Keystone 2024

keystone.

A magazine by students of St Peter’s York.

Chief Editors + Writers

Scarlet Sinclair

Meriel Norbury

Beatrice Gugliuzza

Designer

Sherman Hei Lui

Artists

Isobel Legg

Nadia Furlong

Annabel Lim

Maisy Squires

Poem Writers

Leona Lam

Lottie Roddis

Arina Zenevich

Contributor

Eva Yang

Photographers

Lisha Wu

Sherman Hei Lui

Article Writers

Jen Campbell

Alice Braim

John Megone

Rithika Vasireddy

Annabel Lim

Annabel Ritchie

Islay Cunliffe-Lister

Natalie Cheung

Serene Kong

Victoria Tomlinson

Eryn Watson

Lauren Wood

Anjali Thiagarajan

Mackenzie Conroy

The Danger of Labels

Why is Andrew Tate the only male role model

Cultural

Consumerism

Our view of Medusa

Repatriation of Historical Artefacts

DID: Dissociative Identity Disorder

Could AI revolutionise the way we learn?

Has Formula One lost its identity to profit?

The new age of female footballers

Lauren Wood’s 7 in 7

The Night Circus

Whiplash: a note on identity

Sitting down with Phoebe Hall

This year, after much deliberating, the Keystone team chose the theme of identity to act as a compass for the topics of articles, an ever evolving concept that has been skyrocketing in relevance over the past few years with its ability to unite or divide. Keystone’s Chief Editing team- Bea, Scarlet and Meriel- congregated weekly, working consistently through the ups and downs of visionary student submissions.

Through editing this magazine, we have been given the most precious opportunity to observe the identity of all contributors through their chosen topics, research, art, and words, accrediting these creative choices to peoples’ character and experiences, with the final publication only a glimpse of the endeavour. The Editing Team wishes to share with the readers

Notes Editor’s

a further insight into the minds of the authors and artists that helped to bring Keystone to life; a listening experience to offer you a fraction more to what has been happening behind the scenes.

We asked every contributor to choose a song that either represents their creative journey, or to accompany their contribution to the magazine. An exciting journey, to say the least, the Keystone 2024 playlist includes songs from prolific lyricists such as Lana Del Rey and Fiona Apple, to classical scores, and Sade’s iconic ‘Smooth Operator’. Similarly, this variety is reflected by the range of articles: from the complexities of AI, to the reclamation of female identity, our contributors have catered to all interests, and we could not be more proud of this issue.

Note Designer ’s

In the hopes of continuing the legacy of Keystone, I am very honoured to be able to continue working on the design of the magazine. Growing up in different countries throughout my life, I have gone through ups and downs in figuring out my own identity and gaining a sense of belonging as an individual. With identity being Keystone’s theme this year, I hope the prominent, high-contrast bold typeface would lead the readers to reflect on the words and the meaning themselves. As a keen photographer, too, I wish to illustrate this exploration and reflection of identity through photographs of similar aesthetics I have taken over time. With a current shortage of designers, if you are interested in designing the layout for next year’s magazine, please contact Miss Edgar in English, who would happily offer you some inspiration! With that said me and chief editors along with everyone who had contributed to the magazine hope you will enjoy this year’s issue, alongside its playlist :)

Sherman

Reclaiming the word ‘Girl’

by Jen Campbell

‘Girl dinner,’ ‘Girlboss,’ ‘Girl math,’ ‘Girl-coded,’ ‘Girlhood.’ An overwhelming and varied group of phrases capturing what social media, for many girls, has been like recently. This new trend of posting a video sometimes with nothing but a thrown-together meal with the caption ‘girl dinner’ perfectly encapsulates the identity that women now have created for themselves. Using the word ‘girl’ as an adjective and not a noun is creating a clear divide between femininity and girlhood. Femininity is becoming separated from the male gaze, and traditions enforced by the patriarchy and thus the detachment has left room for women to create a new identity and reclaim a simple word such as ‘girl’ in a context of empowerment and relatability.

The Oxford dictionary’s description of feminine is ‘having qualities or an appearance traditionally associated with women or girls.’ The society that we live in today has developed over time creating specific gender roles and features, usually where men take on a more instrumental role of being perceived as strong, protective, and decisive. Leaving women, on the other hand, to take on a more expressive role being shown as more emotional, nurturing, and irrational. However, with social media, a snowball effect of trends and phrases have surfaced, showing that women are not in fact bound to traditional femininity, but quite the opposite, and are free to act outside the standards of what typically has been deemed feminine. The very idea of reclaiming and changing the context of which ‘girl’ is used in is slowly dismantling the fundamental role of shame instilled in the patriarchy.

What women have traditionally been told to be ashamed of in private, are now used as a form of expression that they can share in public without the burden of shame. For example, expectations that women should be good at cooking, has now been countered by women reclaiming the narrative for example, by posting videos with the caption ‘girl dinner’ showing that it is perfectly all right to not be upheld to the immutable standards of not being able to cook. Additionally, use of the phrase ‘girl boss,’ has allowed women to show capability and ability to excel in places where they have been forced to stay out, such as, schools and workplaces. Women are choosing that regardless of what the outcome is, being a woman can mean to not subscribe to the shame systemically instilled into all women to act a certain way.

Creating an identity is crucial to dismantle the patriarchy. Women are an oppressed group with layers upon layers of intersectionality, the diverse nature of women creates a vast wealth of understanding within communities. However, it has also prevented the creation of an identity for women, facing oppression is not mutually exclusive, many

face discrimination before facing the oppression systemically woven into the patriarchy.

Women have not had the experience in which they can create an identity or a sense of belonging. They have never had an identity of their own, in comparison to other oppressed groups who have been bound together with experience, religion and culture. Due to discrimination and persecution cultures that religions have been subjugated to in the past, resulting in many finding a sense of belonging and identity. On the other hand, women have never gone through a specific moment of oppression. Instead, oppression upon women has been prominent in the development of many cultures. Misogyny, for example, has been deeply rooted in the patriarchy, where women have had to live without the need to actively create an identity. The patriarchy is hard to fully eradicate as its power has become decentralised, leaving women internalised within the system of oppression engrained in the evolution of our society. It is challenging to combat a system that has targeted the oppressed for so long and has made women unable to counter the prejudice enforced upon them.

Giving women the ability to have their own say in how they present themselves and perceived is crucial for the development of feminism. We have seen previously how social media can be used as a catalyst for feminist movements such as the #MeToo movement. Social media is reshaping the ways in which feminism grows, giving an accessible outlet for many to share and create content. The safe and innate women subcultures that have been created online have allowed women to showcase their views, allowing women to create their own identity. In a way the modern subcultures formed on social media mirror the original forms of feminist groups like the suffragette and suffragist movements, which were originally a means to promote and showcase the view of women by campaigning for suffrage, allowing women to have a voice.

Women of Colour.

The historical and cultural impact of women of colour have heavily impacted trends and culture today, specifically in fashion and accessories. It is believed that wearing nail extensions can be dated back to 3000 BC Egypt and 13th century China. Nail extensions in the past were formally made from gold and ivory, in a display of wealth and status, typically worn by royalty. Today the use of acrylic nails, has become widespread around the world, originally created in America and became popularised by Black women, specifically black artists in the genre of hip-hop and R&B. The Black community has been responsible for the rise of many fashion trends such as hoop earrings and trainer culture. Parts of Black culture have been adopted into mainstream media and now we should honour the Black community who originally manifested these fashion culture trends as the new modern ideas that have evolved due to women of colour.

Along with the African American community having a large contribution to fashion trends they have also greatly influenced the colloquial language used in America. More specifically coined as AAVE (African American vocabulary English). Some examples of AAVE are terms like “I been knowing” and “he running” but most importantly using ‘girl’ in a way separate from its formal use, in phrases such as “girl, stop” and “girl, please”. The drastic change in how the word ‘girl’ was used has created the opportunity to reclaim the word ‘girl,’ to be used as a noun. Which has therefore led to the rapid growth of extensive phrases on the internet using the word ‘girl’. AAVE has been prominent and spread across many cultures as Hollywood and American media have been dominating the entertainment industry since the beginning of easily accessible media.

Watching fashion trends and new aesthetics appear mirrors the shift in how women have created an identity. We have seen throughout history that women have typically dressed for the male appeal with corsets, large ruffled dresses, makeup and countless others. However, women’s fashion is shifting from dressing for male approval to dressing for the female gaze and communicating to others with a likeminded fashion sense.

In recent years, especially popular with generation z, the rise of wearing baggier clothing and chunky shoes has been a turning point for creating a new identity for women, as typically dressing outside the norm can be associated with dressing in a more masculine sense and doesn’t conform to gender norms. To be able to express artistic expression through clothing has always been limited to women, however, considering the reclamation of ‘girl’, many forms of subcultures have been made for categories of expression such as, ‘clean girl’, ‘coquette girl’, ‘cool girl’ where women are free to express certain styles without the input of the male gaze.

Freedom to express artistic views and taking charge of how women are perceived, especially by men has allowed for women to gain autonomy, reclaiming the way men have viewed women in history, we have seen in the past how women’s fashion has typically been extravagant, usually highly impractical, to cater specifically towards the male gaze. ‘To be a woman is to perform’, a quote that quickly turned into a recurring trend on social media, where participants post a video or a picture of women in scenarios where they have been heavily curated formale appeal with the quote, to show how strong the input of masculine approval in everyday life. However, now women are building up a new fashion identity separate from the male gaze which is heavily dominating the fashion industry.

The girlboss era.

The girlboss era gave women power. However, ultimately not a sense of unique identity due to women mirroring and picking pieces of identity from men in the workplace, pulling personality from what men have learned from living in a society which has benefited them. This has allowed for women to mimic a form of unity in workplaces and attempt to achieve a form of equality. Struggling to create an identity for women is deeply rooted from women never having the chance to create a personality separate from men, it’s hard for women to create an identity when the core rules and systems have been built upon coexisting with men, whilst being deemed the lesser of the two.

With the girlboss era came a whole subcategory of more subject specific phrases like, ‘women in stem’. A phrase for women who are in male dominated careers and degrees, stem standing for science, technology, engineering and mathematics. The domino effect of new phrases created reflects the long-lasting impact of what started, and continues to remain, a light-hearted joke on social media. Watching new trends expand and new phrases being created, is seeing the identity of women being created in a spontaneous and dishevelled fashion, like how women are now able to feel and act outwardly, without the pressure of endorsing an appeal for the male gaze.

It’s difficult for women to grasp the idea that they too can be powerful, due to past stereotypes surrounding femininity and being seen as ‘girly’ has always been correlated to powerlessness. ‘Girl’ has been used as a derogatory word in every generation, always tossed around by young boys to one another in insults, like ‘you run like a girl’ and ‘that’s so girly’. At first glance these phrases may seem nothing but harmless jokes, however, it shows how deep the claws of misogyny are within society. From such a young age playground and classroom insults have been to compare boys, or directly insult a girl, for being too

girly. Being seen as feminine is to be seen as someone undeserving of respect no matter what gender a person is.

Even recently on social media the phrase ‘pick me girl’ has gained a lot of traction, the term is commonly used in a derogatory way to describe women who crave male validation. In light of the way society has manifested over time the typical woman is that who complies to the patriarchy’s idea of feminine and conforms to the traditional attributes of a wife. A classic ‘nuclear family’ has a breadwinning husband, a housewife and children. Throughout history ‘nuclear families’ have been encouraged by the government with incentives such as financial benefits for married couples, and given traditionally marriage coincides with childbearing, it further reinforces the strict gender roles within the nuclear ideal. However, this has perpetuated the role of women and has upheld women to all categorise into the idea of a ‘perfect wife’. Because of this, women have been forced into the same box and to perform in the same way all for the goal of male validation. The male focused lens has pitted women against each other and created competition between the gender, thus starting the idea of a ‘pick me girl’. The whole idea of a ‘pick me girl’ is to be seen as a better choice for men to separate themselves from others to act ‘not like other girls’. However, there is little space for women to branch away from tradition, given that every step of the way women are forced into classification.

What does the word girl mean to you? Does it foster pride or shame? Will the future allow for such a simple word like ‘girl’ to change and morph into one with even greater meaning and depth?

To That Part of Me,

Five pink candles, mouth full of cake abundance of reds - toys and sandcastles violin scars, crumpled up paper and crying salty tears.

The light from your eyes, tantrums of anger colours of melancholy.

A park swing, and the end of your pigtails. Cups of milk – to the brim and the sound of a piano.

I can count to higher numbers, write more letters you will still be the part of me that stays sat on that swing, feeling like you could touch the sky. You are the half of me that continues to live –experiencing the happy, avoiding the sad.

Your first word, lost in an improved dictionary your first loss, a faint memory your first kiss, stupid and carelessly given away your first flower chain, disregarded on the floor it will lay.

I am still getting older I still carry our hardships on my back. It has never been easy, because perhaps he was lying or she never meant to leave maybe the good will betray you – and seeking comfort in the bad was the key but when you were in the lowest of your life, a failure? You have never been

And they will always say it; it’s all part of growing up: learning.

And although the dark is no longer scary, and

I know our hands will never meet, you are only a fragment of my time but our souls will always be intertwined, yours and mine.

Forever divine, and forever a part of me.

Leona Lam

by Alice Braim

It’s an inherent part of human nature to want to belong, be part of a group. We can’t help it, of course, we’re pack animals who find solidarity and comfort in coming together with others who have the same aims or experiences as ourselves. From parades to support groups to online forums, it’s instinctual to want to ‘find our people’ and connect with them somehow. That’s why we came up with all these labels.

There’s no denying that there can be an upside to labels. They have the potential to generate an incredible sense of community and solidarity, and often facilitate connections between people who might otherwise have never met. Unfortunately, there are negative impacts, and it makes you question whether they’re helpful at all.

The danger labels of

Firstly, there’s something incredibly paradoxical about how we label ourselves. The whole point of a label is to identify a subset of people with a shared experience, who feel that they are somehow different to the people outside of that subset. Initially, this creates solidarity, but later down the line, people in that subset realize that even within the group there are still a variety of experiences. So another subgroup is formed. And the cycle repeats.

It’s fairly obvious why this happens: human experience and emotion exists on a vast, multilayered spectrum. This cannot be accurately contained in a system that sorts everything into 2 categories. The simplistic nature of how we class things or people, doesn’t often align with the complicated state of everything we are trying to class.

All photos by Lisha Wu

A brilliant example of this would be how the LGBTQ+ community has evolved over the years. It started as a binary distinction, which was based entirely on whether people were gay or straight. Initially it worked well… Until even within that subset, discourse emerged as people began proposing that maybe it’s not that simple, creating labels such as ‘bisexual’ and ‘asexual’. The community continued to change, and currently, there are hundreds of distinct labels that people use to describe their sexuality. Additionally, this number will only increase with time, as people continue to struggle to put a complex multifaceted component of identity into neat categories.

The second issue is that labels encourage people to see themselves as vastly different and detached from those unlike them, which limits empathy and understanding. Whilst labels increase connection within a community, it is only a minute aspected of human connection. It’s very easy to bond with those who are like you, and much harder to bond with those who are nothing like you. Yet, ironically, these are the more important types of connections, because they allow you to see things from different perspectives, broadening your own understanding of the world.

When your entire sense of identity comes from a label, you are likely to be spending much more

time with people ‘like’ you and less time with people ‘unlike’ you, and that is how genuine human connection and empathy, where it is needed most, breaks down. This leads to echo chambers and extreme views, hindering cooperation and compromise.

For example, if you were to heavily affiliate yourself with a political party, especially from a very young age, you’re likely to surround yourself with people who have those same viewpoints. Prehaps leading you to attend the party conference, discuss the latest manifestos with people who also support that party, etc. Before you know it, your whole sense of identity is being part that party, and you are unlikely to see anything from the perspective of anyone else, regarding those supporting the opposite party as ‘enemies’ or ‘rivals’. In reality, you would achieve a lot more by seeing them as fellow human beings.

Not only are labels ineffective and inadequate in the long term, but they also promote the breaking of society into factions and groups, hindering progress, empathy, and collaboration leading to compromise.

It’s human nature to want to find ‘our people’, but we can’t let that happen at the cost of finding our empathy, unity, and humanity.

Why is Andrew Tate the only role model available to boys?

by John Megone

I have grown up in a strongly Catholic family, where divorce is never an option. Thus, thanks to good health, my father has been around my whole life as an example of many good qualities, and whilst I also see things that I do not want to have in my character I can model my behaviour accordingly. My father has, therefore, been an incredible role model and there is no match, at least for me. Similarly, other boys growing up will feel the same about their own father.

However, presently 76% of the UK male prison population come from fatherless homes. Potentially implying that a fatherless home, without stable male role models, has a greater chance of leading lives down the wrong path. This is no criticism of the mothers, but some may argue that they cannot perform the role of a father. In this way, young men often seek role models outside of the family home.

This is perhaps because the father in a household understands what their son is going through, as they are much more likely to have experienced and seen things in a comparable way, being of the same gender. If you take this away, the masculine attitudes of the children are given free reign, they lose the example of how to use the male attributes, and thus are highly likely to develop bad habits. However, there is a greater tendency within western society that trends more towards secularism and thus to divorce, with increasing numbers of marriages ending in divorce, with it being clear that marriages are shorter, and divorce is much more likely.

Therefore, increasingly, children in the UK are growing up without a father figure in the home, creating more pressure on the outside world to provide those male role models. This involves famous men behaving in the right manner, whether it be sport stars giving up time to fans, using their wealth wisely, and generally showing a good attitude, which can be copied by younger boys. In addition, male influencers have a vital role. Within this evolving society, the role of men in the wider world has also adapted, so they can try and help guide those who follow them in the right direction.

However, the top podcasts about men and male life are about “escaping the rat race” and “seduction” neither of which is helpful for ordinary politeness nor moral values. Part of the reason for this is that currently our society does not support male role models nor give them a platform to provide a moral compass to guide younger generations. Boys require different skills to navigate different bodies and emotions to girls, requiring male rather than female role models. In recent decades feminism has become more active in western society. Meaning that female role models are more actively promoted by the media, with guidance for men proving less prevalent, especially in such a vital time for changing the beliefs and practices of men in the modern world.

As many men view female success promoted more widely across the internet, it often leads to a belief that they are under attack. Mostly, given the fact that humans do not like losing any power, hence the rise of influencers such as Andrew Tate. Tate is an immensely controversial and divisive figure, yet he is not the source of the problem. However, the ideas that he and others like him present, have done immense harm to the concord within society and cross gender relations. These types of male influencers are not the way forward. Battle between genders is not of any use to anyone and will merely lead to further damage to society. None the less, in the current climate, influencers, like Tate, are attracting a following from boys who don’t see a better example represented across the media platforms. This proves to be a problem, since male role models are the only ones available.

Therefore, it is important for the media to recognise that positive male role models need actively promoting, otherwise, the trend towards hard-line Tate like influencers will continue. This does the opposite of uniting us towards a more positive future. Men should not be left behind. It is up to the world to help bring a light for young boys to follow, and to make sure that everyone has a positive role model, who they can be proud of, and shape themselves into positive, happy, and kind human beings.

Cultural Identity

Rithi Vasireddy

Growing up as a woman of colour and the first-generation child of immigrants, I realised I was different when I was the only person of colour in my entire primary school in York; leading me to exclusion from my classmates, who ever so kindly informed me that because my skin was a different colour, they did not want me playing with them. Even as far back as 2010 I simply could not comprehend why I was less valued due to the biological fact that my skin had more melanin and, rather understandably, I left school in a flood of tears and went straight to my mother.

As immigrants, who moved to England for the chance of a better life, my parents faced innumerable racist interactions within their subsequent medical professions. Despite having the same qualifications, if not more, than their white colleagues they could not believe that their only child had to go through the same inherent struggles as them, at such an early age, that I was exposed to how nasty the world can be to those that are different, that when other children were able to live in blissful ignorance, my eyes were forcefully awakened to the harsh truth: life was going to be a lot harder for me.

The headmistress told my parents that due to living in a white majority area, 4-year-old me would simply have to ‘get used to it’. This interaction left me with lifelong doubts about my identity, constantly wondering when a teacher favoured another student if it was because of the fact that they were blonde and white or because they were a better academically, that when

Cultural Identity

by Rithika Vasireddy

someone gave me less attention than my friends if it was because they were funnier and had more personality or because their skin was lighter. These instances led to a journey of selfdiscovery for me; I eventually started a new school and was determined to fit in with my white classmates, except this time there were two other people of colour in my year, huzzah! Then they left a year later, leaving me alone, again, just as I was beginning to come to terms with being Indian and British.

As puberty approached, I was forced to deal constantly with the racist jokes that boys classed as ‘funny,’ in a pitiful attempt to gain favour in the eyes of their friends. Due to this I missed the opportunity of being proud of my heritage, where others were boastful, I went mute, and whenever I was told to ‘go back to where I came from’ I replied with what my parents drilled into me, that I had just as much a claim to my British nationality as everyone else did. I was born here, just like everyone else, I was educated here, just like everyone else, so why did those comments still play in my head for days on end? I was determined to be just like my classmates and became adamant that my parents would not come to any school activities as, to put it plainly, I was embarrassed that they did not resemble the other parents. I constantly fretted that I would do, or say, something that would make it blatantly obvious that I was an imposter. That they would see through my façade of attempting to be exactly like them when I could not be more different.

I could not be more overjoyed to say, that as of today, I wish to celebrate my cultural identity and have found a group of friends where we are able to celebrate our differences, rather than isolate. That, when I still go through the odd racist encounter every now and then and, am inevitably taken back to that memory of being a small girl who was unable to make friends because of the way she looked, that they become my voice and make me feel seen. I am made to feel special when I say I speak another language, rather than ostracised. I am on a steadfast journey to fully embrace my cultural identity as the inner monologue I developed as a young girl, the one that bullied me into stamping out my identity under the false pretence of protecting myself from others’ hurtful comments, is getting quieter and quieter each day, until it finally reaches a time where it stops altogether. It is incredibly disheartening to discover that this feeling of imposter syndrome is common in ethnic minorities, especially in higher white density areas, that not everyone finds that special group of friends in later life.

As future generations become increasingly aware of identity, and how crucial identity can be to a person, that they are raised with the belief that kindness and tolerance is detrimental to building a strong character. As a society, we can begin to heal and regain those lost cultural identities and celebrate our inner child the way they deserved.

Consumerism

How overconsumption has become a part of our identities by Annabel Lim

The rise of the aesthetic

Hair scrunchies, Hydroflasks, Fuji film cameras, and Kanken backpacks are products and brands closely associated with the internet subculture known as VSCO girls. This online phenomenon gained significant popularity in 2019. Since then, driven by the COVID-19 lockdowns and the substantial surge in TikTok and visual short-form content, various microtrends

What are aesthetics?

Internet aesthetics are essentially visual forms of internet subcultures - curated identities used by individuals, content creators and brands to create a visually appealing, colour-coordinated and cohesive concept. They can showcase people living idealised lifestyles, wearing distinctive brands or clothes and partaking in activities related to the aesthetic such as listening to certain genres of music. This is highly prevalent on social media where the algorithm favours visual categorisation. The content creators that satisfy these certain visual patterns also benefit from consistent branding meaning that their audience retention rate often is higher due to brand (or influencer) recognition in an oversaturated sea of content.

and aesthetics have emerged on social media, revolving around the consumption of material goods and aesthetics. These microtrends have had a far-reaching impact and have become influential, transforming how consumers spend on the internet.

There is nothing inherently wrong with these catalogues of ideas and lifestyles, they can even bring people with similar interests together. But the implications it has on our spending habits and the development of our identities is something to consider.

First, the distinction between a subculture and the internet subculture discussed here must be made. Subcultures within society are communities of people who subscribe to certain lifestyles that may not be typical in society and often revolve around certain beliefs, shared activities and musical interests. Aesthetics and internet subcultures are more superficial and while they are derived from original subcultures, aesthetics focus more on the visual and material goods which commercialises and reduces the history of these original subcultures instead.

Why does this matter?

Internet aesthetics fuel consumption by creating a sense of identity and community around certain products and brands. By curating a specific look or style that is associated with a particular subculture or community, individuals are more likely to purchase products that fit within that aesthetic. However, due to the rapid life cycles of trends, aesthetics often take a steep rise in popularity only to become outdated soon after. When this happens, many consumers chase the next trend rather than continuing to follow the aesthetic they previously subscribed to. This can also be reflected in heavily aestheticised and marketed goods on the internet. An example of rapid trend cycles would be water bottles, currently the Stanley Cups - a large insulated water bottle with a handle and a straw. Though people have already owned

other water bottles previously, that didn’t stop the temptation to purchase another. While the design is functional and is a good quality product in itself, it feels ironic that reusable water bottles are being used as a consumer trend. This is counterintuitive to the purpose of a reusable water bottle as an individual water bottle can last many years. The psychology and reasoning behind unnecessary purchases are things to be explored and there are many things to be said about the detrimental effects of this level of consumption on the environment and personal finances.

Brands and the consumer

While these ideas of aesthetics became highly popularised by Gen Z, the concept of selling a lifestyle or an idealised image didn’t just start with social media, however, but has long existed before it. Within modern advertisements, this concept of selling a fantasy is highly prevalent. What comes to mind when you think of companies like Apple, Nike, Starbucks, Amazon and Netflix? Most likely something came to mind, whether that be their visual aesthetics, reliability, their most popular products or other common associations with the brand. Though contrasting in services these companies listed are not dissimilar, there’s a common denominator between all of them: strong brand identity.

Essentially, companies sell you a story of an idealised better version of your life to sell you products. Just as aesthetics are highly filtered lifestyles with perfectly cohesive

features, in marketing they also sell you a vibe, a story, creating strong positive associations with their brand - that’s what you’re buying when you buy the product. We have all felt this before, whether that is a new planner that could help us feel organised or that new pair of Nike shoes that just boosts your fashion sense.

It’s likely that you are also a loyal customer, a frequent buyer or even a fan of a company. Apple or Android? Coke or Pepsi? Nike or Adidas? If you have ever taken a side between these products you were probably influenced by their brand identity when making that decision. Messaging, brand reputation, colour palettes, brand experiences and the visual style (aka aesthetic) are all thoroughly curated and planned to target their audience’s desires. Take Apple for example, they present an image of clean innovation, smooth user interface and reliable security.

Many associate them with the concept of minimalism and futuristic tech due to their neutral colour palette adding to the sense of elegance. This Apple ideology extends further to in-store experiences where they are meticulous in presentation, customer service and packaging which allows them to justify their more expensive price points and yet still retain a loyal customer base.

Nevertheless, marketing like this can go awry when it reaches certain demographics. For example, the well-known brand “Drunk Elephant” which sells anti-ageing skincare products, has made its rounds of virality through the internet. Due to its colourful

A Solution

There is nothing wrong with appreciating the visual aspects of a product, an aesthetic or an idea. In some ways the design and messaging is an art form and a way of storytelling, bringing people together. It’s how designers and creatives have innovated concepts to create something for people to believe in and to buy. And being influenced to purchase shouldn’t be an action to look down upon. As people we are all influenced to some extent by the visual aspect of the world around us and pervasive marketing tactics can push us to consume without always being able to take the time to consider the reason why, which often leads to impulsive shopping and purchasing regrets. As consumers, we should become more intentional about our purchases and consider whether our consumption is simply because everyone else is doing it or an attempt to fit in or stand out. If we do choose to subscribe to a particular aesthetic, consider why - is it an attempt to follow a preexisting concept of identity, an exploration of oneself or a hollow substitution for identity?

and cheery brand design, marketing and popularity amongst influencers, it has driven many children as young as nine to buy an unsuitable, potentially damaging products for their skin. This has been further exacerbated by the constant marketing which permeates online spaces with this idea that they are missing out and the products should be perceived as a necessity - a belief that children are highly susceptible to. This overexposure to pervasive marketing tactics may damage the development of children’s mental health and identities as they feel intense pressure to fit in with trends and others on the internet.

We should be wary of using consumption as an unintentional way to replace the exploration of identity and rather spend time developing identity through other means too, such as expressing our forms of creativity as a remedy to the overwhelming presence of the internet and advertisements and finding hobbies and interests that align with ourselves. Allow for the recognition and appreciation of a creation, product or aesthetic without feeling the need to purchase or be influenced by it just because. Consider when consuming whether you genuinely want it or you have been conditioned to want it and recognise the value of the product in regards to you. Often we can find ourselves surrounded by things that we bought but only used once due to vapid trends and throw-away culture. Being intentional while shopping can alleviate the strain on our finances as well as decrease wasteful consumption which is better for the environment. This mindfulness allows us to consider what we actually like instead of buying into temporary products as an attempt to fill the void.

Feminism in

By Annabel Ritchie

Content Warning: This article addresses the topic of sexual assault, and may contain content that could be triggering for some readers. Reader discretion is advised.

Whilst feminism has been a consistent subject matter of art, it only became a recognised art movement in the 1960s after the massive cultural upheaval concerning civil rights, anti-war, sexual liberation and political movements, fueling artists to communicate these major issues through various media. Also significant of the time was the increase in popularity of Fletcher’s situation ethics, conveying a more liberal view of society, especially concerned with human rights - love and equality being its main focus. These factors led to an increase of social action, critically to the development and progression of art, empowering women to expose these injustices through a visual, impactful presentation accessible to the majority.

Following this watershed moment within feminist history, and the political climate of the world, academic writings such as “Why have there been no great women artists?”, by American Art Historian Linda Nochlin, criticize the previous circumstances that prohibited women from achieving the same status as their male colleagues. For example, traditional stereotypes of gender roles within business, the home and family life, setting the scene for the new artistic movement that placed expression of the feminine experience at its forefront, granting women power, otherwise was limited, through media.

An artist who communicates this perfectly is Barbara Kruger, an American artist whose earlier works can be categorized under the scope

of second wave feminism - focused on issues of equality and discrimination as well as questioning traditional gender roles and misogynistic views of beauty standards, exploring these topics through the media of collage. For example, Kruger’s piece, “You are not yourself” (1981), depicts a woman examining herself in a mirror that has seemingly been shattered by a bullet, demonstrating the extent of damage that male ideals of women’s beauty have upon the mental health of women worldwide. This theme is continued throughout her work such as, “Just be yourself”, which explores how women are constantly casually subjected to achieving the toxic concept of female perfection through their appearance, and “Not stupid enough”, which encompasses the limitations that women are

art

placed under through simple underestimation from a patriarchal society. Moreover, her continued address of cultural constructions of power, identity, consumerism and sexuality through text, specifically including inclusive pronouns, opens up the art to the whole audience. By submitting the audience to this communal language, it gages the question of the patriarchy’s power specifically. Art critic, Ron Rosenbaum observes that these, “short machine gun bursts of words when isolated, and framed by Kruger’s gaze, linger in your mind, forcing you to think twice, thrice about cliches and catchphrases, including ironies into cultural idioms and the conventional wisdom they embed in our brains”, implying the unconscious bias our language encompasses especially when referring to women.

Christopher Ricks, a former Oxford professor of poetry, said that the simplest way to recognise value in

art is “that which continues to repay attention”, which Kruger’s artwork inevitably achieves. Furthermore, in regards to today’s society, her work still holds relevance due to the obvious advancements of technology and the rise of social media, inextricably linked to the diminishing value and meaning of words.

“What do you read, my Lord?”

Polonius asked Hamlet.

“Words, words, words” he replies.

By utilizing short, impactful statements, Barabara Kruger invites the audience to fully engage with the art, exploring the subject matter, mainly surrounding the theme of misogyny and prejudice, to communicate effective political statements.

Subsequently, British artist, Alexandra Gallagher, acknowledged to be part of the modern feminist art movement, uses collage also to express motifs of female empowerment, differing from Kruger’s focus on the patriarchy’s oppression of women. For example, building on the second and third wave feminist artists, Gallagher aims to liberate women from male stereotypes through her art, especially seen in ‘Forbidden Fruit’, a collage, depicting the delicate line between reality and dreamlike worlds. Perhaps reflecting on traditional gender roles of women within the household as well as the binary restrictions placed on women’s expression. The ‘forbidden fruit’ in this instance, provides irony, as within religious connotations of the Fall, Eve inevitably causes the downfall of all humanity, only to be saved by the Son - a man. Yet, Gallagher portrays a sense of independence and control over the woman’s future, using the

You Are Not Yourself (1981) by Barbara Kruger @ pinterst.com

over the woman’s future, using the ‘forbidden fruit’ to carve out her own destiny and future, instead of being second to a man. Additionally, the subtle halo surrounding the woman’s head not only frames her as the focal point of the piece, but also alludes to her divinity- an image mostly associated with God. By placing her in this halo, Gallagher draws a parallel to the equality of women and men, empowering women, providing the audience with her initial message of intention.

The effect of these artists alone is great within society, casting a light on the struggles women face regarding

“Cheer up Luv” photojournalism.

Claire Salvo, an LA based visual artist, who after experiencing sexual assault herself, and witnessing the #MeToo movement, was inspired to create a portrait series which “tells the stories of nine women who have been sexually assaulted”, regaining the survivors’ confidence after taking the power back from the assaulter, empowering them as individuals but also as a community. Salvo’s intention was to help “women find community, connection and power in these stories”, allowing healing both for herself as a survivor but also the survivors depicted, through internalizing and

to ‘normality’, however, post #MeToo movement, many have begun to realize the extent and wrongness of their experiences, and have voiced their stories, reassuring others who may still be processing their trauma. Hatch states that she “started the project as a way of showing [her] male friends the kind of things we would have to put up with, as they never used to believe the scale of the issue when we spoke about it in group situations”, a universal experience for many women. Whilst this gave initial empowerment in raising awareness of sexual abuse and harassment, “Cheer Up Luv” has become a global platform for women to find solidarity

the oppression of the patriarchy, and will allow an understanding of the history of the feminist movement throughout history. Speaking from a modern day perspective, we are currently in the fourth wave of the feminist movement, now evolving to focus on the empowerment of women, specifically utilizing social media (especially popular with the #MeToo movement, which grew expeditiously in 2017), intersectionality, challenging gender norms and binaries along with the marginalization of women in society. This has also been translated within the feminist art movement with artists such as Claire Salvo’s Me Too Survivor portraits and Eliza Hatch’s

translating each woman’s story to help her confront her own, acting as a powerful tool to progress in her own process. Not only does this benefit the participants, it is also significant for the audience, many of whom may have experienced similar crimes, as well as those who haven’t - communicating the importance of speaking out and justice for victims.

Moreover, Eliza Hatch’s “Cheer Up Luv” photojournalism, retells women’s stories of sexual harassment, including over 100 women in three different cities: London, New York and Tokyo. Especially, before the #MeToo movement, many women invalidated their experience of sexual harassment, downplaying it

and strength within the survivor community.

Art as a media is a powerful tool of communication of the feminist movement, from the Suffragettes’ ribbons and placards, to becoming a recognised art movement, inspiring artists to convey alternate areas of empowerment and oppression, to the exposure of sexual abuse and harassment in fourth-wave feminist society. Not only does this provide awareness of these still significant and major issues of misogyny, it also allows the empowerment of women as a community, pushing for equality in every sector of life.

Thinking of You. I Mean Me. I Mean You. by

Barbara Kruger

on architectmagazine.com

‘Yesterday, they told me that you’re ill. ‘Ill’ is an understatement - every day we watch you fade. Your hair falls out and I hear you sick at night, for brief moments you forget who I am.

Today it’s Halloween and we give sweets to children. I try my best to remember that face you make when you meet children who aren’t your own.

When mum meets her grandchildren (alone) someday, I’ll want to remember that face, and project it onto your ghost.

Tomorrow you’ll meet my boyfriend, and I’ll realise you’ll never meet my husband and some part of me will hope I marry him someday so that then I’ll know you at least knew him.

You’re still here, but I miss you already. I miss a future that won’t happen, years we won’t have. I miss you every time the world around me goes quiet enough that I can hear it:

that lone aching voice telling me you don’t have long left. ‘What is grief if not love persevering beyond life?’

I must love you a lot, then; if I’m weeping over a grave that hasn’t even been dug yet.

by Islay Cunliffe-Lister

Unmasking Masquerades

You would be forgiven for thinking that masquerade balls exist only in the realm of fiction, where the dramatic device’s combination of a refined, elegant aesthetic and alluring hidden identity is popular with writers. However, a glimpse into the origin of these events reveals a dark and disturbing truth.

You may have admired the elaborate masquerade masks and outfits in scenes of plays, films, and TV shows, or described in books. From Shakespeare’s ‘Romeo and Juliet’ to ‘Batman: the Dark Knight Rises,’ masquerade balls endure in popular culture. These scenes tend to create irony and set up plot complexity, paving the way for a satisfying denouement. Before I visited Venice during the summer, this was the way in which I had viewed these balls. Whilst exploring the city, surrounded by references to the masquerade craze that occurred there during the Renaissance period, I began to question and investigate the origins of the Venetian masquerade celebration. This raised the questions: why was this festival in which identity is hidden (and subsequently social restraints and constraints are forgotten) created; how did it evolve into the masquerade balls we see in popular culture today; and what can these festivals teach us about society today?

Traditions that are clearly associated with the masquerade balls represented in popular culture today, such as partying wearing masks to hide your identity, first emerged during the Middle Ages as part of Europe’s carnival seasons. Carnival season is the period between Epiphany and Lent in the Christian calendar, and during the mediaeval era they were a frenzied time of excessive parties and indulgent behaviour. An echo of these festivals remains nowadays with some western Christians celebrating Mardi Gras, in which they eat plentifully to prepare for fasting or abstinence from foods during Lent. Carnivals of the mediaeval period similarly involved feasting, as foods (such as meats) would need to be used up. However, alongside these practical preparations, Carnival was an opportunity to do things which are considered sinful, which would later be confessed and forgiven in the following forty days. A blog by historian Robert Kluth about the origin of Carnival writes ‘the mediaeval church promoted carnival as a way of visualising sin: a world turned upside down when people disguised as devils and wild men would run amok through the city. It was an occasion for eating and drinking to excess, and a period of sexual licentiousness.’ This was a reversal ritual in which people wore masks to conceal their misconduct and the pressure of conforming to social and religious rules was temporarily forgotten. And so, the tradition of masked parties became a part of mediaeval carnival seasons.

Ever since the first Carnival seasons of the Early Middle Ages, Carnival traditions have been criticised by Christian authority figures: members of synods and councils. Protests against Carnival have been recorded from as early as 500 AD when Caesarius of Arles, a Bishop and Church Father (one of the original theologians who established the intellectual and doctrinal foundations of Christianity), gave sermons condemning the behaviour of Christians during Carnival seasons, calling practices of Carnival ‘pagan’. Another Church Father who spoke out against Carnival traditions was Pope Gregory the Great (590-604). He set out the liturgical year and stressed that there be a clear divide between the seasons of Carnival (dissolute) and Lent (holy). He even sent out missionaries to attempt to quell the elements of Carnival celebrations of which he disapproved, such as using masks to mock the ruling class.

So how did these unruly masked parties of the Dark Ages evolve into the masquerade balls we admire today?

However, these early attempts to ban or discourage Carnival seasons did not have much impact. It was not until the Late Middle Ages, when the Carnival craze was at its peak, that there was a shift in public opinion. By the 14th century the Christian population of Western Europe had grown, and with it the popularity of Carnival. Parties became increasingly disordered and frenzied. Although Carnival was meant to be a visualisation of sin, people started to feel that behaviour had become excessive. In Shakespeare’s ‘The Merchant of Venice,’ first performed in 1601, Shylock voices the disapproval felt by members of mediaeval European society. During Scene 5 of Act 2, upon seeing a masquerade parade in the street, he exclaims:

What, are there masques? Hear you me, Jessica: Lockupmydoors,andwhenyouhearthedrum

Andthevilesquealingofthewry-neckedfife, Clamber not you up on the casements then, Nor thrust your head into the public street

To gaze on Christian fools with varnished faces.

By the 15th century the popularity of frantic festivals during Carnival seasons had dwindled and people instead looked for a more refined way of celebrating carnival. This is when masquerade balls, which kept elements of the wild street parties of earlier Carnivals, such as keeping identity hidden, but were seen as more civilised events, appeared, and took Renaissance Europe by storm. Balls were predominantly held by members of European higher society, during which dancing, music and pageants would be enjoyed, and elaborate masks and costumes were adorned. By the end of the 15th century, masked balls had become an important part of late medieval court life and were not just held during Carnival season, but at other times of the year as a way of celebrating events, such as marriages, or arrivals of Kings or Queens.

a masquerade ball in Stockholm by a nobleman who was caught and found to be a part of a group of conspirators. The dramatic events of this ball were later turned into an opera in 1857 called ‘Gustave III’. This is an early example of writers using the sense of mystique and conflict that masquerade balls create to catch the imagination of the audience; a literary device still used by writers.

We continue to admire masquerade balls today, and they remain a thing of mystery and intrigue. A glimpse behind the mask of extravagant parties, reveals the surprising and offers a look into European society during the Dark Ages. It also makes one reflect on how Carnival season became a significant event and what it can teach us about our society today. These disinhibition masquerades, although becoming dangerous and being discouraged by members of the medieval Church, had some benefits; they offered people freedom from judgement, as their identity was hidden, thus creating a scene of social unity as wealth and status were forgotten. Furthermore, there are records of masquerade festivals being a place where people could explore their own identities, for example through cross dressing, away from the stringent social pressures.

The feeling of mystique masquerade masks created excited and intrigued members of late medieval European society, so much so that a game of trying to reveal each other’s identities was made by guests. However, masquerade balls were not always laughter and games. In 1792 King Gustav III of Sweden was assassinated at

Carnival season in the Middle Ages was a time of chaos, but also of harmony and freedom of personalities.

Photos by Lisha Wu

Content Warning: This article addresses the topic of sexual assault, and may contain content that could be triggering for some readers. Reader discretion is advised.

Our view of Medusa: monstrous or misogynistic?

by Meriel Norbury

We have all heard the story of the famed serpent-haired monster. Ugly, and malevolent to the extent that her eyes turned innocents to stone. Medusa is one of the earliest examples in an extensive list of nefarious women in literature. But the question is whether the character is truly what modern and ancient media depicts her as, or whether she, like many women and female characters throughout history, has been villainized by society’s unfailing misogyny.

If you were to google ‘Medusa,’ artwork spanning thousands of years would bare its hideous teeth, and hissing nests of hair at you. Medusa is presented to the world as a monster, perhaps understandably so; not only is her appearance perilous, but her actions are murderous - condemning sentient beings to an eternity solidified to rock. Revolted by the barbaric beast and used to taking all information at its surface level, we fail to ask the question why.

The Roman poet Ovid’s epic, ‘Metamorphoses,’ explores myths involving change and transformations, including that of Medusa. Book 4 explores Perseus’ quest to kill, and decapitate the gorgon, using the shield of Minerva to look only at Medusa’s reflection. The much-anticipated transformation of this myth comes when the poet explores Medusa’s backstory: once a beautiful maiden, famed for her enchanting hair, Medusa lived with her two gorgon sisters on the island of Sarpedon. Visiting the temple of Minerva, Neptune raped her. Enraged by the disrespect to her temple and name, Minerva cursed Medusa, stripping away her entrancing hair and beauty, essentially, victim blaming.

The curse that Minerva inflicted on the gorgon was symbolic: removing her locks and replacing them with snakes is representative of women’s appearances being named as the root of sexual assault, a common, bigoted stance. Transfiguring a once adored gaze to

@ vermaye.com

a deadly stare portrays how Minerva reduced Medusa’s remaining life to one of solitude, as she could never spend time with anyone again, without the risk of fossilisation. This myth can be attributed to the many generations of male poets and lyricists in the ancient world that modified the tale recital by recital, and as we read it today, we see the undeniable hatred towards women woven into the fabric of the chronicle.

Not only in literature, but similarly in art, Medusa is represented as horrifying. Furthermore, in many of the most famous depictions, such as Benvenuto Cellini’s statue of Perseus holding her head aloft, Medusa is not the focus. Instead, as viewers, we are led to appreciate the heroism and majesty of Perseus, with Medusa used as an accessory by artists to demonstrate his prowess in combat. A repercussion of the countless years of a man’s perspective being the only perspective, Medusa not only has been written out of her own narrative but has been left without one entirely.

by

Aiding this, both classical and more modern depictions characterize Medusa as aesthetically repulsive, often in combination with the gorgon’s grisly fate. Showing how, even in death, this woman of classical mythology cannot escape reduction to a plot point of the male portrayal: her appearance being a result of sexual assault, and her decapitation being murder. Medusa, once an innocent, now simultaneously mocked and feared in modern media because of millennia of misogynistic narratives being embedded into the very bedrock of society.

Furthermore, even today, misogyny rings loudly as sexual assault is instantaneously linked to a woman’s appearance or behaviour. One example is the right-wing Hindu organization, Hindu Jana Jagruti Samiti, which has guidelines highlighting ways in which women should wear their hair. For example, leaving the hair untied, getting a haircut, or trimming the eyebrows, all may cause ‘increased sexual thoughts leading to promiscuity’, this is just another example

Meriel Norbury

Photo

of the ways in which women are pressured to conform and change their appearance to repress sexuality, echoing the Medusa story, as both her physicality and capacity for relations of any kind are stripped from her by Minerva’s curse.

Not only are women being shamed and blamed but are seeing no vengeance. The genderinstilled power imbalance is striking in rape cases, with the conviction rates being abominably low, with just 2 in 100 rapes recorded by police between July 2022 and June 2023 resulted in someone being charged that same year, let alone convicted, often for fear of maintaining the reputation and future of a man. This bigotry of protecting a man’s future before a woman’s wellbeing is a violence that many victims of sexual assault face, and must be changed. This disparity of power between men and women, and how they are treated not only by general society, but also by the law, is gruesomely portrayed by Medusa’s gorgon birthright ranking her far below that of the divine Neptune. After the rape, Medusa

is condemned to a solitary life, and eventually murdered. By comparison, Neptune returns to his immortal life as a god.

Having explored the original victim blaming, the modern versions that women face today are, apparently, disgustingly similar, and it is clear that current generations of women are identifying with her story. Artist Luciano Garbati’s feminist response to Cellini’s statue, ‘Medusa with the Head of Perseus,’ gained widespread attention in the height of the #MeToo movement in 2017, and Natalie Haynes’ retelling of her myth is a bestseller, with many enjoying the classically inspired novel in separation from the male dominated narrative of the original texts. Medusa’s story is being brought alongside modern women on their journey for justice.

Statistics from rapecrisis.org.uk

Photo by Meriel Norbury

Mary Shelley wrote Frankenstein at 18 years old. trapped in a tempest with the bards who were whining, and a dead baby girl, the size of a finger-lime, lost through a window of hazards and smoke and longing and dreaming of breathing to choke. mary chose a monster, a man, a misinformed god, in a burnt out laboratory, of patience and blood. coughing up sympathy, oh hysterical eve, yet mare knew we wore her guilt on our sleeves. modern prometheus, lamb to the slaughter, runaway marriage, a dead woman’s daughter, grew up a sensation, came of age to adore her, who’d have known she’d be more a pandora? in amongst the storms and the tragedies blue, Mare, covered in grey clouds, did the one thing she knew. frankenstein was innocent, a perilous creative, a man who wrecked ships, pale and sedated, the narrative is masculine, the women wispy ghosts, but the idea of losing the thing you want most? that’s the female in mary, the torn open body, an open casket for the funeral, womb-melancholy. she locks the man in the chamber, he bears her vengeance, like mare, victor comes out, no baby in penance. just a biblical weapon, god’s own vindication, for messing with the higher order of man above woman, but if god is real, he’s no match for mare’s wrath, she doesn’t care that he’s drunk, byron’s hands should stay in his lap.

her cold little child, phantom sobs in the night, if jesus was a girl, would they have left her to die?

Lottie Roddis

Repatr of Histor Artifacts

By Natalie Cheung

In 1897, the Benin Bronzes were looted from the Kingdom of Benin as spoils of war by British forces after they invaded and burned down the city to consolidate the British Empire in West Africa. Today, more than a century later, more than 900 of these artefacts remain on display in the British Museum, but not in their country of origin.

The Benin Bronzes are elaborately carved bronze plaques and sculptures crafted by the Edo people who lived in the Kingdom of Benin in modern Nigeria. They form an important part of Nigeria’s history and cultural identity, as they are the best examples of Benin art and have a long history, with the earliest pieces dating from the 13th century. Thus, it is unsurprising that for decades there have been countless requests for the repatriation of these artefacts from Nigeria’s government and the Benin Royal Palace. These requests have been unsuccessful: although an agreement made in 2018 led to the British

Museum sending some of the Bronzes back to Nigeria to display in museums, it was made clear that they were sent as loans and would have to be returned. Nigeria is not alone in calling for the return of historical artefacts housed in the British Museum, as there have been similar requests to return cultural treasures looted during the expansion of the British Empire such as the Parthenon Marbles, the Rosetta Stone, the Moai statues and others that are currently ‘owned’ by Britain; the country that stole them.

Despite continuing pressure to return various historical relics, the British Museum has maintained a strong stance that it does not intend to repatriate stolen artefacts, with its Director Hartwig Fischer telling the New York Times that “the collections have to be preserved as whole.” The British Museum and the government have cited the British Museum Act of 1963 to defend this stance, as the statute bans the return of

any artefacts in the museum’s collection unless they are damaged, duplicates or “unfit to be retained in the collection” and no longer of public interest. However, the issue of repatriation was not considered when the Act was initially introduced, as it was passed for administrative purposes to protect the museum’s collection by preventing contemporary governments from returning artefacts to achieve their short-term political goals. Many believe that the Act could be easily amended by the government to create exceptions which it has done in the past, such as the Human Tissues Act of 2004 which allows the return of human remains in museum collections. Interestingly, a new Charities Act passed in 2022 now allows trustees of charities including national institutions like the British Museum to transfer ‘low-valued property’ of their own accord or ‘highervalued property’ with the authorisation of the Attorney General, Charity Commission or UK Courts. This would allow the British Museum to return stolen historical objects from its collection if there is a strong moral obligation to do so even if the legal claim has expired due to the concept of the limitation period.

Another argument that has been used to defend the retainment of cultural artefacts is the belief that the British Museum is better equipped to share, preserve, and protect historical artefacts than museums in their countries of origin. While this may be true to some extent due to the popularity of the museum, the British Museum only displays around 80,000 out of the 8 million objects that it owns, which is only 1% of the total collection. So, arguably, artefacts would gain more visibility if they were sent back to their countries of origin to be displayed as the pride of their museum’s collections for visitors to enjoy. Furthermore, it is common for museums to loan objects to other museums for temporary exhibitions such as the British Museum’s 2017 exhibition Hokusai: Beyond the Great Wave where two-thirds of the works included

in the exhibition were on loan from Japan, Europe, and the US. This way, while countries have ownership of their own artefacts, their history can still be shared with different audiences around the world. Moreover, the recent scandal concerning the loss, theft, and damage of around 2,000 items from the British Museum’s collection undermines its claims of having better security for the objects in its care, as investigations only began two years after the museum was first informed about illicit sales. Experts estimate that it will take decades to find the missing objects, raising questions about the museum’s capability to protect its collection and further highlighting the hypocrisy of the idea that the British Museum should not repatriate cultural artefacts because museums in other countries would not be able to take care of them.

In addition to the moral argument for the repatriation of historical artefacts due to their unjust acquisition and cultural value, it is undeniable that regaining possession of these highly valued artefacts would bring huge economic benefits to their countries of origin. Museums are some of the world’s most popular and profitable destinations, as the top 100 art museums in the world attracted 71 million visitors in 2021 and museums in the US contribute an estimated $50 billion to the economy every year. While it is not the main incentive in the fight for the repatriation of artefacts, many countries believe that the return of historical relics would boost tourism with their display in museums. As around 90% of Sub-Saharan Africa’s historical relics are located outside of Africa, countries hope to retrieve these artefacts to display them in museums in order to tell the story of Africa’s historical and cultural legacy while attracting new audiences. An example of this is the project Repositioning the Uganda Museum where it is hoped that an exhibition will be held to display recovered artefacts as a team from the University of Michigan is working to repatriate objects from the University of Cambridge Museum of

Photo by Lisha Wu

Archaeology and Anthropology. The Uganda Museum aims to attract visitors from local communities as well as around the world, particularly those belonging to the African diaspora, to celebrate African history and cultural identity which for so long has been forgotten.

Furthermore, there are a number of sacred objects and human remains which still belong to museum collections and should be returned to their countries of origin where they are highly valued and carry significant meaning. There are demands for sacred relics to be returned to their countries of origin where they can be kept in places like shrines and temples where they belong such as a drum used by Kenya’s Pokomo people which was historically considered as the tribe’s source of power but has been held in storage in the British Museum since 1908. As well as that, the case for returning human remains mostly belonging to Indigenous populations is particularly strong due to moral reasons and the limited public interest towards them, as most are kept in storage. These remains were largely taken without consent and their continuing display is disrespectful to Indigenous communities due to their symbolism of the historical mistreatment these communities faced such as attempts to exterminate these populations and dispossess them of their land, as they were seen by Europeans as racially inferior. The British Museum still possesses over 6,000 human remains in its collection which are wanted back so that communities can finally lay their ancestors to rest. While there have been some successful returns like two Tasmanian cremation ash bundles, other requests for the return of seven preserved Maori tattooed heads and two skulls of people from the Torres Strait Island have been denied despite the increasing repatriation of human remains previously held in museums across Europe.

It is crucial that museums make an effort to collaborate with communities whose culture the disputed artefacts come from in order to respect their wishes. However, this does not

of all their artefacts, as although some communities may want the repatriation of artefacts, others may be happy for relics to remain in museums. The process of

organisations needing to gather supporting repatriation, artefacts that are requested will be of high value to their countries of origin and will have a genuine case for their return. It is gratifying to see that there are increasing numbers of repatriation initiatives from European and American museums. Nigeria’s

It is crucial that museums make an effort to collaborate with communities whose culture the disputed artefacts come from in order to respect their wishes. However, this does not mean that museums will be dispossessed of all their artefacts, as although some communities may want the repatriation of artefacts, others may be happy for relics to remain in museums. The process of requesting the repatriation of relics is extremely complex and labour-intensive, with organisations needing to gather supporting evidence to argue for their repatriation, so artefacts that are requested will be of high value to their countries of origin and will have a genuine case for their return. It is gratifying to see that there are increasing numbers of repatriation initiatives from European and American museums. Nigeria’s Legacy Restoration Trust, a politically neutral organisation, has been able to negotiate the return of some of the Bronzes and other artefacts from museums like the Smithsonian in the US, the Horniman Museum in the UK, the Quai Branly Museum in France, and others. It plans to display these in the Edo Museum of West African Art in Benin City which is scheduled to open in 2025 and aims to attract tourists who wish to learn about the Edo culture and the origin of the Bronzes.

Despite this, there is still a long way to go: museums need to acknowledge the circumstances in which artefacts came into their possession and communicate with communities who want their return instead of continuing to view relics as trophies of war. The repatriation of unjustly acquired cultural artefacts is the first step in making amends for past wrongdoings and restoring justice.

by

Photo

Lisha Wu

IN THE YEAR OF THE BARBIE MOVIE

By Lottie Roddis

Waking up, soft black liner, bite of toast; tying the world outside in ribbons. Flowers shoved in gunshot wounds, climbing the walls with fury. Slut, says a spiking grin, below the ceilings see through, above the Louboutin soles like wine moons. Ordering woman on woman on woman, piled up in wedding cake tiers, our blood poured over ice and served to the cats with the cream and the keys to the treasury.

We paint our nails pink and can’t say clit on camera, yet the smug, sharp, slick suit across the road imagines what’s under the ubiquity.

Hand in hand in hand, walking through tight streets full of laughs and excuses, pulling satin down till it covers the tops of our thighs, what does that mouth do, pretty thing? Funny you should ask,

this mouth is the same that opened wide to scream, the moment my mother split apart to give me the earth; this is the same mouth that spits out sugared words on command, some typecast typewriter full of what you’ve wanted to hear, this is the mouth that swears she’ll never be a secret and this is the mouth that hides in backstage closets, too, this is the mouth that curls around honey-blonde sobs in movie theatres, that oh-so witty, clever mouth that holds stars and comets between her teeth, and tears your nights to shreds.

This is the mouth that belongs to the year of the dollface, the sugartits, the good girl; the one that fears for the year of the text me when you’re home, of the vigils and vengeance, because, my mouth cries, in the year of the woman, why are we still icing-sugar ashed and scattered through gravestones?

Artworkby Annabel Lim

Dissociative Dissociative Dissociative Identity Identity Identity

Disorder Disorder Disorder

by Serene Kong

What is Dissociative Identity Disorder?

“I have many separate, distinct and unique ‘parts’ of my personality. My ‘parts’ or ‘alters’ collectivelyadduptothetotalpersonthatisme...Theyareeachaletter,andIamasentence.”

Dissociative Identity Disorder, also known as DID, is a mental health condition. It is a type of dissociation disorder where a person has multiple personalities that are distinctly different. These various identities control a person’s behaviour at different times, known as alters. Alters often exhibit dramatically different characteristics, and often have their own unique names, identifying features, abilities, and preferences. They can even differ in expressed age, gender identity and

Causes of DID

nationality. This condition can affect people of all ages, however more likely to children ages 6 or younger as that is usually when personalities are still developing for them.

Approximately 1.5% of the world’s population has been diagnosed with dissociative identity disorder, however these disorders are extremely difficult to be diagnosed in one session and often require multiple assessments.

“I would disconnect myself from being in the room where the abuse was happening. I almost felt like I was watching it happen to me but I wasn’t feeling it or wasn’t part of it. It became somethingthathappenedautomatically.”

Many people with a dissociative disorder have had a traumatic event, severe trauma and/or abuse during childhood, with dissociation occurring as a way of coping with it. It is likely a psychological response to interpersonal and environmental stresses, particularly during early childhood years

Mental and Physical effects

For people with DID, their memory and sense of identity can become unclear to themselves whilst they experience a sense of separation from themselves and emotions. They could think that the people and things around them are distorted and not real, have severe stress and problems in relationships, as well as issues in work and other areas of life. DID consequently increases the likelihood of having other mental conditions, such as anxiety and depression. There are often misconceptions

when emotional neglect, physical or mental abuse has been experienced. Along with this a lack of external stability such as shocking, distressing or painful events may cause dissociative disorders to arise, consequently, causing the creation of alters with specific names and identities.

that mental health conditions only affect people mentally, however this is completely false. In this scenario, people with DID usually experience headaches, amnesia, time loss, trances, and experiences known as “out of body experiences”. Some could also have tendencies toward suicidal thoughts, violence and disordered eating. However, it is important to note that mental health experiences are unique and not all symptoms people show are the same.

Negative Media Portrayal

Due to the small number of people being diagnosed with DID, there is not enough knowledge about this disorder in our society which has caused negative media portrayal which creates myths and stereotypes. Examples of this include mental health becoming someone’s whole personality. These negative stereotypes can damage selfesteem and worsen stigmas in society. As well as this, the media often portrays people with dissociative disorders, particularly DID as being dangerous or violent. People with DID have a strong internal sense of identity fragmentation which can led to the common

Positive Media Portrayal

A famous portrayal of DID in the media is through Moonknight, a Marvel series on Disney+. Moonknight follows Marc Spector (Oscar Isaac), a former United States Marine and mercenary who experiences dissociative identity disorder. Marc’s DID is caused by childhood abuse and trauma. As a result of his trauma, Spector became a very pessimistic and socially inept man. Alongside Marvel’s superhero storyline, as the characters fight against Egyptian avatars, we are introduced to two of Marc’s personalities: Steven Grant and Jake Lockley.

In the show, Marc dissociates into the persona of Steven Grant when he is feeling depressed, stressed or faced with trauma. Marc’s childhood trauma stems from his brother’s death, which started a strenuous and spiteful relationship with his mother who frequently abused him. In this case, Marc invented a different personality to take over his body to distract himself from overwhelming fear into this brief fantasy. He was able to use this persona to avert the harsh and scary feelings brought on by his abuser and consequently be shielded from the relentless feelings of shame. To find comfort within himself, Marc would dissociate himself to Steven Grant, a polite British boy named after a character from Tomb Buster, who was unaware of his brother’s existence and has no memory of Spector’s trauma.

misconception that that people living with DID display ‘multiple personalities’. This can often lead to harmful and inaccurate stereotypes.

In fact, the condition is hidden in most individuals and not obvious to spot. Another misconception is that people with DID have obvious personality switches, however this is false. According to a 2010 Psychiatric Times article, only 5% of people with DID exhibit obvious signals when switching between alters.

Jake Lockley, the other personality of Marc, has a ruthless demeanour and speaks Spanish as his main language. Here Spector’s rage and aggression manifested into a third and violent alter. However, neither Spector nor Grant were aware of Lockley’s existence. This realistically expresses DID, as alters can have significantly different personalities than each other and shows how people experiencing DID are not necessarily aware of the personalities they have. Though Marc had knowledge of dissociating into Steven, Marc was never aware of it when he dissociated into Jake.

Though of course, Moonknight is not the most realistic portrayal of DID, especially with the need for dramatic storylines to make the series interesting, what this series does is portray DID as a superpower, encouraging the self-esteem of those experiencing DID. By introducing these topics to a wider audience, it also challenges the stigmas surrounding DID and wider mental health conditions, However, many critics believe that Moonknight played into Hollywood’s obsession with dissociative identity disorders and how the industry has romanticised mental health disorders. Having representation of mental health in the entertainment industry is important, but how accurate and appropriate are they?

How to support some one with DID

“Havingunderstandingfamilyandfriendshelpsme.”

To support someone with a dissociative disorder, you can:

- Learn About Dissociative Identity Disorder

- Listen and Offer Support

- Address Self-Harm and Suicidal Behaviour

- Help Prevent Triggers

- Try to be patient and understanding in daily life

Useful Contacts

Childline 0800 1111 childline.org.uk

Support for children and young people in the UK

Clinic for Dissociative Studies clinicds.co.uk

Information and treatment for people with dissociative disorders

European Society for Trauma and Dissociation estd.org Society for professionals working with trauma and dissociation.

The International Society for the Study of Trauma and Dissociation isst-d.org Academic society which provides information for professionals and the general public about trauma and dissociation

The National Association for People Abused in Childhood 0808 801 0331 napac.org.uk Supports adult survivors of any form of childhood abuse

Artificial Intelligence has emerged as a transformative force across various industries, and education is no exception. With its ability to process vast amounts of data, analyse patterns, and generate human-like responses, AI has the potential to revolutionise teaching and enhance the learning experience for both students and teachers. In this article, we will explore the various ways AI could impact teaching and discuss the potential benefits and challenges associated with its integration into educational settings.

Pupils are able to discover the most effective ways of learning, tailored to how they think and process information most effectively through the use of AI. AI enables pupils to receive an increasingly personalised style of teaching for their type of learning, allowing teachers to focus their efforts on engaging with individuals and improving students’ motivation to learn. This maximises pupils’ absorption of information, accelerating their progress and reducing stress, particularly when it comes to revision and preparation for exams.

A possibly familiar resource, Khan Academy, which many students have used, has decided to harness the power of technology in order to aid children’s learning.

In an interview with Bill Gates, co-founder of Microsoft and Sal Khan, founder of Khan Academy, they discussed if AI could help to close the education gap. Khan has recently set up a student tool called Kahnmigo, an AI powered teaching assistant mimicking a writing coach by correcting and prompting students as they progress. Khan agrees with the perspective that teachers should stay at the centre of the classroom, however using technology as additional support rather than overriding the role of teachers.

Another benefit of the use of AI into an educational setting would be its

by Victoria Tomlinson

ability to support pupils’ unlimited questions through the use of virtual assistants and chatbots equipped with AI algorithms. This new technology can rapidly answer students’ questions, providing consistent and well-structured explanations, offer additional resources to an individual student without interrupting the class. This on-demand support not only enhances student’s understanding but also encourages independent learning and critical thinking skills.

AI also enables learning to be at an individual pace and constructive feedback for teachers to consider at the end of a lesson. Teachers would be able to access commonly asked questions which show’s gaps in students’ knowledge or sections of the syllabus requiring additional explanation. As AI develops even further, teachers may even be able to gain a insight into student’s concentration and fatigue levels through subtle changes in body language picked up by analytical technologies.

AI can collect and analyse vast amounts of data on student performance, behaviour, and engagement. By leveraging this data, educators can gain valuable insights into student progress, identify areas of improvement, and make data-driven decisions to enhance teaching strategies. AI-powered analytics tools can help identify patterns and trends, allowing teachers to intervene early and provide timely support for struggling students. There may no longer be as much need to assess a student’s ability to retain and explain knowledge as this continual assessment using AI could replace stand-alone exams. Time spent preparing for the exams could be then spent on covering topics with knowledge gaps.

As well as supporting more effective learning, AI offers major benefits in improving the efficiency of teaching. Being such a rapid and trustworthy source of information, AI is capable and very skilled at lesson

planning as well as scheduling and organising entire curriculums to fill a given timetable. This alleviates the teacher’s workloads, providing them with additional time to work on more specific tasks to aid pupils.

AI has the ability to streamline the grading process by automating the evaluation of assignments, quizzes, and exams. Machine learning algorithms can analyse student responses and provide instant feedback saving valuable time for teachers. This allows educators to focus on providing more targeted instruction and individualised support to students, rather than spending hours on grading.

While the potential benefits of AI in teaching are vast, it is essential to address the challenges and ethical considerations associated with its implementation. Due to the consistent information provided by the internet, every student will be provided with the exact same answers, explanations and ideas. Although this may help to close the education gap, it could also dull students’ individual creativity and ideas.

Privacy concerns, data security, and the potential for bias in AI algorithms must be carefully managed. Additionally, the role of teachers in the classroom should not be undermined as human interaction and guidance remain crucial for holistic education.

AI is here to stay and is very likely to revolutionise much of society, and education is no exception. If we are able to embrace the possibilities as students and teachers together, the potential for a richer, more effective and efficient approach to learning is unlimited.

I also suspect that if continual assessment removes the need for end of year tests and exams, there will be some much less stressed people all round.

Has Formula One lost its identity to profit?

by Beatrice Gugliuzza

Formula One is an elite, glamorous sport. The cars, the money, the spectacle. Everyone wants a slice of the pie, with influencers brandishing their paddock passes and high-profile celebrity investments (seen recently with Alpine); it’s clear to see that the sport is at a height of popularity. Thanks to Netflix series Drive to Survive, along with a nail-biting 2021 season, the sport is at a commercial high with the brand expanding its market across the Middle East and crucially America. As I write this, the inaugural highly controversial Las Vegas Grand Prix (bar 1981&82) is on the horizon so, let’s take a step back and see how Formula One grew from its humble beginnings of tracks marked with hay bales in rudimentary cars, to a glitzy spectacle with cutting edge technology and tickets costing thousands, with the A-Z list eager to be involved.

To take us back to 2021, Red Bull driver Max Verstappen was on par with 7x world champion Mercedes driver Lewis Hamilton for the duration of the season. With each taking chunks out of each other during the season including crashes at Silverstone and Monza. This came to a climax at the Abu Dhabi season finale prompting one of the most controversial moments in the sport. With one point separating the two it was a case of winner takes all. A late safety car, due to a crash from Williams’ Nicholas Latifi, led to the decision that the lapped cars separating the leading car of Hamilton from Verstappen could unlap themselves rather than all lapped cars as stipulated in the rules. Then race director Michael Massi justified this saying he didn’t want the championship to be won under a safety car. This decision led to one final racing lap and Verstappen on significantly newer tires was able to swiftly make the pass which led to his then-first world championship. Naturally, the 2021 season was followed closely with the finale drawing some of the largest viewing figures the sport had ever seen up +29% on 2020, and the buzz and debate around the last race lasted for months, still often being talked about now.

Formula One had always been there, viewed as an almost niche sport that some people would watch, the greats of Schumacher, Senna, and Stewart were known but the intricacies of race weekends not so much. F1 has had its controversies in the past, such as Spy-gate in 2007, the 2008 Singapore Grand Prix and in more mainstream news, the ongoing controversy around former executive Bernie Ecclestone. But there was a different quale to the controversy of the 2021 season finale and that in part is thanks to a Netflix show called Drive to Survive.

Drive to Survive first aired in 2019, and it made a little splash. It had an aim to peel back the secrecy and exclusivity of the sport, so much so that constructors Mercedes and Ferrari refused to participate. But what soon became clear was that this was a show about characters, about politics and drama - not so much the technicalities of the team’s aero-dynamic packages. The show was made yearly being released in the offseason, but after the 2021 finale, there was a newfound hunger for the new season. Thus, when it arrived on Netflix, they saw record figures for the new series which snowballed a whole new market. A market of fans who were not so much there for the cars but for the drama, and crucially the drivers. Drive to Survive coupled with social media has meant Formula One drivers are some of the biggest athletes out there, amassing 10s of millions of followers on their social media. People had an appetite for the sport, one which had been growing and growing. Thus, in turn, the expanse of the sport itself grew and grew.

The media schedules of drivers have increased giving fans more content and insight, and the calendar itself has gone from 18 races in the 2010s to a recordbreaking 24 in 2024. Along with sprint races and triple headers, it’s clear to see the meat of F1 (the racing) is spiralling into something other than simply 20 cars lined up on a grid.

A key factor of this is the tracks themselves. As I mentioned earlier the American market is somewhere that has always been appealing to F1 but has been equally challenging to break into, likely due to the healthy racing pedigree of IndyCar and NASCAR along with the lack of successful American representation in the sport. Currently, their flag bearers are the backmarker team of Haas, who sit P10 in a 10-team championship, and; although his entrance was hotly anticipated, American rookie Logan Sargeant has failed to make a lasting impression losing out to his Williams teammate Alex Albon on almost all head-toheads. Despite this, the media buzz around F1 combining the 2021 season and Drive to Survive saw US viewership hit record highs in the 2022 season, amassing 1.2 million average race viewers up from around 950k the season prior. Thus, in response to this, Formula One has gone from one circuit in the states (circuit of the Americas in Texas) to a whopping 3 in 2023. Although, it is arguable that the new circuits have not brought the drama hoped for. The inaugural 2022 Miami GP and the following in 2023 created dull racing as a result of the circuit homing

the 2 longest DRS zones on the calendarprompting easy passes on the straights. The ace in Formula One’s deck (casino joke intended) is the Las Vegas GP coming to F1 in November. It seems logical to marry the high-stakes glamour of the casino with that of the paddock. Yet, Las Vegas has not been smooth sailing, prompting an almost complete shutdown of the famed boulevard, and blurred screening encasing walkways. With many locals and businesses unhappy with the disruption, and large numbers of high-price hospitality packages still left to sell, the Las Vegas GP does not look in the most promising shape. Never mind the makeup of the track, including a long straight on the boulevard, suggesting poor quality racing. The Las Vegas GP is a prime example of profit overshadowing the quality of racing by forcing a high-profile event into a place where it is not welcome.

This loss of integrity is prevalent across the sport, most crucially in areas of the Middle East, with races being hosted in countries rampant with suggestions of human rights abuses as reported by Amnesty. This idea of sportswashing is prominent in race

locations of Saudi Arabia, Qatar, and Azerbaijan to name a few. All relatively new tracks with Baku being the oldest at 6 years. This reflects the recent expansion of popularity in these areas. None produce the class of racing as tracks such as in Brazil, Britain, and Belgium to name a few which boast rich pedigree and history. But what is unique about Saudi Arabia, Qatar and Azerbaijan is that they have the 3 largest hosting fees at around $ 55 million. Here we perhaps have a case of sportswashing by allowing countries to level huge payouts to Formula One. In return for this loss of integrity and identity, Formula One receives a mediocre cookie-cutter circuit and a spectacle, with emphasis on the embellishments rather than the race. The profit incentive of these countries compromises the quality of the races and the sporting integrity of those involved. These examples lend themselves to the conclusion that Formula One is at a peak of growth and, to capitalise on that, it is losing its identity to the glamour and the spectacle.

Alas, every rise must have its fall and in the case of Formula One, both have come

fast. To revisit the on-track action, at the beginning of 2022 everyone was hotly anticipating Mercedes and Lewis Hamilton’s reaction to 2021. 2022 instead took a different direction, with a once wholly dominant Ferrari taking a 1-2 in the opener, with Red Bull seeing the retirement of defending champion Verstappen. As former driver, Vettel famously said, ‘Everyone is a Ferrari fan’ and there was a buzz from the paddock and media that 2022 might finally be Ferrari’s year after seeing a lull in success since Räikkönen’s championship win in 2007. With a lead in both the constructor’s championship and drivers’ championship (with Charles Leclerc) things were looking positive for the Scuderia. Red Bull had also mounted a fierce title fight which produced interesting races and a healthy viewership. Yet, as the season progressed, so did Red Bull’s strengths - in turn, Ferrari did not reciprocate with a slew of poor strategy decisions, and reliability issues the team tumbled down race orders, allowing Max Verstappen to seal the WDC (world drivers’ championship) in Suzuka with 4 races left. Naturally, viewers expecting similar scenes to 2021 were disappointed and this was

Photos by Beatrice Gugliuzza

reflected in the declining viewing figures over the course of the season. To follow, the 2023 has so far emphasised Red Bulls’ dominance, with to this date Carlos Sainz’s Singapore win being the only one from outside of the Red Bull team in 20 races (not including the cancelled Imola GP).

Dominance is something long-time racing fans are used to, citing historical teams such as Williams, Ferrari and in recent years the steadfast dominance of Mercedes and Hamilton. But the new fans drawn in from a mix of the 2021 season excitement and the manufactured drama of Drive to Survive are being left disappointed and this has seen a stagnation in the sport with poor viewing figures and worsening commercial pull. The golden market of America has this season seen declining viewership, and attendance at the US GP was down on the past 2 years. Therefore, it is arguable that the expansion in America has simply been a futile exercise to please a dwindling fandom, and yet the ramifications have been lasting.

Ticket prices across the F1 calendar have risen at exponential rates (up about 50% in the past 5 years) making the sport inaccessible to those whom it used to be. Instead, it is high-profile celebrities and influencers with little to do with the sport being brandished about as ‘ambassadors’ to

create more commercial buzz. Pursuing the big names means there has been a lack of a passionate atmosphere at the high-profile events such as Miami. The races where we see this passion are races such as Italy and Japan, both with two of the lowest general admission ticket prices averaging at about £80.

Formula One is consequently in a somewhat no man’s land. The recent expansion has landed upon neglecting fans and the fans that have stayed are faced with a sport that is nowhere near as accessible. A push for quantity over quality has had a negative impact on the sport, leaving it in an uncomfortable position. The clear solution is to pair the sport back down to its roots. Yet this is unlikely to happen and to that end, there has been pushback from within the sport - with the Red Bull team principal, Christian Horner stating that 24 races is the ‘breaking point’ of the calendar. Following the declining views, it will be interesting to see what position the sport of Formula One reverts to and what the fate of the hotly anticipated Las Vegas Grand Prix will be.

A Winter Morning

Cold, crisp, winter air bit at my cheeks and nose like pins and needles in my face. The extreme temperature threatened to give me frostbite, if it wasn’t for all the layers I was wearing. Despite the cold, the smell of pine trees and hot cocoa filled my nose while I admired the ice-kissed scene in front of me.

Falling gracefully like a ballerina, snowflakes danced across their stage of the pale blue sky, no two the same. Each snowflake reflected the light, creating an array of crystals. The trees’ limbs, enchanted with nature’s confetti, glistened and gleamed in the bright sunlight. Blanketing the ground with a pure white cover, the frozen stardust beneath my feet felt like walking on clouds, leaving an imprint with each step that I took.

Clutching the hot drink in my hand, the heat spread across my skin like a warm embrace. I brought the cup to my face in an attempt to fight against the icy weather prickling me. Snow dusted mountains in the distance stood tall and proud, unwavering and unaffected by the cold. The sweet sound of children’s laughter met my ears as they built snowmen together and had snowball fights. It was the white Christmas I had always dreamed of.

by Arina Zenevich

Photo by Lisha Wu

By Eryn Watson

The new age of female footballers

Australian footballer Sam Kerr is arguably one of the biggest names in women’s football at present, yet an article written about her stated that her 54 international goals were not equal to the 50 goals of Tim Cahill from the same nation. Jenni Hermoso was part of the Spanish team when they won the World Cup, yet this momentous experience was stolen from her by a non-consensual kiss on the mouth by the former Spanish FA president Luis Rubiales. Alessia Russo, who was a key player in England’s Lionesses when winning the euros in 2022, was told that her Goal of the Season award was not going to be given to her to hold due to it being ‘so heavy’.

Why is it so hard for these women’s achievements to be celebrated rather than belittled? Why is it so hard for people to accept the identity of a female footballer?

A study on male football fans’ attitudes towards the women’s game found that 68% of the men asked answered that women should ‘not participate in sport at all’ or should instead do ‘more feminine pursuits such as athletics’. But despite the sport being deemed ‘not feminine enough,’ players are still sexualised - even by people as prominent

as the now former president of FIFA, who stated: ‘Let the women play in more feminine clothes like they do in volleyball… they could, for example, have tighter shorts.’ The effect of comments like these can be seen in Aston Villa’s women’s concerns about their clingy shirts. It was reported that the new shirts for Villa retained a lot of sweat which caused them to stick to the players’ bodies. This caused the women to feel uncomfortable and notably ‘dread’ the WSL opener.

Yet through all the negativity, the identity of a female footballer holds pride and inspiration. The attendance record for the Euros 2022 was broken even with 15 games left to play, and the viewership of the World Cup this year was almost double that of the 2019 tournament. This wider recognition of the game is so important as it allows young girls to finally have footballing role models that they can relate to. And it is evident that young girls are feeling inspired, as FA figures show a 43% increase in participation of girls’ teams since 2019. Furthermore, 1.7m females aged 5+ take part in football every month, and that number is continuing to rise. The women’s game also paves the way for a more accepting culture around the sport.

Whilst there are many top female players who are openly gay, it remains a taboo topic in the men’s game, with Jake Daniels as the only UK player to come out as gay since 1990. For him, coming out had to be more of a statement rather than the norm, whereas Lioness Beth Mead has stated that she hopes it can be otherwise.

Whilst it is unclear why it is so hard for some people to accept the identity of a female footballer the way that they accept the men’s, it is clear that women’s football has made significant progress since the ban was lifted in 1971, yet there is still a long way to go.

Photo by Eryn Watson

Lauren Wood journey

on her 7 in 7

On the eighteenth of February, I began one of the most mentally and physically challenging experiences of my life. Coming from a place where previously I had little experience in running, let alone marathons, over the space of a week, I ran the 275-mile journey from Leeds to Edinburgh, completing 4 ultramarathons and cycling 168 miles, inspired predominantly by Kevin Sinfield to raise funds for MND (Motor Neurone Disease).

My motivation began through my previous connections with Scotland Rugby through my Dad. We closely followed and donated for years to the My Name’5 Doddie Foundation, to the extent of naming our cocker spaniel after Doddie. Doddie was one of the driving forces behind fighting for a cure for MND up until his death in November 2022. Since then, figures such as Rob Burrow and Kevin Sinfield have continued to work to fight for a cure, where Kevin has run multiple endurance events, including finishing in York twice recently.

Having suffered a serious knee injury last year I became even more motivated to make a difference and test not only my physical strength, but also my mental and emotional strength. A huge motivator for me was Kevin Sinfield, seeing him test the boundaries of endurance sport. My ambition to make a difference began in August 2023 and since then I have trained hard, eaten properly, and become as physically fit as I could.

Motor Neurone disease is a life-limiting and incurable disease that affects roughly 1 in 300 people. 5000 people in the UK are currently diagnosed with MND including Rob Burrow, Ed Slater and Stephen Darby.

My 7in7 poses significance as it relates deeply to Rob Burrow and the late Doddie Weir with major rugby league and union venues being stopped at during the journey. There

is currently no cure for MND however, the two charities I am supporting - MNDA and the My Name’5 Doddie Foundation are both constantly fighting to fund urgent research and help for the people fighting the disease. Therefore, every penny raised is of great significance as the fight against MND must be won.

We are the change-makers in society. It truly is up to our generation to make a difference whether that is politically, economically or socially. Be the change-makers not of yesterday or today but of tomorrow. It’s up to us to write the history books, set the records and, most importantly, do the right thing. By supporting charity efforts you are already making an effort for change so I urge you all to think extremely hard about what you can do to be the difference.

Some people may not believe in what you are doing, but believing in yourself and what you are striving for will allow you to achieve amazing things. The main thing I have found in the past 6 months of training is that the success you want to achieve will not always bring you instant joy, it can isolate you, make you doubt your self-worth and you’ll have to fight to stay motivated. A key lesson for me was learning the power of humility, the power of control and the importance of the ‘why’ factor which allowed me to maintain a sense of discipline despite my wavering motivation. We must remember that in the end we always have ourselves. Value yourself, love yourself and look after yourself. Cherish the moments with friends and family and act with true humility and compassion because there is always a light at the end of the passage. So, continue to strive for your hopes, dreams and success and continue to recognise each other’s success. Support each other, stand up for one other and be the difference in a world where kindness, compassion and acceptance are often forgotten.

Photos by Lauren Wood

During a trip to India a friend gave me a book, as a gift, called The Night Circus by Erin Morgenstern. On the opening page she inscribed, ‘there are no faster or firmer friendships than those formed by people who love the same books.’ How true she was as she had just found my favourite book.

Trips back to my second home are always bittersweet. Most of my dad’s family live in India so I see them in person for about 2 weeks a year. This trip in July 2022 was particularly hectic as we were on a 3-week whistle stop tour. It started in Pondicherry, where I met my friend Sri, who gave me the book. Then we continued to Tirupati to walk the 3,350 steps up a mountain to get to the Sri Venkateswara Temple. Hindus do this pilgrimage as in early scriptures

white stripes on grey sky; countless tents of varying shapes and sizes, with an elaborate wrought-iron fence encasing them in a colourless world. Even what little ground is visible from outside is black or white, painted or powdered, or treated with some other circus trick.’

The main premise is that the circus is an arena for two different competing forms of magic, old – Marco and new - Celia. The challenge continues until one dies making the other victorious. In this game they do not know who their competitor is and there is no set way to duel. Furthermore, they were chosen by mentors to be part of the challenge at childhood with no way out.

Morgenstern shifts point of view and time jumps frequently. However, this confusion is purposeful as all these snippets of characters’

it is said that Lord Vishnu presided here during the age of Kali. Devotees pray to the God and see the idol Lord Venkateswara to fulfil their wishes. It is seen as a form of penance and physical sacrifice to the Lord.

The night before the walk up I started reading The Night Circus.

‘The circus arrives without warning. No announcements precede it, no paper notices on downtown posts and billboards, no mentions or advertisements in local newspapers. It is simply there, when yesterday it was not. The towering tents are striped in white and black, no golds and crimsons to be seen. No colour at all, save for the neighbouring trees and the grass of the surrounding fields. Black-and-

By Anjali Thiagarajan

lives are drawn together. At the start of the book Marco encounters a young woman who knows about magic and can read tarot, who, as a reader, you assume is Celia. Later, it is cleverly revealed that this is Isobel, who becomes Marco’s eyes in the circus to spy on Celia. This deception is comparative to using the circus as a guise for the challenge.

The next day I started the walk to the top of Tirupati at 5 am. Bleary eyed, we began our drive to the start, nerves pooled in my belly. Usually, this pilgrimage is walked with bare feet but as a family we decided to walk with shoes. During the journey, our diver and guide with a knowing look informed us that we would not wear them. He was right.

As soon as I climbed up the first 50 steps,

I took them off. Seeing masses of people of all ages walking bare foot moved me to do so, allowing me to fully connect with the ground that so many had walked before.

The first 500 steps were incredibly steep but despite this my brother, Vikram, was racing ahead. Luckily, the sun was not beating down on us yet partly due to how early it was and because of the metal awning covering above our heads. On either side of the steps was wilderness. Many monkeys sat gazing as I walked, previously there had been reports of tigers, which made me realise I was walking up a mountain. My parents insisted on our first stop next to a small shop (in Tamil called kadai) precariously perched next to the steps. My neck was almost vertical as I looked up the steps to see workers who were impressively carrying stacks of bottled drinks down. We were advised to not have breakfast by my grandparents, who have climbed up to Tirupathi at least 10 times, as it does not sit well. So, at this stop we had a sweet lime electrolyte drink, which came out of a what looked like a yogurt tub.

kungamum (red turmeric powder) and manjal (turmeric) on every step, which is a personal choice to add an extra difficulty to the journey. It struck me that I was walking to see the same God as they were. It was a collective goal, a mission.

At step 2,083 we reached a large plane. The smell of spices and fired sweets such as jalebi wafted into my nose. Despite this we soldiered on, powered by our will to get to the top. After this the steps stopped, leading to a path alongside the road going straight to the top. Like ants we walked in a single file line, there was no leader as it continued as far as I could see. Now the sun was beaming down on us. The path continued to twist and loop around, on one side a metal railing kept us from falling a sheer drop and on the other speeding cars that were mocking me at their pace. It was frustrating as I was still persevering, but these did not count as steps.

We continued walking on. After some time, the steps became less steep with longer gaps between each. Previously for Religious studies I watched a video about celebrities going on a Christian pilgrimage. They barely spoke to each other which I thought was odd at the time. However, I found while doing my own pilgrimage I wanted to be by myself to have the headspace to think. It was not a conscious decision, but I started counting the steps. People around me were having this shared experience but all for different reasons. Some were spreading

Eventually, the actual steps continued; my dad bought us tender coconuts (eleneer) to drink. The juice felt like it was restoring my energy. A deer hurried past the side of the path not bothered by the crowds. The wildlife was truly all around me. It seemed like a sign to keep going.

Finally, we reached the last 500 steps. These were even steeper than the initial ones. I was surprised to find people going up them on their knees. It was surreal to almost be at end. Each step had weight as if there was a driving force behind it. Left, right, left, right. Until the last step. We had made it to the top. On the last step there was a pile of kungamum and mangal symbolic of all those who had completed it.

Photo by Anjali Thiagarajan

The temple was not in front of the steps as I expected. We would have to drive. So, after breakfast we made our way to the temple. Another surprise was that the wait time to see Venkateswara was 4 hours. We were guided to an initial queue that seemed to go on for forever. I felt insignificant compared to the number of people waiting. The heat was stifling. From one queue we jumped to the next hoping we were closer. This one was like a tunnel and my feet were ready to give up on me. Luckily, a man guided us to an open courtyard where the Idol was housed, and we joined the final queue to see the God.

I could feel the anticipation around me as I was jolted forward every few minutes. Due to this my dad and I were separated from my mum and brother. I held on to my dad’s backpack so I would not be pulled away by the eager crowd. In that moment I was one with all these people despite not knowing their name or story. We all came to the temple for one reason, to pray. I was the crowd to them as much as they were to me.

The doors were opened. Like water we started moving towards the gap. Venkateswara was there. Gold with flowers surrounding him. There was a massive force behind me to walk past quickly but my dad stood stoic, allowing me a longer glance.

It was over.

As I travelled back home, I started reading part V of the book, which starts with this quote:

‘Our revels now are ended. These our actors, AsIforetoldyou,wereallspiritsand Are melted into air, into thin air: And, like the baseless fabric of this vision, Thecloud-capp’dtowers,thegorgeouspalaces, Thesolemntemples,thegreatglobeitself, Yea, all which it inherits, shall dissolve And,likethisinsubstantialpageantfaded, Leave not a rack behind. We are such stuff

As dreams are made on, and our little life Is rounded with a sleep.’

Prospero, The Tempest.

This extract connects in multiple ways to the story. Celia and Marco were merely pawns for the challenge, so are like actors on a stage each presenting their own move. I had to analyse this passage in one of my very first English classes. Before I did not understand why Shakespeare was so revered, but I fell in love with English as a subject due to this poem. There is something so clever about acknowledging that the characters are all actors. Rediscovering this passage later made me realise that there will be these moments that become key memories. Finding my love for literature and the experiencing a pilgrimage will always be intertwined for me, which means I will hopefully never forget.

Whiplash: A note on identity by Mackenzie Conroy

Whiplash is a jazz infused thriller, signifying the complexities of identity, and how one can lose oneself. The film explores Andrew Neiman’s (Miles Teller) pursuit of becoming one of the greatest jazz drummers of all time, working with and against his teacher Terence Fletcher (J.K. Simmons), highlighting the lengths musicians and conductors will push to establish greatness. Director Damien Chazelle ensures the intensity and determination of the two focal characters is amplified with the obvious pairing of jazz music, especially the drums (Neiman’s calling), creating seamless suspense throughout the film.

Nieman is a determined, yet cocky, drummer, whose goal is to be noticed by the conductor of the university’s main jazz band. The conductor, Fletcher, meticulously manipulates his musicians to a point of submission for fear of rejection; continuously shouting and swearing at them, and on one

memorable occasion throwing a cymbal at Nieman’s head. This, in combination with the violence of percussion (Nieman’s choice of instrument), is a way in which Chazelle perfectly threads the theme of abuse of power dynamics throughout the film: the relationship between the two teetering precariously on explosive. These unpredictable reactions can shock, and at times scare, the viewer, showing just how intense the cutthroat world of jazz is.

Chazelle’s gruesome cinematography is what makes this film special, allowing the audience to deepen their connection with Nieman as he makes the offering of blood, sweat, and tears in his strive for idealism. The film is not easy to watch: the audience feels the squeamish recoil at the injuries the drummer obtains, and the muscle-knotting stress induced by suspense of the unpredictable conductor parallel to Nieman. Drawn on by the addictive jazz,

again, like the experience of Nieman’s own enslavement to the music, viewers have the same exposure to the setting as a character.

A line encapsulating the obsession and compulsion of striving for flawlessness is:

“There are no two words in the English language more harmful than good job”

The theme of perfectionism aims to make the audience anxious and uncomfortable, as they draw a connection between themselves and the protagonist as he spirals out of control, losing his identity at the cost of achieving greatness. Subconscious self-reflection allows the viewer to observe the unjust pressures of society put on them from an outside perspective, recognising that humanity and its achievements, especially art, will never be faultless, and should not have to be.

Artworkby Annabel Lim

In November, we got the chance to meet with Phoebe Hall, an Old Peterite currently navigating the music industry in the hopes of a successful career in alternative pop.

Phoebe came back to St. Peter’s in October to talk to the 6th form about her career and her experiences at the school, as well as performing a few of her songs, including her then unreleased ‘Codependent’.

We enjoyed listening to her music and hearing about her experiences, and invited her back for an interview.

PhoebeHallliveatCanvas,Manchester.PhotosbyAceCheng@aperturejackalonInstagram

When asked about her more memorable experiences from her time at the school, she told us that her involvement with the music department was a highlight, fondly recalling a Barbieshop performance of ‘It’s Raining Men’ which involved umbrellas, as well as her time in chapel and chamber choir.

We also spoke to her about her music, and asked whether there might be an album on the way soon. Phoebe told us that she’s looking at recording a longer EP, for release around March/April, followed by more EPs until the demand for a full album is there.

She was also looking at doing some headline shows around the UK in the New Year, as well as potentially another support tour, since she enjoyed her time with the Larkins last year.

Of course, this year’s Keystone theme is identity, and Phoebe was able to tell us ‘I can’t not be myself!’. She says that throughout 6th form and particularly throughout university, she was not only discovering who she was, but finding the confidence to actually be

who she was, as it’s ’impossible’ for her to not be herself. She added that another key part of her identity is her sexuality and androgynous style.

Her experiences as a queer person were also discussed. Phoebe said she was very lucky to have grown up in a very accepting bubble, which she found went away a bit when she went away to university or traveled into the wider world. She spoke about the naivety she had enjoyed in her youth disappearing, not necessarily through her own encounters but through increased awareness of what the world can be like, adding that not everyone has the luxury of being completely open to everyone in their lives about their relationships.

PhoebeHallwithStPeter’sBarbieShop

Phoebe does believe that the world is headed towards a brighter, more accepting future. She feels that as a queer person, specifically with a same sex partner, you come out to people all the time, in ways that are less deliberate than you might think, such as mentioning your partner, or being in public with them, and there’s a real necessity for the world to become more accepting so that such an unavoidable aspect of life as a queer person becomes less difficult.

She thinks this is being shown in TV, where sexuality and gender is turning more and more into a side plot, and not the central aspect of a character’s entire storyline. Lately, she’s enjoyed watching ‘Everything Now’, as well as ‘Motherland’, and ‘Feel Good’. She considers good TV a hobby.

She even added that her latest single, Like This, was inspired by ‘Feel Good’. Referencing TV shows isn’t something she’s necessarily done before, but is something she’d like to look into doing more of in the future. In terms of her taste in music, Phoebe insists that what she listens to and what she writes are worlds apart. The artist she listens to most is Charli XCX, which she says is nothing like what she makes. Her own music, she would liken to Maggie Rogers but with a bigger pop sound, or to the band Japanese House.

Phoebe told us that she is still in contact with some of her friends from her time at school, maintaining close relationships with a handful of whom she sees when she’s at home. She did say she would find it hard to keep in touch with larger groups, though, especially as everyone moves away to cities all over the country and loses some of that common ground.

Phoebe’s final words of advice were to ‘do more of what you enjoy doing’, as she feels you have more time than you think, even though it can sometimes feel like you’re on a treadmill, ly worrying about the next stage of your life. She says that she values the time she spent outside of the traditional paths some people feel pressured onto, for example, her year out before university and her music career, and believes the best way forward can sometimes be just doing what you enjoy.

We hope you enjoyed hearing some of Phoebe’s thoughts as much as we did, and we’d like to thank her for her time.

Interview by Alice Braim

A how to guide on becoming a master manipulator by Scarlet Sinclair

Saltburn, written and directed by BAFTA award winning Emerald Fennell, follows on from the success of her directorial debut, Promising Young Women. Being an Oxford graduate herself, it is clear to see where Fennell gained her inspiration for what many are already claiming to be a “cult classic” due to her unprecedented and hilarious take on identity and classism.

The film begins with Oliver (Barry Keoghan), who embodies a similar kind of vulnerability and estrangement as seen in his Oscar nominated performance in Banshees of Inisherin. Oliver appears separated from his Oxford counterparts, coming from a small town outside Liverpool as opposed to the cliché private school upbringing; from a family of addicts rather than lords and

**Spoilers Throughout**

viscounts. He’s frequently being overshadowed in lectures and NFI’d from college parties. This all changes, however, when Oliver “accidently” comes across Felix (Jacob Elordi), and the pair become fast friends, frequenting the local pub and lazy summer days inside their dorm rooms despite their clearly contrasted social backgrounds.

The true plot of the film begins, when, after the death of his heroin addicted father, Felix invites Oliver to Saltburn, a sprawling Grade 1 listed estate, hidden away in the Northamptonshire countryside. The house itself appears as the epitome of wealth, with large gothic staircases and priceless heirlooms, mirroring the privileged family who live within. The matriarch of the Catton’s (Rosamund Pike), “despises anything ugly” to such

an extent that the audience out-rightly laughs at some of her outrageous comments, throwing small gatherings of only 200 people and believes herself to the inspiration for Pulp’s “Common People”. Similarly, the father (Richard E. Grant) appears entirely out of touch with reality, obsessed with antiques and even expresses his pleasure in wearing a full knights armour. Felix’s sister Venetia (Alison Oliver), on first impression resembles the Effie Stonem aesthetic of the early 2000s, smoking on the balcony and lounging poolside in extravagant glittery minidresses layered in pearls and statement necklaces. Each of these surface level characters, however, symbolises the flaws of the lavish lifestyle Keoghan’s characters is trying so desperately to insert himself into.

Photos from Amazon Prime on IMDB.com

The family presents themselves as chillingly disconnected aristocrats living a lifestyle unfitting to the 2007 year the film takes place. Alienating themselves drastically from “normality”, particularly in their introducing scene. Whilst watching Superbad in their ritzy drawing-room, the characters question the location of Liverpool, “its north I think”, and have no clear understanding of how characters like Oliver and the token houseguest, Pamela (Carey Mulligan), are able to live. In themselves, the houseguests appear more as exhibitions, as an intriguing insight into the working class, rather than people in their own right, throwing excessive parties where none of the guests know who or why they are celebrating, as seen in the awkward rendition of happy birthday for Oliver, or even the dinner party with the Henrys, characterised by the fact that the whole family is seeming called Henry, with Fennell hinting at the outdated traditions of the elite.

The first half of the film shows the characters enjoying a warm English summer in a typical Call Me By your Name fashion, where

floaties in the pond and Parisian breakfasts are frequent; wherein characters explore the complexities of taboo love. However, cracks in the seemly perfect facade of the Cattons begin to show. Emerald Fennel’s masterful directing peels back the layers of characters scene by scene from Venetia’s’ “fingers for dessert”, Pamela’s mysterious disappearance, and the American cousin, Farleigh, attempting to sell family heirlooms at Sotheby’s. All glazed over by the family’s “everything is fine and dandy” ideals, hidden through parties and undoubtedly expensive champagne.

Interwoven with a stellar soundtrack reminiscent of the 2007 setting of the film, Fennell presents audiences with a deeply likable anti-hero who uses hidden malice and stereotypes as tools to achieve his darkest desires. Once the secrets begin to unravel, centred around

A Midsummer Night Dreams’ themed party, Oliver is unable to hide the spiralled collapse of his false identity to Felix, who, dressed ironically in Romeoesque golden wings, is found dead in the centre of the Saltburn’s

Photos by Scarlet Sinclair

maze. The scene which follows has the audience conflicted between laughter and tears. Oliver masterfully portrays the role of grieving friend-strokelover, despite orchestrating his murder, fooling the mourning Catton family and audiences alike. From then, the film follows the downfall of the remainder of Saltburn’s occupants, through smooth words and charming smile, particularly evocative of Matt Damon’s performance in The Talented Mr. Ripley.

Fennel’s unique take on the, “let them eat cake” mentality, creates a poignant discussion around class and the complexities of identity. The main premise of the film reflects that looks are deceiving, and that hidden behind the Catton family are deeply rooted flaws, resulting in Oliver living alone in Saltburn. The closing scene of the film, ending in a rendition of Sophie Ellis-Bextors’ Murder on the Dancefloor, is one that I doubt anyone will forget.

Saltburn is in UK cinemas from November 17th 2023.

Thank

The End.