Indigo 797

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EDITORIAL Wednesday, 4 October 2017

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F EATURES 3 Welcome to Durham - and stop worrying 4 Interview: Empty Shop on the development of its latest arts space F ASHION 5 Banning size zero - a positive step for body image?

F O O D & DRINK 6 The world on a plate: an investigation into edible culture Durham’s top three independent cafés TRAVEL 7 A poor man’s guide to a rich man’s holiday: travelling as a student F ILM & TV 8 “A horror movie isn’t meant to make you feel horrible” : the do’s and don’ts of scaring MUSIC 9 “Hip hop has done more damage to young African-Americans than racism”: addressing the controversy

CREATIVE WRITING 10 The beginning

V I S UAL ARTS 11 Where art thou, Art? A tour of the North East’s eye-pleasers BOOKS 12 & 13 What to see at this year’s Durham Book Festival: Editor’s picks Art for curiousity’s sake? Sylvia Plath’s letters STAGE 14 & 15 In conversation with Giles Ramsay, acclaimed director and former fellow of St Chad’s College

INTERVIEW

16 Ameera Conrad: actress and cast curator of ‘The Fall’, UCT’s sell-out performance

Cover illustration by Mariam Hayat

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s I sit at my desk writing this editorial (‘attempting’ to unpack), I am surrounded by half-filled boxes, half-crossed out lists and the increasingly half-hearted moan of the washing machine. Over-excited and under-prepared, the Michaelmas term has finally come around.

And so, a very warm welcome to all of you, both new and old: I have every faith that the coming year will bear some of your happiest memories yet.

Let me also welcome on board our talented new group of Indigo editors. Over the next few months, they will investigate and comment upon the best of Durham’s art scene; I introduce them to you now with our opening edition.

Features, Visual Arts and Books all look forward to exciting new ventures in and around Durham. These include upcoming art exhibitions, the fast-approaching and universally celebrated Durham Book Festival and an interview with Empty Shop’s own, Nick Malyan, on their developing studio space for theatre and art installations.

Other sections, such as Travel and Food and Drink, use this edition to reflect on the long summer behind us. Highlights include Harriet Willis’ advice about cheap student travel and Emma Taylor’s feature on the relationship between food and culture. Meanwhile, Stage gives us an exclusive interview with celebrated director and producer, Giles Ramsay.

Finally, Tom Watling discusses the extent to which hip-hop is damaging young African-Americans and Fashion dives head first into the latest debate concerning modelling size.

With Kering and LVMH recently banning US size 0 from the catwalk, Emma Denison poses the question: ‘Has any progress really been made in the battle against body shaming?’

With such a broad spectrum of topics under discussion, this edition of Indigo sets strong precedence for the year ahead. During this time, our team will explore the relationship between the art forms: writing on a wide range of subjects in a variety of styles.

‘Words are powerful’, The Daily Telegraph’s recent campaign declares, ‘Choose them well’. And the power of journalism to reveal the ‘world in all of its compelling, vibrant, and tawdry complexity’ (Mick Brown) has never been more relevant.

In this ‘world of the half-seen’ and deep among the half-filled boxes and half-crossed out lists, ‘The right words in the right order have a kind of magic’ (Allison Pearson). Enjoy our Freshers’ edition of Indigo. Take advantage of everything Durham has to offer. Embrace the chaos. But most importantly, good luck: I wish you all the best.

TB www.facebook.com/palindigo Follow us on Twitter and Instagram: @indigodurham

INDIGO EDITORS Tamsin Bracher Adele Cooke (deputy) FEATURES EDITORS Divya Shastri Katie Anderson (deputy)

CREATIVE WRITING EDITORS Chloe Uwitonze Scaling Kleopatra Olympiou (deputy) STAGE EDITORS Helena Snider Helen Chatterton (deputy) VISUAL ARTS EDITOR Madeleine Cater BOOKS EDITOR Julia Atherley FASHION EDITORS Anna Gibbs Emma Denison (deputy) FOOD & DRINK EDITORS Emma Taylor Sapphire Demirsöz (deputy) TRAVEL EDITORS Harriet Willis FILM & TV EDITORS Meghan Hosch Imogen Kaufman (deputy) MUSIC EDITOR Tom Watling Ashleigh Goodall (deputy)

Have a question, comment, or an idea for a story you’d like to write?

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

FEATURES

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Wednesday, 4 October 2017

Welcome to Durham - and stop worrying Features explain how those anxious first few days of Freshers’ Week swiftly give way to a soothing sense of homeliness

By Kleopatra Olympiou Deputy Creative Writing Editor

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ou will arrive in Durham bearing parts of your life thus far, packed into suitcases or boxes or bags, a collection of the objects that have played their part in shaping you.

You will move into your new room - its emptiness might scare you, its daunting neutrality will seem to be whispering that there is nothing special about you being its current occupant. You will wonder about the people who lived in your room before you, about their thoughts when they lay in the same bed and stared at the same ceiling.

In time, you will conquer Durham You will be very aware of how small you are in the vastness of the student population. You will also learn that there is enough space for you in that community. The size will not smother you; it will fit comfortably like a snug, homely jumper.

In time, you will conquer Durham. You will begin with your room- your posters, or photos, or happy bedding, the little things that are you will carve out a space that is individual to you. In the absence of pets, you may entertain the company of plants. Your plants’ resilience will grow alongside your own.

You will soon become familiar with the city. The streets will lose their off-putting novelty, the buildings will shed their stiffness. They will greet you every morning with a friendly nod as you walk to and from your lectures. Some days, you will venture beyond the necessary route, to make a new discovery or simply to walk past your favourite bridge. Exploring will give you a sense of belonging. You will make friends. The strain, the awkwardness will go away. Bashful days will give way to happier ones. You will connect with people, share your life with them, be told their stories.

Photograph by Phoebe Dill You will have your first visitors, and will watch with unfathomable joy as your two worlds meet.

Durham will feel doubly yours - being a guide bestows upon you the most triumphant sense of belonging. You will confidently profess to know where the best pancakes, coffee, dinner are to be had.

You will begin to refer to college as “home”. At first you will notice, almost blush. Then phrases like “I’m walking home” will roll off your tongue casually. You will not feel their awkwardness; you will have a new home.

You will feel a great tingling at your fingertips when perusing books in the library. Great power lies at your disposal, and the very thought that you have access to the library’s vast resources may have a slightly vertiginous effect. You will probably get lost in the library. Not to worry, you’ll find your way out. You will learn to study in the company of others- in the library, in coffee shops, on the corridor floor outside your room. The presence of other people will reduce the isolation of studying for hours on end. The idea that everyone else is off having fun when you are studying will cease to trouble you. You will treat yourself to some great cups of coffee to go with all that work.

While attending lectures, you will start to feel less and less like an impostor. Before your first lecture, you may be overwhelmed by the very idea of it.

It is wise to expect the ordinary. It may take until after Christmas (or, indeed, Easter) for the ‘university student’ part of your identity to be worn without a sense of being totally and completely lost.

You will try new things, and find yourself in situations entirely strange to your pre-Durham self.

Whether it’s a team T-shirt with your surname on it, football boots, artwork, tickets to a show you’ve been part of, you will watch your room fill with tangible evidence of a comfort zone long departed, the excitement of new things. You will smile knowing

that the people who have known you in the past could never picture you where you are now. You will grow.

You will witness the passing of time. You will walk next to auburn leaves in October, then observe their slow disappearance. You will soon start to miss your other home. You will look forward to Christmas, but when the holidays come, you will miss your Durham friends, and be shocked to realise your new life will involve missing people on a year-round basis.

You will soon become familiar with the city. The streets will lose their off-putting novelty, the buildings will shed their stiffness You will watch the trees grow bare, then your spring walks will be peppered with pink blossom, the promise of tiny daffodil shoots, the happy arrival of daffodils themselves. The sun.

You will be welcome and, most of all, you will be happy.

FEATURES 4

Wednesday, 4 October 2017

Durham’s ‘artistic ecology’ under one single roof One of the North East’s foremost art studios hopes its new creative hub will help to bridge the city’s ‘town-gown’ divide.

Features finds out why.

We’re the first organisation – to my knowledge – to attempt to bring everything together under one roof in this way: an entire arts ecology that exists in one space and hopefully produces something greater than the sum of its parts!

How do you hope to cater to both the student and local population?

We find that creativity and culture is one of the best ways to help break down the perception of a ‘town and gown’ divide in Durham.

When people go to a gig or a play they don’t define themselves as student or local – they define themselves as people who love music or theatre. We want the members of TESTT Space to recognise each other as artists first and foremost.

Having said that, it’s important to recognise and cater to difference. The way we do that is to listen to what people tell us they need and create an overarching framework that works for the majority of people but which is flexible enough to adapt to an individual or groups’ needs.

By Divya Shastri Features Editor features@palatinate.org.uk

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ounded in 2008, Empty Shop set out to provide an accessible platform for artists of all levels and backgrounds to produce exhibitions and engage with art within Durham. Nine years on, they have taken this effort one step further with the creation of TESTT Space, a new visual arts hub with galleries, studios, screening facilities, workshop space, a dark-room and a black box studio. Located just above Durham Bus Station, the space already has eleven local artists in residence but is now setting up a dedicated student artists’ studio.

Members of the studio will be able to access the space at fixed times each day, including evenings and weekends. Membership costs £25 per term and includes a host of benefits including basic materials, go-and-see visits to local galleries, and an end of year exhibition.

We sat down with Nick Maylan, Empty Shop’s co-founder, to learn more about the artistic venture.

What inspired the creation of this visual arts space for Empty Shop?

Empty Shop was originally a visual arts focused organisation – setting up pop-up galleries in Durham from 2009 onwards. Recently, as our venue HQ has become busier with events, the exhibitions and studios have been less of a focus. TESTT Space is about re-establishing our commitment to visual art in the city, and providing much-needed support to networks of artists in the area.

At the same time we were looking to develop this sort of visual arts space, we were [also] developing our partnership with the University’s ‘Culture Durham’ department.

Photograph by Dai-Khue

What do you hope this space will achieve?

Our ambition is to provide a space where Durham’s visual arts ecology can exist under a single roof. We have eleven professional artists holding studios, photographers establishing a dark room and regional curators programming and producing exhibitions! We also provide space where community groups and collectives can make and present work – as well as galleries for emerging and established artists. It’s important to value and support artists at all stages of their career and create opportunities where people can learn from each other.

Of course, any breakdown of Durham’s creative community wouldn’t be complete without recognising the role students can, and do, play in the city. At Empty Shop HQ we see a really healthy mix of student and local audiences coming together – TESTT Space will hopefully oversee this happening at the creative stage of the process too.

TESTT Space is a short-term solution to the problem, though. We’re keen to learn from everything that happens there – and build an evidence base for something much longer-term in the city.

Do you think the creation of a visual arts space is unique to Empty Shop? If so, how?

Nationally and regionally there’s a lot of visual arts provision, but Durham has historically not had a huge amount – and certainly not affordable, shared space. There are the studios down at Fowler’s Yard, and we previously had a studio set up upstairs at HQ, but TESTT Space is a massive step up – in terms of size but also in terms of ambition and the level of provision.

“When people go to a gig or a play they don’t define themselves as a student or a local – they define themselves as people who love music or theatre” At the studios that means that professional artists tend to want a mix of their own dedicated space where they focus on their practice. For the student artists we work with, its more about a shared space you can tap into on an as-and-when basis – and fit in around the various pressures of uni life.

We hope that by offering both in one space there’s loads of scope for crossover, interaction and even collaboration. What’s really exciting is that this is very much in keeping with the ambitions of the University’s Culture Durham department who we’ve partnered with to develop TESTT Space.

How can students utilise your studio space for theatre compared to other spaces like the Assembly Rooms, Black Box Studio spaces, or even just around college?

One of the resources we offer at TESTT Space is a black box studio that is suitable for devising and sharing original theatre. Our focus is very much on contemporary culture – artists and writers who are alive and still making work and who try to make a contribution to their art form.

This means that we’re not going to be hosting much existing work bar the odd adaptation or fringe-style show. Instead we’ll be working with groups like Buttered Toast and Wrong Tree – as well as local practitioners of course – to produce an environment that the theatre-makers can really make their own.

If you’re interested in booking a space, email testtculture@gmail.com or visit www.testtculture. wordpress.com to find out more. Applications must be submitted by Sunday 15th October.

FASHION

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Wednesday, 4 October 2017

Banning size zero – a positive step for body image?

Fashion sample opinion on whether any progress has really been made on the catwalk in the battle against body-shaming.

By Emma Denison Deputy Fashion Editor deputy.fashion@palatinate.org.uk

backwards in preventing body shaming. They argue the ban serves to condemn someone for their body image being ‘wrong’.

s you start reading this, let me ask you a few questions. How far away is your phone right now? How long has it been since you last scrolled through Instagram or Twitter? I can only guess the answers – less than a metre away and definitely less then ten minutes ago.

Although it can’t be denied that the pledge is an effort to protect model wellbeing and to increase body diversity on the catwalk, why hasn’t more effort been made to have a catwalk show filled with healthy models of all shapes, sizes and colours?

When talking to my friend Emma, a recent Durham graduate, about this article, she shrewdly noted that in relation to size diversity on the catwalk there seems to be only two options. “Everyone seems to be either Bella Hadid or Ashley Graham,” she said, “who, although absolutely stunning and amazing, is also larger than the average woman.”

Where, in amongst this undeniably stunning collection of models seen in fashion weeks around the world, is the spectrum of sizes?

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Maybe for those blessed with the skill of actually being able to multi-task, you are looking at it right now. The soaring use of smartphones and social media has not gone unnoticed by the fashion industry. Not only are models being cast on account of their ‘Insta’ follow count, but the colossal fashion industry is also taking note of what the 700 million monthly users of Instagram are after: Someone we can relate to. A life we aspire to have.

Why hasn’t more effort been made to have a catwalk show filled with healthy models of all shapes, sizes and colours?

Most people do not find the first of these two things in the traditional image of a runway model.

In a recent bold move by Kering & LVMH, two of the biggest fashion conglomerates and host to the likes of Gucci, Dior and Saint Laurent, US size 0 (UK size 4) models have been banned from the catwalk. With the average size in the UK being a 16 (US size 12), one may feel this is a step away from the notoriously ‘one image fits all’ runway, towards a truer representation of the population designers are supposedly providing clothes for.

However, another question stands just as clear: is this legislation really a step towards diversity and away from body shaming?

This most recent ban – announced just before the 2017 London Fashion Week – is not the first time that body size has been a key factor in determining who can be involved in a catwalk show. Both France and Israel have previously prevented models walking in a show who can’t produce a genuine doctor’s note confirming their physical and mental well-being.

However, this most recent size ban is not based on any direct medical intervention or analysis.

Without the support of medical evidence as to why a model is unfit to walk, the intervention has been noted by some journalists to seem more like a step

Although some have mentioned the fashion week shows this year have been the most diverse yet, it is still hard to find an article that actually demonstrates this change. This really struck home when Hannah, a second year at Hatfield, sent me a selection of images showing what she struggles with when trying to find clothes that are “in style”. The picture that struck home the most was a screenshot of an article by StyleCaster entitled: ‘The Top 10 NYFW Trends for Spring 2017’.

Photograph by Charlotte Astrid via Flickr The article was showing three models demonstrating the ‘Bra-Top’ or ‘Bralette’ – a trend that has dominated high street shops and Instagram images for a considerable portion of this year. However, instead of the bralettes themselves, what was most noticeable about the image attached to the article was the near-homogeneity of the bodies of those wearing the ‘trend’. “Clothes nowadays aren’t made for boobs!” was the complaint Hannah made, along with many other girls I have talked to, when asked how she felt about recent styles.

This is a grumble I myself made in a changing room just the other day when trying on a tie wrap-round dress. In fact, just as I am writing this, Sammi Maria (@samanthamaria) and Lily Pebbles (@LilyPebbles) – two fashion focused vloggers and

bloggers – have engaged in a complaint on Twitter about the very same problem. “They pretend big boobs don’t exist – ugh!” Sammi wrote in protest about some high-street stores failing to stock bra sizes over a C. Of course, I am aware that not everyone will have this ‘bust’ problem, but it is not the only region that has come up in conversation in relation to trend access – the cropped box top is another trend item to be mentioned a lot. The problem factors: height, body composition and the confidence of baring any region of the stomach. As Becca, a third year sociologist from St Cuth’s, puts it: “I would feel uncomfortable wearing clothes that revealed some parts of my body because the beautiful, unblemished bronzed bodies of women in the media make my pale skin and scars feel inadequate in comparison.”

That is not to say there has not been any progress made in embracing different body types.

Effort has been made, especially in relation to what has become referred to as ‘Plus Size’ clothing, a term which has always been a pet peeve of mine.

“Embrace your flaws” is now a commonly thrownaround phrase. But as noted by Emily, another Hatfield second year, why is it that we refer to parts of our body as flawed, and not just different – or, in fact, as just part of who we are?

“The beautiful, unblemished bronze bodies of women in the media make my pale skin and scars feel inadequate in comparison,” says one person I spoke to Is being a size 12 or, as LVMH and Kering would have it, being a size 0, a flawed part of us, something we should be ashamed of?

I am well aware that the issue of size within the fashion industry is a minefield, but from just talking to a few students – of all different, equally beautiful body types – it seems that one thing is quite clear. Both the high street and the catwalk are still not fully representing the very audience they are selling to. To do so entirely is undeniably an impossible feat, but one thing – at least to me – is clear. Instead of just banning a clothes size, maybe instead more effort should be made on diversifying the size of models on the catwalk. Maybe then trends will appear that cater to all types of shape – with big boobs and small.

FOOD & DRINK 6

Wednesday, 4 October 2017

The World on a Plate Compiled by Emma Taylor

When you visit a country, or even a city, certain components go a long way to make it that place.

The Eiffel Tower is Paris, Big Ben is London and the Empire State Building is New York. These are physical monuments to particular cultures; mosaic tiles in the whole picture. However, have you ever thought about the edible cultural monuments? The Eiffel Tower may act as a visual monument of Paris, but what about the croissants, the macaroons and the little coffees drunk on wrought-iron balconies? Isn’t curry as integral to the character of India as the Taj Mahal, in the same way fish and chips are as key to British culture as red buses and Big Ben?

grape; it is a true science! So, next time you’re at a formal, do check the label. Personally, I’d recommend a bottle of Burgundian red.

‘Argentine Steak’

by Stefano Cattaneo Argentina, for all intents and purposes, is a synonym of ‘meat’, or more appropriately, carne. Needless to say, they probably know how to cook it well, and these guys definitely know a thing or two about grilling. Asados (BBQs), an integral part of Argentine culture, are almost weekly occurrences.

Huge social occasions, they allow families and friends to feast away the afternoon while catching up and drinking copious bottles of the country’s other prized export, wine. Spending even just a few days (let alone months!) in this meat-obsessed country, it is difficult to avoid an encounter with the best steak you will probably ever eat.

Food and Drink ask Durham students to tell us about the edible culture of the countries they have spent their year abroad in …

‘Burgundian Wine’

by Claire Richardson During my year abroad in Dijon, France, I had the opportunity to work at a university for Business Studies with a faculty dedicated to the management of the wine industry. For these French students, alcohol is not just a prelude to a night in Klute but a pivotal industry to their region of Burgundy. I was able to visit wine cellars and vineyards to sample the region’s best Aligoté and Pinot Noir. As well as experiencing a professional wine tasting class, I helped organise similar events at the university.

My top tip for wine tasting is to use all five senses!

There is more to wine than taste: think about the texture, or even how the sound affects your experience, from the pop of the cork to the glug it makes when it is poured! The whole industry is fascinating - I learnt how weather conditions or infesta-

‘Bakeries Abroad’

by Rupert Wood

Photograph by Emma Taylor tions can destroy entire crops and in many ways it remains a very fragile business. Fantastic wine is made by so much more than age or the variety of

The main factor that separates the cuisine of continental Europe from the UK is the lack of true bakeries. In Germany high quality bread is an essential and in France well-presented patisserie is the icing on the cake. Britain, on the other hand, lacks this demand for quality breads and patisserie. Instead it follows the likes of Greggs with their sausage rolls, cappuccinos and meal deals. However, the standard of groceries that we are prepared to put up with is a case of prioritisation. If we compare ourselves to our continental cousins, we simply do not care if our bread doesn’t rise to the challenge.

‘Latte yourself go’: Durham’s Top Three Independent Cafés

By Sapphire Demirsöz As the days become chillier and the leaves turn ruby red, it’s the perfect time to find a cosy corner in the heart of Durham for a moment of mid-day hibernation or a quaint coffee date. Here are three of the best independent cafés where you can sip a piping hot drink and indulge in a luxurious little nibble this Michaelmas…

Be Tempted “the best spot for charming tea and cupcake dates ... their red-velvet cupcakes (which are unbelievably only £1) and marshmallow-topped hot chocolates are wonderfully sweet and adorably picturesque - the most delightful afternoon treat. Also the number one stop for a quick early morning sip as from 10-12 pm they serve tea and coffee for only 99p a cup.”

Chapters Tea Rooms “an enchantingly dark ambience, perfect for small gatherings. Plenty of generous cake slices and practically the entire range of Twinings tea on offer, Chapters is great for catch-ups.”

Photograph by Sapphire Demirsöz

Flat White Kitchen “one of the most popular café brunch spots in the city and buzzing with lively student chatter. Located in the centre of Saddler Street and famous for its gigantic buttermilk pancakes, it is one of the busiest bistros around.”

TRAVEL Wednesday, 4 October 2017

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A poor man’s guide to a rich man’s holiday Travel reveal how extravagant globe-trotting is possible even on a student budget

By Harriet Willis Travel Editor travel@palatinate.org.uk

you want to hear again. For exploring the city, ditch the pricey bus tour and look out for free walking tours. But don’t be fooled: they’re not completely free. Prepare to leave a tip worth a few pounds at the end of the tour.

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lmost every student is likely to have the words ‘travel the world’ etched on their bucket lists. This is often accompanied by crumpled, orange train tickets pinned on a notice board or a map of the world taped to the wall, serving as a temptation to throw some items into a suitcase and get on the next plane. But this dream to travel is typically followed by the condition of it being after graduation. Too little time and too little money often suggests that we, as students, are confined to Durham during term time. However, it turns out there are still some affordable ways to see the world as a student.

Eat like a local

It is a well-known fact that the most authentic restaurants are not kept in the parts crammed with tourists and the city’s most famous sites. Instead, they’re usually tucked away in quieter alleys, away from the centre of the city. Spending 5 minutes googling “best local eats” or asking the receptionist at your hostel could cut down the price of your meal by half. Also, don’t be tricked by “pay by weight” schemes. After being told by some fellow travellers that we would be eating in a cheap canteen for German students, I carelessly threw a bunch of old, mass-produced food onto my plate. At the till, it was clear I had misjudged the weight, since the price didn’t mirror the quality.

How to get around

A lot of people instantly think that Interrail is the best way to travel around Europe. With scenic views of the continental landscape, partnered with trains that pull up to stations early, it initially appears to be the obvious option. However, it will put a huge dent into your allowance for the trip, as passes start at around £200. If you don’t mind spending a longer time travelling to your destination, then a bus will get you there for a fraction of the price. If you’re exploring Europe, why not try Flixbus? A bonus of this mode of travel is that you’ll get a socket to charge your phone, as well as free WiFi. Another way to get around is with BlaBla Car, a carpooling app that lets you hitch a lift with strangers for a cheap price. Just make sure you read the ratings about the drivers before you jump in.

If you’re still not swayed by buses or cars, then look at cheaper alternatives to buying train tickets, such as sites like Ouigo.

Where to stay

Booking through sites like Hostelworld may be favourable, since they are quick and easy. But if you find the hostel’s website you can book directly. This will often save you a pound or two, which could be money towards your first meal of the trip.

Another way to find a cheap eat is to look out for street food. This is the ultimate way to taste the local cuisine for a reasonable price. The other perk is that you are free to enjoy your food wandering around the city, with a guaranteed scenic background.

For a more adventurous option, you could stay in a monastery. For around €15 per night, you can bag yourself a bed (and breakfast) in one of Paris’ most picturesque areas, Montmartre. The only catch is that you will be woken up by the nuns at 2am to visit the Sacré-Cœur. Here, you have to either pray or just reflect to ensure someone is praying in the church constantly.

It may seem too good to be true, but free accommodation does exist. Couchsurfing, a website set up to help budget travellers, lets you book a sofa to sleep on, instead of your typical hotel bed. Most Couchsurfing hosts enjoy showing guests around the local area and introducing them to the region, which is a perfect option for solo-travellers who want company.

It may seem too good to be true, but free accommodation does exist

Seeing the sights

A lot of people have also heard of AirBnb horror stories. However, after spending two nights in Strasbourg with two university students, I would highly recommend it. Since you’re staying with locals, they can also double up as a free tour guide, filled with knowledge on where to eat the best tarte flambée.

To get a better idea of what a gallery or a castle is like, you might be tempted by an audio guide or a tour. Instead of letting this set you back a tenner, have a search on your phone’s App Store to see if there’s a free audio tour app for the attraction. They are a good substitute, and allow to you re-wind bits

Nearly all attractions will give you a small discount on entry fees if you show your student ID. Even better, all national museums (think: the Louvre or the Musée d’Orsay) are free in Paris.

Photographs by Harriet Willis

FILM & TV 8

Wednesday, 4 October 2017

By Imogen Kaufman Deputy Film & TV Editor deputy.film@palatinate.org.uk

movie making – good writing, acting and directing?

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orror movies can often be good movies within their own right, but are far too often written off as an amalgamation of gore, death and jump scares. Horror movies can have good writing, inspired cinematography and can stir powerful emotions within the viewer. Stereotypes set by films such as the Scream franchise can overshadow the creativity and intelligence that is put into some horror films. The success of the recent film It is testament to such quality.

Most people can agree on what makes a horror movie bad. Excessive use of jump scares, unnecessary gore or cheesy acting are the usual culprits. The recent release of Annabelle 2: Creation is a good example of this sort of excess. The film has an almost solid segment of jump scares and stress, leaving the viewer feeling practically exhausted by the end of it. A lot of film reviews mistakenly praised Annabelle 2 for this. After so long, though, jump scares lose impact. You’re not on the edge of your seat, you’re falling asleep in it. Annabelle 2 also fails to present an interesting villain or monster. If the evil in the film is unopposable and always victorious, then there is no unpredictability. A fight or drawn-out struggle with an unknown outcome surely makes for better entertainment.

The balance of a good horror is something unique, however. Contrast is key. Horror movies shouldn’t be like Annabelle 2, which is more of an assault on the senses. Characters’ total hopelessness loses its impact when there’s no hope of survival or reprisal. Horror movies should have lows and highs; high concentrated elements of stress and tension peppered between gentler, calmer scenes which provide the viewer with a false

in order to be considered scary. Films such as The Conjuring and The Conjuring 2 had relatively happy endings but were no less terrifying because of this.

Naturally, the criteria of what makes a horror movie good is not static The relationship between the Warrens, the married ghost hunters, not only explores real life stories but presents a powerful and strong relationship. The representation of their romance did not lessen the scariness of the movie but, in fact, made the viewer more invested in the film’s characters and their fates. A huge problem with horror movies is the lack of this investment and the small impact deaths can have within the films themselves because there is too much of it, or characters are not developed convincingly.

Naturally, the criteria of what makes a horror movie good is not static. Expectations of what we want from our films are constantly changing in all movie genres.

Boundaries and ideas are constantly being challenged. Horror movies are no exception. Titles such as The Blair Witch Project were iconic in their time and set about creating a new style for horror but certainly aren’t as compelling a watch today. This is because the “found footage” genre has evolved with a new intelligence to create impactful pieces such as The Visit, often making predecessors look bland in comparison.

What a lot of reviewers get wrong is that a horror film isn’t meant to make you feel horrible, it’s meant to make you unnerved, anticipating what comes next, scared but the experience is still meant to be enjoyable. You’re ideally meant to be glad you watched the film afterwards. Maybe you’re left a little frightened, unsettled, but that’s all part of the fun.

What a lot of reviewers get wrong is that a horror film isn’t meant to make you feel horrible, it’s meant to make you unnerved

sense of security.

What makes a horror movie clever is unpredictability. Hence, scary films don’t work when they rely too heavily on old clichés, because the viewer won’t be surprised by what comes next.

What makes a horror movie good is debatable. Is being afraid or experiencing an adrenaline rush the most important thing? Or should it still be held up against the normal standards of good

Horror movies typically have tragic or gruesome endings but they can still have happy, or at least less abysmal, endings and maintain the same impact. A film doesn’t have to end with mass murder

Horror movies definitely aren’t for everyone. But for people who do enjoy them, it’s good that the genre appears to be taking itself more seriously.

Horror movies are about more than just the shock factor.

Real fear-inducing scenes and stories need to be constructed with intelligence, thoughtfulness and the cleverest of horror movies will leave us unsettled, perhaps on edge, but they won’t make us wish we never watched them.

Illustration by Katie Butler

“Don’t You Want It?” Following the runaway success of this summer’s reincarnation of Stephen King’s It, Film & TV ask: what is it about a good horror movie that truly chills the spine?

MUSIC Wednesday, 4 October 2017

9

“Hip hop has done more damage to young African-Americans than racism” Music give their verdict on the bizarre controversy unfolding between Kendrick Lamar and Fox News contributor Geraldo Rivera

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

fully adopted by Martin Luther King Jr. before his assassination.

I

n his recently released album, DAMN, Kend­ rick Lamar attacked Geraldo Rivera’s claim that “Hip hop has done more damage to young African Americans than racism”. A wealth of media attention prompted a twenty-minute response this April from Rivera, during which time he offered his reasons for why he stands by his accusations. Despite applauding the talent of Lamar, he continued to defend his idea that Lamar was a poor example to young African-Americans – I would like to show why this opinion is misguided.

Rivera’s central line of thought argues that the anti-police rhetoric of Kendrick Lamar instigates an ‘Us against them’ mentality, claiming that “it’s being used to really set young people … against the officers who are sworn to protect them.” Even though he acknowledges police brutality as a “real issue,” it’s obvious from his argument that he is merely paying lip-service to the problem. Why? Well, Rivera confuses the direction of causality, seeing this rhetoric as an instigation of the ‘Us against them’ mentality. In fact, it is a reaction to the pre-existing mentality fuelled by a history of police discrimination. He further argues that the negative influence of anti-police rhetoric is far greater than that of the police brutality - an opinion that is fundamentally backwards.

Rivera confuses the direction of causality Rivera, speaking of South Chicago, then declares that the quantitative extent of police brutality “pales in comparison to the ghetto civil war being waged.”

This is not untrue, but is in no way sufficient in devaluing the anti-police rhetoric of Hip-Hop. It also represents one of the most common and misused views of the alt-right with regards to black-on-black violence.

The latest statistics from an FBI report show that 90% of black murder victims are killed by other black people. However, that same report showed that 83% of white murder victims are killed by other white people. Furthermore, the Bureau of Justice Statistics reported that, between 2008 and 2012, “Poor urban blacks (51.3 per 1,000) had rates of violence similar to poor urban whites (56.4 per 1,000).”

So it is ridiculous to use black-on-black violence to discredit the problem of police brutality: Rivera’s argument lacks context and his comparison is thus redundant.

Lamar performing in Manchester, Tennessee, in 2012.

(Jon Elbaz via Creative Commons)

It is ridiculous to use black-onblack violence to discredit the problem of police brutality This prompts me to ask a far more accurate but equally complex question: does this type of rhetoric reinforce the pre-existing problem of the ‘Us against them’ mentality?

Rivera quotes from Marvin Gaye’s song ‘What’s going on,’ using lines such as ‘You know we’ve got to find a way to bring some love in here today,’ to demonstrate the type of rhetoric that should be promoted by influential black musicians instead of the current anti-police one. This is, once again, argued without context and adopts a view predicated on a static timeline of African-American reaction.

‘What’s going on’ was released in 1971, after the peace movement and during the civil rights movement; a time when police brutality and white aggression were widely covered by the media. Peaceful protest was the most beneficial reaction, success-

Rivera also briefly mentions ‘fuck tha police,’ a track released twenty years later and in stark contrast to the rhetoric of Marvin Gaye. Does this reinforce the mentality? Yes. But was it a necessary reaction? Yes. After several civil rights bills in the sixties and seventies, which went a long way to end segregation and lawful discrimination, media interest in minority rights was severely diminished.

However, police brutality in impoverished, predominantly African-American, ghetto cities remained prominent. In turn, the anti-police rhetoric, exemplified at its most potent in this track and era, was necessarily shocking and aggressive. With no media to cover the injustice of police brutality, peaceful protest would have been to no avail. Rivera cannot see this because of his static views on the history of police brutality.

If we then consider Lamar and the era in which he operates, it is again different. Police brutality is becoming less frequent, but it still exists. Media coverage of these atrocities has improved, but continues to be insufficient. The reaction must be different: it must inform and shock the listener. There is still not enough coverage of police brutality and many people remain unaware of what is going on.

Rivera’s comments are not only misguided but also dangerously wrong In my opinion, if you look through Lamar’s discography, he fits the bill perfectly. To name but a few examples, ‘The Art of Peer Pressure’ talks about the reasons behind black crime in ghetto cities, ‘Institutionalised’ talks about the problems of institutionalisation and ‘How much a dollar really cost’ was praised by Obama as one of the most important tracks of 2015.

Lamar, amongst others such as Joey BADA$$ and J. Cole, has introduced to Hip Hop a potent opportunity to instigate debate. And it is the conversations surrounding the issues that may be able to fix the institutional problems that facilitate police brutality. This is why I think Rivera’s comments are not only misguided but dangerously wrong.

If you have different views, feel free to email me your ideas at music@palatinate.org.uk. A full version of this article will be published online.

Geraldo Rivera commentating from outside the White House in 2011. (Mark Taylor via Creative Commons)

CREATIVE WRITING

10

Wednesday, 4 October 2017

‘Millennials: Part One’

‘The First Day’

By Sheehan Quirke

By Lorna Reeve

A whole generation who never knew fear, But don’t blame us for having it all: It really isn’t easy To have everything, Is it really that much harder To have nothing?

The noise overwhelms, A room filled with 200 students, ‘They’re all just as scared as you’But they’re not.

Are you sure there’s enough air here?

Are you sure I’m still breathing?

Before long, I’m in the bathroomThe enclosing walls and the locked door offer security.

We only hear one song on the radio, There’s one film, plays again and again; Again and again and again again again; But I’d be lying if I said I didn’t like it…

I know I need to get out, Formal looms and I need to eat.

But I’m not ready to face peopleI can’t see the ones who don’t understand.

But then a comforting hand steers me, Offers me water, talking; But also- Comfort, Safety, Company.

She offers options and choices, recommendations.

‘The Sky would be Blue’

‘More people than you know’ She says, ‘We’re not always obvious, But we’re everywhere.

A quiet union of people who understandThere is always support.’

Please look up Students with Disabilities Association, Heads Up and Welfare services for support.

By Hannah Goldswain One day, she vowed she would run. be blue and the clouds almost transOne day, she told herself, the soul. She could take food from under the plant pot with the would pave the way and

She would get a surge of courage that would course through her veins and erupt. The sky would parent, and the sun would be burning a hole into the ceiling.

house would be empty enough. She could steal across the loose floorboards and she wouldn’t wake a the kitchen, a blanket, a toothbrush. And she would exit by the back door. She would lock it and put the key geraniums in. Like she did every day. And then she would run. The trees would turn their backs, the leaves above her the sky would be blue.

It would be the day the birds sang to the heavens. The day the rooster crowed from the back yard. The day the sun rose up amongst the stars, whispering them away with the twilight: that would be it. When she could put on the trainers she didn’t mind getting muddy, shoulder her rucksack and go. She would walk into the quiet and let the wind brush through her hair. The roads would be empty, no curtains would be twitching and the sky would be painted blue.

She would tell it to no one, and no one would ever suspect. She would keep her head down and melt into the forests and streams and green, until people forgot her name. Until her memory drifted into the part of the mind reserved for ‘what could have been’, the one muffled by grey. But she would run regardless, she would fly through the fields, she would crash and tumble and breathe again. The stars would shelter her at night, as the darkness came and went. The sun would wash roses and amber hues across the velvet, creating dawn from a blank canvas. And when the day came, announced by the birds, overhead the sky would be blue.

Photograph by deldevries via Flickr

VISUAL ARTS

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Wednesday, 4 October 2017

Where art thou, Art?

By Madeleine Cater Visual Arts Editor visual.arts@palatinate.org.uk

Visual Arts pick out where all the North East’s eyepleasers can be found

W

hether you’re a first year just starting out in Durham or a returner who thinks they know their stuff, one thing we all have in common is the frequent recommendation to ‘burst the bubble’ of DU life.

What better way to spend a ollowing a £3.8 million regenweekend than to have your eration, the Hatton Gallery is fill of college brunch before due to reopen on the 7th of Octoimmersing yourself in an exber. The first exhibition to grace hibition or gallery for the afits walls is entitled ‘Pioneers of ternoon?

Pop,’ which argues that Newcastle was the birthplace of WestWith Newcastle a mere ern pop art. twelve minutes away by train, This is especially worth visit’s really refreshing to exiting for those doing the Modern plore a city that’s on our Art module in Art History this doorstep, as well as to disyear! cover Durham’s hidden gems too. Here’s a taster of what’s on offer in the art world over the next few months…

F

B

uilt in 1093 CE and voted Britain’s Best Building several times, Durham Cathedral will watch over you from matriculation to graduation. The architecture alone is well worth a look but within the cathedral there are rolling exhibitions and a chance to peek around the place too.

T

he Biscuit Factory is an independent art gallery that holds seasonal exhibitions from local artists, so make sure you head over to check out the ‘Autumn Exhibition’.

The free admission means there’s no reason not to stop for a coffee (and a biscuit) in their cafe too...

T

he Baltic hosts a plethora of contemporary art exhibitions. One to watch out for this term is ‘Starless Midnight,’ which has been curated to coincide with the 50th anniversary of Martin Luther King’s honorary degree from Newcastle University.

A

n apt way to immerse yourself, either for the first time or as a returner, into North Eastern life is to visit the Angel of the North, an iconic emblem of this part of the world.

T T

he Wolfson Gallery is contained within the Palace Green Library, next to the Cathedral. From the 14th of October to the 25th of February, it is hosting an exhibition on the folklore and fairy-tales of northern Britain.

he Oriental Museum is the only museum in northern England devoted to the art of Asia and North Africa. This term, the museum is hosting two exhibitions, one exploring the aftermath of the 2015 Nepal earthquake, and the other showcasing the collection of a colonial administrator.

Illustration by Faye Chua

BOOKS 12

Wednesday, 4 October 2017

“A vibrant mix of authors, thinkers and artists”: A guide to its must-see events and hidden treasures

By Julia Atherley Books Editor books@palatinate.org.uk

F

ounded in 1990, the Durham Book Festival is one of the country’s best established literary events. Following on from the success of last year, the 2017 programme promises big names including David Almond, Rachel Joyce, Harriet Harman, Jenni Murray, and Peter Snow. The event stretches across Durham in venues ranging from the cathedral to Claypath Deli. From 7 to 15 October, Durham will become awash with high profile authors as well as lesser known but equally intriguing events.

Find the full programme on the Durham Book Festival website: durhambookfestival.com

David Almond : The Books That Made Me 14 October, Gala Theatre

Author of Skellig and My Name is Mina, David Almond’s Half a Creature from the Sea is this year’s Big Read book. The festival is distributing 3,000 free copies of the book to the university as well as to schools, libraries, and the prison. The book is a collection of short stories each based in the North East, making it a brilliant celebration of the region and the stories it possesses.

Almond’s event at the Gala Theatre will focus upon the books which have been most important to him during his lifetime and will also discuss the tales that inspired his new book.

Robert Webb: How Not to Be a Boy 10 October, Gala Theatre Robert Webb, perhaps best known for his role in Peep Show, will be at the festival to introduce his new memoir: How Not to Be a Boy. The book has been described as ‘hilarious and heart-breaking’ as it discusses his childhood and his difficult relationship with his father. The event will almost certainly sell out so get your tickets soon!

Jenni Murray : History of Britain in 21 Women 8 October, Gala Studio

Images clockwise from left: Robert Webb; David Everett via Flickr and Creative Commons David Almond; University of Salford Press Office via Wikimedia Commons Rachel Reeves; Scottish Labour via Flickr Jenni Murray; Chris Boland via Flickr

What better way to mark the beginning of Michaelmas term than by hearing Dame Jenni Murray, presenter of BBC Four’s ‘Woman’s Hour’, discuss her book: A History of Britain in 21 Women. Ranging from Boadicea to Emmeline Pankhurst, Murray’s latest publication describes the lives and impact of 21 women who have come to symbolise hope and empowerment. There has been a late surge in interest in women’s history, particularly with the recent translation of Svetlana Alexievich’s The Unwomanly Face of War.

Rachel Reeves (pictured left) and John Tomaney : Labour in the North 8 October, Palace Green Library

This event will explore the origins of the Labour Party’s dominance in County Durham with Rachel Reeves, Labour MP for Leeds West, and John Tomaney, Professor of Urban and Regional Planning in the Bartlett School of Planning, University College London. They will explore the social and economic grounding of the support for the Labour Party locally and discuss the present and future sustainability of the party’s power base. This talk is a brilliant opportunity to engage with the politics of Durham city all within the Palace Green Library.

BOOKS Wednesday, 4 October 2017

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What to see at the Durham Book Festival

Sinead Morrissey, Colette Bryce and Tara Bergin: Poetry Book Society Showcase 7 October, Palace Green Library

Tracy Chevalier and Kamila Shamsie: Retellings 15 October, Durham Town Hall

Harriet Harman: Harriet Harman: A Woman’s Work 14 October, Durham Town Hall

T.S. Eliot Prize-winner Sinéad Morrissey’s (pictured) collection On Balance is set against the backdrop of economic instability and explores multiple crises. Colette Bryce, an Irish poet based in the North of England, will present her Collected Works, drawing upon four previous excellent publications. Tara Bergin is also an Irish poet and will be discussing her latest release: The Tragic Death of Eleanor Marx, which draws upon fairy tales and folksong.

Both of these authors have reimagined classic drama and brought it into the modern world of fiction. Tracy Chevalier is the author of Girl with the Pearl Earring, and her latest novel New Boy reimagines Othello in a 1970s schoolyard. Kamila Shamsie’s (pictured) Man Booker prize longlisted novel Home Fires is a reworking of the classical play: Antigone. The event promises to be a discussion about the connections between the classical roots of fiction and the novels we read today.

Harriet Harman is a prominent campaigner for women’s rights and is Britain’s longest serving female MP. Her book A Woman’s Work, tells the story of her efforts to put women’s issues at the heart of the Labour Party and chronicles her life fighting for equality and social justice. This is definitely an event not to miss as it promises to be a refreshing look at the last 30 years of British politics.

Photos from left: Sinéad Morrissey; British Council Russia via Flickr Kamila Shamsie; Andrew Lih via Wikimedia Commons Harriet Harman; University of Salford Press Office

Art for curiosity’s sake?

By Orlagh Davies

W

ith the release of the first of two volumes of Sylvia Plath’s letters on the 28th September, there is bound to be a resurge in interest about her relationship with Ted Hughes. The Telegraph has been particularly constant in their affections for the

couple, revealing their excitement regarding the publication of Plath’s love letters to her spouse. In an almost throwaway sentence, it was mentioned that the volume will also contain several hundred letters to her mother, Aurelia, as well as letters to friends, boyfriends, and doctors.

The Guardian was even more selective, choosing only to mention in April of this year the letters in which Plath accuses Hughes of domestic abuse. Whilst the sensationalism of these articles does make for really quite interesting reading, I cannot help but feel a little uncomfortable. Why do people want to read Plath’s letters, and why are they being released at all? Freida Hughes, the daughter of Plath and Hughes, has consistently maintained a belief that most approach her parents’ work due to their culturally-mythicised relationship. In her preface to the 2004 restored edition of Ariel, Freida wrote of how she was chastised by journalists and the public at large

for choosing what they saw as the ‘wrong place’ for an English Heritage plaque. She preferred the house where Plath wrote her greatest works whereas a large majority of the public wanted it on the house where she committed suicide. Plath’s life, in this respect, certainly trumped her fiction in the eyes of many.

I guess that the point of my drawing together these various perceptions of the release of Plath’s works is to question whether we sometimes overlook the quality of her truly remarkable writing in favour of our purely intrusive motives. Despite her personal life being intimately linked to her work, a balance must be struck; her life cannot be imposed upon her use of metaphor and vocabulary. This is particularly important regarding her personal non-fiction.

Cynically speaking, I won’t be holding my breath for this desperately needed change in angle.

Illustration by Faye Chua

STAGE 14

Wednesday, 4 October 2017

t r a d n a s c i h t e e r Whe . . . e d i coll

and r e c u d o r p , r directo d e m i a l c wer c o a p n m a e s i o t , e n g o e i w miss d’s Coll e a n h s C i t h S d f n o a urham er fellow D m f r o o f s e i a r , o y a m s his me t u o Giles Ram b a e g theatre. a t f S o o t m u s i k d l e a t m gh the u o r writer. He h t s e i t i n commu t c i fl n

By Max Lindon o c t s o p stage@palatinate.org.uk

“

The three strands to my Durham bow were the debating Union, the comedy revue and the theatre,” says Giles Ramsay, in what is a comforting statement for all Durham students who find themselves neglecting their studies in favour of theatrical endeavours. “The skills I learned from these have certainly stood me in far better stead throughout life than my exceptionally unimpressive degree.”

Ramsay came to Durham as a Masters student, having previously studied at Cambridge, and soon he immersed himself in extracurricular life, particularly theatre – and has since launched an acclaimed career as a director and writer.

The difference between student dramatics and the professionals?

“There are noticeably fewer divas in professional theatre,” he says For him, it seems his involvement in the Durham scene was good preparation for a career in professional theatre.

“The biggest difference between student and professional theatre is income,” he says. “Also, there are noticeably fewer divas in the professional theatre.”

Still, the road to success wasn’t always easy. Even if the difference between the amateur and professional theatre worlds is less than some might think, it’s still notoriously difficult to break into the latter from the former. “Whenever I’m asked about my supposed career I have the image of a long corridor with office doors to the left and right of me. As I moved along the corridor over the years I was followed by the resounding smack of doors slamming.

Eventually there was one door left open. Hey Presto – my career!”

Ramsay is the founding director of Developing Artists, which he describes as “an international charity working to support the arts in post-conflict zones and deprived communities around the world. Our projects connect a global network of artists, entrepreneurs and arts institutions thereby breaking down some of the barriers – physical or psychological – that prevent performing artists from fully developing their work and sharing it on the world stage.”

STAGE

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Wednesday, 4 October 2017 Clockwise from top: Ahmed Tobasi from The Freedom Theatre in Jenin performing at the Arcola Theatre, London; Chipo Chung starring as Madame in Maids, Zimbabwe; Ramsay himself.

(Photographs: Giles Ramsay)

Developing Artists’ projects often involve working with people from conflict-affected countries. I ask him whether he thinks art is a way to relieve a sense of struggle. He replies, “I’m not sure that theatre really can help people with the direct trauma of war but by releasing their stories and formalising them into staged productions a greater level of ownership and control can be achieved and this in itself can be empowering.

“All our projects aim to be professional and selfsustaining for the artists involved so that they acquire the skills to earn an income from their work and initiate their own projects over the long term.”

Recent projects, for example, have included a production of Euripides’ The Trojan Women performed by 15 Syrian women from a refugee camp in Jordan that toured the UK, and a play from Jenin, which also toured the UK and has now returned for a run in Palestine. Ramsay highlights the story of a young actor called Ahmed Tobasi who, before starring in the Jenin production, had previously been a member of Islamic Jihad, but who now says: “Theatre can be my AK-47.”

For his next project, Ramsay is taking on the topic of migration, uncovering artists through workshops in Jordan, Palestine, Zimbabwe and the refugee camps in Greece and Italy, before bringing them together to perform what will be known as The Odyssey.

Ramsay seems to have found a way to combine his passion for theatre with work that has a strong social conscience, which is surely the goal for many of us students, looking outside the safe bubble of university into the unsettling world that lies beyond.

“I love theatre and travel and have been extremely lucky in being able to combine the two. If I’ve managed not to do too much harm along the way, that’s great.”

He warns, however, that “there’s an extremely fine line between doing good for others and feeling good about yourself… whilst a great many outreach programs do wonderful and important work, there are sadly also some which are frankly bogus and simply stuck-on in order to help with grant applications and fund-raising. It’s important to be brutally realistic about what the true motivation behind any aspect of a project really is.”

A former jihadist Ramsay cast in a production now believes “theatre can be my AK-47” What advice would he give to others looking to follow a similar path to his? “Don’t always think about what’s in it for you, be prepared to work for free on occasions, genuinely try to listen and learn and at least be prepared to consider that when things go horribly wrong (which they will) the whole sorry fiasco might be entirely your own fault.”

Giles Ramsay is one inspirational man, and a helpful reminder that genuine achievement is not always as easy as it might look from the outside.

THE indigo INTERVIEW Wednesday, 4 October 2017

16

‘The Fall’: All Rhodes Lead to Decolonisation

indigo interviews Ameera Conrad, Cast Curator of UCT’s sell-out performance ...

The response to the show’s premiere was incredible: why do you think it resonates with the audience in the way that it does?

I think the humanness of the play and the realness of it – not necessarily that we’re such good actors that we can create a reality on stage, but that we actually lived those experiences – I think that makes the play special. I think it’s also because we don’t purport to know the answers to anything; we aim to show the audience that these characters are flawed, because we’re flawed. No one is 100% right 100% of the time. The show is real and raw and doesn’t attempt to be neat or wrap up politely with a bow on top – and I think people respect that, and relate to that, because life is like that.

Has it felt different performing ‘The Fall’ in Edinburgh rather than Cape Town?

Cast member, Zandlie Madliwa, photographed by Oscar O’ryan

By Tamsin Bracher indigo Editor indigo@palatinate.org.uk The Fall bills itself as ‘an insightful play about race, class, gender, sexism, colonialism and ideologies of patriarchy’. Written and performed by seven graduates from the University of Cape Town, it traces the conception and development of the student protest movements, #Rhodesmustfall and #Feesmustfall. It won two awards and several five star reviews at the Edinburgh Festival this summer and is currently running at the Royal Court Theatre in London for a limited period of time.

Indigo was lucky enough to get in touch with Cast Curator, Ameera Conrad, who graduated with distinction from UCT Drama Department in 2015.

To what extent was ‘The Fall’ based on the cast’s own experience?

The show began as a response to the student protests in Cape Town in 2015. Each of the cast members was in some way involved in or affected by the protests. We felt as if a lot of people were saying a lot of things about the student movements, but were not listening to the myriad of voices within the movement. So we wanted to represent not only our own experiences, but also the experiences of our friends and comrades who were occupying and marching alongside us. We consider the play to be 60% our own stories and experiences and 40% the stories and experiences of the people around us.

We changed the text a bit because we realised that we took a lot of the South African colloquialisms for granted, we wanted an international audience to understand everything that we were saying.

The major difference, I think, is that there are moments in the play where black South African audiences (particularly Xhosa speaking audiences) would respond to the actors – there’s a moment especially where Sihle Mnqwazana’s character ZukileLibalele is doing a praise poem calling on his ancestors, and at home we’d have audiences ululating, clapping, calling the names with him, things like that. Cultural things that are specific to of colour South African audiences were different, but there was still an incredible response to the show from our international audience.

Since the play was first performed, do you feel there has been important progress towards decolonisation (what exactly do you mean by ‘decolonisation’)?

When we say ‘decolonisation’, we’re referring to the dismantling of systems which exclude people of colour, we’re talking about a deeper look at the canon of work which is studied at university and school levels, and including the achievements of people of colour, we’re talking about giving people of colour the respect that they deserve, we’re talking about removing the symbols of colonialism, we’re talking about admitting to the fact that not everything that is related to modernity comes from the West. I think there’s definitely been an international conversation which has opened up since 2015, people are demanding that the issues be addressed. I think the clear step is the removal of all statues and symbols which glorify oppressors – statues of Rhodes, Columbus, Livingstone, all of these conquerors, can’t exist in 2017 in positions of adoration. If they belong anywhere, they belong in a museum.

Abel Bede recently argued in Palatinate that statues

of people such as Robert Lee and Cecil Rhodes should remain standing in Britain else “we are only slowly confirming a narrative that our nation always stood on the right side of history.” How would you respond to this?

History is a funny thing – I think we all can and should accept that writing history is not this neutral and unbiased thing that we should respect unequivocally. History is written by the victors, by the powerful, by the rich. There are some history textbooks in South Africa which claim that Cecil John Rhodes was a man ahead of his time who gave opportunities to Africans in a time when his peers were not doing the same. But that’s just not true. I think if people argue for history then those statues should be put in museums where we can debate who is right and who is wrong, where we can read long descriptions of who these men were and what they did, not in the middle of streets and gardens where we basically deify and idolise them. I’m a believer that if the history that is currently written is excluding a particular narrative (as most of it does) then we should be re-writing it to include those narratives, or at the very least we should be creating a new canon of history to include the voices of the marginalised. Where’s the statue of Harriet Tubman in the United States? Where are our statues of Saartjie Bartman in South Africa?

What do you hope to achieve by dedicating your Fringe prizes to ‘all activists and movements working towards the dismantling of systems, structures and symbols of oppression’?

We recognise the work that activists are doing around the world towards the dismantling of oppressive structures and symbols, and we wanted to show that we stand in solidarity with them. The most amazing thing to us was to have people of colour from all over the world telling us that they are dealing with the same issues as we are in South Africa – artists from California, Australia, London, all related to the show on a very real level, and knowing that you’re not alone in your fight is an incredible thing. We wanted to show ourselves as part of a global community of artist-activists.

How have you tried to convey in ‘The Fall’ that the movement’s ambitions go far beyond visual representations (for example, statues) of colonialism?

There’s a large debate in the first 20 minutes of The Fall where we make clear that the issues go far deeper than the signs and symbols of colonialism and oppression – because colonialism is also not the beginning and end of oppression around the world. It’s easy to say that we should just remove things and everything will be alright, but we need to address these issues at their roots. We can’t just chop the top of the weeds off, we need to pull them out entirely and sow new seeds.