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EDITORIAL Thursday, 21 January 2021

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

BOOKS 3 Revolutionizing romance adaptations FEATURES 4&5 Rewriting Resolutions in 2021 & Household in (dis)harmony INTERVIEW 6 In conversation with Julia Llewellyn Smith STAGE 7 Theatre in 2020: A review FOOD AND DRINK 8&9 How one student created a gingerbread cathedral MUSIC 10 MICHAELMAS DOMIX FILM & TV 11 Awarding nobody: Minari and the Globes TRAVEL 12 & 13 Bucket List Travel: Top Destinations for 2021

We would like to wish you all a happy new year and welcome you back for another term, regardless of whether you will be spending it in Durham or elsewhere.

2020 challenged us all in ways we previously would not have been able to imagine but we made it through regardless and we should all be proud of ourselves. Instead of buying into ‘new year, new me’ culture, perhaps we should take some time to appreciate the achievements no matter how big or small that allowed us to reach this point. New year’s resolutions are often based upon things that we would like to change about ourselves but acknowledging the events that you experienced and overcame in the past year, whether good or bad, is equally important in moving forwards.

To celebrate the new year we indulged in “lava lamp” cocktails. We used one measure of chambord (raspberry liqueur) in a champagne glass and then topped it up with prosecco. When it has separated slightly drop in some frozen blueberries and watch as they rise and fall. For a non-alcoholic alternative, try some simple sparkling water with a twist of lime and some frozen berries for a refreshing drink.

CREATIVE WRITING 16 Lights Out

In this edition, our editors are thinking about new beginnings and new ideas. Features examine the mentality behind new year’s resolutions, Travel suggest your next bucket list destinations for 2021, Interview talk to Julia Llewellyn Smith and Stage take a look at how theatre has changed in 2020.

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

We hope you have a wonderful new year and that this edition is an entertaining start to the term.

FASHION AND VISUAL ARTS 14 & 15 The relationship between art and fashion

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: Serena Smart

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

STAGE EDITORS Issy Flower Charlie Barnett VISUAL ARTS EDITOR Emma Tucker Carys Stallard BOOKS EDITORS Millie Vickerstaff Sol Noya FASHION EDITORS Emily Potts Erin Waks FOOD & DRINK EDITORS Constance Lam Meghna Amin TRAVEL EDITORS Emma Johnson Gracie Linthwaite FILM & TV EDITOR Madeleine Rosie Strom Alex Rigotti MUSIC EDITORS Martha Lily Dean Katherine Pittalis INTERVIEW EDITORS Aimee Dickinson Claudia Jacob

BOOKS Thursday, 21st January 2021

Revolutionising romance adaptations

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Lizzie Wilmot makes the case for Bridgerton being the romance adaptation we need Lizzie Wilmot books@palatinate.org.uk

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here has always been a certain prejudice towards romance novels. It’s a genre that has been looked down upon, seen as only a holiday read or a small distraction to help you accept your latest break-up. As a Literature student especially, you’re expected to read, admire and treasure the classics with little room for questioning, and it’s these classics that are usually first in line when it comes to adaptations.

Nobody wants the ‘trashy’ romances or the frivolous historical tales of forbidden love; they want room for interpretation, unpredictability.

That is, until Bridgerton came along.

Brought to Netflix by super-producer Shonda Rhimes, Bridgerton is the adaptation of Julia Quinn’s best-selling novel series featuring a family of eight children, all of whom must make their way through the perilous waters of the high society social season in Regency London. From just that small introduction, you can’t deny that there’s an automatic expectation for a Byronic leading man with an enticing heroine by his side, put together with smouldering looks of passion cast across a ballroom.

Executive producer of the series, Betsy Beers, admitted to this when Rhimes first recommended the novels to her: “I didn’t take what the books were as seriously as I could’ve initially, but there should be no pejorative association with romance novels.” Bridgerton quickly became more than just an adaptation; it was also a challenge to destigmatise a genre that doesn’t wholly deserve the condemnation it’s received.

A sense of freshness is established almost immediately within episode one.

The social machinations are narrated, and often abetted, by the scandalous Lady Whistledown, voiced by Julie Andrews, whose true identity becomes an object of unveiling that can only be described as an amalgamation of Jane Austen and Gossip Girl. The music score holds classi-

cal string arrangements of contemporary pop songs, from Ariana Grande to Taylor Swift, bringing life into a feature that is often not commented upon. The costumes are radiant, accompanied by the most delicate hair arrangements, without a bonnet in sight. However, it’s the show’s casting that brings the biggest breath of fresh air.

“a challenge to destigmatise a genre that doesn’t wholly deserve the condemnation it’s received”

There are undoubtedly critics who will roll their eyes at the ‘colour-blind casting’ they see before them, but it is so much more than that. By just looking at the score, the costumes, the plot line, we can see that Bridgerton isn’t a history lesson. Rhimes’s decision to include people of colour in the cast allows history to be reimagined, handing the characters more power than historical assumptions allow.

In a genre that has previously been the exclusive domain of white actors, the tide is turning. Casting a person of colour in a historical setting no longer means they automatically play the role of the enslaved.

Rhimes herself recognised the prestige gap between the classic adaptations and historical romances, took it on as a challenge, and eventually squashed it through producing the beauty that is Bridgerton. It is safe to say that this is a series that has set a new standard for other productions in the genre to follow, and I hope that it’s one to stay.

Illustration by Verity Laycock

FEATURES 4

Thursday, 21st January 2021

Rewriting resolutions in 2021 Features explores how students are setting smaller goals for Features Editors and contributors features@palatinate.org.uk

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fter a year dominated by a sense of all the things we can’t do, I decided that my resolution in 2021 would be to take something up.

Months of online zoom learning has led to some very stiff muscles and a worrying lack of mobility. My resolution is to do some form of Pilates, Yoga, or stretching every day - whether it’s 5 minutes before going to sleep, or a full-on Yoga class. I’m not going to keep trying to give up chocolate - it never works and, frankly, it’s not worth it.

I hope that this resolution proves more achievable, and ultimately self-beneficial.

By Immy Higgins

would mean to me this year. In the past I have set resolutions to put pressure on myself to change; but with everything constantly changing around us, that didn’t feel productive or healthy for me to this time around. Instead I have decided to take each day as it comes. My resolution is to wake up each morning and assess one thing I can do to care for myself each day.

These daily steps can be big or small, but most importantly I can adjust them each day

I often embrace January armed with a list of ambitious promises of certainty and routine inscribed confidently into a fresh yearly planner.This time around, after a year that’s shaken us like no other, the tradition holds little ammunition. My resolutions for 2021 therefore look a little different, and find themselves accessorised with hopeful uncertainty: to hopefully spend more time with my loved ones, to hopefully make my mind a gentler place to inhabit, and to hopefully spend less time frantically refreshing a phone screen.

By Aadira Parakkat

“I have decided to take each day as it comes” After a difficult year and with the uncer ainty of what 2021 has to hold, I felt it was right to rethink what a resolution

which will take away the pressure and the fear of ‘breaking’ it. My hope is that at the end of 2021, I can look back and realise that my daily steps help me to grow.

Whether you make a year long resolution or approach it as a daily approach like me - be patient with yourself this year.

By Elle Woods-Marshall

“My resolutions for 2021 look a bit different from last year” For most, the new year signifies a breath of fresh air; it can instigate both the dying of once familiar and unhealthy habits or the start of something new. For me, January this year has meant the revival of old behaviours, habits lost through teenage distractions and social media. A simple self-request, my only resolution is to read one book per week. It sounds like a small amount, but, in all honesty, my love for reading has long been neglected; even books I am sure to be interested in are often left unfinished. Perhaps a metaphor of something more significant, I want to end my addiction to screens,and replace it with an old comfort, something authentic.I want this year to be the year where my night-time routine does not consist of an hour’s scroll before sleep,but an hour dedicated to something I once loved.

Time to get back to basics.

By Becky Unsworth Image credits: Corina Rainer via Unsplash

FEATURES Thursday, 21st January 2021

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Household in (Dis)harmony Kathryn Ellison tells us about her experience living in a student house during lockdowns Kathryn Ellison features@palatinate.org.uk

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ost students know that moving in with their first year friends will stretch their friendships, but I don’t think that anyone in our house could have possibly anticipated the effect of being locked down together in the biggest national disaster since the second world war, and, for many, the most lifechanging event they’ve ever experienced, when houses were signed last Autumn.

“I have become very familiar with the dynamic of our silly little Whinney Hill house” As a self-titled “Durham long-hauler”, who’s been lurking in the city since early July, and as someone who absolutely refused to spend Epiphany term at home (that is, unless Boris offers to pay my £500 monthly rent), I have become very familiar with the dynamic of our silly little Whinney Hill house, and, as an extrovert who signed a house with five introverts, been made painfully aware of how dependent I am on others.

I will be the first to admit that I am a terrible person to live with. My ghastly taste in music, the clumsiness with which I commandeer the kitchen to cook my weekly “big soup”, and the fact that I cannot go longer than three hours without forcing

someone to join me for a cup of tea, makes me certain that I am a huge strain on the patience of my already incredibly patient housemates. Just this week I have spilt a huge pot of leftovers on the kitchen floor, and spent a while curled up at the bottom of my housemate’s bed like a pet cat when she moved back in after Christmas, Even so, living with friends whose personalities completely differ from my own has taught me valuable lessons about the art of appeasing the introvert. I have learnt that running into my housemate for breakfast before a 9am class is a much preferable affair if the conversation is small and mindful, and also that sometimes I just need to let myself enjoy a quiet type of companionable silence. Allowing myself to feel like I don’t have to fill up every single gap in a conversation during an afterdinner lull has actually become quite liberating in an odd way, and as anyone who lives with quiet bookish types will tell you, you gain a lot of knowledge about how to care for other people’s houseplants.

Another bump I have encountered is living in a male-dominated household for the first time. At home, I have a sister, a mother, and a father who doesn’t think it’s worth it to put up a fight. Adjusting to the masculine sense of interior design was certainly a struggle at first, and while I am sometimes embarrassed when someone spots me using my housemate’s Top Gear mug on a zoom call, living with men who don’t appear to spend too much time in the physical plane has allowed me to care considerably less about keeping up appearances.

There aren’t many benefits to living during a period of time which feels like the government is lurching us from disaster to crisis and back again, but I am grateful for the chance to form a tighter bond with the friends that I live with. Eventually, when life returns to whatever type of “normal” possible in a vaccinated and less virtual world, I am sure we will, for better or for worse, look back on the quiet evenings with a kind of warm nostalgia.

Image credits: Beatrice Law

INTERVIEW 6

Thursday, 21st January 2021

In conversation with Julia Llewellyn Smith Interview talks to Llewellyn Smith about her career and advice for budding journalists.

Claudia Jacob Interview Editor indigo.interview@palatinate.org.uk

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ulia Llewellyn Smith is a freelance journalist who writes for The Times, You Magazine at The Mail on Sunday, The Daily Telegraph and Daily Mail as well as magazines such as Grazia and Vogue. She’s also written nine books including Travels Without My Aunt, about the travels of the author Graham Greene. A former news reporter, Llewellyn Smith has produced features on “every subject under the sun”, although now she conducts a lot of interviews, “often with celebrities, but very often with ‘ordinary’ people who’ve done fascinating things”. Interview Editor, Claudia Jacob, speaks to Llewellyn Smith about her journalism career, the ways that social media has changed how we consume news stories, and the future of print journalism.

Llewellyn Smith has interviewed around 3 000 people throughout her career, and “it’s not unusual to speak to two or three on the same day”. She boasts an impressive list including, (“off the top of my head”), Princess Anne, Jimmy Carter, Tom Hanks, Tony Blair, Robbie Williams, Jane Fonda, Anita Rani, Susanna Reid and Bob Mortimer, and more recently, Melvyn Bragg, Joe Wicks and Joanna Lumley. Some personal favourites include Jamie Oliver; “I’ve interviewed him three times and he’s genuinely delightful – we also spent the evening after 9/11 having dinner together and shared the trauma, which was very bonding”.

Another highlight was “former James Bond, Roger Moore, in Monte Carlo, and he could not have been funnier or more charming”. She’s also had the opportunity to interview a handful of Strictly Come Dancing contestants and dancers, including Shirley Ballas, Stacey Dooley and Oti Mabuse. She’s even been to Bruno Tonioli’s house, “very calm and zen”, and to Craig Revel Horwood’s “luxurious pad” in Hampshire with “plastic, pink flamingos around the pool, a white dance floor that lights up and a huge white piano”.

low understandings, and for its producers to rely on lowest common denominator clickbait”. She elaborates that social media algorithms “draw people into an echo chamber where they only hear their own views repeated”. Ultimately, she’d “like print and social media to be able to coexist happily”.

Llewellyn Smith began her journalism career by writing for her student newspaper, Varsity. She adds that the best route into the industry is work experience; “it’s harder to obtain now and impossible with Covid-19, but even if it’s working on a local freesheet, it really helps”. She advises that “once in that position be as proactive and helpful as possible, people who go the extra mile and are pleasant to be around are remembered fondly. Any ideas for articles – suggest them!”.

So what are the most glamarous parts of a career in journalism? “You can find yourself with very little notice on a prime minister’s private jet, travelling to amazing places, at some incredible parties and in some fairly astonishing billionaires’ residences”. Having said that, “the more famous the interviewee, the more pressure you are under to extract something new and interesting from them”. Most of her time is spent “sitting alone at a laptop, knowing you have to produce entertaining, readable copy in a very short space of time and then dealing with queries from the sub-editors checking the most arcane facts imaginable”.

Llewellyn Smith emphasises that nowadays, “social media breaks stories in seconds, so a newspaper or news programme can’t be expected to be ‘first’ with anything anymore”. She points out that “it’s made people far more likely just to read soundbites, resulting in very shal-

Llewellyn Smith admits that “print journalism is in a lot of trouble”, mainly because “younger people expect content to be free, and because Covid-19 has been the final nail in the coffin for advertisers who were already flocking to social media”. She’s confident that “the best quality titles – to me The Times, The Financial Times and The Economist, will survive because there’s a market for excellent reporting, but many titles will fall by the wayside”. Similarly, “Instagram has pretty much destroyed glossy magazines; people now look to influencers for lifestyle tips; only the most premium brands will survive”.

“no other profession offers better... company” Despite her misgivings, Llewellyn Smith emphasises how much she has enjoyed being in the company of other journalists over the years; “I’m biased, but in my opinion, no other profession offers better, funnier, sharper company”.

She adds that “journalism can be maligned, but in my opinion it’s generally a force for good, shedding light on stories that would otherwise be forgotten”.

Image: Julia Llewellyn Smith

STAGE Thursday, 21 January 2021

Theatre in 2020: A Review

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A look at what did, and didn’t, happen for theatre in 2020 Niamh Hanns stage@palatinate.org.uk

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n 2020 saw the world come to a standstill. Weddings were cancelled, bars were closed, theatres had to completely shut down. However, just because people couldn’t meet in person didn’t mean the stage went entirely dark– where there’s a will there’s a way, and theatrical types all across the globe made sure that the show did go on.

On March 17th, London’s West End closed following advice to the public against attending performances, and to begin observing social distancing measures. Broadway had shut down less than five days previously, and the UK went into its first lockdown the following week. This first lockdown saw an incredible influx of free online theatre. Some personal highlights included the National Theatre’s ‘At Home’ series, which saw a different National Theatre play released on YouTube every week from April-July, and NSDF and Fringe favourites Ugly Bucket Theatre making their show ‘2 Clowns 1 Cup’ available to stream. As a northerner who is often envious of the comparative accessibility of theatre in London, I was genuinely thrilled to have such a wide range of theatre available not only for free, but without an expensive train ride.

But the implications of free theatre were evidently problematic. While releasing past performances for free was a wonderful solution for the sudden hole the arts left in our lives, and was amazing from a financial and geographical accessibility perspective, it raised questions for the industry on a wider level. If people became accustomed to being able to access theatre for free, would that result in an overall devaluation of the arts in the public eye? An awful lot of time and money goes into creating theatre, something people could easily forget if they expect to be able to access it without paying.

The National Theatre clearly saw this risk, and have since launched a paid sub-

scription service to access their content at home, although over Christmas they still made their pantomime Dick Whittington available for free. Regardless, the pandemic has had a disastrous financial impact on the industry, with a report by Oxford Economics warning of a £74 billion loss in revenue across the arts industry as a result of the crisis.

As the year drew on, some theatres managed to reopen, with the West End given the green light to reopen its doors in December as London emerged into Tier 2 following the November lockdown. Undoubtedly the experience of theatre makers had changed dramatically, with performers having to take daily coronavirus tests and distance from their fellow cast members. Audience capacity was greatly reduced to reflect the 2m social distancing requirements, yet although this would result in much smaller profit – if any – for theatres, many theatres still seized their chance to reopen. Of course, this joy was short-lived as London was moved up to Tier 3 on 14th December, and the new Tier 4 shortly after, and shows such as Six and Les Misérables had to close mere days after the start of their runs.

Therein lies one of the most frustrating issues for theatre during the pandemic; the sheer speed at which restrictions can change makes it near impossible to plan for anything, particularly shows involving large financial commitments.

Theatres face ever-present risk being shut down with little to no notice at all.

This is perhaps why Durham’s own theatre, the Gala, made the decision early on

to remain closed until at least 2021, while also using the closure as an opportunity to carry out planned improvment works.

As it stands, the Gala Theatre has not made any announcements about their plans for the rest of the year. Yet the pandemic has forced us creative types to remain, well, creative, adapting to the situation as best we can and finding new ways to produce theatre. Creativity has also flourished here at our university, with Durham Student Theatre’s output remaining high throughout the pandemic. Theatre companies such as DUCT and CTC released a range of audio dramas, and a lucky few managed real staged performances earlier on in the term when restrictions allowed for in-person activity, including studentwritten plays Agency, by Tom Murray, and Hostage, by Francesca HaydonWhite. While the term and year ahead promises to be a tricky one, we must hold out hope that theatre as we know it will return – and in the meantime, continue being creative and support each other and our theatres in any way we can.

Image by Adeline Zhao

FOOD & DRINK Thursday, 21 January 2021

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How one student built a gingerbread cathedral Kitty Hardyman constructs a gingerbread replica of Durham Cathedral Constance Lam & Meghna Amin Food & Drink Editors food@palatinate.org.uk

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here are few ways you can visualise Durham without imagining the Durham Cathedral: the intricate architecture and sheer wealth of historical artefacts merit the cathedral’s status as a UNESCO World Heritage Site.

One student, Kitty Hardyman, has brought Durham home with her, constructing a gingerbread replica of the cathedral.

Her final product has captured the attention of many members of the Durham University community, garnering over 100 likes on Twitter. We spoke to Kitty to learn more about the process behind her impressive feat.

Kitty is in her third year studying History and English at Hild Bede. According to Kitty, the inspiration behind the gingerbread cathedral stems from conversations with her friends and family about Christmas baking. Kitty’s passion for gingerbread is rooted in her tradition of making ginger-

bread every December: to her, the comforting aromas “make everything feel so cozy and Christmassy”.

When asked about why she chose the cathedral, Kitty spoke of her awe and admiration for the building: “I adore the Cathedral. It dominates the skyline in Durham — you can’t walk anywhere in the city without the cathedral looking down at you.”

“I adore the Cathedral. It dominates the skyline in Durham”

Kitty is impressed by the cathedral’s significance within the Durham community as a place of worship: “To think that people have been worshipping here for hundreds of years gives me a sense of the enormity of God but also the specificity of Durham”.

She is moved by “the sanctity of the space”, which is evocative of “something greater than simply stone pillars and stained glass”.

“The enormity of God but also the specificity of Durham”

FOOD & DRINK Thursday, 21 January 2021

She revealed that the entire cathedral took three days to build, and the final product was much larger than expected.

Impressively, Kitty built the entire cathedral on her own, but she appreciates all of the moral support which she received, especially from her friends’ parents.

Recounting an anecdote from a friend, Kitty emphasises that she isn’t alone in her admiration of the cathedral: her friend’s father cries every time he sees it, as it contains a time capsule of his memories in Durham during his early twenties. In addition to holding religious significance, Kitty reminds us that the cathedral plays a significant role in many people’s lives in Durham: “I think it’s this unspeakable charm that is almost alluring to us all.” She highlights how the cathedral acts as a sanctuary, providing protection and comfort to many in need, amidst historical and social change.

Many readers among us are food enthusiasts in the process of attempting culinary projects during lockdown. We asked Kitty whether her gingerbread cathedral was a ‘spontaneous lockdown project’ as well.

An amused Kitty agreed: “I really didn’t know what I was getting myself in for when I started it.”

“I really didn’t know what I was getting myself in for when I started it”

For Kitty, the hardest part of building the cathedral was making sure that the roof would stay up. She mentions that she didn’t use a ruler to plan the templates. Despite this, the cathedral was able to remain intact — as you can see in the photo.

“The entire cathedral took three days to build”

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Kitty thoroughly enjoyed creating the East Side with the beautiful Rose Window: especially the morning light against the intricate stained glass. To recreate this, Kitty used melted boiled sweets — she claims that this intricate detail “makes the gingerbread stand out as Durham”.

We asked Kitty what advice she’d give to university students who are aspiring bakers: to that she says, “If you’re thinking about it at all — then why not?”

“If you’re thinking about it at all — then why not?”

She reminds aspiring bakers to stock up on essential ingredients (“so you can whip something up whenever you feel like it”).

Kitty won’t stop at just one gingerbread architectural miracle; there are more plans on the horizon: she and her friend “have big plans to attempt St Paul’s next year”.

We’ll end with some words from Kitty: on baking, Kitty enthusiastically comments, “The rewards are endless: de-stress, delicious baked goods and everyone will want to be your friend!”

Photography by Kitty Hardyman via @kh.bakes on Instagram

MUSIC 10

Thursday, 21st January 2021

MICHAELMAS DOMIX Martha Lily Dean takes a look at DOMAN’s gift to Durham’s Original Music Scene Martha Lily Dean Music Editor music@palatinate.org.uk

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ith Coronavirus halting the majority of music-making at Durham University, Durham Original Music & Alumni Network (DOMAN) have done well to create a 20-track album. This has highlighted that creativity can continue in these difficult times for many musicians — students and professionals alike.

Lucy Bernardez opens the mixtape with ‘Tomorrow’, ‘There Is Nothing Worse’, and ‘You Once Told Me’, three folk-inspired tunes. The balance of her voice alongside the guitar melodies creates a unique mixture of dulcet tones alongside some winsome moments. Additionally, the classical string lines in ‘You Once Told Me’ give light to an instrumental force often forgotten by many songwriters, to provide a mature and unique spin to this ballade.

Double Down is the first group to feature, also adding three songs to the mixtape. The opening guitar riff of ‘No Dice’ is reminiscent of Nirvana’s ‘Smells Like Teen Spirit’; however, the group keep the general tone of the piece far more acoustic. The simple vocals and guitar concept in ‘Lazy Day’ particularly allows Saunders’s voice to shine through. Overall, the innovative bass lines and funky inspirations show off their range and capture the talent of this duo.

‘Manikin’, the next song of the mixtape, is a single released under Alex Comaish’s name but recorded with his band, Fly Trap Honey. The song is typically indie, with synth sounds combined with more classic guitar lines to produce a rather laid-back tune. The plucked guitar riff first heard in the opening and three-part harmonies are two stand-out features and, overall, the group provide listeners with a catchy tune. Ending with a guitar solo, however, it feels as though the song is cut short and I was surprised a final verse wasn’t added onto the end of this.

Kat, aka Kat Pittalis, offers the second single of the mixtape. ‘Mind Games’ in-

cludes many commendable features of a classic pop tune infused with funk features.

The addition of a piano solo in the instrumental break allows the song to stand out from other tunes of a similar style. Perhaps a more interesting horn line would have added further interest to the material and enhanced her mixing of genres.

Outerrings’ ‘The Wail’ has an ethereal quality from the start. Synths are prominent throughout and the noteworthy chord progressions, heavy bass, and extensive soundscape create a multi-dimensional feel to the piece, making this artist certainly one to watch out for.

Inkstain’s two songs, ‘Stained Glass Soul’ and ‘Not for Love’, offer a fun and fresh pop sound to the mixtape. Both tunes provide a different look into their style; ‘Stained Glass Soul’ opens with muted lyrics before breaking out into an upbeat guitar solo, whilst ‘Not For Love’ is more nostalgic, set at a slower pace.

The listener can tell the group enjoy experimenting together, and their catchy lyrics often sail across their indie guitar lines.

Oceans of Sound’s two songs, ‘Sleep Isn’t Sleep’ and ‘Lost Prescence’, are heavily influenced by Lofi beats, encapsulating dreamy qualities to create a rather relaxed backdrop. Combining synths with electric guitar, the duo are imaginative in the manipulation of their material and have an excitingly original sound. Vocals are certainly not missed

in their music, with the lyrical nature of the solo guitar line in ‘Sleep Isn’t Sleep’ replacing the prominant role of vocals that many other artists have employed on the mixtape.

Taliya Hafiz’s three songs on the mixtape bring with them a plethora of romantic lyricism. Writing in English, French and Tatar, her music helps the listener’s mood to transcend the many mundane tasks of lockdown. The gentle piano accompaniment and instrumentals heighten the poetic nature of her mellow voice, and, although I only speak one of the three languages featured, the soulfulness of her voice traverses any language barriers.

The final artists featured on the mixtape are Sam White and Ed Osborne, otherwise known as Escher. They combine edgy grooves with atmospheric dreampop vibes to create their authentic sound.

This duality enhances their sound to mix soft and harsh accents from a dichotomy of inspirations.

The arpeggio guitar lines of ‘Burrow’ are particularly poignant to their sound, and with four songs featured on the mixtape, they conclude the release in style.

Although lyrics were sometimes rather basic, the overall soundscapes of songs was fresh. Credit must also be given to the song order, with the mixtape working splendidly as a unified whole with peaks and troughs. In a time where Durham’s student scene has come to a stand still for many, it is inspiring to hear such a broad range of original music from students. I am excited to hear the new sounds they will each explore in 2021.

Featured Image by George Bone.

FILM AND TV 11

Thursday, 21st January 2021

Awarding Nobody: Minari and the Globes A thoughtful analysis questioning why Minari was shunned - and, in turn, what makes a film worthy of artistic merit Freya Williams film@palatinate.org.uk

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here is a film that was financed and distributed by American companies. It was shot and set in America. It was written and directed by an American filmmaker and it tells the story of a family’s pursuit of the American Dream using American actors. But apparently, it’s not American.

That is, according to this year’s nomination submissions for the Golden Globes which categorise Lee Isaac Chung’s Minari (2020) as a foreign language film. Despite winning both the Grand Jury Prize and Audience Award at Sundance (besides some 26 other accolades), it will not be considered for the Best Picture Award.

“The reality is a whole different story” Current stipulation is that a film must have at least fifty percent of its dialogue in English to be considered for the Globes’ most significant prize. Although Minari does not meet this criterion, the Globes has relaxed its rules: Iñárritu’s Babel (2006) and Tarantino’s Inglourious Basterds (2009) were both previously nominated for the award. The former includes scenes in four different languages, and the latter is predominantly in French and German. The Globes is seemingly a flexible institution that adapts itself to recognise true artistic

merit. The reality is a whole different story.

Questions must be raised as to why such an emphasis is placed on segregating films by the language of their dialogue in the first place. Film was born as a silent art form with nearly forty years between the first film, Roundhay Garden Scene (1888), and the first talkie, The Jazz Singer (1927).

Given that the language of images initially beguiled audiences, dialogue should surely be viewed as an additive, not primordial, feature of film.

The very labelling of films as “foreign” is also dubious.

For the Golden Globes, it appears an excuse to restrictively homogenise non-Englishlanguage, and therefore frequently nonWestern film productions.

If an American or European film happens to be included, however, it can be plucked from the abyss on a conveniently as-and-when basis. The colonial undertones are not unnoticeable.

One only has to look to Hollywood’s history of East Asian representation to understand why allowances are not being made for Minari. It is markedly problematic, blighted by yellowface and negative stereotyping such as Mickey Rooney’s portrayal of Holly Golightly’s Japanese neighbour, Mr.Yunioshi, in Breakfast at Tiffany’s (1961), Sean Connery’s Bond “disguise” as a Japanese man in You Only Live Twice (1967), and any one of the four dozen Mr Chan films that starred white actors in the titular role.

Where actors of East Asian descent

were appropriately cast, their roles were most often designed to provide alleged comic relief to their audiences. Gedde Watanabe’s performance in Sixteen Candles (1984) as the exchange student Long Duk Dong is a notably excruciating case.

These discriminatory practises continue in the present day. The casting of Emma Stone as a character of Chinese descent in Aloha (2015), Tilda Swinton as the Ancient One in Doctor Strange (2016), and Scarlett Johansson as Major Motoko Kusanagi in Ghosts in the Shell (2017) are just a few of many instances in which parts written for East Asian actors have been usurped by white performers. Now, Hollywood’s message is that instead of portraying East Asian people in an intentionally negative light, they would rather not include them at all.

“this awards season is unfortunately symbolic” Such an “out of sight, out of mind” attitude of discrimination should not, and cannot, be considered an appropriate strategy any longer. Films such as Crazy Rich Asians (2018), The Farewell (2019), and Parasite (2019) have dispelled myths that films by East Asian talent lack value in the American markets through their commercial and critical success.

At a time when American identity is so starkly fragmented, Minari – which celebrates and reflects inherently American values – should be welcomed. Its treatment this awards season is unfortunately symbolic: it reflects the historic discrimination against East Asians in the film industry. Perhaps Minari will be the film that catalyses a new Hollywood - one that champions authentic and diverse voices in film. Or perhaps that is another un-American dream.

Image

by

Gage

Skidmore

via

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TRAVEL 12

Thursday, 21st January 2021

Bucket List Travel: Top destinations for 2021 Emma Johnson on all the destinations which should be on your travel bucket list Emma Johnson Travel Editor travel@palatinate.org.uk

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ast year was, without a doubt, a year unlike any other for travel.

The sudden global ou break of COVID-19 resulted in most trips being grounded to a rather abrupt halt, meaning we were forced to holiday closer to home this year. Although UKbased ‘staycations’ aren’t all that bad, I personally am looking forward to swapping the sights of English countryside for something a little more out-of-the-ordinary, whenever that might be. Now 2021 has sprung upon us, with this seeing the return of dreary winter skies and frosty mornings, our thoughts are no-doubt returning once more to dreams of glistening oceans, golden beaches and warmer climes.

the UK), and stay in an eco-lodge, many of which are completely powered by renewable energy and are carbon-neutral.

Support local businesses where you can, buy local produce and try to learn about Costa Rican culture whilst always respecting it. If you’re keen to contribute to the country’s conservation efforts, then volun-

So, whilst we last out national lockdowns, border restrictions and vaccine roll-outs, what could be better than some bucket-list-worthy travel inspiration to start daydreaming about?

Here are some of our top choices of destinations for every traveller, perfect for kick-starting your 2021 plans and getting you through the rest of a very long winter!

For the eco-conscious traveller: Costa Rica Imagine a country that’s one-quarter national park, a place where you could embark on a hike through the rainforest, climb a volcano and surf on glimmering waves before catching some rays on a tropical beach, all in one day. That place is Costa Rica.

One of the first countries to begin ecotourism in the 1970s, today Costa Rica remains a popular destination for those who want to stay closer to nature and live simply amongst the natural environment. To keep your travels as eco-friendly as possible, don’t book through a tour operator (which are often based in countries like

For the brave adventurer: Greenland After the turbulent year that 2020 was, many of us long for a sense of true escapism in our 2021 travels, and dream of leaving behind the stresses of our daily lives to experience something completely new and adventurous. Greenland is the perfect destination for this – the world’s largest island, yet one of the most remote places on the planet, known for its icy fjords, powerful glaciers and impressive mountains. For thrill-seekers, try guided ice treks to the Qooroq Icefjord, rock climbing up the peak of Nalumasortoq and dog-sledding in the winter months. In the summer, enjoy one of the many challenging hikes along the majestic fjords and amongst the world-famous flower valley.

With 80% of its surface completely covered by ice, there is no shortage of adventurous pursuits to try, suitable for every traveller’s interests and budget, whatever time of year.

For the wildlife lover: The Cerrado, Brazil

teering your time at one of the many wildlife-focused projects is a great thing to do.

Costa Rica is hugely biodiverse, with an amazing 2.5% of the Earth’s biodiversity squeezed into 0.001% of its surface area.

Covering over 20% of Brazil, the Cerrado is the largest savanna region in South America and is located between the Amazon, Atlantic Forests and Pantanal.

Home to approximately 5% of the Earth’s flora and fauna, with animal species including the jaguar, maned wolf, giant anteater, marsh deer and giant armadillo, and over 10,000 species of plant (with nearly half of these endemic to the region), the biodiversity of the Cerrado is certain to enthral anyone with an interest in wildlife.

In attempts to tackle the shocking rate of deforestation in the Cerrado, which are

TRAVEL 13

Thursday, 21st January 2021

currently greater than that of the Amazon, many grass-roots tour operators have started to help fund wildlife conservation efforts, meaning visitors can contribute towards and educate themselves about the human-induced threats to the region and its wildlife. Do your research and make sure that your money is being put towardsbiodiversity protection before booking.

For the hiking enthusiast: Machu Picchu and the Inca Trail, Peru: If lockdown hikes in the English countryside had you craving something where the only scenery doesn’t compromise mostly of fields and sheep, then an expedition along Peru’s famous Inca Trail to Machu Picchu could be exactly what you’re after. The Inca Trail is regarded as one of the best hikes in the world, with the most-well travelled ‘Classic’ route leading you on a 82km journey over approximately 4 days, towards the jewel of the Andes, Machu Picchu, one of the Seven Wonders of the World and a UNESCO World Heritage site. Walking the Inca trail also means you’ll travel through the breath-taking Inca ruins of Phyupatamarca and Llachtapata and trek through the dense cloud forest, making it truly a unique trip that should be on every keen hikers’ bucket list!

ket hall and you won’t be disappointed.

For the stressed workaholic: The Greek Islands

If you’re anything like me, and just about now are beginning to feel the rising stress levels as a result of summative essays and a dissertation that won’t write itself, then perhaps you’re dreaming of the kind of holiday where you can just relax and let all of your stress go. A mini-break to the Med could be just what you’re af-

For the road-tripper: Slovenia Slovenia is one of the undiscovered gems of Europe – with stunning mountain scenery to rival Switzerland and a coastline to rival Croatia. Hiring a car and embarking on your very own road-trip is the best way of getting around the country and ensuring you pack all there is to do and see into your trip.

Start in Slovenia’s historic capital Ljubljana, before embarking on a scenic drive to the famous Lake Bled, set against the background of the Julien Alps. If you’ve got the time, take a rowing boat across the crystal-clear waters, or hike up the hill to the majestic Bled Castle to enjoy the most impressive views. Continue your road trip along the Adriatic coast to visit Slovenia’s most famous cavern, Postojna Cave, which has been attracting tourists since 1819. Finish your road-trip by journeying to the UNESCO-listed Skocjan Caves, the largest in all of Europe, where you can admire the great underground canyon and impressive underground river.

For the budget traveller: Budapest, Hungary With affordable accommodation, food and drink and many free things to see and do, it’s no wonder that Budapest continues to be one of the most popular interrailing destinations. A number of the city’s most iconic sights are free to visit, including St. Stephen’s Basilica, the Fisherman’s Bastion and the Chain Bridge, with a free walking tour around the city the best way of making sure you’ve taken them all in. Budapest is certainly one of my favourite European cities for its amazing food scene – try the traditional street food in the Jewish Quarter and some of the local delicacies from the famous mar-

tions for food in the whole world. Italian cuisine is about far more than just pasta and pizza however, with the country’s different regions all offering a hugely diverse range of local dishes and delicacies. In Milan, try the traditional Risotto, in Bologna, enjoy a large steaming bowl of Tortellini al Brodo, in Rome, be adventurous and try the Trapizzino (a popular street food pizza folded like a sandwich!), and wash it all down with ice-cold gelato in sunny Florence. - what could be better?

ter. If you’re looking for a location that’s more off-the-beaten-track, islands such as Ikaria or Lesvos offer tranquil turquoise waters and golden beaches without the crowds. - perfect for enjoying a cool ice tea, or even a cheeky cocktail or two.

For the foodie: Italy

Italy is a paradise for food lovers alike, and you’d be hard pressed to find many people who would dispute the fact that the country has some of the best destina-

Although it’s certain that travel is going to look different post-COVID, this may not be a bad thing. Cities that were once crowded and bustling will suddenly be enjoyable and tranquil again, though it is likely many travellers will pick for more isolated escapes off-the-beaten-track. For now however, whilst we wait, 2021 offers us a glimmer of hope that perhaps, sometime in the not-too-distant future, we might be able to start travelling again.

Images: by Isobel Warwick

FASHION & VISUAL ARTS 14

Thursday, 21 January 2021

The relationship between art and fashion Fashion and Visual Arts discuss Andy Warhol’s statement that “fashion is more art than art is” Fashion and Visual Arts Editors fashion@palatinate.org.uk visual.arts@palatinate.org.uk

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he iconic Pop artist Andy Warhol once said that “fashion is more art than art is.” Durham students Grace Buckley, Jonny Tiplady and Ruo Yu Ow discuss the relationship between art and fashion and the boundaries between these aesthetic practises.

Jonny Tiplady When Virgil Abloh’s OFF WHITE stormed the scene nearly a decade ago, streets were suddenly flooded with people sporting Caravaggio works on their clothing. Over the past few decades, art and fashion have become two synonymous outlets for expression. Our bodies to clothing are what canvases are to an artist and their brush. Each garment is like a brushstroke, with different fits conveying certain styles.

In any case, we become art itself with our clothing; we are the very message we are trying to demonstrate with our clothing.

“fashion is as expressive an art form as any other” Certain brands like SolidariTee revolve around their intrinsic activism, supporting important causes which have a global influence. When the ability to transcend into living art and the possibility to share ideals combine, fashion is as expressive an art form as any other.

The assumption that fashion is not art is partially responsible for the current fast fashion crisis. Fashion is art, visual effect is as important as functionality, and like other art forms, it is highly subjective.

“a major step [...] is re-evaluating our relationship with clothes” Our current approach to clothing devalues the creativity and labour that fuel the fashion industry and a major step in achieving a more sustainable and ethical fashion industry is re-evaluating our relationship with clothes.

“our bodies to clothing are what canvases are to an artist and their brush” Each outfit tells a story just like a song or a portrait would. A student strutting down the Bailey donning stash is an ode of unswerving loyalty. Someone wearing their wavy garm from their ‘gap yah’ captures their former joys of liberation.

Whilst art used to be a token of appreciation for Baroque royalty, nowadays it tends to challenge the status quo a lot more. Ai Weiwei is an artist famed for the critiques of the Chinese government in his work.

Grace Buckley

If this relationship sought to mirror the exchange between fine art and its buyers/viewers, we might be one step closer. Purchasing fine art is a highly considered process, one which involves much deliberation. Works of fine art remain in galleries and personal collections for decades and often benefit from multiple viewings.

“fashion is more art than art is”

The throwaway, seasonal culture surrounding fashion could not be further away from the world of art but making more considered purchases with the intention of keeping them for a long time would help to promote a slower, more moral industry. Fashion designers are artists as much as painters and musicians are and their work should be treated as such.

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Thursday, 21 January 2021

liver pleasurable anticipation to the wearer. You can see, from a wholesome piece of work, the substantial effort and unquenchable enthusiasm of its designer imprinted on the clothing, hidden within every thread and bead. This is why every fashion designer has their own profound and distinct definition of an impeccablecreation offashion, just like an artist, always aspiring to produce higher standards.

“we should not underestimate the power of fashion” Ruo Yu Ow I couldn’t agree more with Warhol’s statement. As a passionate fashion illustrator, I enjoy examining outfits in detail, just like admiring an artwork, before meticulously translating them into my illustrations. To articulate a sense of fashion, one needs to be artistic when selecting materials, imaginative when deciding which patterns or colours to use and as expressive as possible when hurling ideas onto a blank piece of cloth.

“the substantial effort and unquenchable enthusiasm of its designer” One needs to start from scratch as they transform inanimate shreds of fabric into a brilliant garment that can de-

We should not underestimate the power of fashion in optimizing the visual experience of its audience. Fashion amplifies the natural beauty of the human body, and at times, functions as a veil to conceal certain flaws. It is undeniable that fashion is an art form that exists in our daily life, unconsciously boosting our confdence and expressing our best selves.

Image credits: Andy Warhol via qthomasbower at Creative Commons Illustrations: Audrey Hepburn and Grace Kelly by Ruo Yu Ow

CREATIVE WRITING 16

Thursday, 21st January 2021

Lights Out Jack Probert explores responsibility, family, and fear in this short story Jack Probert creative.writing@palatinate.org.uk

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tiny black speck uprooted itself from the newspaper, sprouted six small legs and began to creep quietly across the page as the evening sun slipped in through the window, trickling over the floor, spreading through the front room and into the small, square kitchen where Tommy sat at the very head of the table, watching the ladybird make its progress along the paper, scuttling determinedly towards the top of the page.

“What’s the point,” she interrupted, flicking the other side, “if you can’t read?”

The little ladybird flew off and landed on the cold linoleum floor beside his feet as they strained to touch the ground; immediately, it scurried off towards the safety of the cupboards by the garden window as Tommy shook and rustled his paper in indignation: it wasn’t about reading.

Anyone with half a brain could tell that: it was about the action, the intent – it was about being a Proper Gentleman.

“A gentleman? You?” A laugh like broken glass hit the room. “Don’t be ridiculous: just eat your dinner like the rest of us, and stop playing around –” “– Amelia, dear. Please.”

Four chairs sat around the kitchen table; only three were filled.

“Four chairs sat around the kitchen table; only three were filled”

“What?” She punctured a sickly stub of rank, rationed cabbage with her fork, chewing as she spoke. “I’m just observing – you can’t get angry with me for that: aren’t I supposed to stay alert? – stay vigilant, stay safe?”

“Well, you’re being a little too alert for my liking, darling. Behave and eat your dinner.”

Amelia sagged back into her chair, arms tightly folded. Even she knew when it was best not to argue about things, so she sat and pressed into the mashed potato, leaving the thin marks of her fork, its tines ever so slightly bent from the pressure she exerted on it.

“There’s a good girl – sitting quietly like your brother.”

They still slept in the same room, not that there was another choice. In the dim light of the single filament bulb, they laid on their beds, each one boxed in by the other, and pretended that everything was fine. Tommy read about pirates, cowboys, knights and all sorts of exciting things that made Amelia’s stomach turn as she looked out the window at the night sky: slowly, each lonely, glassy star came glimmering out of the treacle-dark, glinting in the very corners of their single, squat window.

“Do you think they’re coming tonight?”

Tommy shrugged: who knew? They could come at any time. Besides, they would hear them overhead when they did: a low, throbbing buzz – that came first, soft and gentle. And then the sirens.

“I suppose they won’t – they’ve come for the last three days.” Amelia squirmed under the covers as she pulled the duvet over her head. She yawned, her eyes watering. “They’ll be too tired. I know I am.”

They sat in silence as the brassy clatter of the clock striking nine sounded. Outside,

the night was still and cool, and the window reflected Amelia’s sharp nose and empty eyes, vacant. She shifted, turning in her bed to reach out to the floor below – she had her mask, her book, her shoes – everything was in its place, ready to go.

The rotting frame of the window quivered in the wind; Tommy’s bed groaned as he turned over on his side to face the blank wall with the peeling corner by the door that they had put up together just last year– ****** –Looking away from the stain by the door, he turned back to his knights and cowboys and pirates; he let the wallpaper peel from the corner in silence as Amelia tossed around in her sheets.

It was almost time.

The door crept open, and there she was, her bare porcelain hands clinging to the frame as she stood in her nightgown, alone – a world away across the threshold.

“It’s time to go – come on: get your things. Lights out.”

And with that, the slow grumbling overhead began again. *An unabridged version of this story can be found on Palatinate webiste* Image: Free-Photos via Pixabay