Thursday 9th October 2025
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Oxford students respond to uncertainty over university return

Students at the University of Oxford have responded to the lack of certainty about the return of those on on-practical courses. This followed updated guidance from the university, which suggested that a decision will not be made until after the Easter holidays. In a press conference on 5th April, Prime Minister Boris Johnson confirmed the reopening of a wide number of sectors, including non-essential retail, outdoor hospitality, and gyms. The reopening of universities was not mentioned.

Students have also expressed their discontent with the lack of government guidance by creating an official petition which calls on the UK government to set a date for when non-practical students can return to university campuses across the country. The details of the petition state: “For a government that wants to prioritise education in the roadmap this ruling is contradictory.” The petition currently has over 1,600 signatures.  

Universities UK (UUK), a collective of 140 UK-based universities including Oxford University, responded by sending an open letter to the Prime minister. It argues that it “seems illogical that students are not allowed to return … and resume their studies in Covid-safe university facilities, particularly at this crucial time of the academic year.”

Prescom, the committee of JCR Presidents at Oxford, has sent a letter to Minister Donelan urging her to provide a roadmap for a safe return for all students. The letter was also sent to officials and argues that: “Strong and clear messaging from the Government is needed because the current arrangements are unfair, with inconsistent interpretations of abstract thresholds leading to deep frustration and despair among students.”

It also states: “The Government’s relative neglect of students must be rectified. We demand that all students be allowed to return to their term-time accommodation at the beginning of next term. This decision would be clearly in line with the other easing measures outlined in the Government roadmap out of lockdown. It is also vital that there is the appropriate financial support, advance planning and regulatory framework put in place by the Government to support this. Anything less would be failing students.” 

In a Facebook post, Prescom stated: “We are currently waiting for our nationwide petition to be approved, which will be launched alongside a social media drive, campaigning for all students to be allowed to return to university by the beginning of next term. We hope this will be an opportunity for all students across the country to get involved and feel that their voices are heard. We have heard that the letter has been received by a couple of the addressed parties and we have been told that we can expect a response soon – we will of course keep you updated of progress when we can.” 

Letter templates to be sent to members of the UK government have also been drafted and circulated among students. The template drafted for Members of Parliament describes the “continued negligence and cruelty in both refusing to permit the returns of university students to campuses for in-person teaching, and for a horrifically mismanaged communications effort”. It also states: “students in particular, have consistently been ignored, discarded, and mistreated throughout this pandemic by the government, conceived of only as lucrative cash cows for student loan companies, rather than as the members of British society, who, as we now begin unlocking, deserve the return to a semblance of normal life that, from Monday, the vast majority of Brits will enjoy.” 

Similar templates have been written to be sent to the Minister of State for Universities, Michelle Donelan, and Kate Green, Shadow Secretary of State for Education. These letters call for a release of the government plan for a return to university and ask for students “to be treated the same as the rest of the UK and British society.” 

Kian Everson, creator of the petition and a student at Worcester University told Cherwell: “Last time I checked it only had around 15 signatures and all were from family and friends I had sent links to, and then I completely forgot about it! I can’t believe how much attention it’s received. I created the petition after Gavin Williamson’s announcement that there would be a review into non-practical students going back ‘by the end of the Easter holidays’. This message lacked huge clarity and as a student on a non-practical course, this added onto further letdowns from the government.”

“Personally, all three of my A-levels were initially downgraded by the algorithm in August and I only had 3 months’ worth of face-to-face teaching in the first term of university, half of which was already online, and yet I’m still paying full tuition. The government needs to realise that students are going to carry the burden of the pandemic for years to come. We’ll be graduating to an economy and job field that was smaller than when we started our course. I can’t understand how, as of today, I can meet with friends in a beer garden and get my hair cut, yet I’m still expected to carry out my lectures online.”

A document listing the petitions, letter templates and articles on the issue was created by Sophie Richardson, a student at St Edmund Hall. She told Cherwell: “I urge everyone to continue writing to MPs and, crucially, the department of education and the universities minister. The uncertainty is frustrating and damaging to students’ mental health. New government guidelines are needed to ensure students have equal opportunity to return to campuses in a safe way, irrespective of whether they have in-person teaching or not.” 

Will Whitten, a student at St Hilda’s College who created the templates to write to MPs and the University Minister, told Cherwell: “The fact we have not yet heard anything is a large failure of the government this past week, and I really hope that we hear something soon, clarity would be great, and a sensible return to university would be better!” 

A spokesperson from the Department for Education told Cherwell: “This has been an incredibly difficult time for students, and Government is committed to getting all students back into university as soon as the public health situation allows. Students on practical and creative courses started returning from the 8th of March, and we will be reviewing options for the timing of the return of all remaining students by the end of the Easter holidays. Decisions will take into account the need to protect progress across the wider roadmap out of the pandemic, including the spread of the virus in communities and pressures on the NHS.”

Oxford SU have been contacted for comment.

12/4/21, 12:24 – this article was updated to include comment from Kian Everson.

Journals or diaries? The value of inward reflection

The boundaries between diary and journal are blurry, with the terms frequently being used interchangeably. Little attention is paid to the differences between the two – even the OED conflates them, defining a diary as a journal. However, nowadays a diary is considered to be a simple recording of factual daily events, whereas a journal is something more elaborate – a recording of how events have affected the writer personally. In short, journals have achieved a special status because of the emphasis placed on their emotional content.

There are plenty of examples of famous diaries that serve as historical objects, such as Samuel Pepys’ diary that records the Great Fire of London. Many diaries of this nature serve as invaluable eyewitness accounts of living through extremely turbulent times. But what has given these diaries their lasting mark on culture is the fact that they make use of the blurred boundaries between diary and journal, mixing detailed recordings of daily events with the authors’ emotional responses to what is happening around them – people care about, and are impressed by, the emotional content. As history repeats itself and we find ourselves once again living through a time of turbulence and isolation, people are drawn again to the emotional value of journaling. Spending more time alone and indoors, we naturally turn inward – books on self -care are trending more than ever, ads imploring us to learn mindfulness are all around us, manifesting and spirituality are trending topics on TikTok. Now more than ever, we are called to recognise the value introspection and mindful reflection has in bringing clarity to a confusing reality.

But an all-too-familiar problem with journaling is the need to actually make a sustained effort in order for it to be fruitful. (I recall now all the times I’ve proudly stated I would keep a diary this year – only to abandon the notebook on January 23rd, and find it abandoned and dust-covered a few years later). Bombarded with examples of hugely profound and intimidatingly famous journals, we expect our own attempts to achieve the same thing with ease. We are disappointed to find our recording of what we had for breakfast and what we watched on telly with mum does not initially lead us to some profound emotional insight.

Persistence is therefore the key to keeping a journal – but in order to keep us motivated to write, we need a reason why we should persist. I was reading Defoe’s Robinson Crusoe last week, which I believe can help shed some light on this. The novel is another account of living through turbulence and isolation, though this time fictional. Crusoe’s fictional journal takes up a fair amount of pages; initially, it is tedious to read – simple recordings of measures Crusoe takes to survive after finding himself shipwrecked on an uninhabited island. His journal entry for 26th to the 30th of October is simply ‘I work’d very hard in carrying all my Goods to my new Habitation’, whilst December 25th which states nothing but ‘Rain all Day’. However, compare this with after he has spent half a year journaling: the content has shifted to a focus on Crusoe’s inner reality and his thoughts about the world around him. He begins to ask: ‘What am I, and all the other Creatures, wild and tame, humane and brutal, whence are we?’ and ‘Sure we are all made by some secret Power, who form’d the Earth and Sea, and Air and Sky; and who is that?’. A journal that initially was born out of the need for a coping mechanism eventually becomes an account of spiritual reflections that will subsequently shape the rest of Crusoe’s life.

Although fictional, Robinson Crusoe reflects how a key feature of journals is that they often move, organically, from what is happening around us to how we think about it. In this way, a diary can metamorphasize into a journal the longer we stick with it. Psychoanalyst Marion Milner provides a stunning portrayal of this. Her book A Life of One’s Own takes the reader through her journals on a co-journey to discover what it is that makes Milner happy. However, much like Crusoe, Milner writes that the longer she sticks with journaling, the more her interests shift from ‘what to do with [her] life’ to ‘how to look at it’. In other words, her work moves from a diary to a journal. Upon reading her journals in retrospect, Milner reveals how she now sees what she couldn’t at the time – that ‘the effort of recording [her] experiences was having an influence on their nature’. She shifts from only writing when she believed she had something interesting to say, to recording everyday interactions without any expectation of their insight. And when she releases these expectations, possibilities open up. Milner comes to realise from seemingly unassuming events profound truths about herself, such as her tendency to self-sabotage. She is brutally honest in her writing; she does not write every day – in fact, some entries simply state that she is too tired to do anything at all. Nonetheless, she stuck with journaling, and it eventually transformed into a deeply moving published book. This is because the nature of continuously recording her experience allowed Milner to access deeper layers of significance behind them. Like many examples of journals, Milner’s moves from the mundane to the unimaginable and profound.

Therefore, I believe we can learn a lot from Crusoe and Milner’s approach to journaling: stick with it, record even things that seem mundane, then watch as an unassuming diary grows into a profound journal. And when you ask yourself why you’re sticking with it, think of the possibilities it could open. To bring the conclusion back to the world of Marion Milner and psychoanalysis: if the purpose of psychoanalysis is to introduce you to the person you’ll spend the rest of your life with, yourself, then I’m a strong advocate that sticking with journaling can do something similar.

Oxford businesses ready to reopen today: Westgate, Gloucester Green Market and more

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Non-essential retail, personal care, leisure centres and outdoor hospitality venues are allowed to reopen on Monday 12th April, according to government guidance. Westgate Shopping centre announced that its non-essential retail is ready to reopen on Monday. Safety measures in place will include queueing systems upon entry, limited capacity and hand sanitizer points located throughout the centre.

Brendan Hattam, Centre Director, Westgate Oxford said: “We’d like to remind everyone that it’s a legal requirement for all guests coming into the centre to wear a face covering. And one-way systems, signs and floor stickers are there to keep everyone safe.“ To avoid having to queue outside, Westgate recommends visiting the centre’s website and social media channels before arrival.

Gloucester Green Market is set to reopen on Wednesday April 14th, and will return to operating four days a week Wednesday to Saturday. The international street-food stalls are also set to reopen. To enable social distancing, there will be bigger gaps between stalls as well as a manager to monitor social distancing. All traders will wear masks and have been encouraged to install screens. Hand sanitising stations will be available around the market. 

Outdoor hospitality venues are also getting ready to reopen. Cherwell has put together a list of some cafes and pubs set to reopen. The Oxford Mail also lists some pubs which are hiring. It writes that the Bear Inn and the Slug and Lettuce are both looking for bar staff with “no experience needed” and suggest it might be a good opportunity for “an energetic student”. Some venues are also advertising their reopenings via social media, such as cafe and study room Common Ground, who posted “we are back ☺” on Facebook.

Image credit: Cymetrobus85, distributed under a CC-SA 4.0 License, via Wikimedia Commons

A-Z of Oxford’s outdoor eats from 12th April

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The moment that so many of us have been waiting for since December has almost arrived. Picture this – the sun is shining, you’re soaking it up riverside, and a waiter is approaching, balancing plates and trays that are fated to bring bliss to your taste buds. Though Deliveroo and recipe boxes have had their time in the limelight, there’s no doubt that the return of outdoor eating is about to inject the spirit of summer into 2021. If you’re in Oxford, there’s a lot to look forward to, especially since the city council recently announced funding available to support restaurants, pubs and cafés as they upgrade to an al fresco experience. If you’re looking to find out which newly pedestrianised streets will be all the rage to make for a tasty Trinity term, look no further!

Streets for eats: Cornmarket Street, St Michael’s Street, Broad Street, Dawson Street, Observatory Street, North Parade Avenue, and more.

The Anchor – North Oxford

With charcoal-cooking, Japanese pop-up food trucks (Mondays from Apr 19) and even a paella night (Apr 20), this pub near Port Meadow with a huge tent has got a lot of reasons why you should visit – don’t miss out on an excuse for a delicious burger paired with a pint!

Arbequina – Cowley Road

Opening on the 16th April, this tapas bar will be spilling out onto outdoor seating and also offering takeaway, all while serving delicious food and drink.

Cherwell Boathouse – North but nearly Central Oxford

The perfect riverside venue, whether you choose to punt or dine outside, serving contemporary English food. Their al fresco experience includes tables overlooking the river – what more could you need?

River in summer with punts parked outside traditional looking pub
The Cherwell Boathouse. Photo: Experience Oxfordshire

Gee’s – North Oxford

Although Gee’s is known for their stylish conservatory, they’ll be opening up their terrace dining to serve Mediterranean grills and refined dishes, with a lunch and all-day menu.

Handlebar Café and Kitchen – Central

The beloved brunch spot will be upgrading their takeaway service to an outdoor dining experience – along with other restaurants on St Michael’s Street such as Bill’s, Chutney’s, and Mission Burrito. Alongside breakfast and lunch, Handlebar will also be serving dinners outdoors. 

The Head of the River – Central

Situated next to Christchurch Meadows and overlooking the Thames, this pub kitchen is taking bookings to take your summer pub trips to the next level. With a contemporary menu filled with popular dishes and a beautiful setting, this is not to be missed!

The Jericho Café – Jericho (unsurprisingly)

This café, situated on Walton Street, is perfect for quick bites, brunches, sweet treats and more. With their signature blackboard menu, this Jericho favourite will soon be open to outdoor diners looking for a variety of café dishes.

Kazbar (Coco’s by day) – Cowley Road

With their immediately recognisable and iconic yellow wall on Cowley Road, Kazbar will definitely be on the sunny side of your summer as they reopen for North African and Spanish style tapas, delicious cocktails, and their unbeatable atmosphere.

Groups of people sat working and chatting at tables outside the Handlebar Café
Photo: Handlebar Café and Kitchen

The Magdalen Arms – Iffley Road

You don’t have to have a Home Secretary’s budget to visit and enjoy the food and drink at this pub on Iffley Road offering outdoor dining and plenty of variety on their Lunch, Dinner and Sunday menus.

Mamma Mia Pizzeria – Summertown

This iconic Italian spot, said by some to be the best pizza and pasta to be found in Oxford for over 30 years, will be reopening its kitchen to serve its classic dishes and desserts on their outdoor terrace. By May 17th, both the Jericho and Summertown branches hope to reopen for indoor dining alongside many of the other restaurants in the city.

The Perch – Binsey, just west of Port Meadow

This 17th century tavern is reopening to serve its classic British menu outdoors, and it’s an absolutely stunning place to lunch if you’re enjoying a pre-term trip to Port Meadow.

Empty chairs and tables in the early evening in the courtyard of Quod
Photo: Quod Oxford

The Plough at 38 – Central

The Plough has been open at several points during the pandemic, and they’ll be reopening as part of Oxford’s new and brilliant Al Fresco District spanning Cornmarket and St Michael’s Street, alongside the Three Goats Head pub and the newly refurbished (and eagerly awaited) Thai Street Kitchen. Let the Plough pull you in with the promise of pints and delicious food – this part of central Oxford is looking to be buzzing with great grub this Trinity.

Quod – Central

If you need an excuse to feel a bit fancy as restrictions ease and you finally emerge from your accommodation, Quod’s gorgeous Italian style garden terrace with views of Magdalen tower will make you feel as though you’re vacationing in the Med from the comfort of central Oxford. With stunning food and drinks menus, this is somewhere to go to treat yourself.

The Varsity Club – Central

Serving up delicious cocktails and rooftop views at the same time, TVC is definitely one to book to safely reinject the fun and excitement of pre-pandemic life as restrictions ease. Nestled on Oxford’s High Street, you can enjoy a panoramic skyline alongside drinks and bar snacks here.

Overhead view of the Varsity Club in the evening, lots of tables filled with people drinking and a view of Oxford
Photo: The Varsity Club, Oxford

Westgate rooftop restaurants – Central

Restaurants reopening in Westgate shopping centre for outdoor dining include The Breakfast Club, Victors, Pho and Pizza Pilgrims – with great panoramic views of Oxford and plenty of terrace dining, there’s no better way to celebrate the reopening of non-essential stores and brighter days ahead as restrictions ease.

The White Rabbit – Central

Another favourite in Oxford, this pub that’s tucked away between Gloucester Green and the St John Street area will be reopening to serve pizzas and pints in their pub garden. If you’ve been craving a pizza fix, this might be the spot for you!

Header image credit by Barbare Kacharava on unsplash.com

Nomadland review: questioning American individualism

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The ideals of rugged American individualism are a powerful national myth, so much so that when they are questioned, it can feel like an attack on our very self-definition. The notion that freedom lies in cutting all ties and forging beyond the horizon, to claim and civilize a new frontier, has survived long beyond its origins in the Wild West. Chloé Zhao’s Nomadland, perhaps mindful of this, takes a subtle route with exploring the reality of these ideas. The American wilderness of Zhao’s film is populated not by larger-than-life cowboys, embodiments of masculinity and rugged individualism, but modern-day van dwellers, primarily elderly people lacking social security or stable jobs due to the Great Recession. Nomadland reminds us that this seemingly exciting life of freedom on the road, paradoxically enough, exists in the context of myriad social inequalities.

Zhao has stated in interviews that she wanted to focus on the psychology of her characters instead of making an explicitly political film, but these aspects of Nomadland’s narrative go hand in hand. We see Fern, the film’s protagonist, making her way between seasonal jobs, from harvesting beets to being a camp host in a national park. There’s a moment in the portrayal of the latter which especially struck me: when Fern is cleaning a bathroom, a park visitor walks in to use it, calmly ignoring Fern’s request for him to not come in. I may be overstating the significance of this little scene, but watching it, we can both feel indignant at the visitor’s behaviour and wonder if we’ve ever reduced a worker to a faceless uniform, just like the visitor does. The heartwarming moments of the film—its beautiful natural vistas, the stories of friendships forged between these nomads—are all tinged by these social facts, so that the movie is never quite escapist, and never quite willing to valorize the idea of individualism.

If anything, Nomadland takes pains to show how these characters are always reliant on others. This is true on the level of physical needs—with Fern learning to survive on the road from more experienced nomads, and gradually becoming part of their networks of mutual assistance—but what I found more immediately moving was the way the film sketched out the brief relationships formed during life on the road. From advising a teenager looking for a way to express his feelings for his girlfriend to listening to a cancer-stricken friend who wants to spend her last few years enjoying nature, Fern and the audience are able to, briefly, transform and be transformed by the lives of others.

It’s a cliché to talk about how films speak to our current mid-pandemic situation, but watching these little exchanges from the safety of home, I found myself thinking of university. While students in Oxford are clearly very different from the van-dwellers of Nomadland, I thought of how, in just the first term that I spent in-person at Oxford, we all met people from very different subjects and backgrounds, learning names, quirks and idiosyncrasies. Maybe in most years, we would have less of a need to know our households and flatmates. But knowing that any of us could test positive or come down with COVID symptoms, we realized early on that we needed our households more than ever. Even as someone who’s congenitally un-social, I came to love the brief conversations with my housemates as we passed each other at mornings or mealtimes, the jokes we shared, simple occasions spent together like movie nights and communal meals.

Part of Nomadland’s critical resonance comes from the universality of its message and the growing importance of found family. We are no longer living in a world where we can limit ourselves to interacting with people we’re born knowing, whether that’s because of social media and globalization, or upheavals throughout every level of society that has created a rapidly changing 21st century. This is not to lessen the importance of the families that we are born into, but the ones that we choose to form are equally important. We are, all of us, in a world of communities which span nations—now we can easily support good causes in this country or far abroad, share our interests with other fans of everything from classical music to TikToks, or simply find support and new friends. In this unstable world, human connection is one of the few constants left, and Nomadland dramatizes the very real search to fulfil this need.

At this point, it bears mentioning that this film is not perfect. There has been justified criticism of how Zhao’s desire to avoid making an overtly political movie means that it occasionally soft-pedals its presentation of inequality and exploitation, especially given how its portrayal of Amazon is positively glowing compared to the grittier presentation of other jobs the nomads engage in. But even with its flaws in portraying how these modern nomads subsist physically, the movie remains a powerful psychological study, especially when it asks questions about how we survive emotionally—not through food and shelter alone, but also in the families which we find in each other.

Image credit: Runner1928

In pictures: Extinction Rebellion Oxford stages protest outside Barclays bank

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On Thursday the 1st of April, protesters from Extinction Rebellion (XR) Oxford gathered outside Barclays bank to protest the bank’s heavy investment into fossil fuels. Around fifteen individuals marched up and down Cornmarket Street beating their signature drums and holding placards that read “This bank funds climate chaos” and mock caution tape that displayed the words “Climate crime scene”.

Image credit: Feng Ho
Image Credit: Isobel Innes

One student who attended the protest, Isobel Innes, explained that the protest “was specifically against the direct involvement and culpability of banks in the climate crisis”. 

Innes added, “As a low income student, I’m not ready to just lay down and die. Minority communities are going to be the hardest hit by the climate crisis. And that’s my friend, that’s my neighbour. They’re not millionaires and neither am I so of course I’ll help them.”

Image Credit: Feng Ho
Image Credit: Feng Ho

Extinction Rebellion is an international non-violent direct action movement, demanding urgent action in the face of the climate emergency. The protest in Oxford was also followed by one at the Barclays Headquarters in London where several windows were smashed by Extinction Rebellion activists.

Image Credit: Feng Ho

A Barclays spokesperson told Cherwell: “We have made a commitment to align our entire financing portfolio to the goals of the Paris Agreement, with specific targets and transparent reporting, on the way to achieving our ambition to be a net zero bank by 2050. We believe that Barclays can make a real contribution to tackling climate change and help accelerate the transition to a low-carbon economy.”

BREAKING: University claims information on in-person teaching delayed until after Easter holidays

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The University of Oxford has updated its guidance to suggest that information on in-person teaching will be delayed until after the Easter holidays at the earliest. The new guidance states: “Please remember that if you are on a non-practical or practice-based course, the Government will not issue guidance on your return for in-person teaching until after the Easter holidays.”

“We realise it will be disappointing for you not to get more clarity at this stage. However, we are committed to reviewing these arrangements as soon as possible after we get more guidance from the Government, and we remain hopeful that a wider student return will be possible in Trinity term.”

Ministers had previously promised to provide an update regarding a return to universities for all students by the end of the Easter holidays and with at least a week’s notice. Currently, only students on practical and priority courses have been allowed to return for in-person tuition, while previous exemptions which allowed for the return of individual students have remained in place.

This comes after correspondence from Stephen Toope, the Cambridge Vice-Chancellor suggested that “It now appears unlikely that guidance concerning in-person teaching at universities will change before Monday 17 May, at the earliest.” In light of this, the University of Cambridge’s policy on returning students remains unchanged. 

He went on to say that “While we continue to believe that for many students studying at Cambridge will be the best and preferred option, we recognise that others (for example, international students and those with increased susceptibility to infectious diseases) may wish to remain elsewhere. We will continue to support them and ensure they can complete their studies remotely if they so choose.” 

The University of Oxford’s guidance also included information on the new symptom-free testing centres. Three will be opening in Oxford from the 12th of April, and the University is encouraging students and staff to get tested twice a week. Tests are also available through the government, but the University is encouraging students to “use the assisted testing centres wherever possible.”

The Financial Times claimed that “Universities must remain closed to most students until at least mid-May,” and that easing of restrictions will not be possible until May 17th at the earliest. It suggests that the decision may have been made to reduce a spike in infections due to students moving across the country. However, it also reports that a survey conducted by the Office for National Statistics estimated that around three-quarters of students are already living back at their term-time address. 

Review: Romeo and Juliet at the National Theatre

There’s a lot of hugging in the National Theatre’s Romeo and Juliet. Time and time again, we see delicately lit close-ups of hands on shoulders, around necks, clutching backs. It’s a production fascinated with touch and proximity, and thus one that feels antithetic to this era of distancing and isolation. Director Simon Godwin and Adapter Emily Burns’ interpretation of the age-old story is carefully crafted and intensely visual and makes some very interesting choices.

There is no weak link in the cast. Jessie Buckley as Juliet captures the joys and despairs of love expertly, and while Josh O’Connor as Romeo is outshone by Buckley, he does a good job of what could have become a very bland role. Tamsin Greig as Lady Capulet commands the stage, and her scenes with Buckley and Deborah Findlay as the Nurse have an excellent spark and pace. Shubham Saraf and Fisayo Akinade as Benvolio and Mercutio, respectively, stand out for their colourful, dynamic interpretations of roles which could be mechanical – the former particularly gives an excellent performance that moves fluidly from excitement to grief. 

What struck me most about this production was the absence of a specific time or place. The costume choices appear deliberately impossible to place, as does the set: the action all takes place on the Lyttelton stage, but the interiors created, such as Juliet’s bedroom, have no signs of a particular era. There are a few details, however, that signal to us that this is not the present: knives are used instead of guns, the poison is kept in old-fashioned glass vials, and there is no sign of technology. It could be said that the National forms the setting and era: the aesthetic is reminiscent of many of their previous productions, and becomes the play’s most significant cultural reference. Overall, though, it seems that this production has been kept deliberately ambiguous, creating a feeling of otherness and forcing us as audience members to focus on the plot. 

One of the direction choices most impacted by the choice of timelessness is the romantic connection between Benvolio and Mercutio. The pair kiss at the same time as Romeo and Juliet’s wedding, and throughout the play are offered as a parallel to the central couple. This adds a sense of the universal to the play’s theme of doomed love, as we see it affect people of all races and sexualities. 

The other clear choice that set this production apart is the use of foreshadowing: at the beginning of the play, and at key moments throughout, we see images of bloodied hands and smashed glass, which eventually find their place in the final scene. This works excellently, really emphasising the feeling of doom and inevitability that permeates the piece. It’s also a testament to the new film-theatre hybrid that’s been cropping up over the last year: this piece shows the concept in its final, fully realised form, incorporating both the intimacy and intensity of theatre and the possibility and creativity of filmmaking. 

The filmed nature of the production allows not only for foreshadowing but also some striking visual choices that may have been harder to pull off live on stage. Moments that stand out include the masked ball becoming a purple-lit rave, the wedding being surrounded by tens of glowing candles that seem to appear out of nowhere, and the creative use of a darkened stage space with a single strip of light where Romeo finds himself exiled: particular commendation must go to Designer Soutra Gilmour and Director of Photography Tim Sidell for creating such a visually striking world.

There are times, however, when the ambiguity of this production leaves it feeling disconnected or lacking. One of the most interesting choices is the opening and closing scenes, featuring the cast seemingly halfway between being themselves and being their characters: a great detail is the presence of the dead characters, notably Mercutio and Tybalt, in the closing scene where the full cast looks at the lovers’ bodies. This choice blurs the lines between the world of the play and the real world of the cast, in the same way as we see mid-way through the production when the masked ball cuts away to Buckley and O’Connor running around a barer bedroom set. While these choices were interesting, they didn’t feel developed or deliberate enough; if perhaps more parallels with the present had been incorporated, this could have been used to better effect.

It’s difficult to find a material flaw in this production – in part due to it being filmed. Everything is polished and visually beautiful, and every detail is exactly as intended. This, however, combined with the inevitability lent to the production by the foreshadowing, rids it of the emotional impact it could have had. We lose any element of surprise or rawness, as everything is so intricately composed and choreographed that there isn’t enough space for the emotional intensity a play as concerned with grief and love as Romeo and Juliet should hold central. 

The question that remains to be posed, then, is this: why now? Why stage Romeo and Juliet a year into a global pandemic? Godwin’s primary response to the pandemic appears to be the focus on touch in the production: it reminds us of the power of human contact, and the depth of feeling that can only be experienced in person. The production could have had a further relevance: for a play about how the prejudices of adults impact young people, the ages of the cast took away this impact – had we seen a teenage Romeo and Juliet, perhaps the play would have read as a commentary of the experiences of young people following the pandemic and a particularly unstable political global climate. In many ways, though, the show feels like the beginning and end of a theatrical era: with theatres set to reopen in the next few months after a year where most remained fully closed, this production takes a classic play to show us how online theatre has developed over the past year, and what we can expect when the National’s doors reopen this summer.

The National Theatre’s Romeo and Juliet is available to stream via Sky Arts and on NowTV. For more information, visit https://www.nationaltheatre.org.uk/shows/romeo-and-juliet-film.

Image Credit: National Theatre & Rob Youngson.

Oxford societies criticise Sewell Report as “misleading and false”

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Several Oxford societies have joined the criticism from academics and campaigners surrounding the release of a government report into institutional racism in the UK. Since its release, the report has been dogged by claims that it was political in nature, and criticisms of its methodology.

The  Commission on Race and Ethnic Disparities was established by Prime Minister Boris Johnson in the wake of Black Lives Matter protests sparked by the death of George Floyd. Mr Johnson said its aim was to look at “all aspects of inequality — in employment, in health outcomes, in academic and all other walks of life”.

Months later, the report declared Britain to be a “model for other White-majority countries”. While it acknowledged the existence of racism, and provided 24 recommendations to “build trust…promote fairness”, it concluded that Britain was no longer a country “where the system is deliberately rigged against ethnic minorities”.

The Runnymede Trust, a think tank advocating for racial equality, accused the report of “denying the evidence of institutional racism”. Their statement criticised the report for “failing to acknowledge the very real suffering of Black and minority ethnic communities here in the UK.”

Anvee Bhutani, Chair of Oxford SU’s Campaign for Racial Awareness and Equality (CRAE) told Cherwell: “CRAE is deeply concerned with the Sewell Report into Race and Ethnic Disparities. Its denial of ‘institutional racism’ is an alarming conclusion considering the report was commissioned by Boris Johnson after the reinvigoration of the Black Lives Matter movement last year. 

“The findings are based on a view of racism as an individual problem as opposed to a systemic one, but a vast body of statistics and lived experience exists to disprove that. In this way, the government has absolved itself of responsibility to create a better Britain.”

The report was also criticised for its characterisation of education as “the single most emphatic success story of the British ethnic minority experience”. An open letter signed by 429 academics, including several from Oxford University, described the report’s producers as having “limited knowledge of education research”. The letter also accused the report of presenting “simplistic understandings of education and divisive views of ethnic minority groups”.

Efforts to decolonise curricula were criticised in the report as “negative”. As a part of its proposed ‘Making of Modern Britain’ teaching resource, students would be taught to “reclaim their British heritage” and how “Britishness influenced the Commonwealth and local communities, and how the Commonwealth and local communities influenced what we now know as modern Britain”.

The report’s characterisation of the Atlantic Slave Trade and Caribbean plantations as not only being about “profit and suffering”, but “how culturally African people transformed themselves into a re-modelled African/Britain” has come under particular scrutiny. David Olusoga, a historian and the author of Black and British: A Forgotten History, criticised the reports authors for deploying “a version of an argument that was used by the slave owners themselves in defence of slavery 200 years ago: the idea that by becoming culturally British, black people were somehow beneficiaries of the system.”

It is the fact that the histories of slavery and empire are becoming mainstream, and that young people are entirely comfortable with the reality that “profit and suffering” were at the centre of both, that appears to disturb the authors and the government whose agenda they have so faithfully served. Determined to privilege comforting national myths over hard historical truths, they give the impression of being people who would prefer this history to be brushed back under the carpet.” 

“The historical illiteracy and internal inconsistencies do not stop there…Yet the report crudely characterises those struggles to bring marginalised black figures and communities into the mainstream of British history as “token expressions of black achievement” – a poisonously patronising phrase.”

The Oxford branch of Rhodes Must Fall told Cherwell: “[In] response to claims that decolonizing the curriculum is negative, we would like to reiterate that what we’re doing is the opposite of erasing history. Part of our movement is around education: to highlight Oxford’s colonial history and how it feeds into the present. That many people do not know the blood that Oxford is built on – for many people in our movement, the blood of their ancestors – is deeply problematic, because without first recognising and acknowledging the past, there is no possibility for transformative change and there is no possibility for justice. 

“In the end, we know institutional racism exists; we do not need a misleading and false report to tell us that it does. We will continue to stand alongside our brothers and sisters in this fight and do the work that needs to be done.”

In a statement published on Facebook, the Oxford University Labour Club expressed their “disappointment” at the report’s findings. “The club notes the findings of the Lammy Review, the McGregor-Smith Review, the Race Disparity audit, and the Windrush Report, all of which strongly suggest an institutional racist bias which the Sewell Report denies. We also express our concern at the “selective use” of evidence in the report, as reported by the New Statesman…”

“We believe the findings of the report, particularly pertaining to education, do not represent an accurate portrayal of life as an ethnic minority student in the UK, and we are concerned about the consequences of the actions the report recommends.

“Furthermore, the report’s suggestion that “geography, family influence, socio-economic background, culture and religion,” all impact someone’s life experience more than the existence of racism ignores the role that race plays in all these factors. The club recognises that race does not exist in a vacuum, and suggests that a thorough and proper report would take this into account.”

The UK Government has been approached for comment.

Image Credit: Number 10 / CC BY-NC-ND 2.0

Deconstructing Dr Seuss: the issue of diversity in children’s literature

CW: racism

We don’t talk about children’s books like other literature. I’ve never heard anyone claim that The Gruffalo ‘blew their mind’ or that We’re Going on a Bear Hunt ‘changed their life’, yet these stories stay with us long after we think we may have outgrown them. It is easy to look back nostalgically at the books we used to love, but in the wake of recent controversy we need to take off our rose-tinted glasses and re-examine the books we read as children. 

Early in March this year Dr Seuss Enterprises, the organisation that owns the rights to the author’s work, announced that they would withdraw the publication of six of his books containing racist illustrations. One of the books contains an image of a white man using a whip on a man of colour. Another shows a white boy standing on the heads of three Asian men, holding a large gun. It is shocking that they have only just been recalled. 

As a writer and illustrator, Dr Seuss produced hundreds of racist cartoons, comics and adverts. In 2019, a study of his work described his depictions of Black, Indigenous, and People of Colour (BIPOC) and people from other marginalized groups as ‘dehumanising and degrading.’

The report went on to reveal that many of his children’s books reflect the same racist stereotypes as his cartoons, and convey messages of Orientalism, anti-Blackness, and white supremacy.

Researchers Katie Ishizuka and Ramón Stephens found that 98% of Seuss’ human characters were white, with these characters also occupying all of the speaking and narratorial roles in his stories. In their report they noted that ‘[when] children’s books center Whiteness, erase people of color and other oppressed groups, or present people of color in stereotypical, dehumanizing, or subordinate ways, they both ingrain and reinforce internalized racism and White supremacy.’ Although children may be too young to understand why these books are racist, they are still able to internalise the message they give. As such, many feel that Dr Seuss’s work should no longer take up space on reading lists and classroom bookshelves. 

Luckily, there are many more deserving books to replace them. The best-selling author of Dear Zoo, Rod Campbell, has recently published a non-fiction book that highlights the importance of animal conservation. In Look After Us, the narrator searches for their favourite animals and discovers that many species are threatened by extinction. The book ends on a happy note with the final page showing whales living freely in the wild because “kind people are looking after them really well”- it’s a message of hope as much as anything else.  

After a report in 2020 revealed that only 5% of British children’s books featured a Black or minority ethnic main character, other titles are providing much needed representation. Sulwe by Lupita Nyong’o features a young Black protagonist who wishes she looked more like her mother. The story deals with colourism as the girl is taken on a magical journey that shows her how beautiful she is. Meanwhile, Hair Love by Mathew Cherry is “an ode to your natural hair” in which an African-American father learns to help his daughter style her hair. For older readers there are books like The Boy at the Back of the Class by Onjali Q. Raúf, an award-winning story about the refugee crisis told from a child’s perspective. 

These titles show that children’s literature is becoming more diverse, but there is still a long way to go. From 2007 to 2017, one study showed that fewer than 2% of UK children’s authors and illustrators were people of colour. Then, in 2018 another study examining the content of children’s books featuring black and minority ethnic main characters, discovered that half of them fell into the category of ‘contemporary realism’, whilst 10% contained ‘social justice’ issues, like war and conflict. In an interview with the Guardian, the director of the project, Farrah Serroukh stated that it was all about balance. ‘Topics such as conflict and the refugee experience are valid subjects for authors to explore and unpick,’ he said, but added that it was equally important for stories to focus on normal, everyday events like ‘going to the dentist’ or ‘going to the supermarket.’

Every child deserves to see themselves represented in the books they read. New titles like Sulwe and The Boy at the Back of the Class are helping make this a reality, whilst others are tackling important issues like climate change. These are the kind of books that children will love and learn from and, ultimately, that is what reading is all about. 

Image Credit: Al Ravenna via Wikimedia Commons