indigo
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EDITORIAL Wednesday, 3 October 2018
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www.palatinate.org.uk
FEATURES 3 Where Friendship Blooms FASHION 4 From the Catwalk to College How to stay both stylish and comfortable this AW
CREATIVE WRITING 5 The Escape A Guideline to Survival
VISUAL ARTS 6&7 A Visual Introduction to Art in Durham Why Local Art Matters STAGE 8 To DST or not to DST that is the question? MUSIC 9 Spotify, Censorship and Students FOOD & DRINK 10 Canteen Conundrums: a survival guide FILM & TV 11 Déjà vu? With originality becoming rarer and rarer in cinema, nostalgia is fast becoming Hollywood’s favourite marketing tool BOOKS 12 & 13 Open Books Open Minds- a guide to the Durham Books Festival ‘Writing is a form of Social Activisim’ In Conversation with Jacqueline Crooks TRAVEL 14 & 15 Think Pacifically A taxi to downtown Yangon INTERVIEW 16 Knock, Knock, who’s there? Indigo interviews Rowan McCabe, door-todoor Cover Photograph by Maddie Flisher
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any people begin a new year with the same mantra- “new year, new me”. I was never one of those people. The new academic year connotes fresh starts, new opportunities and renewed possibilities. Or at least that’s what we’re told. However, this year is different. 2018/19 will be a new beginning, not for me, but for indigo. This academic year will mark a change in all that indigo is, and all that it will become. With the help of my deputy editor Alex we hope to institute a redesign of indigo’s pages, and a refocus. Count this as our commitment to the student voice, creativity and achievement. This edition will be no different, as we focus on the student experience in college on pages four and ten. Fashion seeks to provide a guide to AW dressing and how you can adapt catwalk trends for campus, and Food and Drink provide a helpful survival guide to eating in college. The student experience is also explored by Travel on pages fourteen and fifteen as two students compare their travel experiences. The first undertaking a volunteer project with Think Pacifically, the second exploring Yangon in Myanmar. Outside of college Stage explores how you can get involved in Durham Student Theatre on page eight, and Features discusses making friends in unusual places on page three. Outside of campus Books provides a helpful guide to the Durham Book Festival on page twelve and Visual Arts discusses the vibrant arts scene in Durham on pages six and seven. With so much to come we are keen to get as many people involved in the writing, editing and creating process. If you want to be a part of indigo, don’t hesitate to get in touch via email and Facebook, or catch us at the freshers’ fair.
INDIGO EDITORS Adele Cooke Alex Leggatt (deputy) FEATURES EDITOR Kleopatra Olympiou
CREATIVE WRITING EDITORS Rhiannon Morris Susie Bradley (deputy)
STAGE EDITORS Kishore Thiagarajan Martha Wrench (deputy) VISUAL ARTS EDITORS Stella Botes Jo Chandler (deputy) BOOKS EDITORS Freya Neason Shauna Lewis FASHION EDITORS Anna Gibbs Ana Hamilton (deputy) FOOD & DRINK EDITORS Rebecca Russell Piers Eaton (deputy) TRAVEL EDITOR Patrick Noren FILM & TV EDITORS Hugh Johnson Sander Priston (deputy) MUSIC EDITORS Fran Howard Tom Watling
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www.facebook.com/palindigo Follow us on Twitter and Instagram: @indigodurham Have a question, comment, or an idea for a story you’d like to write? Email indigo@palatinate.org.uk to get in touch.
FEATURES 3
Wednesday, 3 October 2018
Where Friendship Blooms By Henry Jones
By Henry Bird
started freshers’ week, as many do, presuming that friends must be sourced from within college and locked down by week’s end. But, as those seven ridiculously mythologised days drifted into the past, I was proven wrong. At my first choir practice of the year, I sat unknowingly across from my future friend (let’s call him J) wondering if one was even allowed to talk to a ‘year above’. (Yes, this is a story about doing extra-curricular activities and reaping the social benefits. Your parents are right, get involved.)
If you’re just arriving in Durham then you are yet to experience your first few lectures, and for most the awkward silences that accompany them. It is only after choosing your seat that you realise the armoury of pleasantries you are able to exchange with the person next to you is severely depleted, and yet you have to fill that seemingly endless space of time before the lecture begins. However, this particular time, I sat down next to a face I vaguely recognised, the pleasantries began. I found that words weren’t being dragged out of me by the painstaking realisation that I had been sitting in silence too long. I was experiencing that wonderful feeling of talking to someone because you have to satisfy your impulse to talk, not to fill a silence, but because the words are spilling out of you.
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A week later and having successfully managed to introduce myself, the choir was thrust together around a bar on a post-rehearsal social. I found myself next to J and we quickly exhausted the tedious cross-examination of where we lived and what we studied. Hours passed and soon enough J was telling me that he ‘couldn’t believe’ I didn’t have him on Snapchat, forcibly adding himself into my phone. Had I made a friend? Do second years and freshers hang out?
Had I made a friend? Do second years and freshers hang out? Well, soon enough I got over that worry, weeks turned to months and I even became that dreaded second year. Now, two years on, I find myself entering my final year at Durham and J is off pursuing postgrad study elsewhere. Two years of excellent friendship have flown by and it won’t be long before I too venture out of Durham. Make the most of your time here and definitely don’t be afraid to do something you didn’t expect! Images by Maddie Flisher and Kleopatra Olympiou
By Georgina Hadjifrangiskou As a fresher, I was very scared and, I suppose, very stubborn. I didn’t want change in my life, I ended up really dreading going to uni and was determined to keep my friends from school, while remaining shut as a rotten oyster in Durham. And that’s exactly what happened. I just wasn’t planning to let anybody be my friend.
I ended up really dreading going to uni Here are four things I learned 1. Making new friends is not equal to betraying the people who are already your friends, and it doesn’t mean you are replacing them. 2. I realised that it’s totally fine not to be compatible with everyone. I was part of a flat of six and, if you think about it, becoming friends with five random people was small chances. They were lovely people and who knows, if I had been more sociable, maybe we would have been very close friends by the end of the year. 3. You need to be trying too, nothing happens if you only let other people be friendly with you! Still, if you don’t feel like being sociable, that is absolutely fine, because sometimes we have to give ourselves time. 4. Sooner or later, magic always happens. Moving to second year, I was very lucky to know an amazing person from school who I ended up living with, as well as her college friends. A year later, we have shared so many things. It just happened, as if we knew each other all along. Now we are all there for each other on our 24/7 group chat, whether it’s tackling a spider or a ‘should I buy the top’ question to serious life struggles and breakdowns. We are there for each other, and that’s what friends do. So that is what I call magic.
Three hours later, I found myself sitting next to this person on one of benches along the riverside going towards Hild Bede, having come out of a lecture and spent the best part of the afternoon engrossed in conversation with them about their life, French villages, the best flour for sourdough bread (try and imagine a more Durham conversation, I dare you), and just generally having a wholesome time watching the rowers drift past with the cathedral in the background.
I was experiencing that wonderful feeling of talking to someone In those first few weeks of term, it was a wonderful feeling to feel this comfortable, this at ease, and I sincerely hope that those of you arriving in Durham for the first time are able to settle in as I did. Don’t be afraid to just talk to the stranger next to you at a lecture, because they could end up becoming one of your very close friends.
FASHION 4
Wednesday, 3 October
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More is more – layer gold and brightly jewel toned jewellery for an everyday regal vibe.
2 Layer the Sports Luxe - Juxtapose the elegance and effortless calm of a pair of cat eye sunnier with layer upon layer of jacket, jumpers and high necked fleece. Photographs via Instagram @prada, @Fendi, @tommyhilfiger
Photographs via Instagram @dolcegabbana, @ralphlauren @versace
From the Catwalk to College How to stay both stylish and comfortable this AW By Anna Gibbs and Ana Hamilton Fashion Editor and Deputy
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he happy coinciding of the ‘ugly’ comfort wear trend with the recent prediction of months of snowfall ahead makes staying in the know this Michaelmas a little less disheartening than it has been in the past. Leave your high heels at home and opt for some chunky trainers, futuristic sock-esque affairs or equestrian inspired knee high boots. And it doesn’t stop with just footwear. Modesty dressing is here in a big way and the focus is instead on cut, drama and pattern with animal print coming at us this season with more variation than the passengers on Noah’s Ark. Sports luxe was thought to be losing momentum but from the recent shows we can confirm that the case is anything but that – wrap up warm in a high necked sports zip top or in a pair of baggy, flared tracksuit bottoms on your way to lectures in the cold weather. Mixing this unrelenting embrace of more relaxed, breathable and not to mention easier to maintain fabrics with classic forms and pieces can bring the trend together perfectly creating outfits that will see you through to the spring- minus the fear of frostbite. The beauty of this happy hybrid trend is that you can feel both put together and snuggly at the same time whilst studying in the chilly north. Perhaps the fashion industry is at last beginning to catch up with 21st century needs – style and practicality in one. We’ve picked out our favourite fashion week inspiration for freshers and beyond to save you the trouble, so consider these sartorial secrets when you make your next ASOS order...
Photographs via Instagram @fashion_viadi, @Zara
Primary colours – neutrals and pastels are very welcome to take the back seat this season. Photographs via Instagram @chloe @versace
3 Behaving Like Animals- dance to discovery channel in Klute with true commitment this term.
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CREATIVE WRITING Wednesday, 3 October
A Guideline to survival As a kid I spent my childhood at the beach near our house in Alexandria. My friends, who were a bit older, worked as lifeguards in the summer, which to us as young kids, was a really cool job. They sat above everyone; watching the sea from behind their sunglasses, waiting to be heroes. I remember one time, we stayed until nighttime, until the oldest in the group noticed something in the water. It was the dead body of a kid around our age. The eldest of us went to the beach cafeteria to call the police. While we waited for the adults to come, he told us stories about people who had drowned. He told us they would ask the mothers of the drowned to stand by the beach and call after them. According to local belief, the drowned kids will float back to the shore following their mothers’ voices. I remember that I found this a bit comforting, that mothers have this kind of power. I always believed that no matter where I am or what I am up against, my mother’s voice will reach me. That night one of my friends tried to teach us how to avoid drowning. He said: ’Keep your heads above water, and do not fight the current, in the worst case you will have to swim a bit more but if you fight it, you will die’. This advice proved useful when my mother died. My mother’s death was a Tsunami. Something I was always afraid of, but still did not see coming. I kept telling myself after my mother’s death that I was lucky. I managed to come back and kneel next to her bed and tell her everything I wanted to tell her and everything she already knew: that she was the reason for everything I achieved and that if I could give up my years for her, I would have done that. I told her that I loved her more than anyone, that she was my unquestionable truth. I kept my head above the water, focused on my studies because there was nothing else to do. I kept my head above the water because I did not want to disappoint her, I did not want to fail her. Grief is a tricky feeling; a maze of emotions you have to go through to find the safety exit. The only way out is to ensure that you don’t victimize yourself. Death is not personal. Our loved ones still exist in our memories and feelings. I can’t say that I am out of the maze yet, but I can say that I am getting better at navigating my way out. I did all the activities I loved and that she taught me when I was small: I played football twice a week, I took photos, and, more importantly, I volunteered at any event I could to keep my hands occupied. Helping others helped me to realize that the world is not falling down, unless I allow it to. To keep your head above water, you just need to remember that there is a shore nearby. No matter how dark it is, or how tempting it is to let go, something is waiting for you on that shore. By Ismaeil-Ahmed-Marzouk
The Escape
(This poem is to be spoken aloud) I wear The Escape well, packed it with my things as my dad drove me from Teesside to university. I had a chest infection and wonder now if the fear of failing was a sickness and whether I was infected. I wear the escape in my lungs. my mother wears her past dreaming of whales, wide as houses, on their back, carried from the most distant ocean we can fathom were the ghosts of everyone she’d ever loved. I see those whales come up for air sometimes, surfacing in the pit of her chin, they choose replaced hip bone, the vein beneath a wedding ring. I see them in her face most of all, in her eyes, when my uncle died she put sea salt outside the door; there are some ghosts we don’t invite in anymore. I wonder if I’m carrying the future the same way. the escape cannot be seen but like the whales in my mother’s soul it comes up for air. I worry I am contaminated I worry that the Escape is bleach. there are times by the river where I smell the sea: bladderwrack, cockles, a dead crab an empty Carlsberg can and I’m by Redcar beach again. The Escape has grown roots into me. A friend said we weren’t like the others - we had ambitions, said, there’s no life in this grey hive. said soot is not pollen and you cannot make honey from it, said it’s a town of grave diggers and asthmatic canaries. I cough. The Escape. it hitches. I hear “The Worst Place in England and Wales to Grow up a Girl.” I hear “Highest suicide rate in England.” came home from uni last week. passed through the twisting iron spires of a dozen factories all of them painted amber in the sunset it was so fucking beautiful. The Escape is a place called Anywhere But Here. that night in Teesside you could have bottled the sky and sold it, it ran the gambit from pastel to burning. the hills rose, the river flowed and everything was so fucking beautiful.
Image by ln736637, Google Images via Creative Commons
By Kym Deyn
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VISUAL ARTS 6
Wednesday, 3 October 2018
A Visual Introduction to Art in Durham
exhibitions tend to showcase a wide range of artists’ work. With free admission it’s definitely worth a visit!
By Jo Chandler Deputy Visual Arts Editor
Mining Art Museum - Newly opened and beautifully put together, this is a must if you want an understanding of the history of County Durham. There is a big regeneration project going on in Bishop Auckland (called the Auckland Project – check it out!), and whilst you’re there you should visit Auckland Castle (soon to be the biggest centre of Spanish Art in the country). It is also worth dropping into POD, Bishop’s creative hub, where local artists are exhibiting work.
The University - There are often art exhibitions in the Galilee Chapel; along with the Open Treasure and other permanent pieces around the rest of the Cathedral, it seems like a good place to start. Durham University has invested a lot of pounds in art. The Palatine Centre has quite a bit on display – apparently, a lot of it is in Castle. I’m pretty sure there are some Picassos tucked away in important peoples’ offices. Watch this space… we’re going to do some investigation into what’s where for a future article. But keep your eyes peeled around university buildings! The University’s Oriental Museum, which is nestled up with the hill colleges, also has an incredible collection.
Bowes Museum - Out towards Barnard Castle, it’s a bit of a mission to get to – and to be honest, I’m still a bit scarred from having been repeatedly dragged around it as a child. But, if you’re interested in History of Art then it would be silly not to go. The huge collection boasts paintings by El Greco, Goya and Canaletto.
TESTT Space - Born out of Empty Shop, can be found above the Bus Station on North Road. It only opened in 2016, but it has become one of the most active creative spaces in the City (although the planned re-building of the Bus Station means its future in this location is uncertain!). Home to the studios of many local artists and a student art cooperative space, it puts on regular and varied exhibitions. Look out for an upcoming ‘lock-in’ focusing on challenging the disconnect between Durham students and the heritage and history of County Durham. Below is a short piece about the work of Lynda Marshall, who is one of the artists based at TESTT. THORN - Thorn is a multi-disciplinary arts group run in Durham outside of the University. It’s really popular with students, and puts on a few events every term, so keep you eyes peeled for its runic symbol around the town. BALTIC Centre for Contemporary Art - A good reason to branch out to Newcastle, if you need one. On the south bank (Gateshead side) of the Tyne, BALTIC is the UK’s largest contemporary art institution (according to its website!). It only takes 20 mins on the train from Durham, it’s free, and they put on loads of great stuff. Laing Free entry - Although they do charge for some exhibitions, the Laing is very central, so easy to pop in if you’re already in Newcastle. It also has a great permanent collection of North East stuff. However, be warned, it’s closed on Mondays. The Biscuit Factory - Only 5 minutes from Newcastle city centre, The Biscuit Factory focuses on making art accessible, and refreshingly tries to champion emerging artists. Their
Local Artist: Lynda Marshall Lynda works from her studio in TESTT space, where her work has also been exhibited. ‘My work is concerned with the condition of being human’ she said, ‘life can be beautiful but the feeling is precarious. My work reflects this and often arises from a period of liminality or, at the other extreme, febrile tension, engendered by the personal and the political. I use objects and materials to create installations or individual sculptures. The objects I choose have an autobiographical element and often figurative connotations. They are generally not neutral to me but come invested with a memorable past. I also paint and use moving image to the same end, generally searching for an aesthetically pleasing but ultimately unsettling effect, loaded with metaphor and poetic references that convey one or more of my themes.’
VISUAL ARTS 7
Wednesday, 3 October 2018
Why Local Art Matters
Mission Statement
By Stella Botes Visual Arts Editor visual.arts@palatinate.org.uk
Welcome to the new Palatinate Visual Arts section! Durham, though small, is an exciting place for the arts and its visual art only gets bigger and better every year, with new projects and groups popping up all the time. For an overview of just some of the art in Durham and the North East, see the facing page where we’ve highlighted some of the best organisations and spaces working in Durham. One of our main aims this year is to bring Durham’s visual arts to the fore; its a common complaint from students that Durham doesn’t have much going on in the way of visual arts, but we hope to counter this by highlighting groups that are active and exciting. Every print issue, we’ll be listing national and local exhibition openings and events, and detailing public transport access for all local events, so that you have no excuse not to go! We’ll also be keeping you on top of all local art events with interviews, reviews and features. On a broader level, we’ll also be making more editorial content online and inprint. The art world is constantly changing and facing new issues all the time, such as the rise of new media art, or the socio-political requirements that artists and galleries should be meeting in the 21st century. We hope to highlight these issues through debate and opinion pieces, examining them on a local and international level. If you want to be part of this, have a keen interest in visual art or want to find out more about art in Durham please get in touch! We’d love you to contribute, either by emailing one of us or joining our Facebook group - Palatinate Visual Arts Contributors. We hope you enjoy the first issue of the year and are as excited as we are for all that’s to come.
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live in rural Somerset, in a part of the county far from any cities and galleries. And yet every year, artistically, the county lights up. Somerset Arts Week takes over the county for a week each year in September, when artists, designers, photographers and jewellerymakers open up their homes and studios to the public. It’s not only enjoyable, restful, and a nice perk as summer comes to an end but it is a reminder of the vivacity of local art. Each studio visit serves as a reminder that there are artists across the county, very much alive and working.
It’s not only enjoyable, restful, and a nice perk as summer comes to an end but it is a reminder of the vivacity of local art Initiatives like Somerset Arts Week keep local art thriving, providing opportunity for people to sell and publicise their work, and the importance of this cannot be understated. Art doesn’t have to be big, brash and international to be important - in areas like Somerset and county Durham it is often small groups of individuals working quietly to provide art spaces in areas that are extremely under-served. Not only is the provision of visual art an important source of pleasure for communities, but it nourishes local communities more than you might think. Independent artists play an important part in the local economy, shared spaces and shared appreciation for particular artist bring communities together, while many small arts organisations quietly run educational and outreach programmes which would be indispensable to so many.
Art doesn’t have to be big, brash and international to be important But this relationship is in no way one-sided. Primarily, it is local people who will buy their art, yet in a more profound sense it is the community and environment that so often provide inspiration. Local histories, people, and places are rich mines of inspiration for artists, who in turn act as records and diviners for their locality. The importance of supporting local artists and artistic communities is heavy, and often undermined. If you want to help maintain and support local artists, reach out; don’t be afraid to email groups and individuals asking about events or open-studios, or ways in which you can support them. Immerse yourself in the artistic culture of your local area, find out what these groups are doing in terms of outreach and education and spread the word. Actions like this not only help others but are profoundly life-enhancing to oneself also - discovering caches of vibrant community artwork is such a pleasure, and can open your eyes to the artistic hive that exists around you, even in the smallest areas.
What’s On CLOSING SOON The Enchanted Garden at the Laing Art Gallery: An exhibition examining the inspiration of gardens to artists over recent centuries. Accessible by train from Durham station. Closes 9th October Charlotte Hodes: Women & Pattern at The Bowes Museum: Charlotte Hodes is a contemporary British artist working in London, and this exhibition looks at her use of porcelain and the feminist narrative in her work. Accessible on the B66 from Durham Bus Station to Galgate. Opens 13th October Breaking Ground: Women of the northern Coalfields at the Mining Art Gallery: A temporary exhibition examining the role of women in coal mining through their artistic and historical depiction. Accessible by the X21 from Durham bus station to Bishop Auckland Marketplace. Opens 13th October ‘Stories from the Hive’ Julie Cockburn at Hartlepool Art Gallery: Julie Cockburn is the artistin-residence at the Hartlepool Art Gallery. She looks at the world around her through perspectives from the environment, particularly bees. Accessible by the 57A bus from Durham to Rium Terrace. Opens 22nd September.
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STAGE Wednesday, 3 October 2018
To DST or not to DST that is the question? By Martha Wrench Deputy Stage Editor stage@palatinate.org.uk
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f you have come to university in the hope of getting involved in some great student theatre, you have certainly come to the right place. With one of the biggest and most active student theatre scenes in the country, consisting of 27 theatre companies that stage over 90 shows per year, Durham will provide plenty of opportunities for you to get stuck in. “Whether you’re interested in acting, directing, writing, producing, conducting, tech directing, or set designing, DST welcomes all”, says current president Kim Rana. You do not need to have acting experience in order to audition for plays, neither do you have to have any knowledge of stage lighting and sound to become a tech director. DST is a safe space to develop skills and talents that you did not necessarily have before coming to Durham With so much going on within DST, it can sometimes seem slightly overwhelming. Here are a few quick tips on how to get involved– it’s really very simple!
Go to the Freshers’ Fair
This is probably the best place to really understand what kind of opportunities DST has to offer. All the theatre companies will be represented there so it’s a great place to see what different types of theatre is produced in Durham. It’s also the best place to ask questions, either about the upcoming productions that they may be promoting, or about DST in general.
DST’s Spotlight Information Night
Sunday 7th October, 7pm at CG60 (Chemistry). This is a great opportunity for anyone who is curious about DST to ask questions and meet current members. This is also followed by a Welcome Social at the Library Bar so it’s a great way of meeting new people. Auditions are advertised on the DST weekly email and on Facebook and are often held in Elvet Riverside. Do not be shy about auditioning audition for anything and everything you want, rejection is bound to happen but take it in your stride! “Relax and know that the people on the panel have also gone through the same process you’re going through” says Euan Walker, a second year student and member of DST “they understand the stress of it all and just want to bring out the best in you, so instead of putting them on pedestal just see them as your peers with your best interests at heart.”
Directing
Being a director is one of the biggest roles to take on in a production and as a first year student it is easy to think that this is not an accessible role. However, this is not true. Theatre companies holding production team interviews always welcome freshers to apply for directorial roles, and even if you do not feel up to the role of director yet, you can always apply to be assistant director to build up some experience. As a fresher student last year, Isobel Jacob took on the role of assistant director in DULOG’s production of ‘Rent’, producer in DUCT’s production of ‘An Ideal Husband’, and director in DULOG’s
production of ‘I Love You Because’. “Get stuck in from the get go!” she says “use the freshers’ fair to your advantage and find the opportunities you’re interested in, and then go for it! It can feel like as a fresher you’re at a disadvantage, but that really isn’t true. As long as you get involved with enthusiasm, you’ll fit into DST just fine.”
Producing
The producer’s role is also one which makes up the core of the production. Tasked with booking rehearsal spaces, sourcing props, and overseeing the production process, the role of producer is a demanding but rewarding one. As with directorial roles, there is also the opportunity to become assistant producer if you want to take smaller steps to start with.
Writing
DST not only puts on great productions of well-known plays and musicals, but also heavily encourages new writing. The Durham Drama Festival which takes place every year is the perfect place to get your work out there with a whole week of purely student written theatre performed throughout Durham.
Tech:
No play would be complete without tech. It is fundamental to the success of a show and is a great way to get involved in DST. There is also no need to have prior experience or knowledge as DST provides termly training sessions.
MUSIC 9
Wednesday, 3 October 2018
Spotify, Censorship and Students Does non-platforming have a place on university campuses?
Tom Watling Music editor music@palatinate.org.uk
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he cliché of university politicising the student is an old one. What is new, though, is the political situation outside of universities, and the impact it has had on us. Political correctness, reformative campaigns and non-platforming are shaping the western world, especially on university campuses, to the point where we are encouraged to challenge and assuage even our own daily language. Now, I do not oppose this, in fact I think it’s a big step forwards, but it sometimes tramples into troubled waters.
from Spotify’s home-made playlists. The former had been accused of sexual grooming a fourteen-year-old, the latter had been outed for abuse. However, this policy did not last long. Artists such as Kendrick Lamar were quick to oppose it, threatening to remove their own music if the policy continued to be practiced. His reasons were multitudinous, but were rooted in the idea that the media is not legitimised to control who is and who is not supported. For, ultimately, the ridiculous number of artists culpable of misconduct captured by the policy, and the even more ridiculous proposition of removing them all, would syllogise a discriminatory rigmarole detrimental to an artist’s freedom and growth. Essentially, it
Political correctness, reformative campaigns and non-platforming are shaping the western world, especially in the university campuses My particular interest lies in the issue of non-platforming. As university students, we are part of a group of people largely responsible for the utilisation of non-platforming. University students pioneered it; they’ve practiced it and they continue to implement it. A plethora of different speakers, many of which possess different political proclivities, have been banned from speaking at universities across the country and the world, whether it’s Jordan Peterson or Germaine Greer. People spend hours traipsing through the arguments for and against a certain speaker being allowed to speak, but only recently has music and musicians been pulled into the boiling pot. Several months ago, Spotify introduced a Hate Content & Hateful Conduct policy, which aimed to promote “openness, diversity, tolerance and respect.” The policy noted that “When an artist or creator does something that is especially harmful or hateful (for example, violence against children and sexual violence), it may affect the ways we work with or support that artist or creator.” This is part on part the premise of non-platforming. As a result of this policy, R. Kelly and the late XXXTENTACION were removed
is usually distinct from their beliefs. Of course, Tupac Shakur’s politics and music went hand in hand, and he is a good example of the many artists whose politics are inseparable from their lyrics, but it is not the words I’m necessarily talking about.
It was felt to be a suffocating tactic opposing the bedrock of art and music alike: the idea of expression without parameters Ultimately, someone listens to a certain type of music because they like the sound. You can listen to a song and ignore the lyrics; you cannot listen to a song and ignore the melody. In the same way that, though I rebuke his licentiousness, I love Woody Allen’s film ‘Annie Hall,’ or, though I oppose his penchant for spiking unaware people with LSD, I read and re-read Ken Kesey’s book ‘One Flew Over the Cuckoo Nest,’ I feel comfortable listening to music I love despite knowledge of their misbehaviour, more or less because I love the sound.
It’s high time people started paying this issue more attention Image by Jurgen Appelo, Flickr via Creative Commons was felt to be a suffocating tactic opposing the bedrock of art and music alike: the idea of expression without parameters. Now, I am not suggesting that artists, whether it be musicians, actors or writers, should be exempt from the moral codes that the everyday layman is held up to. That would be obtuse. Nor am I implying that musicians should be able to talk about whatever they want. Whilst I don’t necessarily agree with the moral panic engendered by the media over drill music, for example, I recognise that this is something that needs addressing. But, when it comes to holding artists to a moral standard, it is far more complex than the process of non-platforming a political lecturer. For artists, and musicians in particular, are celebrated for their art, that which
So, I find myself mercilessly opposing the notion that the influential should get away with murder simply because of their status whilst also mercilessly opposing the idea that the influential should not be heard. This is what separates the political speakers from the artists: one’s character is inextricably linked to their content; the other is only partially so. It’s high time people started paying this issue more attention. The liberalisation of language and society, in so far as it becomes more inclusive, is something that deserves to be encouraged, but, equally, it creates an awful number of issues that require solving. Non-platforming in the music business is one of these issues, and it is slowly poking its head over the parapet. Spotify, alike all the streaming services, does not require public permission to halt its support of certain artists, and this has a dangerous effect on the industry.
FOOD AND DRINK 10
Wednesday, 3 October 2018
Canteen Conundrums: a survival guide Returning Durham students reveal their experiences of college food’s unique culture… made harder by their own unique culinary requirements. Kirsty Gledhill -
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lpful to und it could be he sition. We also fo po r ila sim a in als. lpful if you’re iliarise college me ments can be he spice up and fam lp he to ts, en im ry e sauces or cond g something suga buy your favourit y be worth buyin ma it so , ge lle co gs in ny vegan puddin a treat! OtherThere aren’t ma to bake yourself college kitchens e th g in us or h, eet toot d the Green to satisfy your sw , Bean Social an n. Jumping Bean ga ve be to e ac pl an amazing s, Zizzi’s, wise, Durham is aces such as Spag n cafes, whilst pl ga ve t ea gr e ar e cause the market plac out on a social be Guerilla stand in ver have to miss ne l u’l Yo . ns tio s ve great vegan op ns. Anything seem and Lebaneat ha friend other vega be ly, nt rta po im st ything to eat! Mo you can’t find an ugh it with you. one is going thro easier when some
gle with college
I loved college fo
od, and found ea
certainly has a mind of its own, so less temperamental tummies. The in about seven handfuls of grate
Roshan Jacob - 2nd year
within the gut is like a second brai
n. My stomach
I found college food more difficult
than for those with
first packed lunch ‘salad’ I had was
a few leaves drowning
d cheese. I can’t eat lots of cheese.
asking for something different, so turns out that the chefs are happ
I didn’t push for a decent lunch
y to discuss dietary requirements
something different! The canteen
can be very daunting when your
- 3rd year
ting meals with ot her people an am community. Howe azing way to culti ver, college cantee vate ns can be difficu lt for the introverte first term of fresh d, especially in th ers, when more so e cialising occurs th an ea tin g! It a couple of frien ca n be he lp fu l to have ds you can go to meals with, so wh en you don’t fee what course you’r l like telling some e doing for the fif one tieth time, you do n’t have to. If you yourself, bringin wa nt a moment to g a book to the ca nteen generally assures a quiet me easy to stock up altim e; it’s also fairly on salads and fru it during lunch, to then eat in yo Even so, try to ma ur room at dinner ke the most of yo time. ur meal times, be ca us e yo u’l l be company when se hankering for co llege cond year rolls ro und. If you’re re all y str ug gli ng with the inten socialising durin sity of g meals, don’t fre t. The frenzied fri end-making sim me rs do wn after first term, and the di ning hall become s a very relaxed aff air.
Esther Gillmor - 2nd year
They say the enteric nervous syste m
Rebecca Russell
I felt like such a nuisance that I felt I could eat. It
with you; it’s okay to need
stomach seems to be out to get you, and you can often crav e the security of home-cooked mea ls. ‘Treats’ is a great cafe for traditional, comfort-food mea ls, and like any independent cafe in Durham, are fantastic at altering their menus to suit your needs. Don’t be afraid to speak up and ask for alterations!
Living in a self catered college can
Deciding where you want to shop Express is an obvious choice for and a Lidl. Despite the long walk
ld be to draw up a budget.
be hard, but your first step shou
is easier if you know how much
money you have! Tesco sgate is a Tesco Extra
shopping, but tucked away in Gile
from college, by taking a bus or
clubbing together on your
buy food in bulk, which make huge savings. You could also and also adds an impressive ng to think about the next meal, saves the effort of constantly havi yourself the occasional friend - a loyalty card. Don’t deny number of points to your new best a’ and ‘Chiquito’ do great aurants like ‘Fat Hippo’, ‘La Tasc restaurant experience though. Rest ates is a good deal. inos takeaway divided between flatm student discounts, and even a Dom ect college food vibe: flat-mates should give you the perf Sharing the cooking amongst your of great chat to wash it down! many unexpected dishes, and a lot corridor to get a delivery, you can
Recipe: Choc-Banana Brownies Like Rahul (of current Bake-Off fame), we should all bake to make friends. These brownies serve twelve, and are perfect for sharing with corridor mates. They’re also vegan! Vegan Margarine - 100g
Chocolate - 100g
Caster sugar - 200g
Mashed Banana - 150g
Plain flour - 150g
Cocoa Powder - 50g
Bicarbonate of Soda - ½ tsp
Salt - ½ tsp
1)
Preheat the oven to 180 and line a 12” by 9” baking tray.
2)
Melt the chocolate and margarine over a pan of boiling water, stirring occasionally.
3)
Whisk in the sugar until dissolved, then mix in the mashed banana.
4)
Stir in the flour, cocoa powder, bicarb and salt. Whisk until combined.
5)
Pour the mixture into the tin and smooth to an even layer.
6)
Bake for 15 minutes, until the mixture no longer wobbles.
7)
Leave to cool before cutting into slices. Drizzle with chocolate for some extra decoration!
Image by CanolaInfo via Flickr Creative Commons
FILM & TV Wednesday, 3 October 2018
11
Déjà vu?
With originality becoming rarer and rarer in cinema, nostalgia is fast becoming Hollywood’s favourite marketing tool By Hugh Johnson Film and TV Editor film@palatinate.org.uk
T
here’s a staple that’s fast developing in films these days: remakes and reboots. In fact, between 2003 and 2012, the US released 122 remakes. And just in the last few years, the evidence seems to suggest that this trend is speeding up rather than slowing down. Before I explore the reasons behind this trend, it is necessary to define the difference between a remake and a reboot. A remake is when an older storyline is reused, but with fresh faces in the cast, such as the recent Disney remakes of Beauty and the Beast and The Lion King. A reboot is when a franchise that has familiar faces in it is given new storylines, such as The Fantastic Beasts series being a reboot of the Harry Potter franchise.
The evidence seems to suggest that this trend is speeding up rather than slowing down. Another concept you need to be familiar with is IP, otherwise known as intellectual property. IP is any storyline, character or franchise that a studio or production company owns, and can also include scripts and adaptions of books.
Nostalgia is a powerful marketing tool, and studios know this The first reason why Hollywood is in remake fever at the moment is because of the IP that studios own. Because they already have the rights to specific characters and storylines, it becomes very easy and cheap to make a remake or reboot. The fact that these storylines and characters are already known and liked by the public means that there’s assurance that what’s being made will be watched. For example, Disney purchased Lucas Film, giving them the rights to the Star Wars films, but because Fox was the initial distributor for the original trilogy and the prequels, Fox initially retained the rights for those films, until Disney bought out Fox to own all the Star Wars IP. Due to the worldwide fanbase for Star Wars and all of its characters, Disney has a certain assurance that whatever films it produces from this IP will be a successful investment. When a studio has to make a decision on what gets funding, IP already owned by the studio seems a safer investment that an arty original idea, which is a real shame. After all, when cinema gets reduced to safe and unsafe investments, the art of film gets lost in the process. A second reason is audience demographics. The audience demographics are the sectors of the public who will watch the film, and in the marketing strategy for any film the studio tries to appeal, simply, to the people it expects will watch the film. A remake or a reboot is useful in this sense, as it can cast a wider net in who will watch the film. This is very evident in Baywatch, released in 2017. When a studio is analysing who it thinks will watch a remake, it has an assurance that fans of the original TV show, which aired between 1989 and 2001, will be more likely to watch the remake. But the studio also has an assurance that members of the younger generation will watch the film, as casts a number of Hollywood A-listers, like Zac Efron and Dwayne Johnson to appeal to a younger demographic. A third reason for the trend of remakes
and reboots is the marketing strategies a studio or production company can use to market their revival of old storylines/characters. Nostalgia is a powerful marketing tool, and studios know this. Even when a studio makes a film that can’t strictly be described as a remake or a reboot, such as the recent release of The Meg, they use nostalgia in their marketing strategy, as effectively are utilising a pre-established brand. Compare the film posters for Jaws and The Meg, and it is immediately apparent that the pre-established and much loved ‘brand’ of Spielberg’s Jaws is drawn upon to appeal to the public in the poster campaign for The Meg. The original twist (if you can really call it original) is that in The Meg it’s a much bigger shark…
We need to stop accepting mediocrity in film and support originality Simply, the reason for the remakes and reboots is mainly that they are so successful. So maybe, as viewers, we need to stop accepting mediocrity in film and support originality where we can. Remakes and reboots are a classic example of corporate greed and cookie-cutter methods destroying the art that cinema has to offer, so whatever originality remains should be nurtured. Images by Walter Crane via Wikimedia Commons
BOOKS Wednesday, 3 October 2018
12
Open Books Open Minds By Shauna Lewis Books Editor books@palatinate.org.uk
D
urham’s annual book festival returns with a line-up including Carol Ann Duffy, Sarah Waters and Sarah Perry. The list is long but make sure you don’t miss these stand out events.
The Gordon Burn Prize - Thursday 11th October
Carol Ann Duffy and Friends - Saturday 13th October
A celebratory evening discussing the shortlisted works for The Gordon Burn Prize and announcement of the winner. As a prize which celebrates daring works of fiction and non-fiction, it’s a chance to find out about works which may be outside your comfort zone.
Reading from her last collection as Poet Laureate, Sincerity, the collection focuses on remembrance and loss. Writer of poetry collections such as Mean Time (1993) and The World’s Wife (1999), her use of ‘simple language in a complicated way’ has forged an illustrious career, made her a Dame and given her such awards as the T. S. Eliot prize. Returning to poetry anthologies, it’s a chance to see Duffy outside the confines of the GCSE classroom.
Jessica Hepburn and Libby Page: Swimming Outside the Lines – Saturday 6th October
Kate Fox: Where There’s Muck, There’s Bras - Sunday 14th October
Jessica Hepburn’s 21 Miles focuses on her swim across the English Channel, and a series of letters from women whom Hepburn asked, ‘Does motherhood make you happy?’ A leading commentator on fertility within the UK, she will be joined by Guardian journalist Libby Page with her debut novel: The Lido. Making a splash at the London Book Fair last year, The Lido focuses on the friendship formed between two women over a swimming pool closing down. Sure to be an uplifting event, with both books focusing on female friendship, it’s not one to miss.
Stand-up poet Kate Fox and actor Joanna Holden look at the known and unknown women of the North, from politicians and protestors to scientists and sportswomen. Known for raging ‘Lass War’, Fox can often be found challenging lazy Northern stereotypes and adding a humorous edge to serious topics. Where There’s Muck, There’s Bras promises to be a feminist powerhouse and filled with previously unsung heroes of the North.
David Olusoga: Black and British: Growing up in the North East
Lucy Brownlee: The World Above - Sunday 7th October An integral part of Durham’s history is coal mining, and is often a part of history Durham students don’t engage with enough. Here, Lucy Brownlee will shine a light on the women above the pits. Specially commissioned by Durham Book Festival, Brownlee looked at the lives of four women across three generations. Her research will be followed by a panel on the future of female activism in Northern England. Another sure-tobe-inspiring talk, it’s a great opportunity to engage with the local heritage. Image via the Durham Book Festival
An Evening with Sarah Waters - Saturday 13th October
Author of Durham Book Festival’s ‘Big Read’, The Little Stranger follows Faraday, a country doctor, and his relations with a family whose house is collapsing around them. Intertwining the gothic with class commentary, Waters captures the pessimism of post-war Britain. Becoming Waters’ third novel to be shortlisted for The Man Booker Prize, it means there’s plenty for her to talk about when she takes to the stage.
Writer of the acclaimed Black and British: A Forgotten History, Durham Book Festival specially commissioned David Olusoga to write about his experiences growing up in Gateshead. Whilst growing up in the North-East, his family were the subject of continuous racist attacks, and this event will also cover his journey to reconnect with the location as an adult. An opportunity to see the North-East from a different perspective, the event will be important and eye-opening.
BOOKS Wednesday, 3 October 2018
13
‘Writing is a form of social activism’ In Conversation with Jacqueline Crooks By Gilah Allardice
J
acqueline Crooks is a Jamaican-born British writer with an interest in subcultures and marginalised communities. As a Migrant writer, she describes herself as inhabiting a “creative space between two worlds”, which provides a constant source of inspiration for her work. Much of your writing concerns subcultures and marginalised communities. Do you do any work outside of your writing to get involved in advocating for these communities? I’ve worked in the social welfare sector for over twenty years, supporting socially excluded people. I used to run a children and families charity, supporting families, many of whom were homeless, isolated and living in temporary accommodation. I am a migrant, I grew up in a migrant family, in a migrant town. As a writer, I’m preoccupied with voicelessness and social exclusion because of my own experiences, my family’s experiences and the experiences of other migrants. I’m also writing about situations I don’t understand, trying to develop a deeper understanding. My writing and work feed into each other, I couldn’t do one without the other. Writing is a form of social activism, it’s a way of getting the voices of the voiceless out there. I’ve always been struck by the quiet ones in our midst, I find their stories most powerful. A central motif in your book, The Ice Migration, is that we are always connected to our heritage. Despite your characters moving around in time and place, they cannot escape their ancestry and culture. Does this reflect your own experience? I was born in Jamaica and I grew up in London in the sixties, in a Jamaican household where only Jamaican food was eaten, Jamaican patois spoken, Jamaican or Caribbean music played. At my core, I’m Jamaican, as that was my
first cultural influence. Having lived in London for 55 years, I’m definitely British and have been influenced by its culture. I live in the liminal space of the migrant, between both cultures. I think this liminal space is a great creative zone. You often talk of your love for music and melody. What type of music? Is this reflected in your writing? I grew up listening to reggae, dub reggae and ska. It was a typical Caribbean household and music was everywhere – vinyl records on the gram, people singing. When I’m writing, rhythm comes before the words. I hear a beat and then the words come. At heart, I think I’m a frustrated musician. My life is governed by rhythm and so is my writing. I write to music when I’m working on first drafts.
Spread the Word on fusing fact and fiction. All my writing is autobiographical or biographical, facts are always the starting point. I use fiction to magnify the facts or to fill in information gaps. I think real life is a mix of fact and fiction. We go about our everyday lives and at night we dream and sometimes those dreams sometimes spill over into the real world. I therefore don’t find it difficult to blend fact and fiction. I’d find it difficult to write something which was solely fiction or solely life-writing. I think the spiritual nature of the churches I went to have influenced me. They were quite other worldly places where people got ‘into the spirit’ and afterwards went back to normal. Added to that, the liminal space of the migrant is quite an other-worldly space. Perhaps that’s why blending fact and fiction seems natural to me. Do you think its important to showcase writers being published in Northern England, like at Durham Book Festival, as the publishing industry is incredibly London-centric?
I’m currently working on a novel about a young woman in a male-dominated music sub-culture, based on my experiences. The Ice Migration collection of stories are Based on true events and the characters on real people. Did you ever find it difficult to blend fact with fiction? I’m doing a writing workshop for
I certainly think it’s important to showcase writers from Northern England. I believe in diversity, we need to hear from writers from around the country. When I was doing my Creative & Life Writing MA at Goldsmiths University, I remember walking into the library for the first time and seeing the huge range of books from authors from around the world. I was both excited and saddened that I’d not been exposed to these writers before. I think it’s the same with writers from the North of England and other regions outside London. We need to hear from them, for the richness in terms of vernacular, styles, stories. I’ve been participating in festivals in Northern England and other regions for the past three years. I really enjoy working with writers from Northern England. I met the fantastic Sheffield-based writer Desiree Reynolds a few years ago and I love her writing. We’ve been collaborating ever since. Image by Jacquieline Crooks via Twitter
TRAVEL 14
Wednesday, 3 October 2018
Think Pacifically By Emily Nanovich-Walker
T
his summer I spent a month volunteering in Fiji with Think Pacific. Before beginning the 28 hour journey to the other side of the world which took me through Singapore, Sydney and finally Fiji, there were many things I thought I was ready for: I had bought the entire Boots pharmaceutical aisle. Yet despite this, there was nothing I could have done to prepare for the unforgettable month I was about to embark on.
never forget. I truly felt like I was part of their family. They went above and beyond to make us feel comfortable, and we shared both laughter and tears together. ‘Smack-juice’ nights, whereby you drink very sugary juice then get up and dance with the children to an assortment of songs, a favourite of which was a little ditty called ‘Scooby Doo Pa Pa’, were a source of considerable amusement; but all were weeping when we left for home at the end of project. The Fijian people have the philosophy that anyone is welcome, so to say that they are friendly is a massive understatement. Doors are left open inviting anyone walking by to pop in for tea and cake; and wherever you go people greet you with an enthusiastic ‘Bula!’
This experience was one of the most rewarding and unforgettable things I have ever done
Upon arrival in Nabila village our team was greeted by the villagers with a traditional ‘Sevusevu’ ceremony. This tradition takes places whenever visitors arrive, as it is a way for the Fijians to welcome them into their community. During the ceremony one sits crossed-legged on the floor and drinks Kava, consisting of ground up pepper root mixed with water.
The main purpose of the trip was our work in Fijian schools teaching Maths and English and this was one of my highlights. I chose to teach in the Kindergarten so was surrounded by twelve 6 year olds for three weeks, singing, dancing and colouring – I think the ‘Hokey Kokey’ will be engrained in me forever! Working with these children was one of the most rewarding experiences of my time on this unique Pacific island nation as children, who were initially unable to recognise their ‘ABC’ and numbers, were able to by the end of project. The bonds created with these children were incredible and it always made me smile walking in each morning to a chorus of ‘Hello Madame!’. In the afternoon we introduced sport to the children which they thoroughly enjoyed with rugby and football being the most popular.
In terms of food I tried many new vegetables and dishes including home-grown breadfruit and root crops like Cassava and Dalo. One of my favourite dishes was roti and pumpkin curry; Fijian pancakes, a mix between fluffy pancakes and a doughnut, were a firm breakfast favourite too.
There were many things I thought I was ready for: I had bought the entire Boots pharmaceutical aisle We then met our families and enjoyed our first Fijian night in the village. Living an authentic Fijian lifestyle was one thing I was apprehensive about before the project, yet I can say it was one of my favourite experiences The endless smiles and dancing of my “nephew”, a 1 ½ yearold called Gabriel who enjoyed tottering around the village trying to join in with the older kids’ football games, I am sure to
wearing brightly patterned Sulus (wraparound maxi skirts) and Bula dresses (floral maxi dresses).
I also embraced the local fashion, itself very different to that of the UK: women cannot wear trousers and, as is the case in many parts of the world, may not have their legs or shoulders showing. The upshot was that I spent an entire month
This experience was one of the most rewarding and unforgettable things I have ever done. This project emphasised that our developed way of life has disregarded the importance of society’s buildingblocks: family, the church and community, things which the Fijians place above anything else. The project showed me that life without all our superfluous materials is just as fulfilling as our lives with them, and hence made me thankful for all the things we take for granted. Images via Emily Nanovich. and Chris Isherwood Walker, Flickr via Creative Commons.
TRAVEL 15
Wednesday, 3 October 2018
A taxi to downtown Yangon Patrick Noren Travel Editor travel@palatinate.org.uk
Y
angon Central bus station is not “central” in the slightest. It is a healthy taxi ride some way north of the ubiquitous South-East Asian chaos of manic motorbikes, irrelevant traffic lights and horrendous, nonstop, soul-grinding tooting of one horn, after another horn, after yet – another – horn. Thankfully, due to arriving at 5am in Myanmar’s former capital, the main highway into the city was largely empty. Much to my potential demise.
Eventually he returned as if nothing had happened. After the ritualistic dance of skill, wit, and judgement that is bartering, a price was agreed. All taxi drivers in this part of the world will try and assure you that your destination is “very far, very far” in order to squeeze a couple extra thousand Burmese kyat out of you. He dropped the price from 12,000 to 10,000, about £5 to be split between two passengers. But in this case, he wasn’t lying about the distance. It was 23km. It really was “very far, very far.” We set off and, after another lengthy pitstop during which he disappeared to go and chat to a few mates, we started charging down the road largely devoid of traffic, a rarity in a city famous for its appalling traffic jams.
He was an experienced taxi driver who seemed to know what he was doing The speed with which he drove was not a problem to begin with, despite demonstrating a flagrant disregard for both his and his passengers’ safety. He was an experienced taxi driver who seemed to know what he was doing.
At the actual bus station, however, the bewildering clamour of the early morning tourist rush was a thunderclap strike to my ears At the actual bus station, however, the bewildering clamour of the early morning tourist rush was a thunderclap strike to my ears as I stepped weak and weary out of the cold, air-conditioned coach into the heat and humidity of the city. Yells of “taxi! taxi! taxi!” came from everywhere.
His head twitched to the right. Then his left leg began to shake. The car began to stray across the motorway’s three lanes. Then his other leg began to shake. His right arm, the only arm he had on the wheel, began to shudder. His whole body started spasming. He ran his quivering left hand over his dripping forehead, through his matt black spiky hair, and down round his neck, a reservoir of sweat. Tearing down the motorway at easily over 100km/h, the car snaked wildly, barely dodging small vans and tuk-tuks. I clenched the door handle.
I rose my hand and nodded at one man, who very promptly stepped forward, yanked my rucksack off my back, marched off to his car, lobbed it in the boot, and with me now inserted in the car, completely vanished.
He wasn’t in control. I wasn’t in control. What the hell was going on? I thought I was going to die. He slowed, and left the motorway, his uncontrollable shaking worsening every minute that went by.
He was gone for a long time. I can’t remember how long. But it was a long time.
A monk stood waiting outside a monastery, dressed in those enchanting orange
robes so cherished by Buddhists and others alike, with a little brown leather bag hanging around his neck. He reached into his satchel, pulled out a small parcel of green leaves which could fit into the palm of your hand, and gave them to the driver.
He wasn’t in control. I wasn’t in control. What the hell was going on? After shoving a couple into his mouth, and giving them a brief chew, his shaking subsided. Betel leaves. An addictive stimulant and psychoactive drug, that is chewed and then spat out, with effects on the human body similar to those of tobacco and caffeine. Other, more severe effects include vomiting, gum problems, shortness of breath, and, in worse case scenarios, a coma or death. Chewing betel leaves is as common in Myanmar as drinking a pint of cider in Somerset. The driver was suffering from withdrawal symptoms. Some minutes later the car pulled over once more. The now-recovered driver pressed his hands together and reverently bowed to the monk as he opened the door and stepped out. The driver then continued onto the hostel, tucked away down a narrow and crumbling street, with electri-
Images by Staffan Scherz and Paul Arps, Flickr via Creative Commons
THE indigo INTERVIEW Wednesday, 3 October 2018
16
Knock, Knock, who’s there? Indigo interviews Rowan McCabe, door-to-door poet and performer
By Rhiannon Morris
W
ith performances at the Royal Albert Hall and Glastonbury Festival under his belt Rowan is more than your average knock on the door.
Can you explain the concept of doorto-door poetry and where you got the idea? I knock on stranger’s doors, when they answer, I do a poem. I say I’m doing an art project because you know if I said I’m a poet they’d just slam the door. I ask them if they’ve got a minute and ten seconds to spare, and if they say yes, I do a poem. That poem basically asks them what’s important to them. We have a conversation about anything that’s important to that person. It could be something really small like spaghetti hoops or it could be something really big like being worried there’s going to be a world war three. Whatever’s important for them. Then I go away. Then a couple of weeks later I go back, and perform again on the doorstep. I was thinking about how I don’t know anyone on the street that I live on. And I don’t think that’s too unusual, I don’t think people really talk to their neighbours very much anymore. I started wondering if there was a way I could sort of use poetry to explore that and explore the isolation in the world that we live in.
How important is it to you to reflect not only your northern roots but also your working-class roots, and do you think that’s affected your poetic voice? It definitely has in general. I feel like the process has really been more and more trying to embrace my own voice and the background that I come from. I look back at early performances I did and I’m using a kind of “poetry” voice that isn’t mine and I think trying to be true to who I am is generally something that I’ve been trying to do more. door to door poetry is a little bit different because you’re often reflecting the thoughts and views of
someone else. But then I think the trick with lany commission really is trying to find yourself in that subject. If I can find something that that person is passionate about that I’m passionate about then it’s a lot easier.
So is it a form of almost sort of bringing yourself closer to a wider community in a way? Yeah, I think so. I suppose every time I’ve been out I’ve tried to visit a slightly different community and do something that scares us a bit to see what happens. After it worked people started saying “Ah well, it would work in Heaton (student area) but I bet you couldn’t do it in a working class area like a council estate.”
called Alan. He said “Well you can come in if you want but I really don’t like poetry. I’ll talk to you, but I’m not really interested in having a poem.” I went in and we chatted and he’s fascinating. He moved from Germany when he was one. It was world war two at the time and he’d had to flee Germany because his mam wasn’t considered a pure German citizen. They got to the UK and suffered all this racial abuse for being German. He’d had all these horrible experiences and yet he was the most positive person I’ve ever met and he was really passionate about fighting racism and social justice. I wrote a poem for him about social obligations and to call out racism when we see it in public and it ended up going on BBC Breakfast. Me and Alan went on the news together and he said it was one of the most life-changing experiences he’s ever had. The first thing he said actually when I showed him the poem was “I need to read more poetry.” Which I loved. That was a really special experience.
Do you think poetry is becoming more of a social duty as opposed to just art, and why has spoken word become a more popular trend?
Image via Rowan McCabe. But then after people started saying things like – “It wouldn’t work in an area where there’s lots of migrants, would it, because no one speaks the same language and people are really isolated and they don’t talk to anyone”. I suppose instead of trying to engage with one community the process has always been about trying to find a different group of people who lived a life different to me in some way shape or form, to explore the different lives that people live. The one that springs to mind first of all is when I went to Bensham I met a guy
I do think it’s probably had a lot to do with people becoming more active politically, with the fact that things are polarising, quite a lot on both sides. There’s a lot of poetry out there that is pretty much like a simplistic rant or attempts to solve all the world’s problems, and personally that’s not really my cup of tea. I do think there is a trend for political poetry, and when it’s done right, it can be brilliant. My favourite type of political poetry is just about one character of one group of people, that’s viewing something that can be an illustration of something much bigger. Also, the cheapness of it. It’s expensive to put gigs on and it’s a tough time economically. Poetry is one of the cheapest forms of entertainment. Youtube has helped. There’s so much information but poetry is a condensed language and it gets people’s attention. Catch Rowan performing at Palace Green Library Cafe on October 6th, as part of the Durham Book Festival.