

During her travels to European capitals in the 1910s and 1920s, she encountered works by Edouard Manet, Toulouse-Lautrec and Claude Monet, among others.

Following this exposure, she imbued the canvas with intense colour, combining the Impressionist fervour for capturing experience and motion with more conservative notions of figurative painting. A great example of this is Miss Evangeline R Hall.

great source of inspiration to the most celebrated artists of the time, such as Henri Matisse and Pablo Picasso. These male artists were fascinated by non-Western women, depicting them as uncivilised ‘savages’, emphasizing their so-called ‘otherness’, particularly their darker skin tone and more curvaceous figures. This preceded a cultural epoch in America where African Americans reclaimed their narratives, regaining control over their cultural representation.

Just as Harris emerged into a predominantly male and white political climate, the extraordinary nature of her success tends to slip under the radar. Laura Wheeler-Waring survived an isolated education among almost entirely white peers and would have encountered few paintings that depicted people other than the white bourgeoisie. At the dawn of the 20th-century, non-Western cultures were a subject of fascination amongst the European avant-garde. Objects from the European colonies, displayed in Ethnographic museums across Europe, were a

This movement, known as The Harlem Renaissance, marked the first major flowering of creative activity from the first generation of African Americans that had

“Waring used her art to assert a black, female voice”

Despite her privileged background and accusations that she was elitist in her choice of subject. However, Waring is best known for her portrait Anna Washington Derry (1926). Waring’s allegiance with the Harlem Renaissance is most strongly reinforced in her portrait of Anna Washington Derry, a rural washerwoman who had been freed from slavery as a teenager.

Here, Waring uses her artistic capability to express Derry’s freedom and independence, handing dignity back to the forgotten African American lower classes.

Waring was the first recipient of the prestigious Harmon Gold Award (1927) and remains the only female winner to this day. However, the full title of the award explains that it was ‘for Distinguished Achievement among Negroes’, directly affirming that Waring would always be seen as a second-rate artist to her white contemporaries.Despite the astounding number of achievements made in her lifetime, Laura Wheeler Waring has been side-lined in the art historical canon, disregarding her impact on improving access to the arts for African Americans. Hopefully Kamala Harris’ election will have enormous ramifications for the representation black American women in the art world.

Image Credit: blackpast.org

INTERVIEW Thursday, 19th November 2020

Introducing Durham’s Mixed Society Interview explores a society for those who are ‘culturally ambgious’ Claudia Jacob Interview Editor indigo.interview@palatinate.org.uk

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urham University Mixed Society is a brand-new society, created with the intention of providing a “home away from home” for those who feel as if they don’t fit within one specific culture. Interview Editor Claudia Jacob speaks to the Presidents, Hana Fujii Bennet and Kiana Pollard, and the Vice President, Nicole Woo, about the ways that being a “Third Culture Kid” has influenced their upbringing and the ways that they’re trying to make Durham University a more inclusive place for the underrepresented.

Hana explains that she attended an Anglo-Japanese social when she first started at Durham, but felt like she didn’t completely fit in. She was surprised that there wasn’t a society for those who feel as if they don’t fit into any cultural category, whether due to their transnational and transcultural upbringing or their mixed race. She reflects on how a society member expressed their gratitude for a society which represents students of biracial backgrounds, since they personally didn’t join the “Africa/Black societies” as they didn’t feel “black enough”. Hana hopes this society will be a place where all students of mixed race and multicultural backgrounds can feel welcomed and accepted, stressing that their society is by no means “exclusive to people of colour”.

Kiana elaborates “in International Freshers’ Week, there were a lot of Western students and it was hard to meet people with similar experiences to mine.

There was some sort of disconnect because we didn’t have the cultural connections”. Like Hana, Nicole attended an international social with the Hong Kong society, but didn’t completely feel at home: “a lot of them had attended local school whereas I went to an international school and I think there’s a really big difference there”. She adds ‘‘I quite like the things that the ISA [International

Jamaica and Fiji etc.), it was difficult adapting every couple of years, especially when I was at that developmental stage, desperate to fit in”.

Students Association] does, it’s just I find it quite hard to relate to a lot of the people there”.

“there’s an element of guilt not being able to speak your mother tongue” Nicole explains that although all three of them had quite a Western upbringing, “the UK specifically has its own culture that I wasn’t used to”, adding that “it was interesting explaining my culture to people, but after a while that gets a bit exhausting”. Kiana explains that “being culturally very Japanese I struggle to fit into Western cultures, despite looking and speaking the part”. Hana’s culturally diverse background hasn’t always been something she’s accepted: “it’s only recently that I’ve started to appreciate how privileged I’ve been in my upbringing, but whilst I was growing up (I was born in Pakistan and grew up in Sudan,

I was interested to learn more about the question of language.

Nicole explains “my parents were born and raised in Hong Kong and went to a local school where everything was taught in Chinese, so they taught me Cantonese first. I started learning English in kindergarten and so naturally my English got a lot better than my Chinese-English was the common language among my friends. Whenever I go back home, I try to speak to my parents in Cantonese but there’s an element of guilt of not being able to speak your mother tongue”. Hana agrees, admitting that “it’s just another thing that sets you apart from others.”

In terms of the impact of Covid-19 on international students, Kiana explains that “it’s really hard to stay in contact with family and friends; the time differences are huge and sometimes it can be quite lonely in itself to be a multicultural person and then on top of that we have this pandemic, so you may feel more isolated”. Nicole adds “I think a lot of us bond over food…we live to eat instead of eating to live, so not being able to meet up at a restaurant has been rather tragic.”

The group was delighted to be joined by students who are living across the world for their first social, even though for some it was the middle of the night.

Hana feels that “lots of people hadn’t realised that there were other people like this in Durham”.

At this difficult time for so many, it seems as though Mixed Society has been able to create a community in the purest sense of the word, offering a platform which celebrates inter-cultural identity when we need it most.

Illustration by Adeline Zhao

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MUSIC 12

Friday, 20th November 2020

DH1 Records - Meet the team Kat Pittalis and Martha Lily Dean interview DH1 Records about their upcoming plans Kat Pittalis and Martha Lily Dean Music Editors music@palatinate.org.uk

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H1 took off again last year, providing students of Durham’s original music scene with a home to work on and promote their artistry. Music Editors Kat Pittalis and Martha Lily Dean sat down with Alfie Leach and Ottilie Whelan, president and vice-president of the label, as well as their four artists, over Zoom to discuss their plans for the year. Led entirely by students with 17 execuative committee members, DH1 has expanded since last year. They currently have signed to them Jack Patrick and Samad, who have been part of the label since last year, as well as Angharad Davies and Lottya, their brand new discoveries.

The Exec Ot Ottilie and Alfie comment that when signing new musicians they look for people who already have an image in mind of the type of artist they want to be. Ottilie mentions that DH1 is looking for “someone who brings somthing a bit different to everyone else”. In particular, DH1 specialises in creating a full-artist

image where not only the production of music is important but also the presence and publicity. Talking about future plans for the exec members, Alfie commented how DH1 is a valuable experience if one wanted to pursue music management as a career.

Alfie hopes to continue working for a record label in a professional manner after graduating. In terms of upcoming events, the label plans to hold a virtual event for the community which will demonstrate and provide their artists with the opportunity for exposure to new listeners and overall demonstrate the labels commitment to the artists depsite the unusual restrictions. As well as this, in Epiphany Term, they hope to release artist EPs, a new endeavour for the label as well as new singles from all of their artists. The pair are hopeful that provided restrictions are lifted there will be live performances and promotional events for their artists.

Jack Patrick Signed to DH1 last year, Jack has refined his artist image and sound in the music industry, and is currently working on releasing singles this term, and an EP in January. He currently has four singles on

Spotify, his most popular being “6:15” which has over 33,000 streams. The first single he plans to release, ‘Tell Them’, is set to be released on 27th November, with a second being released in early December. Jack is also working on a full EP, which is exciting for him as he previously has not released a full, cohesive, collection of songs. Although he feels as though he pulls from many genres, Jack describes his general sound as “chilled guitar music with synths in the background and lots of reverb...think LANY”. He notes how the enthusiastic team at DH1 assists with steering his music in the right direction, providing him with secure publicity, and aiding with final production elements.

Samad Discovering the record label through freshers fair of 2019, Samad has been working with DH1 since last year. As an artist, he has developed his sound and image over time, consistently experimenting with different genres. Initially, Samad was writing music with a band perspective in mind but now his individual style is taking

MUSIC Friday, 20th November 2020

flight. Since Covid-19 struck, Samad notes that lockdown was a time of “self-sufficiency” where he was able to take his music in a “new direction” and re-define his style. Later this year, the artist hopes to release a mixtape, highlighting his new style of pop combined with R&B, funk and trap influences. He notes it has been “tough working only virtually”, sending music back and forth between himself and producers but this has not affected his creative output. Despite the tough circumstances, Samad plans to do a pre-recorded concert to release alonside the new mixtape. This will give listeners an insight into his stage presence, overall aesthetic and give him the opportunity to perform his music live. He also plans to release singles throughout the year to embed himself in his new sound.

Angharad Davies One of DH1’s new artists, Angharad Davies, was discovered by the record label over lockdown through her single ‘Play It

by Ear’ being broadcast on Purple Radio.

Angharad was scouted soon after and is looking forward to working with the la-

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Lottya

bel on her new musical projects. Initially, the artist comments that she knew of the record label last year and was tempted to audition but at the time didn’t feel ready to apply. When asked about her style, she comments that “it’s always so hard to describe yourself, it’s just me”, and that she does “borrow from a lot of genres” to create her self-produced, pop soundscape.

Her music focuses on a pop-esque sound with soul and 90s rap influences embedded within. Although being new to the label, she has a lot of previous experience with music creation and is currently shooting a self-made music video which will hopefully be released next month.

Although being unable to work in a music studio to produce her tracks, she remains undaunted by the process of self-producing her tracks. She also comments how the first lockdown provided her with an extended amount of time to focus on creating new music and giving a more personal, “confessional” outlook to her lyrics.

Carlotta Meyer, whose stage name is ‘Lottya’, is the newest artist of DH1, having been signed only days before the interview. She talks about her style as “experimental bedroom pop”, in which her music does not obey the typical song rules but develops these ideas through altering song-structures. Currently releasing the majority of her music on soundcloud, she notes that the application process for DH1 consisted of thoroughly thinking about the sort of artist she wanted to be and the sort of music she intended to release, emphasising how it is “useful to have a niche”. In terms of the upcoming year, Lottya plans to improve her production skills through producing more of her songs and releasing new singles. We are excited to see how being signed to the label will morph and develop her music further.

Writing in thetime of Covid All four artists commented on how lockdown and Coronavirus affected their creative output, either positively or negatively. They all mentioned that these restrictions provided them with guilt-free time to write and produce new music.

Lockdown proved to be a period of selfreflection and inspiration to all the artists as they each had more time to focus on their creative output and to think about how they want to present themselves in the industry. However, Angharad commented on her writer’s block at the start of lockdown as being “quite stressful, because you’re locked inside all day, you kind of feel guilty about not being as productive”. As well as this, Ottilie notes that for the audition process, DH1 are “especially [looking for] artists who have some knowledge of production to make it more feasible” due to meetings between artists and producers being all virtual.

If you’re an artist who has a uniqustyle and would like exposure in the music industry, DH1 plan to hold more artist auditions throughout the year in order to expand their collective, so be sure to follow them on social media for updates.

Photography by Amelia Holden

STAGE 14

Thursday, 19th November 2020

Grayson Perry’s controversial statement on theatre Stage discusses Perry’s claim that the pandemic will clear our culture’s “dead wood” Isabel Carmichael-Davis Stage Editor stage@palatinate.org.uk

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rayson Perry, in a recent interview with the Arts Society Magazine, made the bold statement that the closures suffered as a result of Covid-19 will actually help the arts sector because “some things needed to go”. He comes across as very blasé about the countless people who are losing their jobs over the pandemic, and out-of-touch in the way he fails to consider that the art exhibitions and theatre productions he is dismissing as “dead wood” are still the source of people’s livelihoods and careers. But have his words been twisted as he claims, or alternative does he actually have a point about the role of the arts in modern society?

“too often, the audience for culture is the people making it”

It is easy to become distracted by the lack of sensitivity he shows in this interview, as he gleefully anticipates the stripping back of the culture sector, but although badly expressed, his ideas do seem to have some logic. Mainly, his hope is that if some of the peripheral, unpopular or outdated shows are removed, then it will help to focus funds and energy on those which are more successful and relevant, and make way for the new, and in doing so revitalise the arts sector. While many were upset by the closure of Andrew Lloyd Webber’s Phantom of the Opera in July, it had been on the West End since 1986 and so could understandably be seen as due to end to make way for new shows.

Unfortunately, which shows survive and which ones are forced to close, is not always simply based on merit and value, as Perry seems to assume in this neat theory.

In the same interview, Perry also claimed that “too often, the audience for culture is just the people making it – theatres with whole audiences of actors”, raising the question of the relevance and accessibility of theatre. This indicates that the shows put on are not intended to attract or interest the public as a whole, but rather to satisfy the specific desires of a close circle or even an individual. This is obviously overstated, but there is the concern that many shows only reach and appeal to those already in the theatre circle.

In terms of student theatre, it is interesting to consider how many people go to see productions who aren’t friends with the cast or production team. Even if the answer is none, does this matter? Arguably is less of a consideration on a student level than on a professional one, as outreach and influence is less important, and it is more about giving experience and enjoyment to the students who are producing and acting in the productions.

However, the strength of Perry’s initial statement also suggests that he has the slightly snobbish assumption that ordinary people don’t seek out art, when this has clearly been disproved with the success and popularity of live streaming during the pandemic. According to The National Theatre’s ‘NT at Home’ scheme, they attracted 15 million views over 17 productions.

Indeed, this shows the way that the barrier to culture is not what is being put on, but the physical accessibility of exhibitions, shows etc. Live streaming has meant that often the shows are free or significantly cheaper and it removes travel inconvenience and

costs, knocking-down the finance barrier which prevents people with less disposable income from attending. Clearly this is not a sustainable answer in the long run, however it does prove that there is a wider audience for all kinds of theatre, from Ballet to Shakespeare to modern drama.

“what we need is a growth in theatre, rather than a narrowing down” This seems to suggest that what we need is a growth in theatre, rather than a narrowing down. Maybe Perry’s point about the refocus on increased accessibility has validity, but his confident assumption that we will be better off after Covid closures is misplaced and tone-deaf. While the government continues to insist that the arts are replaceable, with their misguided ‘Rethink. Reskill.

Reboot’ campaign, what the pandemic has truly shown us is how irreplaceable the arts are to society, and how many more people are interested in theatre than sadly normally have access to it.

Illustration by Verity Laycock

CREATIVE WRITING Thursday, 19th November2020

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Around the world Manon Sintés travels around the world with the words of Plath’s ‘Alicante Lullaby’ Manon Sintés creative.writing@palatinate.org.uk

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’ve never been to Alicante, but Plath’s last verse of Alicante’s Lullaby gives me an idea of what it would be like. I am able to piece together fragments of places that I have visited, their smells and colours, and, in this poem, most particularly their sounds. This particular stanza reminds me of a bustling marketplace in Bangkok, a city I lived in for two years.

Whilst I was young during my time there, and all I have left are disjointed memories, I remember the smells of street markets, the bustle of bartering voices and the sense of urgency. I couple this with my more peaceful years living in Cape Town, in South Africa, and I add the natural colours and vibrancy of the coast, the smell of salty air and the feeling of people needing to get somewhere quickly, not in a hurry, but with a sense of so much life that needs to be lived and plans urging to be made. With the two combined I might just be in Alicante.

“the bustle of bartering voices and the sense of urgency” I think of the friendliness of Spanish culture, what I am left with after my years of living in Barcelona, where locals would chat and occupy the streets

which would stay busy until eight or nine in the evening as it was still warm out, until it was time to retreat for a big family meal. I’d be part of those crowds with my father, getting a chocolate caliente (so thick that we could stand a spoon up in it – still my favourite way to have a hot chocolate) in some café in our local barrio.

I must borrow from Plath, as the best way to describe the beautiful jumble of passionate voices is indeed as a ‘cacophony’, something both Alicante and my local barrio both have in common, it would seem. A sense of family floats through that neighbourhood where I would ride my bike, and run errands, always surrounded by the chatter of Spanish and Catalan voices that I grew to know well.

This reminds me too, of Paris, whose streets I frequent often whenever I visit my extended family.

Where, every Saturday morning at the bottom of L’Avenue des Gobelins in le 5ieme Arrondissement, a man appears with an accordion and the locals dance. Amused passersby watch and get their morning espresso and croissant from one of the numerous

cafés by that small plaza. Tourists stop to film, as such a sense of community and togetherness is rare, and they must feel they’ve stumbled onto a beautiful joyful and private moment.

I am not surprised they wish to take it home with them, even if on their phones.

It may just be one of my favourite places in the world. I was baptised in the church next to that bustling roundabout, and six months later my younger cousin (and now, a closest friend) was baptised there too. Family permeates the streets of Paris.

“a feeling of togetherness, which surpasses borders” I’ve never been to Alicante, but what Sylvia Plath has captured is not just that singular place but the comforting sides of being human, and a feeling of togetherness, which surpasses borders. There are parts of us all over the world, and parts of the world within us. In turbulent times, such as those we are in now, let’s hold onto that.

Image Credit: Manon Sintès

TRAVEL 16

Thursday, 19th November 2020

A Grecian Odyssey Florence Singer takes us on a roadtrip across Western Greece Florence Singer travel@palatinate.org.uk

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ith major travel companies like Tui reporting increases of 145% on travel bookings for 2021, it’s never too early to start thinking about summer plans again – especially if everyone else already is!

When I think about summer travel destinations, Greece immediately springs to mind. It is a place that I cannot help but hold in high regard after living and working there two years ago. However, with beaches on every corner, it’s time to prioritise some of Greece’s other unmissable, and least touristy attractions on the Western Coast.

less than £10/day in Nidri or Levkas. Try scooting upwards, to the Nidri Waterfalls, and then keep ascending. At the top of the island, there is the tiny Church of Prophet Elias, with a view made even better by the fact you’ll be the only ones there.

Stop 1: Meteora

Although relatively a rogue starting point for a road trip down Greece’s west coast, this inland location is an absolute must for anyone wishing to explore less touristy landmarks.The name ‘Meteora’ literally means ‘hovering in the air’. The site gets this name from the fascinating geological structures and hermitage-seeking monks that made them their homes in the tenth century. Today, six Orthodox monasteries remain active and stand teetering on the fingertips of these rocky outcrops, along with many other hermitages and caves.

Stop 2: Parga Parga is on this list purely because of its beauty. As you drive down, the first thing you’ll notice is the islet in the middle of the bay, with the beautiful whitewashed church, surrounded by the clearest blue water. The town is also a great base for exploring, with two castles in the nearby vicinity.

Stop 3: Lefkada Heading down the coast there are two options: either stick to the mainland and veer east or take a detour down onto the island of Lefkada. Mopeds are the best way to get around and can be hired for

Lunch Stop: Astakos Once back on dry land, the drive down from Lefkada to the Peloponnese is stunning. With the ocean on your right, views span to nearby Kalamos and Kastos, as well as the scrubbier, much less touristy islands of the Echinades (trans. sea urchin).Stopping in Astakos is a very Greek experience – this is not a place catering to holidaymakers. Restaurants along the quay serve classic fare, facing out onto the sea. Old men play cards and drink Ouzo. Half the items on the menu are obscurities – try ordering ‘bulk’ wine, I was never brave enough to!

Stop 5: Rion-Antirion Bridge

Stop 4: Cephalonia In this neck of the woods, it’s impossible not toinclude a bit of island hopping.

Easily accessible by ferry, hop over from Vassiliki to Fiskardo – a destination in its own right. However, rather than sticking around, take the half-hour drive to Assos.

The village is picturesque and lively but dwarfed by the Venetian fort here in 1593.

Encompassing the entire peninsula of Assos, the structure is extensive. Within its grounds, however, there are all sorts of eerie remains. An old prison used to hold political prisoners still stands among the olive groves. The experience is made all the more memorable by the prevalence of the indigenous goat population that runs amock.

Top Tip: Take the footpath to the top of the peninsula for spectacular views!

This is the spot where Mainland Greece ends, and the Peloponnese begin!

For €13, the bridge is a quick link that has dramatically improved access to the Peloponnese. However, for half the price, the ferry doesn’t take much longer but provides infinitely more entertainment.

Just rock up, roll on and watch the chaos unfold!

Stop 6: Olympia There is so much to do in the Peloponnese – the ancient towns and cities here are literally the stuff of legends. However, one of the most exciting and readily accessible spots of historical interest is the ancient site of the Olympic games.

The Olympics took place here for over 1100 years, and the Olympic torch is still lit here every four years for our modern games. Wandering beneath the Plane trees that shade the ancient site, you’ll encounter sporting sites intermixed with temples. Olympia is spacious and spiritual – the perfect place to ponder the ancient breadth of history.

Image: Florence Singer