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EDITORIAL Thursday, 10th June 2021
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www.palatinate.org.uk/category/indigo/
FASHION 3 For Sale: Pride - Price? Pride. FEATURES 4&5 Student entrepreneurs: founding Fygo and The lost colleges of Durham University FOOD AND DRINK 6 Indoor dining: Business as usual? FILM & TV 7 Cinema: the beauty of the big screen BOOKS 8&9 The defining books of my time at university
INTERVIEW
10 Imposter syndrome: Self-doubt, social media, and success
VISUAL ARTS
11 A summer of culture MUSIC 12&13 Gospel and pop music STAGE 14 Medea: A classic with relevance CREATIVE WRITING 15 Pride Poems TRAVEL 16 Spending summer on British shores www.facebook.com/palindigo Follow us on Twitter and Instagram: @indigo_palatinate Have a question, comment, or an idea for a story you’d like to write? Email indigo@palatinate.org.uk Logo: Chloe Wong, edited by Adeline Zhao Cathedral Artwork: Anna Gibbs Front Cover: Lily Langford
This print edition is sadly our last as indigo Editors and therefore this will be our last editorial. We’ve had so much fun running indigo and it has been an amazing year for the magazine. We are immensely proud of all the editors and contributors we’ve had the pleasure to work with and all the wonderful content we’ve produced together. It seems fitting that the final print edition of our time as indigo editors falls during Pride month. As we are both part of the LGBTQ+ community, it has been hugely important to us that over the last year we have tried to use this magazine as a platform for underrepresented voices and perspectives in the media; we hope that indigo remains committed to this in the future. As queer people we are so often made to feel ashamed for being ‘too loud’ in our self-expression and taking up space in a world built upon heteronormativity. However, as Marsha P. Johnson proved, the way to rebel against this is to unapologetically take up that space and fight for your voice, and the voices of others who can’t fight for themselves, to be heard. This is the philosophy that Pride is built upon. The experiences and opportunities we’ve taken from indigo will become a stepping stone for our future ambitions to represent queer voices in journalism and raise awareness around LGBT topics. The best way to enjoy Pride this year is with an infamous Long Island Iced Tea. All you need is equal parts vodka, gin, tequila, rum, triple sec and lime juice. Pour into a tall glass and top up with cola and ice. For a non-alcoholic version, try squeezing half a lime into a glass of cola and top with ice. In this edition, Fashion tackles rainbow capitalism, Interview explores impostor syndrome and Film and TV think about reopening cinemas. We hope you enjoy this edition as much as we have enjoyed making it and all the others before it. Happy Pride! Hugo Millard and Millicent Machell
INDIGO EDITORS Hugo Millard Millicent Machell FEATURES EDITORS Aadira Parakkat Elle Woods-Marshall Immy Higgins
CREATIVE WRITING EDITOR Millie Stott
STAGE EDITORS Charlie Barnett Issy Flower VISUAL ARTS EDITORS Carys Stallard Emma Tucker 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 EDITORS Grace Marshall Charlotte Grimwade MUSIC EDITORS Annabelle Bulag Katya Davisson INTERVIEW EDITORS Aimee Dickinson Claudia Jacob
FASHION Thursday, 10th June 2021
For Sale: Pride - Price? Pride.
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Sarah Garner discusses the commodification of Pride and its links with capitalism Sarah Garner fashion@palatinate.org.uk
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ong gone are the days when Pride was reserved for the LGBTQ+ community. June used to be the month where sexuality was celebrated and those who did not have this luxury were remembered. Today, however, hundreds of companies dine out on this notion of pride and exploit its meaning for their own benefit. This now means that pride is a trend, it is fashionable, and it is losing its true meaning due to commercialisation, and so alienates the very people it is there to celebrate.
“rainbow capitalism [...] is used to describe the practice of companies exploiting Pride” This manipulation of Pride is so commonplace that it has its own label, being referred to as ‘rainbow capitalism’. Rainbow capitalism describes the practice of companies exploiting Pride, whereby queer people are targeted through the addition of a rainbow on any product they sell, due to the purchasing power of the LGBTQ+ community, all for their own financial gain, rather than that of the community. For example, it was found in 2019 that ‘The LGBTQ+ Community has $3.7 Trillion in Purchasing Power’ and businesses have certainly realised this and done everything they can to try and take this for themselves. Thankfully, it is usually pretty obvious which companies’ ‘Pride ranges’ are genuine, and which are superficial. For example, have you ever noticed when
clothings suddenly add a temporary profile picture on Facebook? Suddenly everything they sell has a rainbow on it. Their Twitter page is now cluttered with empty messages of support? All rainbow capitalism and the commercialisation of Pride. Don’t get me wrong, if someone wants to wear a Pride flag as a dress for a month, amazing. But some products that are now sold are so unbelievably ridiculous, it’s hard to understand how they manage to make a profit. Many fast fashion companies, for example, as well as being incredibly unethical, have either slapped a rainbow onto everything or overly sexualised Pride, which seems to me like a huge misunderstanding of what Pride actually means. F u r t h e rmore, at prices as low as these, it is clear that the products are not going to have been made locally, ethically, or sustainably, meaning that this Pride range is doing more harm than good. This completely undermines the meaning of Pride month, whose message consists of inclusivity and fairness. On the other hand, some companies have got the perfect balance between celebrating Pride with respect, and clever marketing. For example, Michael Kors is selling a Pride-inspired, limited edition T-shirt and all profits are being donated to OutRight International, which is an inspiring organisation that fights against human rights viin the LGBTQ+ community.
“Pride should never have become a commodity” The $68 price tag on this T-shirtes to around £48 and althogoes to a good cause, some people’s bu simp Alternatively, the more affordable Levi’s are donating 100% of its profits from the Pride collection to LGBTQ+ charities. I find Levi’s’ Pride range particularly impressive also due to its inclusion of the trans and non-binary communities through its messaging regarding pronouns. Trans people are often forced to take a back seat during Pride month, so it is nice to see Levi’s truly understanding what Pride stands for. Pride should never have become a commodity; people have died in the fight for equality and now companies are disrespecting them by attempting to maximise profit. However, there is obviously a market for Pride merchandise and clothing, which is understandable as the community want to (literally) wear their sexuality and gender identity with pride, and allies want to publicly show their support. There is certainly a fine line between fulfilling consumer needs and abusing this for their own benefit. This June, either support your local queer businesses or shop with companies that are supportive of LGBTQ+ rights all year round, not just during Pride Month. Happy Pride! Photo by Karl Bewick via Unsplash
FEATURES 4
Thursday, 10th June, 2021
Student entrepreneurs: founding Fygo Features interviews co-founder Toby Lowenstein about the process behind the Fygo app Immy Higgins, Elle Woods-Marshall, Aadira Parakkat Features Editors features@palatinate.org.uk
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ow did the idea for Fygo come about? Whilst studying at the University of St Andrews, my brother, Jonah, and I created a discount card for St Andrews students to help better connect businesses with the student population. Students purchased a physical card, which would then give them discounts around town all year long. Whilst this was very successful – we partnered with several household brands, such as Domino’s and Mountain Warehouse – a common feedback theme was that students were fed up of having to remember to say ‘scan’ or show something at checkout in order to receive their rewards, and there was no way to get rewarded for spending with friends. In today’s world, students expect seamless, social experiences. In short, our solution was far too clunky and isolating for our liking. We were determined to build a social app that would automatically reward students for spending at their favourite businesses. We teamed up with our third Co-Founder, Ben (also from St Andrews), and began building the ultimate update to our initial project: Fygo.
“local businesses have long been neglected by traditional loyalty and discount solutions”
Why did you choose the name Fygo? When naming the business, we wanted to create a catchy, twosyllable, madeup word. Whilst ‘Fygo’ originates from the words ‘finance’ and ‘go’, we really enjoy the fact that that isn’t immediately obvious, which means that people can interpret the name however they choose. Did you have any doubts about quitting university/balancing university alongside degree? How was starting a company during COVID-19? At the start of the first lockdown, we made the decision to work full-time on Fygo in order to give the company the best chance of succeeding. There were no doubts - we were confident that we were making the right decision, especially given the changes to university caused by the pandemic. We applied for, and were granted, leave of absences for the past academic year, and have been working full-time since March 2020. Funnily, the lockdowns proved to be the perfect makeshift incubators for the business, as they removed any potential distractions and made it simpler for us to throw ourselves 100% into building Fygo! How does Fygo support businesses? Local businesses have long been neglected by traditional loyalty and discount solutions. In our post-COVID-19 society, Fygo is here to help retailers and directto-consumer brands acquire new customers and retain them at a low cost. Although Gen Z customers are the highest LTV customers of all time, they are also the most difficult to keep loyal.
“there’s nothing more liberating than being responsible for your own success” Do you have any advice for students looking to develop start-ups after university? There’s nothing more liberating than being responsible for your own success. If the thought of doing your own thing feels uncomfortable, that’s perfectly natural! Embrace any insecurities you might feel and use them to propel your ambitions! Image credits: Fygo
FEATURES Thursday, 10th June, 2021
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The lost colleges of Durham University Luke Payne delves into the history of Durham’s colleges Luke Payne features@palatinate.org.uk
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his academic year saw the opening of South College; bringing the total number of Durham University colleges to 17. However, South is far from Durham’s 17th college. In its near 200 year history Durham has had over 25 colleges. Some of these colleges are no longer with us today for a variety of reasons. Some have merged together, others have split in two, a few declared independence and some have simply closed. You would probably recognise Durham’s fourth college. Its building still stands proudly on Palace Green. After serving as accommodation of University College under the name ‘University House’; Bishop Cosin’s Hall opened as a college in its own right in 1851. The college was named after John Cosin, Bishop of Durham 1660–72. In 1864 Bishop Cosin’s Hall was merged back into University College due to falling student numbers at the time. The School of Medicine and Surgery at Newcastle became absorbed into Durham University in 1852. In 1871, the College of Physical Science also became part of the University and was renamed Armstrong College in 1904. 33 years later, the Newcastle campus came together under the name Kings College. A vote to rename Durham University “The University of Durham and Newcastle” to better reflect its two campus locations, was defeated in 1952 by 135 votes to 129. This eventually
led to the independence of the Kings College in 1963 with the formation of The University of Newcastle Upon Tyne. The entrance to the Armstrong Building still contains an engraving commemorating the creation of Armstrong College.
“over the years Durham has lost at least a third of its colleges” Perhaps the most well known former colleges were The College of the Venerable Bede and St Hild’s College. These two colleges were recognised (independent) colleges like St Chad’s and St John’s from their inception in 1838 and 1858 respectively. However, they merged in 1979, becoming the College of St Hild and St Bede that exists today. Neville’s Cross College opened in 1921 and from 1924 it became a licensed hall of the University. It admitted students to read for both undergraduate courses and postgraduate degrees. After a merger with Durham Technical College in 1977 (forming New College Durham) it ceased association with the University. In a bizarre twist of fate, the original Neville’s Cross College building is now occupied by Ustinov College. Sunderland Technical college was affiliated to Durham University via the Faculty of Applied Science at the Newcastle Campus from 1930 to 1963 (although some students also studied for degrees at the University of London). When the Newcastle campus became independent, the technical college merged with other schools
to form Sunderland Polytechnic, now known as The University of Sunderland. West of Durham, between the villages of Langley Park and Ushaw Moor, sits Ushaw College. The Catholic seminary opened in 1808 and became affiliated with Durham University in 1968 but retained its role as a seminary. The complex holds some beautiful rooms including a theatre, dining hall and a ridiculous number of chapels. Due to declining numbers, it closed as a seminary in 2011. It’s now a tourist attraction and hopes that its impressive library will attract theological scholars from around the world. It’s well known that former Queen’s Campus buddies John Snow and Stephenson aren’t as close as they used to be. John Snow is in a new relationship with a much younger college, and Stephenson has hooked-up with the young college of yesteryear. Few know however, that these two colleges used to be the singular Joint University College on Teesside (hilariously abbreviated as JUCOT). This was a joint venture established in 1992 between Durham and Teesside Universities. In 1994 the college operated under the name University College Stockton, but in 2001, the college was split into two, forming George Stephenson (later shortened to Stephenson) and John Snow Colleges. Between 2017 and 2019, the colleges were moved out of Stockton to Durham city. The history of Durham shows that colleges are not eternal institutions. Over the years Durham has lost at least a third of its colleges. The University has planned the creation of several new colleges by 2027 but the loss of existing colleges are less planned, and more sudden victims of the circumstances of the time. Image credits: Luke Payne
FOOD & DRINK 6
Thursday, 10th June 2021
Indoor dining: Business as usual? Food & Drink Editors dish on Durham’s dining-in scene after May 17th Meghna Amin and Constance Lam Food & Drink Editors food@palatinate.org.uk
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h, the sun is out shining, restaurant doors are opening, and rooftop terraces are booming… things are almost back to where they should be. The world of food and drink is slowly restoring itself, as eateries in Durham city centre are popping back open, refurbished and ready to go. It’s been a while since any of us have felt that sense of normality, and with exams being over and summer finally feeling like it’s in reaching distance, the normality of indoor dining is refreshing. Watching the queues forming outside the Food Pit, with a new Mediterranean bar having opened just next door and the Cosy Club’s terrace being a hot-spot over the river, the Riverwalk is competing with the North Bailey as the go-to dinner spot.
UberEats. Perhaps you could start your day with the iconic pancakes at Riverview Kitchen. For regular customers before the pandemic, returning to their indoor seating may feel like a déjà vu. Those lucky enough to bag a window seat can glance out onto the famed river view, watching as people amble leisurely down the river. After a long hiatus of collection-only, Riverview Kitchen seems to be bouncing back and thriving again. Though long, the queue outside the restaurant moved quickly and efficiently even for walk-ins, and the indoors was not congested. And the best part is, several of the uniquely Riverview touches remain
“indoor seating may feel like a déjà vu” Stuff yourself to your heart’s content with The Golden Dame Burger, which features a decadent Mac & Cheese patty and succulent fried chicken in a thick brioche bun. And their espresso martini is arguably one of the best in Durham - chocolatey and with a potent espresso flavour.
And let’s not forget the burger diners opening up soon too – adding to Fat Hippo and Tango’s love-list are two new hotspots on either side of the river: The Burger Pit, opening alongside Turtle Bay on the Riverwalk, and a new spot we’re waiting to hear more about, that’s replacing the beloved Esquires, directly opposite what will be set as another firm favourite at the edge of Framwellgate Bridge, Rib n Reef – a steak and seafood spot opening up by the owner’s of Akarsu Turkish Grill.
“it finally feels as if Durham is returning to normal” So with burgers, seafood, all-time favourite bottomless brunches and the new gin tasting spots dotted around town, it finally feels as if Durham is returning to normal, coming back to life after a hibernation pulled through by Deliveroo and
intact: from the warm and friendly service, to my personal favourite — the free Daim candy with a hot drink. And after celebrating the end of exams, why not visit Cosy Club with your friends and loved ones? Their food menu is fairly extensive (albeit slightly pricey), including vegetarian and gluten free options, but the very generous portions are worth the price for special occasions.
Especially in the heat of summer and post-exams bliss, the re-opening of indoor dining is an exciting (and mouth-watering) prospect for us. That being said, indoor dining is contingent on the Covid-19 cases in Durham and safety measures like contact tracing, the rule of six, and masks indoors. So while tucking into delicious meals and sipping away at drinks in the sun, let’s be mindful of the restaurants who are working hard to stay safe against Covid-19.
Photography by Meghna Amin and Constance Lam
FILM & TV 7
Thursday, 10th June 2021
Cinema: the beauty of the big screen Erin Waks reflects on the magic of cinema and filmmaking By Erin Waks film@palatinate.org.uk
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ith the end of lockdown in sight, many of us are very excited for things to start re-opening. Bars, cafes, restaurants and museums amongst them. But one thing, in my opinion, has gone rather underappreciated. The re-opening of cinemas. It’s a little ironic, I appreciate.We’ve spent the last year ploughing through many a Netflix series, or binge-watching old films. With little else to do, it seems as though many of us have had enough of films and television. We may want to go outside, have drinks in bars with our friends, even perhaps go to, dare I say it, a nightclub. The beauty of cinema, though, is the way in which it takes a remarkably ordinary event – watching a movie – and allows it to become so much more than that. For me, at least, going to the cinema represents a dedication to my love of visual art. It’s also, I guess, a form of socialising, during which you share an experience, albeit with far less chatting than usual. Cinema can be whatever you want it to be. And no, it’s not the same as watching a movie at home. I think one element of film-making is often overlooked, nay, ignored, when we watch movies at home. Directors, and the rest of the crew, are making their film for the big screen. Whilst they are not naïve and know their films will be streamed continually through platforms such as Amazon Prime and Netflix, visual art is, always has been and, in my opinion, will always continue to be, initially screened in huge cinema halls around the world. The industry, the artistic elements of it especially, depend upon the encapsulation of their audience. I
just don’t believe you can have that same, all-encompassing experience at home. Take the ‘James Bond’ franchise, for example, a firm favourite of mine and an undisputed British classic. Of course, we can re-watch the films time and time again from the comfort of our own homes. But nothing beats the drama, the adrenaline, the excitement of witnessing one of the iconic chase scenes play out from the comfort of your seat, popcorn in hand, everyone in the room engrossed.
“Film festivals and cinemas allow you to access worlds and cultures that you have never considered” There’s a reason the cinema industry, despite increasingly having to compete with new technologies, is yet to die out. The reemergence of drive-through cinemas in the last year has been an amazing flashback to the 1950s, and one I know my friends and I are hoping sticks around. In London, but even more so in other European cities such as Paris, the art cinema scene is still going strong. Independent cinemas often screen a combination of classics and
brand-new films, creating an ambience of intellectual visual stimulation, an appreciation of historical film culture and a fabulous place to share a love of cinema. The other thing that cinema allows which is perhaps less present in homescreening, is the diversity of the industry. Whilst many online platforms offer international films, it can often be difficult to locate a less well-known but incredible film. Film festivals and cinemas, especially international or independent ones, allow you to access worlds and cultures that you may never have even considered. This year, for example, I enjoyed an online Moroccan film festival, the Prix des Dionysien·ne·s, and watched films I would never have even considered. The festival, albeit online, reminded me of the power cinema has to transport you to a different time and place, and I can’t wait to compound that rush with an experience in a real cinema hall. Personally, I can’t wait to get back to cinemas. I have a list of films I’d like to see as long as my arm, and am particularly excited for some of the international film festivals slowly making a non-virtual comeback after the pandemic. Some highlights this summer include the British Arabic Institute’s SAFAR Film Festival, the reopening of the Institut Francais’ cinema, live cinema screenings of Shakespeare at The Globe, and Film4 Summer at Somerset House. Most of these will take place partially in real life and partially online, allowing a gentle reintegration into the magnetic world of cinema. Whatever kind of films you like, there is no denying that the cinema offers something for everyone. This year has really shown us the value of our cultural institutions. I hope we can all make the most of cinemas this summer, and truly appreciate the beauty of the big screen. Image Credits: Coca_Lemon via Flikr and OpenClipart-Vectors via Pixaby
BOOKS 8
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The defining books of my time at university As their time at univeristy comes to an end, five finalists explore the books that shaped it Books contributors books@palatinate.org.uk
Flèche – Mary Jean Chan By Constance Lam A few months ago, I picked up a copy of Flèche while browsing the shelves of the Billy B, taking a lengthy break from my exam revision. I sat down, flicked through the pages, finished the collection in one sitting, and ardently recommended it to all my friends. Evoking both the French word for arrow and the English homophone of ‘flesh’, the title of Mary Jean Chan’s debut full-length poetry collection is richly suggestive of dualities and paradoxes. Her poetry is poised between the tensions that arise when reconciling intergenerational, gendered expectations, as well as Chinese culture and Western education. Chan’s nuanced treatment of language choice is perhaps my favourite aspect of Flèche. In an interview, she expresses her aim to include Chinese in her poetry that “isn’t tokenistic or arbitrary”. Raised in Hong Kong but educated in the U.S. and the U.K., Chan incorporates Mandarin, Cantonese, and English into her poetry. ‘Written in A Historically White Space (1)’ seamlessly code-switches between English and Chinese, challenging the reader’s subliminal expectation for Chan to write in Chinese, and probing into the legacies of colonisation and the implications on language choice. In retrospect, I am also drawn to Flèche because of Chan’s formal experimentation. Her poem ‘The Calligrapher’ evokes two adjacent scrolls of Chinese calligraphy through stacking short, neat lines of verse. Chan inventively illustrates the physicality of the laborious writing process: ‘Once/ more the fingers dip, slide, lift/I am not a dancer, but this is a dance.’ Through bold formal and cross-linguistic experimentation, Chan unflinchingly explores the intersecting threads of identity and language, and the entanglements of family and sexuality. Despite coming across Flèche towards the end of university, sharing Chan’s po-
etry with my friends and seeing their enjoyment has been, without a doubt, one of the main highlights of my time at Durham.
“I’ve learnt that I can be critical of stories without losing everything I love about them” The Bell Jar – Sylvia Plath By Imogen Usherwood The Bell Jar has, quite literally, bookended my undergraduate years. I first read it shortly before my A-Level results: I’d longed to read it for years, but had an annoying, faux-reading habit, whereby I wanted to get through as many books as possible and didn’t take much time to reflect on them. I was taken in by Plath’s fascinating imagery and frank narrative voice, not to mention the protagonist, an English Literature student with a crippling fear of failure. It struck a chord with me, and seemed to stand for something specific and deeply personal, in the same way that it has for thousands of young women since 1963. In my final year at Durham, The Bell Jar was a set text: that Waterstones copy from three years ago is now a battered paperback full of annotations. I read reviews, essays and assessments of the novel, which describe it as a raw, hardly-edited, haphazard text – it was actually rejected by Plath’s initial publisher for being ‘disappointing, juvenile, and over-wrought’. In a way (and probably to the horror of my
eighteen-year-old self), I agree: The Bell Jar is full of flaws, but the fact that I can reconcile these with my sustained fondness for the novel feels like a gesture towards some sort of maturity. In three years I’ve learnt that I can be critical of stories without losing everything I love about them – I suppose the same thing goes for people, places, and things, something I probably didn’t understand at eighteen. I’ve also reached the age of Esther Greenwood in the novel, and at twenty-one can share in her experiences, anxieties and sentiments so much more. Any comingof-age story grows with its readers, and The Bell Jar has left its own highlights, annotations and criticisms on me in the same way I’ve marked its dog-eared pages.
“three books... years...exam seasons” His Dark Materials – Phillip Pullman By Hugo Millard I’ll be the first to admit that I jumped on the His Dark Materials train a lot later than most, having only read it for the first time at the end of Year 11. However, needless to say, when I got round to picking it up I was blown away and utterly enchanted, as I think everyone who has the pleasure to read Philip Pullman’s writing always is. So, when the first year exam period hit and I was desperately looking for something easy, comforting, and distracting to unwind with in the evenings, it’s no surprise that a copy of Northern Lights happened to fall into my hands during a procrastination-Oxfam browse. And so started a bit of a uni ritual where I aimed to have slowly reread the trilogy by the time I graduated: three books, three years, three increasingly
BOOKS 9
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stressful, weird, and intense exam seasons. Rereading the trilogy over my past three years at Durham has shown His Dark Materials to be a series that only reveals more and more with each reread the older you get, exposing the books as little more than, essentially, adult novels dressed up with all the trappings of a children’s book. Across the trilogy, Pullman tackles complex philosophical and theoretical theories yet presents them, through fiction, in a way that is extremely accessible without dumbing down their complexity or difficulty. The ‘adultness’ of these books has never ceased to amaze and intrigue me in the past three years, from difficult topics of death and abandonment to casual references to sex and murder, all the time written in such a way that the nuances and intricacies weren’t lost but rather explored and explained. Though for me, as for many, elements of the final book seemed forced or a bit out-of-place (hot take, but the Will and Lyra relationship was so unnecessary and it just didn’t make any sense) the trilogy provided me with the escapist comfort I was seeking, while constantly surprising me with how much the content remained relevant or new. Revisiting a book a year has firmly marked the series’ significance throughout my time at Durham, and I can promise the reading experience is only enhanced by the cobblestones, Cathedral, and river which I was lucky enough to read next to.
“university, for me, has been characterised by change” Normal People – Sally Rooney By Sol Noya Carreno In every home I’ve had during my degree, there has been a copy of Normal People. I remember starting to read it from my first-year roommate’s copy, and one of my second-year housemates excitedly recommending it to me. But it wasn’t until the lockdown in the spring of 2020 that
I got my own copy and read it all the way through, in one sunlit afternoon. I don’t think there’s much I could say about Rooney’s flowing, atmospheric prose that hasn’t been said already – but one of the reasons that Normal People immediately says “university” to me is the way it transports you to the campus setting and takes you through Marianne and Connell’s university years until they’re on the cusp of graduating. It’s not mainly the campus aspect of Normal People that reminds me of being a student at Durham, though. It’s the nuanced exploration of human connection and its flip side, isolation – two experiences that characterise moving away to study at university and the beginning of adulthood. While the novel focuses primarily on Connell and Marianne’s relationship to each other, it also provides glimpses at their failures and successes in building relationships – romantic, familial, platonic – with the people around them. Normal People speaks to the truth, both heart-breaking and heart-warming, that even the people who are not in our lives forever can still deeply mark them. University, for me, has been characterised by change (even more with the addition of a global pandemic): new home, new friends, new interests. Normal People shows how the people who stand by us through these changes and help you make your way through them can provide a home and a guiding light when everything seems to be spiralling out of your control. This is a lesson that has certainly resonated with me through my friends in university. As I get ready to move on, they are the pieces of Durham that I will carry with me. The Yellow Wallpaper – Charlotte Perkins Gilman By Lizzie Wilmot I remember it as if these past three years never happened: I was walking towards Palace Green, awed by the beauty of Durham Cathedral, admiring the sun glistening and reaching each step and corner. You know the view I’m talking about. I was making my way to a charity book sale, ready to find some new additions to the very limited collection I’d managed to squeeze into my suitcase a few days before. Within only half an hour, my arms were laden and I left feeling triumphant, but also blissful-
ly unaware that among my purchases was a novel that would come to mean more to me than I ever could have expected. The Yellow Wallpaper depicts the story of a woman entrapped by her monotonous life, a result of being prescribed a resting cure to treat her ‘hysterical tendencies’. In reading, we are immediately exposed to the limited Victorian comprehension of psychology and the misunderstood minds of women. Isolated and lacking distraction, the woman starts to develop a sustained interest in the room’s wallpaper, studying and dissecting its original pattern. The wallpaper soon becomes her only mental stimulation, allowing her to uncover more secrets along the way. I’ve often been asked why I keep all the books I read, something I’ve done since I was young. It’s books like The Yellow Wallpaper which stand behind my reason. I finished it only a few days after that Palace Green book sale, but its unique meaning only deepened for me during this past year. University life has been full of incredible experiences, but discussing the difficult days is not always my first instinct. For me, The Yellow Wallpaper seemed to encapsulate the journey that studying is, alongside trying to maintain stability in an environment that is often misunderstood. Illustration: Anna Kuptsova
INTERVIEW 10
Thursday, 10th June 2021
Imposter syndrome: Self-doubt, social media, and success In conversation with Dr Anna Parkman Claudia Jacob Interview Editor indigo.interview@palatinate.org.uk
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r Anna Parkman is an Associate Professor of Professional Practice in Agribusiness and Applied Economics at The Ohio State University, specialising in the research of Imposter Syndrome. Her research looks at the way that Imposter Syndrome is manifested in a variety of demographics, primarily in higher education and in the workplace. Interview Editor, Claudia Jacob, speaks to Dr Parkman about the triggers of Imposter Syndrome, the implications of social media and trends of toxic productivity during the pandemic. First and foremost, Dr Parkman defines someone suffering from Imposter Syndrome as “somebody who isn’t able to internalise their successes”, meaning that “they believe that accolades and achievements that others recognise are being bestowed upon them falsely”. The individual “feels like they’re a fake and they think other people are misjudging them” and so “they think they are successful purely because of luck”. Imposter Syndrome, then, is not a reflection of one’s academic capacity, but the way in which we distort this ability to succeed. But each and every one of us will most likely experience mild elements of Imposter Syndrome at some point in our lives. As Dr Parkman puts it, “we all know feelings of self-doubt where we know the stakes are a little bit higher and that’s completely normal”. The crucial difference with Imposter Syndrome is that this feeling is not fleeting. It’s a “nagging, long term, chronic selfdoubt that other people don’t see” but that a sufferer has internalised to the extent that they perform “inaccurate evaluations” of their abilities. But Dr Parkman stresses that “you can’t have Imposter Syndrome unless you’re successful”. Hence, it’s the misjudgement of these suc-
cesses that characterises the phenomenon. Ultimately, Dr Parkman clarifies that “just because we feel something, it doesn’t mean it’s true”. Imposter Syndrome can affect any demographic, but Dr Parkman believes it to be accentuated in higher education “because of the arbitrary measurements” used to rank students. That is to say that the subjective nature of feedback at university means that negative comments can quickly overshadow positive ones, in the same way that measuring intellectual capacity in itself is “very subjective”. For those in minority groups, Imposter Syndrome tends to manifest itself more acutely because of the sense that the individual “doesn’t belong”. Dr Parkman explains that there is research to suggest that symptoms of Imposter Syndrome can be alleviated over time. She says that “one of the best things we can learn is how to self-assess, but that’s not easy”, adding that “awareness and recognition can normalise the fact that Imposter Syndrome is very common”. Recognising the triggers of Imposter Syndrome can also be an effective way to understand the patterns of self-doubt. Dr Parkman explains that
“triggers are dependent on the root cause of having these feelings in the first place” and that a common trigger is when an individual “outperforms their family roots”, leading to the sense that their achievements are earned more through luck than through genuine intellectual capacity. Dr Parkman broaches the subject of social media in the context of Imposter Syndrome. She explains that the image of the “perfect self” looks at success in a very “cleansed and whitewashed” way, and “rarely gives us an idea of what it took to achieve this success because it doesn’t show our humanity or our imperfections”. Dr Parkman adds that the way that we only show a highlights reel of our successes on social media has created a very “narrow picture” of what success can be, and this trend has only been amplified during the pandemic. She emphasises that the trend of toxic productivity during the pandemic has meant that now, more than ever, “we define ourselves relative to productivity and that’s not healthy”. Considering how reliant we have all become on the internet during the pandemic, Dr Parkman explains that we must not see success as one-dimensional. Ultimately, social media often omits the trajectory undertaken in order to be successful and this is likely to accentuate symptoms of Imposter Syndrome, creating an artificial environment in which failure is rarely discussed. Hence why awareness is so crucial: after all, everyone experiences failure at some point in their lives – we just tend not to talk about it.
Illustration by Anna Kuptsova
VISUAL ARTS Thursday, 10th June 2021
A summer of culture
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The indigo Guide to Durham’s visual arts scene Visual Arts Editors visual.arts@palatinate.org.uk
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ith the easing of coronavirus restrictions and the end of exam period, the time has never been better to engage with Durham’s extensive Visual Arts scene. Below is a guide to just some of the arts venues, events, and activities that are at your disposal this summer.
and mining industries that define the North East, and which were falling increasingly under threat in the late nineteen-nineties when the sculpture was designed and constructed. Additionally, the sculpture’s hill-top setting was selected on the grounds that it resembles a megalithic mound – al-
“a true tribute to the creativity of the North East” Durham Galleries Durham is home to a small handful of understated art galleries. Amongst them is North Road’s Outstanding Art, which exists as a haven for art lovers and socialites, displaying the works of local as well as world-class artists while doubling as a cocktail bar and café. Just around the corner from Outstanding Art is South Street’s Crushed Chilli Gallery. The small little hut showcases the work of local artist Janet Rogers, an award-winning creator of stained glass pieces. Alongside Rogers’ glass pieces can be seen a selection of artworks by other local artists, making the Crushed Chilli the perfect venue to engage with Durham’s local artistic output. The Angel of the North Antony Gormley’s ‘Angel of the North’ stretches its steel wings just over twelve miles away from Durham’s city centre – making it the first port of call for any road trip, or the ideal day-trip setting. Gormley’s twenty-meter ‘Angel’ has stood as a symbol of the North for more than twenty years and constitutes the world’s largest angelic structure as well as Britain’s biggest sculpture. Materially, the Angel alludes to the ship
lowing Gormley’s ‘Angel’ to symbolise the North’s past, present, and future. ‘Challenging Convention’ at the Laing Newcastle’s Laing gallery is currently celebrating the works of the some of the twentieth-century’s female artistic icons – Vanessa Bell, Laura Knight, Gwen John, and Dod Procter. ‘Challenging Convention’ celebrates the ways in which these artists worked creatively and collaboratively to challenge the cultural prejudices of a patriarchal society, documenting the shifts, set-backs, and social changes that defined the careers of each creative. For Lizzie Jacklin, Keeper of Art at the Laing, the exhibition’s main function is to highlight how a generation of British-born
female artists began to make strides in a male-dominated artistic industry. While the exhibition can be toured virtually, the Laing’s celebration of female art can also be viewed in person until late August. The BALTIC Since its opening in 2002, Newcastle’s BALTIC has dominated the visual arts scene of the North East. While numerous virtual tours and exhibitions have been available over lockdown, a number of exhibitions are now available to view in person. Of special note is the ‘Open Submission’ space, which exhibits the works of over 150 local and regionallybased artists, setting the works of artistic amateurs alongside professional pieces. The result is a multimedia and multi-tonal cacophony of creative sound, as an expansive range of artistic styles, preoccupations, and techniques are made to sit alongside. A true tribute to the creativity of the North East.
“the University’s Botanic Garden is an absolute must” Art in the Durham Botanic Garden Before the end of your time at Durham, a trip to the University’s Botanic Garden is an absolute must. It is not primarily regarded for its art, however, the Prince Bishops’ Garden is an incredible creative accolade to North Eastern culture. Image Credits: Carys Stallard, Irina Raquel via Creative Commons and Alexandre Lion via Unsplash
MUSIC 12
Thursday, 10th June 2021
Gospel and pop music Tomos Wyn discusses his thoughts on the integration of gospel into pop music Tomos Wyn music@palatinate.org.uk
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ospel music as we know it today is the product of integrating the message and content of African American Spirituals and the jazz harmonies of the early 20th century. Thomas Dorsey is often credited with the melding of these two seemingly oppositional music styles, but thanks to his ‘Gospel Blues’, we now have some of the most enjoyable music to sing along with. Whilst there are many different styles of Gospel, from the quartet style to the contemporary praise and worship, this article will list and discuss Gospel covers of pop songs and pop-inspired Gospel songs. The former refers to stylistic changes in the songs covered, whilst the latter refers to songs where the Gospel is shared through a more widely palatable, contemporary sound. Having been a member of the Durham University Gospel Choir since October 2019 and currently holding the Co-Musical Director position has given me insight into the wonderfully complex meshing of Pop and Gospel. Hopefully, my experience and insight into the style will give you, the reader, an easy introduction to the wonderful world of Gospel music.
Jealous
I was recently introduced to Nick Jonas’ Gospel cover of his song ‘Jealous’ by my Co-MD, Dan, when he taught it in one of our online Zoom rehearsals. Since then, it has become a staple in our set for our June gigs. Released in November 2014, the cover is a fantastic blend of Pop music and Gospel vocals, where Jonas stands alongside a large Gospel choir and Organist to sing a radically different arrangement of this iconic track. The most striking difference, apart from the single instrument accompaniment, is the consistent triadic harmony. There are only a handful of moments where the vocal line is sung in unison, but this in no way impacts the flow of
the song. Triadic harmonies often sound out of place in pop songs, but the arranger masterfully worked the harmony in such a way that these harmonies belong fully to the song. The vocal strength of the choir certainly helped with this transition. Despite their presence as a choir, I like how Jonas allowed some choir members to showcase their talents with short solos, which were filled with riffs and runs; seeing the group’s energy in the music video definitely made me ‘jealous’ of their fun and reminisce of the similar experiences I’ve had when performing with my own Gospel choir, which has understandably been taken away due to COVID-19 regulations over the past year. However, the easing of lockdown restrictions means that not only can we rehearse together in person again, we can also perform! Live music almost always trumps recorded audio, so what better way to listen to the Gospel cover of ‘Jealous’ than by popping down to a DU Gospel gig, where you’ll get to hear these wonderful harmonies in person!
MUSIC 13
Thursday, 10th June 2021
loists do not confine themselves to the original melody and phrase structure and instead follow the drive of the backing vocals. This is what I love about this cover and HGC in general. They can take something good on its own and take it to a whole new level, simply by having highly skilled vocalists make up their choir. I also love how, in contrast to the original, members of HGC speak words of affirmation and uplift the listener before the melody kicks in. Their album RE//CHOIRED is a clear demonstration of their talents and is a fantastic introduction to the Gospel vocal style for anyone who has a background in electronic and house music. The group is arguably a revolutionary force in the Gospel scene, which I certainly tried to emulate in my song-choice, arranging, and teaching for DU Gospel over the 20/21 academic year.
Most Precious Love
Originally released in 2006 under Blaze and Barbara Tucker, ‘Most Precious Love’ is an upbeat EDM track with an easy melody line and a distinct recurring backing vocal phrase. However, House Gospel Choir (HGC) took this hidden gem and amped up the vocal prowess. I first found the group through their song ‘Gabriel’, which is a beautiful blend of soft phrase with powerful vocals, and following the release of their album RE//CHOIRED, I have been obsessed - and their cover of ‘Most Precious Love’ is probably my favourite! The distinct recurring phrase in Tucker’s original version now becomes the centrepiece, with each vocal part belting their harmony, giving the phrase a much fuller sound. Furthermore, the so-
Your Spirit
Turning now to a pop-inspired Gospel song, I present ‘Your Spirit’ by Tasha Cobbs feat. Kierra Sheard, which, if you’re familiar with the works of Tori Kelly, Kirk Franklin, or Hillsong, will be right up your alley. Differently from the last two recommendations, this song would likely be a better introduction to Gospel music
for those from a Christian background, as the content of the lyrics is rather explicitly Christian. I want to share this song as I believe its inspiration from contemporary musical stylings through a catchy, singable melody and a verse-chorus structure, will be the most comfortable for a Christian who is familiar with pop to be introduced to some key Gospel stylings. The song’s stylistic features are similar to that of Hillsong’s music, but with arguably far stronger vocals by the soloists and choir. Cobbs’ music is of the contemporary worship style, but the strength of the vocals and triadic harmony is what gives her songs a Gospel flair. For those from a Christian background and familiar with worship music, Cobbs is arguably the best gateway to other Gospel music of all varieties. With that, this list comes to an end. I hope that, in presenting covers and original music with different inspirations, I have provided an introduction to Gospel music for people of many different backgrounds and potentially piqued your interest in attending a DU Gospel performance in June! Gospel Love.
Illustration by Verity Laycock Images courtesy of DU Gospel Choir
STAGE 14
Thursday, 10th June 2021
Medea: A Classic with Relevance Jodie Sale discusses what Phoenix Theatre’s production of Medea can tell us today Jodie Sale stage@palatinate.org.uk
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hy bother watching a play that was written thousands of years ago with a very different audience in mind? A ‘crazy’ woman at its centre—a witch capable of magic, a descendent from the God of the Sun, a mother who decides to kill her own children—it all seems far removed from our very ‘civilised’ 21st century society. However, Medea doesn’t just transport us back in time; it raises questions we should take with us into the future. For a start, the patriarchal forces that render Medea helpless and desperate within her marriage remind us of the limitations of our own gendered society; inequality in the workplace is still pervasive and sexual harassment rife. Stereotypical portrayals of maternity that limit definitions of womanhood are powerfully derailed in this play. Medea loves her children but it does not limit her potential for vengeance; she refuses to fit the mould stating, ‘I am not like other women; I am of some other kind’. Audiences are presented with a flawed, contradictory woman both vulnerable and strong, both in control and out of it. She breaks gendered stereotypes that limit women’s potential to be multifaceted in films and media. One of the earliest ‘anti-heroes’—she is not entirely villain or victim. Medea’s position as a foreigner, an outsider in Corinth, also prompts relevant discussions. Phoenix Theatre Company’s Medea is set in a modern-day living room that has been packed up. Cardboard boxes and dust sheets do everything to suggest that Medea is unwanted in a world that does not accept the presence of an immigrant. She is rootless, precariously positioned, and yet she makes of it her territory of manipulation.
ing the pandemic, Asian hate has also intensified. It is particularly relevant to our Durham student community, where a lack of diversity is evident and where a lack of resources to tackle these problems are given to families from minority backgrounds. In light of these concerns, some of the profits of Medea are being donated to STAR, Student Action for Refugees; their talks, campaigns and the discussions that they enable are essential to the progression of education around diversity issues.
“Medea doesn’t just transport us back...it raises questions we should take with us into the future” Medea is a woman who suffers from intersectional discrimination; she is caught up both in the vicious forces of patriarchy and xenophobic intent. Her experiences uneasily strike a chord with the rise in religious and racially aggravated hate crimes in the West. The EU referendum was followed by a 15-25% increase in hate crimes in England and Wales and, dur-
The silencing of the female voice in the face of male cruelty is also central to the plot of Medea. A celebration of the female voice and its potential for impact is critical in a climate where sexual harassment often leaves victims feeling silenced and isolated. The all-female chorus, the female support network of the Nurse, the Tutor and King Aegeus (the latter two have been gender bended) are given the space to tell their stories of oppression. The Chorus envision a world where ‘the old songs will have to change’. They imagine that ‘if they had that voice, what songs [they’d] sing of men’s failings, and their blame’. It is a particularly important message for our own student community. A worryingly high level of students are subjected to sexual harassment, with ‘Our Streets Now Higher Education Survey’ reporting that 84% of students are subjected to some form of harassment, and that 72% feel that they are unsure about where to report or seek support. Phoenix Theatre Company’s Medea prompts an important discussion, raises awareness of key issues we should all be thinking about, whilst also being an incredibly powerful, poetic and poignant piece of theatre. Get yourself a ticket— you don’t want to miss it. Image Credit: Egisto Sani via CreativeCommons
CREATIVE WRITING 15
Thursday, 10th June 2021
PRIDE Satin, stardust and streetlights: these poems remind us that pride month is all about self-expression creative.writing@palatinate.ac.uk PRIDE - Tommy Haemaelainen It is a Monday night and it is a night for dancing. In his room, he is singing ‘she’s a queen’ – Bowie knows that. He sings this and sings that to a mirror, by way of which he means that it is his satin, street and strutting, his rococo legs stamping sweetly each step, stardust songs swinging where hanging from spiral streetlights come the friends of friends, howling him adoration oh! how Divine! more than quite! – how fantastic! -
here he is beauty (I am sinuous like a kiss at the corner of the night) before it is heard, the sound of styptic muscle shackle bang on glance on no! clash cracking A man gets his swear asks, what he is doing looks up down stymie eye expel expelling his satin in response shut off crawling laid down music a while – for a bit -
here! kicking on the powder-pink pavement, he spits up a roar, here! a pearl which bears no burden; therefore it greets these friends with gratitude -
I swear, I could do better than that –
here he is love (I am a purple, a sidereal shade, with intention)
He’s not ashamed but he is considering, again, not singing songs in bright blue jeans.
He’s not ashamed. With the right people, with the right timing -
Scattered Hearts - Yasmine Dean My heart belongs to not just one the girl who smiled at the bus driver at the bus stop your smile stays with me wherever I travel the boy at Klute dancing out of time with the music ignoring its drums because you have your own rhythm that never leaves me alone I fall in love constantly I wish I could have held the hand of the person in the castle and tell them how their red hair lights the fire in my eyes I was infatuated by the laughter shared between two friends and stopped running to listen to their harmony that replays in my head time has passed but I do not forget them The boy next door who feeds the birds your gentleness embraces me every morning The girl paddling along the river with no way of knowing the glow of your skin in the sun is the light on my dark days you have stolen pieces of my heart unintentionally if only I could see how my heart has scattered across the world
Illustration by Verity Laycock
TRAVEL 16
Thursday 10th June
Spending summer on British shores Gracie Linthwaite takes us on a nostaglic tour of her favourite coastal landscapes around the UK Gracie Linthwaite Travel Editor travel@palatinate.org.uk
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ith journeys to the world’s tropical beaches and Mediterranean sands still on hold, our summer holidays this year are going to look a little different. However, all is not lost - for there is fun and escape to be had on shores closer to home. According to the Ordnance Survey, mainland Britain has around 11,000 miles of coast, despite the country only being just over 600 miles long: this is because the coastline ‘wiggles’ a lot, a phenomenon know to mathematicians as the Hausdorff dimension. Many of these niches on the UK coast don’t get the attention they deserve, but as the pandemic unfortunately continues on, their salty call beckons those looking for an escape.
roam across the islands like an Enid Blyton character. In fact, hopping between the islands is perhaps one of the most enjoyable things to do on the Scillies; they are close together and intimately connected, and you can usually see the other islands no matter where you are, meaning the boat journeys between each one are short and hassle-free. My favourite island is Tresco; for here you will find the Abbey Gardens, one of the most spectacular gardens in the whole country. The Gulf Stream is so close that mild, frost-free winters allow sub-tropical plants to bloom, meaning the place is ablaze with exotic flowering succulents in all colours of the rainbow, as well as towering palm trees from the climes of Brazil, New Zealand and South Africa. On the Scillies, you certainly won’t feel that you’ve missed out on international travel
“the beaches’ salty call beckons to those looking for an escape” Some of my first memories as a child are of the Isles of Scilly, a small archipelago off the Cornish coast, renowned for beaches that look too tropical to be in Britain and wild headlands. To reach the islands, you have to take a tiny plane from Land’s End airport, and after only 10 minutes in the air, you will spot Caribbean-like blue waters glistening below. When you touch down from the mainland, it almost feels like you’ve journeyed back in time; the crime rate there is so low that no one really locks their doors, and I remember being free to
and subtle muted colours never leave your memory. I was lucky enough to grow up in a small village near Cromer, and regularly spent days out in the nature reserves of Titchwell and Cley, which were only a short car journey away. The north Norfolk coast is a centre of British wildlife conservation, and bird watchers flock to these reserves to spot avocet, terns, and rare species in winter. As a child, I was mesmerised by the vastness, whiling away the hours roaming on dunes and exploring deserted pillboxes from the Second World War. Having now moved away to the luxuriant green hills of North Yorkshire, I still find myself longing for Norfolk’s muted colours - the browns, pewters, and khakis, as well as the long summer evenings, watching the sun set into the sea while horizon stays light almost till daybreak. Yet for all Norfolk’s beauty, each summer holiday we would trade the flat landscape for the rugged mountains of Scotland. The Isle of Arran is a fantastic place to escape to, often being called Scotland in miniature: an hour’s drive from Glasgow and a short ferry journey from the mainland, it offers Scotland’s attractive scenery, as well as activities for the more adventurous, adrenaline seeking traveller. The whole island can be explored by car in one day without even encountering a single set of traffic lights, but stopping off to explore the ruins of Castle Lochranza or Brodick Castle is a must. Looming behind Brodick is the tallest hill on the island, Goatfell Pike, offering views all the way across to Ireland from the summit. The island’s beaches also provide peaceful spots to rest from the touring.
From the pounding Cornish Atlantic and the gin-clearwaters of the Scillies, my home county of Norfolk can seem a little underwhelming: there is rarely a magnificent collision between the waves and the rocks, for the brown-grey sea rather seeps into the impenetrable salt marshes. Yet this landscape seeps into you too, and its vast open space
Thus while we will be staying in Britain this summer,that needn’t mean busy holiday resorts or boredom, for the UK’s shores offer seclusion and intrigue in equal measure. Image: Gracie Linthwaite