indigo 13.11.12
e s o h t p u n e t h g i r b o t e m i it’s t s e u l b r e b m e v o mid-N
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indigo
contents Page 3: FEATURES: is Durham a culprit of premature Christmas hype crimes? And a review of Fruitful Durham at the Food Festival. Pages 4&5: MUSIC: album reviews, an in depth look at student platform The Bubble Burning, review of new night Nova and, as always, the only playlist you need. Pages 6&7: FASHION: indigo takes a look at what Milan Fashion week did for Italy outside of fashion, and we review next season’s RTW from the world’s style capitals. Pages 8&9: BOOKS: indigo reviews the Durham Book Festival and chats to some of the authors.
Page 10: STAGE: indigo reviews Chekhov at the Old Vic and ponders his persistent relevance for all audiences of every generation.
Page 11: FOOD & DRINK: the Food Festival came to town, and here we round up the best of what we saw.
Pages 12&13: TRAVEL: indigo speaks to two students who managed to combine business with pleasure this summer.
Tuesday 13th November 2012 | INDIGO
Indigo Editor: Alexandra Groom indigo@palatinate.org.uk
editor’s letter H
ello and welcome back to indigo! We are halfway through the editions being published this term, which can only mean that everyone is now in the midst of pure and utter work frenzy. Why do all departments insist on giving the most anti-social deadlines, all at once? They always seem so far away and then suddenly *bam* four things are demanding your complete and devoted attention. And that’s not even taking into account the fact that you promised your friend ages ago that you’d go to their birthday meal, and it’s too rude to cancel at such late notice. They’ve bought place name tags and everything. I’m not sure how many of you are aware that today is World Kindness Day. Although it sometimes feels like this is something we’d want our lecturers to participate in when setting work, over the last few weeks I have heard some stories from my own peers about antics in Durham which have genuinely shocked me with their complete disregard for others. I’m sure many of you have your own ‘funny’ stories which you have heard and had to laugh along to but actually found quite plainly not hilarious. Buckets of water being dropped onto innocent old men passing by and eggs being thrown (to name only two) spring to mind. It might be quite nice if for one day, people don’t actively go out of their way to make others miserable for the bants. It’s always amusing how so many have a serious dose of indignation for anything done against themselves which suddenly disappears with surprising speed when another party becomes involved as the punch line. Obviously we can’t tell people how to live their lives, but a nice way to start World Kindness Day might just be to not do anything nasty. Yes, that dress is quite frankly hideous. But she might quite like her dress and have inwardly snorted at your choice of footwear as she walked past. Everyone’s a winner. On a more global scale however, World Kindness Day has its sights set slightly higher than petty student dramas. They advocate anything from donating unused books to a library in an area which could use them, to doing something for someone for free. Random acts of kindness go a surprisingly long way for the recipient, and there’s always the hope that karma will be on your side for your reward later on. AG
diary
Page 14: FILM & TV: Has Stephanie Meyer created a monster quite separate from the actual characters of her books, thanks to the film adaptions?
Page 15: Visual Arts: the debut of
our new section, here indigo investigates recent claims that modern art isn’t really art at all.
More articles on palatinate.org.uk. Front page photo: George Sylvester
‘Jam Jah’ is playing on the 23rd at Alington House at 8pm. Includes The Warm Digits, Zeerix, This Then, followed by reggae, dub and world music djs.
‘Good Grief’ is showing in Fountain’s Hall in Grey from the 15th until the 18th November. Tickets £5 (£4.50 for DST members
INDIGO | Tuesday 13th November 2012
features
Features Editor: Sophia Chan Deputy: Emily Woodhouse feature@palatinate.org.uk
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It’s looking a lot like Christmas...already?
Rory Tingle ponders how much our commercial notions of Christmas detract from tradition
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s the Christmas lights go up in the Prince Bishop’s centre, and the shops are piled high with reindeer and tinsel, you could almost forget that this year, Christmas seems to have come far too early. Does sighting the Christmas trees in the shop windows at this time of year make you want to dig out your Santa hat and blast out Bing Crosby, or send you reaching for the mulled wine? Many members of the public certainly seem to disapprove, and it only took a short chat with the throngs of shoppers in the Market Square to detect a strong undercurrent of discontent. One American lady slammed the rampant commercialisation of the festival while others bemoaned the increasing trend towards prolonging the festivities over a number of months, claiming that this made the day itself “less special.” However, one has to wonder, surely if no one actually went
out and bought the Christmas products then no one would stock them yet. Margaret Wears, a trader at the Durham Indoor Market, described how she put her Christmas range on the shelves in July and immediately noticed a “huge rush” for her wares. Indeed, one can’t help noticing the significant number of slightly guilty-looking shoppers in M&S, who peer over the mountains of miniature Father Christmas dolls, waiting in anticipation for the moment they can start stocking up on the chocolate advent calendars. Mrs. Wears also pointed out that the huge drain the festival inflicts on the wallets of the nation requires those on low incomes to “do their Christmas shopping bit by bit.” Last year, it was reported that the average family spent nearly £700 on Christmas. This does mean the notion of Christmas and its paraphernalia being enshrined
Celebrity chef Jean-Christophe Novelli learns about Fruitful Durham’s sustainable food vision Photograph: Alan Charlton
within the month of December could be somewhat idealistic. For there are always those who delight in these early signs that Christmas is just around the corner. This was certainly the attitude of some of the shoppers I spoke to. One proclaimed that the presence of the Christmas lights felt “great” for them and anyone else who “loved Christmas.” Perhaps it is wrong to judge the early appearance of Christmas lights and wares in shops. However, there certainly is the feeling that the festival is erring away from its original spiritual meaning. What we really need is a personal re-evaluation of what Christmas means to us. No one would deny that the exchange of presents on Christmas day, despite the ‘commercial’ aspect, is truly magical. But do we perceive any meaning beyond the ribbons and tinsel? The Rev. Peter Kashouris of St
Oswald’s Church contends that Christmas as a fundamentally Christian festival is alive and well, and that the annual celebration is an inescapable part of us as a nation. This may well be true, yet it is hard not to observe the presence of Christmas decorations and products in shops in October as a sign that the festival has taken on a commercial aspect that can sometimes overawe its real meaning. Even the elements seem to
be confused: the gentle autumnal shower of falling leaves has been replaced by an unexpected flurry of snow. After we have stripped away the layers of glitzy wrapping paper and commercial hype then maybe we might again hear the raw cries of a newborn baby and sense the musty smell of straw. I have to agree with Charles Dickens in The Christmas Carol when he appeals to us to “honour Christmas in our
When I went to interview a stall at the Durham Food Festival this year, I certainly wasn’t expecting myself to end up in an apron, happily chopping apples and pressing them into delicious apple juice along with the other cheerful volunteers. Fruitful Durham is a business that has grown from the Durham local food network and Durham Fruit Group. I spoke to Amy, who graduated from Durham after having done a Masters in development anthropology, researching local food activism in County Durham. This is how she got involved with the Fruit Group, and came to help set up ‘Fruitful Durham’, a business that aimed to see if a sustainable lifestyle could become profitable for the community. The idea is that volunteers go around collecting surplus fruit from people’s gardens that would probably otherwise be left to rot, turning it into juice, preserves and dried fruits. Amy, along with her landlady Fiona, who is also a director of Fruitful Durham, makes the delicious array of chutneys and jams, with
interesting combinations like Pear and Ginger jam. Last year, they won the social enterprise category of the Blueprint competition, qualifying them for funding from the university. This will hopefully go towards a mechanical apple presser, since at present all the apple juice is pressed by hand. And while manual labour is very effective and ensures lots of TLC goes into the products, there’s no denying the benefits that could be gained from electrical power. The Durham Fruit group go to schools around Durham teaching children about the environment and gardening, and helping to plant fruit trees in any available space in the area. Their current mission is to provide a fruit tree for every resident of Durham, thereby increasing local fruit consumption whilst decreasing the importation of fruit. This vision is part of the overall aim of the Transition movement, which also has branches of interest in areas like energy and transport. By coordinating these different areas, it seeks to localise economy in a way that is
more beneficial to the community and the environment in the long term. I spoke to Alan, decked out in a bright yellow ‘Reconomy project’ t-shirt, about the possibilities of instilling the sense of permaculture in the community. He looks at the economy mapping of local areas, using a food web mapping tool to identify where the food you eat everyday actually comes from. By identifying where the potential gaps for businesses are in the local economy, the project can provide local jobs and create a stable local food culture for the future. In a current world of globalisation, rampant consumerism and the uncertainties of climate change, this action carries hope and a powerful message. As I leave the stall, Alan gives me a big hug and tells me about the ‘ripple smile’ effect – you smile at someone on the street, they smile back, their smile gets carried on to the next person – and that’s the feeling Transition Durham are hoping to achieve.
Christmas lights put up October Photograph: Rory Tingle
Being fruitful in Durham
Sophia Chan
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Tuesday 13th November 2012 | INDIGO
music
Setting this town on fire Now in its second year, things are heating up for TheBubbleBurning. Patrick Bernard investigates
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heBubbleBurning is an independent and inclusive student project with the object of hoisting a platform for musicians and encouraging a strong and enduring music community. As TBB now begins to approach full maturity I met two of its founding fathers, Adrian Lo and Will Hannam, to discuss the future both near and far. I ask first for the brief history of TBB. [Adrian] “It all started round about this time last year. It was the desire to have a platform for musicians, mainly students, to showcase their original material.” The original bubble burners themselves began as the musicians which they now cater for. “We found it quite hard to find gigs — there isn’t really a scene, and we hear it a lot of the time, but there isn’t really much done about it — and so we thought, let’s do something.” TBB is hardly as inflammatory as the name might suggest, however, and they look to work with rather than against what is already available. [A] “It’s more important not to think of it as a breakaway, think of it more as accommodating what we have.” But is it hard to escape what is perhaps quite a dry scene? [Will] “There are a lot of acoustic nights and open mics but the thing we want to do is to leave it open to any kind of music, so it’s not genre specific.” [A] “If we have DJs milling
around who want to do gigs then we accommodate that. People agree that Durham has a large acoustic scene and we accommodate that.” [W]: “We’ve had a heavy rock bands and we’ve had cellos and double basses, there is a real eclectic range.” Could there be any potential for TBB to accommodate artists beyond the bubble? [A] “I mean why not? But it is hard enough to set up a community, and for us developing a community which in turn fosters a music scene in Durham is really the main objective of TheBubbleBurning.” The project has come a long way since its conception, and they have certainly made a name (and striking logo) for themselves. With 21, 000 hits and counting on their YouTube channel, a popular slot on Purple Radio and a number of gigs under their belt, is their success at all a surprise? “I guess when you’re in it you don’t think too much about it,” admits Adrian. [W] “I think the real amazing thing for me is when we did a Fishtank event and we had about 200 people, it was absolutely packed — it was all building up a big network — and then at Fishtank it just exploded and it was brilliant, and that was really encouraging as I didn’t know what to expect that night’. I suggest the internet as a possible explanation
for their success, [W] “It’s hard to know, I’m not entirely convinced, I think word of mouth has really been it.” All the same, no mean feat in the space of a year. [A] “I think we haven’t really had time to reevaluate ourselves.” [W] “It hasn’t really sunk in.” [A] “We’re just doing what we do.” Does the independence of this project in the end mean its empowerment? Or is ‘D.I.Y.’ likely to remain a hazard? [W] “We like that we’re not relying on anyone else, financially it’s all our own money so it’s been a personal investment — the independence is definitely empowering and refreshing, because it’s just us and we only answer to us, it’s like running a business and that is essentially what we’re doing I suppose, money’s coming in and money’s coming out, we are the only ones liable for that.” Adrian is careful to qualify: “too much going in, nothing really coming out,” not without a pinch of jest. And so what of the future? As each of them approach the end of their duration at Durham, is it possible to keep such a project afloat? [W] “I think we’ll always stay involved.” What can we expect in the near future? [A] “The radio show, after last year’s success, every Thursday, 5 o’clock to 7, a live lounge kind of show and we’ve teamed up with PTV
what’s on? gig guide NOVEMBER
13 Grammar / Fishtank, Billy Talent / O2 Academy 14 David Cassidy / Metro Radio Arena
15 Ross Noble / Newcastle City Hall and Purple Radio together to make videos and expand into their websites, and just get a little more awareness, nothing gung-ho!” I try and prod, any exclusives? [A] “Well, we’ll wait and see - watch our space. There will be plenty.” [W] “We don’t want to give away too much in advance, but there’s a cool new venue that we found…” Perhaps this reluctance to afford us any further tidbits is in keeping with their ethos, TBB is no publicity stunt, instead again a community with a quiet resolve and a certain faith in its success as part of a movement that is larger than themselves and still in the making.
16 Ben Howard / O2 Academy, Lionel Richie / Metro Radio Arena 17 Frank Turner / O2 Academy 18 Curtis Eller / The Cluny
19 Bellowhead / The Sage Gateshead 20 Grammar / Fishtank, Patrick Wolf / The Sage Gateshead 21 The Rifles / O2 Academy 22 Jake Bugg / O2 Academy
23 Scratch Perverts / Digital
This year’s Mercury Prize winners, Alt-J, released their excellent debut album in May, securing countless plaudits along the way. Providing catchy - if unusual - hooks, along with an intriguing mix of electronic percussion and acoustic guitar, An Awesome Wave offers a unique flavour in the already saturated indie market. AD
Part of the post-dubstep collective that includes Jamie XX and James Blake, Jessie Ware’s impressive debut is littered with silky vocals and polished production. With cursory winks to garage, soul and pop, Devotion demonstrates Ware’s true depth and talent, and was a serious contender for the 2012 Mercury Prize. AD
Django Django’s self-titled album is part pop debut, part distorted vision of the future. Strong vocals and staccato psychobilly guitars structure their sound. Resting comfortably somewhere between spaghetti-western and unholy ritual worship, it could easily have been beamed straight from outer space to the award ceremony. PB
Indie-rockers The Maccabees have recorded three albums so far, each building on the last in dramatic intensity. Their songs are characteristic of a distinctively British rock genre, reminiscent of bands like The Arctic Monkeys. Their latest effort, Given To The Wild, debuted at number four, but wasn’t enough to win them the prize. RM
24 Jane Taylor / The Cluny 2 25 Bonafide / The Cluny
26 Deaf Havana / O2 Academy
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For more music coverage visit palatinate.org.uk
INDIGO | Tuesday 13th November 2012
The Killers / Battle Born Vertigo Records
««««« Roy Manuell
Music Editors: Patrick Bernard & Alex Denby Deputy: Robin Marshall music@palatinate.org.uk
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“I’ve gone through life white knuckling, the moments that left me behind,” Brandon Flowers nervously croaks on ‘Flesh and Bone’ as Battle Born approaches an introduction, reluctantly swaying to a sinister yet hypnotic synthesizer that wouldn’t sound out of place on the ghost train of a deserted Vegas funfair. A subtle upgrade from Day and Age but closer to Sam’s Town, The Killers have finally fashioned an album, for the first time since their debut, that actually feels like an album rather than a collection of singles. Perhaps conversely this standout song is what Battle Born really lacks. Riding back into battle after a four year break, armed with
cannonball keyboards and the occasional guitar, The Killers are quite clearly a band born to fill stadiums as ‘Runaways’, the lead single proves with its overextravagant, anthemic narrative about a would-be father as he drowns in anxiety and irresponsibility. Nevertheless, it remains a world away from ‘Mr Brightside’ and his friends from Hot Fuss, dazzlingly dull and borrowed from the 80s. Lyrically, however, Flowers remains clumsily poetic, forging amorous metaphors from the mediocrity of an American society full of lost adolescents, ‘quarterback smiles’ and broken nightmares: ‘When you shine
you’re a hilltop mansion’. To this he then wails ‘Is this real or just a dream?’ on the melancholic ‘Be Still’. This is a line that fittingly sums up an album that speaks like a dream from start to finish, concealing handfuls of hidden lyrical treasures amongst the Las Vegas debris. Battle Born is definitely a grower; synth-filled, soulful, and devoid of pretentiousness unlike so many of its contemporaries. Yes, it’s bold and boring, staggering through fifty minutes of synthesised complaint like one of the many crumpled waitresses that Flowers depicts. Yet through its overstated, four-chord choruses, The Killers really excel and comfortably maintain their status as the
biggest synth band of the 21st Century. Overall, Battle Born is far from a bad fourth album. Highlights include the title track as well as the bold, gritty, ‘A Matter of Time’. Arguably the most refreshing five minutes you’ll spend is the sincere and beautiful ballad, ‘Heart of a Girl’ that welcomes you with a certain reticent and distant imperfection of which U2 would be proud. You can almost see the raised lighters flickering beside you at a festival before Flowers finally draws Battle Born to a close, swaying and whispering “we’ll see you again in another four years.”
music to Durham. This won’t be the last you’ll see of Nova and if all goes well we will be having another night in a few weeks’ time.” Durham’s very own Ollie Scott (DJ and co-founder of Nova from Hild Bede) kicked the night off with a bang, and by eleven there was already a good crowd. Next in the line was Johnny ‘Joonipah’ Phethean, an up and coming DJ who is more at home playing at Newcastle’s World Head Quarters with the likes of Shy FX, Dark Shy, Joy Orbison, Phaeleh and XXXY. Joonipah was excited to bring house and garage to Durham and enjoyed headlining the night. He particularly liked the DJ booth in Fabio’s: “Behind the bar, it’s a great setup.” He got the crowd dancing with some great hits such as
Julio Bashmore’s ‘Au Seve’ and Arkist’s ‘Fill Your Coffee’. The diversity in the music genre created a different kind of atmosphere, one that is new to Durham. The evening was very well advertised, and well in advance. The edgy flyers, the Nova logo, the alluring posters dotted around the event, not to mention the intriguing and mysterious ‘Nova girl’, all combined to great effect. However, Nova had to compete with stiff competition from the nationally established Itchy Feet, which offers a variety of swing and non-electronic music. Omar Ismail (co-director of Nova from Hild Bede) said that “It was a shame that two alternative nights had to compete for Durham’s attention on the same evening.” There were also concerns about the capacity of Fabio’s. The launch party was free and by midnight the venue had almost reached full capacity. Colin the bouncer said, “It’s the busiest I have ever seen it on a Thursday night.” It has been rumoured that Absolute Life have approached Nova with the intention of expanding their monopoly over Durham’s nightlife. However, Al-Qatami may be right in being cautious of joining such a brand as it has the potential to ruin the ethos of the night and inhibit its originality. “The purpose of the night was not to make money but to enjoy the music we love,
in Durham, and not have to go to Newcastle every week,” said Al-Qatami. Such an approach is a refreshing contrast to some of the other moneymaking events that Durham offers. It was also encouraging to see Newcastle and Durham students, along with Durham locals, enjoying the same genre of music in the same place. As Scott said, “Nova is not strictly a student night and neither is Fabio’s.
House music should be open to everyone.” Hopefully Nova will continue in the same successful vein that is has opened. Nevertheless, it is not going to be easy. There are the other favourites in Durham: Klute, Studio, Academy and of course Loveshack, and there is always the possibility that Nova in Fabio’s will just be a one trick pony. Ed Little
New house night Nova reviewed T
hursday 25th October saw the official launch of Nova, an entirely student-run house, bass and garage night, hosted by Fabio’s Bar. But how did this seemingly new genre of music compare to the regular and all consuming chart and cheese that Durham offers week in week out? Expectations were mixed. One Van Mildert student expressed doubts at the start of the night: “I have heard that this sort of night has been tried before but failed to become a Durham regular.” While the future of Nova is still unclear, the night itself can be deemed an overwhelming success. Nova’s founder, Yousef Al-Qatami from Trevelyan, was thrilled with the reception, saying, “I really wanted to be able to bring to House
A packed out Fabio’s Bar Photograph : Grace Fforde
space jams
MellowHype / Astro (ft. Frank Ocean) Public Enemy / I Shall Not Be Moved Vitalic / Stamina
The Soft Pack / Saratoga Soundgarden / NonState Actor Menomena / Pique Interpol / Untitled
Atoms For Peace / What The Eyeballs Did
Lianne La Havas / Forget
Ben Howard / Old Pine The Maccabees / Go
Django Django / Storm Field Music / Sorry Again, Mate
Jessie Ware / Devotion Lukid / Southpaw
Willy Mason / I Got Gold Dog Is Dead / Get Low
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Tuesday 13th November 2012 | INDIGO
fashion
An all-new season awaits Jojo Cornick reviews the Spring/Summer 2013 Ready to Wear collections on Twitter. And it was easy to see why. Her main line was a celebration of her sophisticated and impeccably finished signature style. Slim and delicate trousers had the same sexiness as midlength slip dresses. Sewn into these dresses was Beckham’s knowledge of corsetry and lingerie. Paying more attention to texture than colour, chiffon and pleated hemlines added a delicacy to the skirts which complimented the simple palette of black, white and red. If this collection isn’t enough to overturn the views of sceptics, they don’t know where to shop. London
Burberry Prorsum
Designer, Zac Posen, and models, Naomi Campbell and Coco Rocha, prepare to take their bow Photograph: Vogue Italia New York Zac Posen It was a return to glamour with Zac Posen’s dizzyingly beautiful display of gowns fit for a red carpet at New York Fashion Week. A show aptly dotted with modern greats, including a rare appearance from Naomi Campbell and a closing walk from Coco Rocha, made it an event to remember. 1940s style cocktail dresses opened the collection, with cap sleeves, sweetheart necklines, and flaring skirts, a favourite silhouette of Posen’s. Tender floral patterns gave way to tailored crepe jackets and a particular pencil skirt, which screamed
retro Hollywood. However, the showstopper of the night was the multi-layered white tulle dress modelled by Rocha who couldn’t supress a smile as she presented this masterpiece to the eager audience. A collection for Hollywood - or actual - royalty, it won’t be long before we see these blockbusters on the red carpet. Victoria Beckham
If the success of a collection was judged by the buzz it generates, then Posh would be the handsdown victor. The ex-Spice Girl was the most talked about designer from New York with an extraordinary 17,000 mentions
Christopher Bailey described this collection as sassy and joyful. Here, Bailey revamps the trench to reenlist and reignite interest, and the versions presented at London Fashion Week were no exception. Bright fuchsia, green lace, metallic blues and purples – these trenches demanded attention. Elsewhere, Bailey had fun with peplum skirts and oversized capes, showing off his expert knowledge of texture, colour blocking and shape. Bold and brave, this collection does not shy away from the limelight. These are the clothes to be worn by the fearless, and for that, Mr Bailey, we salute you. Mary Katranzou
If designers were fictional characters, Mary Katranzou would be Willy Wonka. One of the most hotly anticipated shows of London fashion week, the Athenianborn designer presented her quirky creations to one of the fashion festival’s most packedout venues. With motifs including postage stamps and bank notes as well as geometric patterns, the result was something you might see in a Tim Burton film. The collection was fun and flamboyant. Such loud prints are perhaps tricky to complement without becoming overwhelming, but the A-line skirts and billowing dresses actually created a flattering effect. Katranzou showed the escapism and fantasy of any fictional novel, but with rare and non-fictional talent.
Milan Alberta Ferretti Imagine the delicacy of flapper 1920s glamour, fuse it with The Little Mermaid, and this season’s Ferretti collection would be your product. This is a little girl’s dream: an otherworldly display of sparkles, sequins and beaded detail. Playing on the screen was a video of calm waves, casting the appropriate atmosphere for a collection inspired by the ocean. Ferretti fashioned imitations of coral and underwater flora onto her dresses. Sheer tops over shining satin trousers added diversity to the collection, which was comprised mostly of gowns. With backdrop images of rising bubbles, there were models in floor-length dresses covered in a couture version of a fisherman’s net, which appeared as mermaids were captured and brought to the shore. Ferretti’s emerged from the depths of fashion week as one of the most outstanding collections.
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If designers were fictional characters, Mary Katranzou would be Willy Wonka.
Gucci There was a summery freshness surrounding Frida Giannini’s latest collection. Playing with colour and shape, fuchsia pink was refreshed in six different looks, as the designer made simple alterations with hemlines and frills in each piece to flirtatious effect. There were gorgeous deep blue and turquoise trouser-top ensembles, reminiscent of cloudless afternoon skies. A range of sunny yellow jackets and trouser suits added a new element of cool to evening wear. She managed to soften animal prints by adding bubble-gum greens, pinks, and yellows to snakeskin mini-dresses. She expertly sof-
tened the drama of black and white with full length trousers and sheer arms. If there was a designer who encapsulates the season most accurately, it would be Giannini. I can’t wait to get my hands on the high street mimicries of this accessible collection for next summer’s wardrobe. Paris Dior All eyes were on Raf Simons, the newly appointed creative director of Dior for his first Ready to Wear collection. There was a huge amount of pressure for Simons to perform and fill John Galliano’s scandal-tainted shoes. He needn’t have worried: his taste is effortless, and his signature minimalism, combined with the decorative and the sensual, made the collection a success. The show opened with black skirts and trouser suits, decorated with a pop of colour in the form of neckties. Mini dresses in pastels hinted at futurism. The show reached its crescendo with the mixture of pattern and colourful mesh layers, jacketdresses and nipped in blacktopped prom dresses with full skirts. Simons struck every note to perfection with this collection. Seems that Dior is in safe hands with its worthy new conductor. Nina Ricci
The artistically draped and dark elements of the Ricci show gave it whisperings of the gothic, which was balanced by dirty pink hues and polka dots. Peter Copping’s vision explored texture: he has created netted and fringed belted dresses, alongside sequined trousers teamed with sheer dotted shirts. Asymmetrical and wacky, these dresses are still feminine and wearable. A fully fringed dress with a deepv neckline was contrasted with a demure, sheer, boat-necked cocktail, which maintained the ladylike qualities of the collection. A couple of knee-length sequined gowns finished off a show which leapt outside the box of contemporary fashion and tested our interpretation of femininity to its very limit.
INDIGO | Tuesday 13th November 2012
Fashion Editors: Lois Bryson-Edmett, Cordelia Yeung Deputy: Jess McGahan fashion@palatinate.org.uk
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Dressing the Milanese Va-va-voom! Lucy Flascher argues that Italy’s influencial fashion week manages to brush aside the economic malaise
C
’è crisi! Besmirching the name of fashion and soiling the pockets of the fervent Prada lover, the economic crisis continues to rear its ugly head. Well, perhaps not in Milano. Innumerable quantities of fashion bloggers, journalists, buyers, celebrities, and curious eyes accumulate outside show locations, all desperately hoping to be noticed, immortalized and published in some nook and cranny of the web. I warmly welcome you to the crackling world of Milan Fashion Week: the rouged faces, Italian flamboyance, and a reincarnation of the city’s ubiquitous hedonistic attributes. In a city where fashion has almost become synonymous with curves, Milan’s Ready to Wear this September incorporated a more masculine angular approach to its voluptuous femininity. Katie Stallings, student of New York’s Fashion Institute of Technology remarked that “Milan is a different animal to New York. Everything is artistic and the streets are dazzling.” And dazzling Milan was: serene oriental florals at Prada shared the stage with geometrics and angular modernism at Jil Sander; likewise, Alberta Ferretti’s floral
explosion was met with bold and earthy tones at Fendi. The result was a mixed between “toughness and softness”, as Miuccia Prada put it, both “rigorous… and poetic.” In a society where the desire of a woman, ‘la donna,’ runs through a man’s blood, the collections in Milan suggest a coalescence of the two sides to a woman. At Prada, in particular, we are presented with the depiction of a fiery woman in possession of that nurturing, naturalistic sensuality. Andrea Incontri used fabric to combine the feminine with the masculine, where flowers bloomed on a silk shirt and minimal modern silhouettes are paired with fabrics inspired by the Orient. Asian-inspired designs ran as a leitmotif throughout the week, with the gentle feminine curves of the lotus flower paralleled with the Prada models’ poppy-red lip. Miuccia’s designs saw angular monochrome pleats against the oriental bloom of the Courrèges daisy, and evening jackets became kimono-esque as they draped the shoulder. This distinction in tone was continued with the return of Jil Sander after 8 years away from her own fashion label. Equally significant was Sander’s continued execution of
One look from the Ferragamo S/S 2013 show Photograph: GoRunway
elegant minimalism reflecting the longevity of her designs. In her Spring/Summer 2013 show, she provides the working woman with simple malleable foundations to work upon, with navies, whites, rustic v-necks and tulip skirts. Her work was decidedly masculine in design. yet feminine in execution - the perfect contrast to the craft of embellishment of which the Italian nation is widely known. It was, however, Salvatore Ferragamo’s collection whose strike was hottest on the fashion court. Massimiliano Giornetti presented Milan with an iridescent gaucho image, with elements of a fearless and free-spirited woman draped in masculine, equestrian-inspired line. The Florentine house of Ferragamo has always known what women want, yet the crocodile skins and riding jackets left any trails of delicacy under the mist of this collection’s thundering hooves. It seems quite poignant that such a feisty collection should be born, just as the Ferragamo museum in Florence is celebrating 50 years of refined elegance with an exhibition of the shoes he created for Marilyn Monroe decades ago. Ferragamo firmly believed that the design of a shoe revealed the most profound characteristics of its wearer. For Monroe, the ‘Venus’ behind the dazzling exterior of her shoes a simple housewife is revealed. Marilyn chose wore the same elegant Ferragamo stiletto, changing only the fabric and colour to tame her scintillating sensuality. Mirroring the curved womanly images of Boticelli’s ‘The Birth of Venus’, and the enamored pain of Furini’s ‘Maddelena penitente’, these images of Marilyn paired with her elegant Ferragamo shoes of choice transfigured her into a figure of both salaciousness and purity. Thus, even in the 40s, Ferragamo was dealing with issues of dichotomy. He also created shoes for Audrey Hepburn and Judy Garland, incorporating innovative embroidery, lacing and hand-painted canvas uppers. Browsing the collection in Florence, together with seeing the exhibition, the immediate reaction is that these designs are incredibly timeless, transcendent even. Milano, bring on next year!
indigo picks out some great snippets of typical Milanese street style
From the catwalk to the pavement: it’s the effortless look that consistently leads the way on the streets of historic Milan Photographs: Diego Zuko via Harper’s Bazaar
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Tuesday 13th November 2012 | INDIGO
books
Highlights from the D
Durham’s very own literary extravaganza has come and gone for another year. Missed Durham Book Festival through the eyes of a volunteer by Becky Wyde
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hen I first started secondary school, my introductory sentence to my new class went something like this: “I’m Becky and I like books.” This appetite for reading has remained with me throughout my life. So when I caught sight of an e-mail asking for volunteers at the Durham Book Festival, I naturally jumped at the chance. I was excited to note the calibre of authors that would be speaking – and the fact that all helpers get free entry into events didn’t put me off, either. The volunteering scheme is run by a company called New Writing North, which organises creative projects throughout the North East. The application process was relatively pain-free and after a short explanatory meeting, I was ready to go! My first shift was in Durham Cathedral, where the poet Roger
McGough was giving a reading. In such a magnificent building, it was unlikely I wouldn’t enjoy the evening. My work that night consisted of welcoming people and
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I was exposed to genres of literature I had never really considered
checking tickets, whilst other volunteers’ duties involved tasks like ushering, or even being “roving microphones” during the question and answer session! Working at the festival meant
that I was exposed to genres of literature I had never really considered exploring in my own time. In the past, I’ve always been (unfairly) derisive about poetry, but listening to McGough was fascinating, especially in the Gothic splendour of the Cathedral. I would definitely encourage you all to volunteer next year’s Book Festival. Obviously it looks great on the old CV, but this isn’t why I signed up. Simply being surrounded by people who love books, love writing, and love talking about the two is so inspiring – particularly for us as Durham students where it feels like we never have enough time just to sit back with a good book. And I’ve got one crucial piece of advice for future volunteers: if you’ve got a shift in the Cathedral, don’t forget to layer up.
Murder in the Cathedral: PD James in conversation with Ian Rankin - Tuesday 23rd October Reviewed by Laura Kho In the vast world of crime literature, where fresh intrigue is constantly churned out and delivered, two names undoubtedly stand out: PD James and Ian Rankin. Baroness James certainly ranks amongst the most prestigious writers of the genre, lauded for her ability to produce bonechilling plots and suspense in an elaborate and distinguished prose style. Rankin, her junior by forty years and the UK’s best selling crime author, has also had an illustrious career. This culminated in his being awarded the coveted Cartier Diamond Dagger, which marks a lifetime’s achievement in crime fiction. At this Book Festival event, James and Rankin took turns to interview each other in an hourlong dialogue set under the soaring ceiling of Durham Cathedral.
Their conversation was a delicious mix of witty and humorous banter, with both writers unafraid to take a jibe at their reputations and novels. Each revealed their personal “Achilles heel” – Rankin admitted to “getting vague around the court parts” whilst avid readers of James will notice how rarely guns make an appearance as the murderer’s weapon of choice due to her own unfamiliarity with them. Despite the casual atmosphere, it was clear how seriously both writers regarded their craft. In writing Death Comes to Pemberley (a re-visitation of one of her favourite novels, Pride and Prejudice), James meticulously examined the legal system of Austen’s era by consulting professors and poring through historical documents. Rankin too conducts rigorous
research, interviewing police officers to learn more about the latest investigative technology and criminal cases. Both authors agreed that there was a need for such forensic precision – not only to preserve the integrity of their novels, but also to satisfy their “intelligent, alert and very well-informed” hawk-eyed readers. Both writers, James in particular, also expressed their long-felt exasperation at the marginalization of crime fiction in the literary world. James lamented, “There is a division between literary novels and the rest of us, and I always wonder why there is this artificial distinction. It is baffling to me … Crime writing can deal with psychological issues on so many levels, and abounds with potential.” Rankin lightened the mood with a personal anecdote il-
lustrating his own frustration, recounting the early days in his career when he would take his novels from the Crime sections of bookshops and sneakily place them on the Scottish Literature shelves. “I now realize what a mistake that was – it is far better to be in the Crime section than in Scottish Lit!” he joked. “Any advice for budding writers?” asked a member of the audience in the closing minutes of the dialogue. “Write about things you are passionate about – don’t write with the intent of satisfying the market – and get used to criticism! Learn to recognise what you should listen to, and what you should ignore,” Rankin offered. James concluded, “Read widely, extend your word bank and go out and meet people. Everything that happens to you will contribute to you as a writer.”
INDIGO | Tuesday 13th November 2012
Books Editor: Justina Crabtree books@palatinate.org.uk
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Durham Book Festival
d the fun? indigo looks back on a selection of your favourite events from last month Northern Poetry: John Clegg, Pippa Little and Gareth Reeves - Friday 26th October Reviewed by Jorel Chan
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ntler, Overwintering and To Hell with Paradise – three poetry collections so diverse in their titles, themes and motifs. Yet the poets behind these literary works share something important: John Clegg, Pippa Little and Gareth Reeves all hail from the North of England. Though dissimilar in subject matter, Clegg, Little and Reeves all possess an exploratory attitude in their poetry – a refusal to accept what they are presented with, using language to delve deeply into ideas and reveal foreign elements that can be found in the familiar. John Clegg read from his work Antler, a collection of poems which possesses a mythic resonance. Clegg writes of animals and the wilderness, of ancient stories and fairytale archetypes,
yet this is contrasted with the mundane – Borders bookstores, fruit flies and hog roasts. Among his more magical pieces is a poem written from the view of mermaids, enabling a novel perspective on all that mankind has taken for granted – breathing clean air, movement – and what makes us human, from the chemistry of hormones to the emotional aches of longing and loneliness. Next came Pippa Little with her first poetry collection, Overwintering. She mentioned that that the title was in fact a gardening term, in which plants must be brought indoors to be protected from harsh weather conditions. Nature, and the wild places that capture her thoughts, are the most prevalent themes in Little’s work. She writes with a
Photographs: Durham Book Festival
strong attachment to the natural world, both contemplating the loss associated with winter and looking forward to the hope and renewal of spring.
Finally, Gareth Reeves drastically changed the atmosphere of the evening as he read from To Hell With Paradise. This col-
lection is nihilistic, writing “in full view of nobody” with claims that “endings are beginnings not begun”. Reeves focuses on a variety of events, from the simplicity of withdrawing money from an ATM to more poignant occurrences – whether it be traversing San Francisco or listening to Shostakovich. To Hell with Paradise makes the everyday alien, and imbues the experiences Reeves describes with fresh meaning. I found the Northern Poetry recital at Durham Book Festival thoroughly enjoyable, and the evening encouraged my appreciation of a literary art form that has evolved so much over the years. The work of these Northern poets is certainly a treasure trove I would recommend everyone to explore.
Roger McGough’s reading of his new collection of poems, As Far As I Know, was a funny and memorable event, contrasting nicely with the rather sombre setting of Durham Cathedral. Described by Carol Ann Duffy as the “patron saint of poetry”, the Liverpudlian McGough was born in 1937 (as, it seemed, were most of the audience – jokes about “the war” went down well). He studied at Hull when Philip Larkin – whom he described in the reading as a “towering steeple of tweed” – was librarian, and hit number one with his band The Scaffold in 1968. Many decades later, McGough continues to be an engaging stage presence with a sharp wit at odds with his softly-toned voice. But what of the poems themselves? They’re no dramatic departure from his previous work, remaining characterised by their humour and refusal to take poetry itself too seriously.
But this isn’t to say that there aren’t moments of sincere emotion – in fact, these have more of an impact on the reader (or listener) because of the humorous context in which they appear. One example of this is the poem “To Sentimentality”, in which McGough self-deprecatingly lists the things that make him cry: “A lock of hair, lovers sighing / A stopped clock, babies crying / Anyone, anywhere giving birth or dying.” It’s also interesting to see how McGough’s ideas have shifted with his encroaching old age – the themes of memory, death and youth take the limelight. At one point in the collection, McGough’s poetic voice is startlingly frank about the end he will one day meet, suggesting that “when I’m 73 and in constant good tumour” the speaker will be “mown down at dawn by a bright red sports car.” Now aged 74, McGough acknowledges
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Clegg, Little and Reeves all possess an exploratory attitude in their poetry
As Far As I Know: Roger McGough - Wednesday 24th October Reviewed by Eva Hodgkin wryly that, “my nights are rarely unruly / My days of all night parties are over, well and truly.” In other ways, however, McGough seems to view his age as liberating, confidently asserting his thoughts in several overtly political pieces. The collection’s title poem, “As Far As I Know”, mocks evasive politicians, whilst “Defence” criticises the 2001 invasion of Afganistan. These shifts in preoccupation and tone keep McGough’s poetry fresh and interesting, and his deadpan humour made for a relaxed and engaging evening. In the closing question and answer session, McGough claimed that he wrote poetry as “a way of keeping off the horrors and terrors.” His latest collection is a testament to this ability.
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For more from Books visit palatinate.org.uk
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stage
Rose Mortimer finds out from DULOG’s Hannah Howie and Natalie Goodwin what we can expect from this year’s Gala show, Fame.
First things first; why did you choose Fame as this year’s Gala show? N: For the Gala show, it’s really important that the show appeals to ‘the masses’: not just students but members of the public too. That’s why we chose Fame, it’s for young and old alike and it’s such good fun. There’s also the potential for a large cast which is really important as we want as many people to get involved as possible. H: I also think that Fame is relevant to us at this age. The events of Fame could be happening to any of us now and we can empathise with the characters. We are playing people our own age. And it goes without saying that it’s a bloody good show.
If you had to describe the show in three words, what would they be? H&N (simultaneously): Energetic! N: Fun. Just so much fun. And young. It’s a big party on stage.
H: Yes, those are our three words: Party. On. Stage.
What is the most awkward or embarrassing part of the show? H: I guess the kissing scenes! There’s going to be a bit of tongue involved! N: there’s a song called ‘I can’t keep it down’ which is all innuendo about keeping an erection down! It’s great because any kids in the audience won’t get it, but we’re all cracking up! It’s just funny really, I wouldn’t say it’s embarrassing.
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Tuesday 13th November 2012| INDIGO
For the full interview go to palatinate.org.uk
Stage Editor: Victoria Ferguson Deputy: Gabriel Samuels stage@palatinate.org.uk
Checking out some Chekhov Victoria Ferguson tells us why it’s time to forget our preconceptions about the work of Anton Chekhov
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sat down at The Young Vic theatre to find it once again transformed. The tiered seating along three sides of the theatre left the centre of the space open and bare, but for a collection of modest grey tables that were pushed together to create a raised stage and a great mound of earth at the back of the theatre. It was raw, grotty, provocatively simplistic. It was for this reason that I watched the people across from me with scepticism. A group of young American teenagers, no doubt on a school trip, slumped themselves into their seats, chatting and giggling in that ‘I’d better appear too cool for this’ kind of way. I found myself hoping to God that this adaptation wasn’t going to be too alienating because, despite my eagerness to experience some of The Young Vic’s characteristic edginess, I didn’t want these visitors to the cultural heart of the UK to go home with more enthusiasm about the tacky Union Jack hoodies that they had bought from a Piccadilly street vendor than about Benedict Andrews’ most recent triumph. And I wasn’t too keen on suffering the consequences of a group of bored and irritable school kids for 3 hours. From the moment the three sisters step out onto the stage however, the audience can see that there is no question of this being a pretentious or elitist adaptation. Throughout Olga’s opening speech, Masha sits with her legs dangling off of the edge of the stage, smoking a cigarette in a way that says to the audience, ‘it’s okay if you’re not getting the symbolism of the snow and the clock striking eleven. I don’t give a s**t either.’ Irina looks between her sisters with the innocent curiosity of a youngest sibling and all three master the subtle conflict between the vibrancy of their youth and the exhaustion caused by a life of vain dreaming and fruitless longing. These characters are believable, relatable. None of the standing-
Unhappy families in The Young Vic’s production of ‘Three Sisters’ Photograph: Simon Annand centre-stage-and-finding-the-lightfor-your-monologue staging that can become quite typical of the classics. With the sisters skipping excitedly around the stage when they aren’t sprawled unapologetically on the floor, the audience is invited into this family’s intimate circle, encouraged to get to know them and to laugh and cry unashamedly with them. So perhaps the American students, slouched in attitudes of pure unpretentiousness opposite me, had the right idea after all.
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Andrews has reminded us that Chekhov is for all people and for all time Chekhov’s play is catapulted into the 21st Century with the use of iPhones and references to televisions and modern day rock classics. Initially this is a little jarring for an audience who is not expecting such a shamelessly modernised reinvention of the classic, but
I was ultimately won over by the grimy honesty of the production: the drinking, the swearing, the crude sex jokes and the unusual decision to have the cast belt out a drunken tribute to Nirvana’s Smells Like Teen Spirit. All of these factors serve to make the play accessible and what theatre should essentially be – good entertainment. The beer-bellied Andrey, the ridiculous carnival costumes and the absurdity of the doctor frolicking around in a pink frilly dress did inspire a little too much hilarity amongst the audience at times, to the point where the uncontrollable laughter of the people around me prevented me from feeling too despairingly for Chebutykin in what should have been a tragic moment of existential crisis. However, I think that this was more due to the excitability of the young audience that evening than to a ridiculing of Chekhov’s message by Andrews. In fact, for such a brave and alternative adaptation of the play, Chekhov’s message has remained remarkably intact. Throughout the play, the Prozorov sisters’ despair is almost tangible. The stage is dismantled throughout the scene of the town fire and so, by the end of the production, both the stupid futility and the admirable strength of their continued persistence in the
face of everything is reinforced by the emptiness of the performance space. As they clamber up that heap of soil together at the end of the final act, the striking reality of the instability of their foundations and the vulnerability of their happiness reaches its moving climax.
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I was won over by the drunken tribute to Nirvana’s Smells Like Teen Spirit Benedict Andrews may have unwittingly created thirty new Chekhov devotees on the evening that I saw his fresh and exciting reinvention of the classic. Yes, they may have all been sporting Justin Bieber haircuts and neon sneakers, but so what? Andrews has reminded us with courage and flair that Chekhov is for all people and for all time.
INDIGO | Tuesday 13th November 2012
food & drink
Food & Drink Editor: Kirsten Riddick food@palatinate.org.uk
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Food Festival Interview:
Paul A Young Kirsten Riddick talks Marmite truffles and Creme Eggs with Paul A Young, leading chocolatier and former New College, Durham, student You grew up in Durham - are you enjoying being back?
The festival witnessed a glorious array of culinary treats Photographs: George Sylvester
Festival fever Prudence Wade reflects on the gastronomic highlights of Durham Food Festival 2012
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he Durham Food Festival is just a year old. Given the size and quality of the 2012 extravaganza, however, you might easily not have guessed. As the stalls set up in the Gourmet Food Marquee, the tent was abuzz with locals, students, foodies, and those just there for the free samples. Not that I was about to turn down those that came my way; from artisan bread and mulled cider to handmade macaroons and cinder toffee, this was a real showcase of the best produce of the North East. My favourite exhibitors included:
The New Close Farm Shop: This local farm sends out boxes of produce, ranging from rare breed beef to seasonal vegetables and organic dairy. Their tagline is ‘from field to fork’, a simple and endearing ethos reflected by the friendliness of those manning the stall. The owners are committed to endorsing organic produce, and I was particularly impressed with the emphasis they put upon sourcing only local goods.
Wildon Grange:
No festival can be considered complete without chutneys and jams - luckily, Durham didn’t disappoint. From authentic Indian preserves to local pickles, there was no end to the choice on offer. Food festival virgins Wildon Grange explained to me how their dressings, sauces, and chutneys were named after their friends, family and pets. A lovely personal touch- although eating Leo’s Luscious Balsamic Dressing takes on a new dimension when you realize Leo is in fact their dog...
Little Cheescake Company:
With sugary treats ranging from Oreo fudge and passion fruit chocolates to gourmet cupcakes and sticky lemon pudding, the festival was heaven for anyone with a sweet tooth. My particular favourite from the weekend was the Little Cheesecake Company, a family run business. The company put a new spin on the classic cheesecake by making handmade individual cakes; an innovative way to end a dinner party or just a
great gift.
Bistro 21:
This is a restaurant just outside of town who market themselves as encompassing ‘refreshing simplicity’, with a strong focus on organic and unpretentious food. The goods they had brought to the festival certainly won me over - as did the £5 vouchers they gave us!
The Sawley Kitchen:
Whilst there remains an obvious emphasis on Durham produce, the Food Festival is now also drawing in a wider crowd. The Sawley Kitchen, for example, herald from Yorkshire and tour food festivals up and down the country. They were evidently hardened food festival veterans, and sold seemingly everything, from Christmas pudding to relish. The festival was a roaring success - the exhibitors really paid homage to the sheer quality and diversity of Northern produce. As for chutney…I’ve probably had my fill until next year’s festival!
Absolutely. It’s the first time I’ve been back in a long time, but the city still has the same feel as when I was a student here. I’m seeing all my old lecturers, bumping into people I used to know. It’s been great! What inspired you to go into chocolate originally?
Chocolate’s only been the last ten years in fact. I’ve been a chef and patissier for twenty five years, but I think becoming a chocolatier was a natural progression. Everyone eats chocolate - who doesn’t love it? That’s reflected in my shops, where we have chocolate priced at £2 and at £200. You’re known for your outlandish chocolate combinations - what’s your strangest but most successful?
The Marmite truffle. It’s our second biggest selling chocolate and it’s been in my collection for six and a half years - it’s still raved about! Everyone always says they either love or hate Marmite, but most people like chocolate. When you put them together, it’s generally a combination people really take to. Do you eat chocolate every day then? Yes! Not necessarily lots of it, but I do go for quality chocolate every single day.
So you never have an urge for a square of Cadburys Dairy Milk?
Not for a Dairy Milk, but I do still like a KitKat or the odd chocolate digestive... all the things I had as a kid. And I have a Crème Egg every year. Even though now I find them quite sickly, they do remind me of my childhood.
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I do still like a KitKat or the odd chocolate digestive
What did you eat as a student? Any tips? I was a chef student, so I actually ate pretty well - I spent all my money on food! But in terms of advice, I would say that sometimes the simplest things are the best; an omelette with fresh herbs can be fantastic, for example. I certainly never had fine dining in my student house, but we’d buy quality ingredients. Each of us would contribute, say, a couple of quid towards an organic chicken, and that chicken would do our Sunday lunch and then a soup. Buying local is key, as is buying from the market - get to know the sellers so you get the best deals.
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Head to palatinate.org.uk to read our interview with Signe Johansen
Tuesday 13h November 2012 | INDIGO
12 travel
Working in a foreign field The prospect of being able leave the bubble to simultaneously travel and work abroad is a very attractive prospect for many. Hugo Proffitt and Eva Bontoft explore two alternative ways to combine both the business and leisure visa stamp, from Perth to Zaragoza
Beyond Sydney: Perth in Western Australia is one of the country’s most beautiful cities Photograph: Hugo Proffitt
an E&Y intern down under
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welve weeks, four continents, five countries. Summer 2012 flew by in unconventional fashion, as I had an internship with Ernst & Young on their 11-week Global Student Exchange programme, to experience how one of the ‘Big Four’ seamlessly provide professional services across borders. As a result, I explored work and travel beyond London spending a month in Australia and a week at EY’s International Intern Leadership Conference (IILC) in Florida. As well as the corporate development to come with such a career, learning the age old skill of networking, I gained the opportunity to develop personally, in a truly amazing place. Rather than any exceeding business knowledge, as a Geography student it would appear my extensive knowledge of capital cities and
years of colouring in experience alongside my passion for travelling earned me my place, and soon I was packing my bags for Down Under. So off from Heathrow I went, a glass of red wine on the flight working wonders for getting some much-needed kip. Arriving in Sydney at 7am wasn’t ideal but we did our best to make it through to the end of the day. All was going so well too. We’d been to the Opera House and embarked on a boat trip over to Manly Beach (much better than Bondi). Indeed, our main problem was the dodgy looks people were giving us for ‘braving’ the ocean in an Australian winter, practically freezing at 20 degrees! Sure enough, the inevitable jet-lag hit us very hard indeed. In keeping with the Australian way, where no amount of coffee could help tiredness but an Aussie Rules match definitely can, we watched a fascinating sport booting the ball as far as they could then try to smash it through not two but four posts. A bizarre sport, but one we’ll
definitely be recreating on Clapham Common. Next stop, Perth: without doubt the most up-and-coming city in Australia. Fuelled by the booming mining industry it is undergoing extensive regeneration. Although isolated on the West Coast, Perth boasts some of the most incredible beaches in the world, beautiful botanic gardens and good nightlife. If this wasn’t enough, we found flights for a weekend hop to Bali for $99 return. It’s truly an amazing place to be. I’m genuinely considering moving out there one day - I’d have to be mad not to consider it. Sadly it’s not all luxury lifestyle and Lara Bingle. The cost of living is amongst the highest in the world - $10 a schooner, or a small pint is typical, with the most extortionate drink a $17.50 for a single vodka and Red Bull at a place just as sticky as Klute. In more typically Australian drink awareness, licensing laws restrict the sale of straight shots after midnight, where Sambuca and Lemon Cordial bizarrely became our drink of choice.
Similarly, no trip to Oz would be complete without a trip to the zoo so off we went to meet the kangaroos and their friends. Yet, ‘roos are actually seen as pests out there and surprisingly look very, very odd in the flesh – a far cry from images of Skippy.
If you haven’t been to ‘The Land Down Under’ then, to paraphrase an infamous ad, what are you waiting for? Australia struck me as a country for all tastes: some of the best weather around, beautiful beaches and the people could not be friendlier or more hospitable. Well that was Australia. I met Skippy, experienced the embracing laid-back culture and glorious weather that everyone raves about. A 15-hour flight from Sydney to Dallas and a short hop to Orlando finally got me to the most bizarre conference of my life, where 2,500 corporately fostered interns took over a Disney World resort. It felt more like a week reliving my childhood adventure out there than a conference on professional services, but still, a week in Disney World isn’t bad. I realised I wasn’t daunted by so much international travel, rather, I loved it. So what have I learned this summer? A lot of things, that’s for sure. Australia is somewhere you just have to visit. It’s indeed true what they say about Aussies and Americans loving the British accent and also that you are never too old to love Disney World! Unfortunately, beyond drinking wine I can’t offer any pearls of wisdom on how to get over jet-lag, but as students we’re young – when else will we be able to have this kind of experience?
Jetlag cure: Aussie Rules Match Photograph: Hugo Proffitt
INDIGO | Tuesday 13th November 2012
Travel Editor: Dan Hunt travel@palatinate.org.uk
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A Panorama of Zaragoza Photograph: Eva Bontoft
the realities of being a live-in au pair abroad
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aving just spent a month this summer working as an au pair in the upmarket town of Deauville, France, where horse-racing and celebrity namedropping are in curiously close competition for the title of most popular sport, I spent what felt like the world’s shortest weekend at home before heading straight off to Zaragoza to kick-start a very spanish September. The term au pair conjures up images of a Nanny McPhee-esque superhuman multitasker keeping several highly energetic children entertained at once in a foreign language. I must confess this is a far cry from the relatively peaceful reality of my job as an English tutor for fifteen-year-old Laura in France and fourteen-year-old Paula in Spain. For every au pair there is a petrifying moment of realisation that precedes meeting your host family. It suddenly sinks in that you are about to live with people you have never met, with whom you have no native language in common. This was particularly exacerbated in Spain due to the fact that, on
walking through the arrivals gate in Zaragoza airport, all I knew was that I needed to find a Spaniard called Carlos. Nevertheless, I was fortunate to find that the members of my host families were outgoing and, as my French host mum described herself on the drive from the ferry port, “un peu folle, mais dans le bon sens du terme” - a little crazy, but in a good way.
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Sometimes you’re thrown in at the deep end where you’d expect awkward turtle to thrive
Despite the families’ parallel descriptions – each was seeking English language tuition for their teenage daughter – the experience I had in each country was quite unique. Apart from the structured English class I gave Laura every morning, my time in France was largly spent in the attempt to blend into her friendship group as her corréspondante anglaise and encourage them to practise English: a tricky feat for an outnumbered nineteen-yearold flung back to the slang-filled world of high-school gossip. One
tip for this situation: music really is a universal language. In Spain, however, tutoring a fourteen-year-old with a hectic roller-skating training schedule and full school timetable, a substantial amount of spare time was perhaps to be expected. A week or so into my stay in Spain, I was being paired up with native-speakers for language exchange. A fairly standard experience for any language-learner, the idea initially seems to be to develop the invaluable skill of small-talk in a foreign language. It begs the question whether awkward turtle has made it across the Channel. Nevertheless, once you’ve survived that, it really can become (if you’ll excuse the cliché) both enriching and enjoyable. One abnormally stormy day in Zaragoza, we discovered that the water system in the whole urbanización had gone off. It wasn’t a huge problem, since the family stockpiled bottled water in the garage. However, that evening Arisai, a colleague of my host whom I’d never met, was to come for an hour of language exchange. So, at 7pm, when Paula and her parents were out, Arisai arrived. After a brief introduction in Spanish she asked to use the bathroom. Many of you who will have studied a foreign language at GCSE will be familiar with this joyful experience: the role-play section of the
oral exam. How differently I would have reacted if I’d been faced with: “You are staying with a family in Spain. Explain to your new acquaintance that she may indeed use the bathroom, but she will be unable to flush or use the sink due to a malfunctioning water system.” Whatever it was that I said in response, Arisai apparently understood. Having realised the absurdity of the situation, the rest of the evening went ridiculously well. We met up on several occasions and
our conversations usually resulted in hilarity. Sometimes it’s difficult to reach the ‘enriching and enjoyable’ point: not all language students are naturally outgoing and talkative, however ironic that may seem. Sometimes circumstances throw you in at the deep end, where you’d expect awkward turtle to thrive, and you worry your language skills won’t be enough to keep you afloat. Sometimes that’s exactly what you need.
Honfleur Port, near Deauville Photograph: Eva Bontoft
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Tuesday 13th November 2012 | INDIGO
film & tv
Film & TV Editor: Alex Leadbeater film@palatinate.org.uk
Breaking Down: Twilight’s eclipse of cinema It may be a big success, but we must learn from the cautionary tale of Twilight, says Emma Richardson
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Breaking Dawn Part 2 marks one last embrace for star-crossed lovers Bella and Edward Photograph: Summit Entertainment
here is a fiend that has rampaged through the cinematic world like some vast, pseudo-corporate monster, intent on sucking the all the talented blood of a generation and spawning a brood of imitators and doppelgangers of equally dubious origin. After some hunting, the main culprit has been brought to answer for its transgressions against humanity: the creature that is the Twilight series. With the imminent release of Breaking Dawn: Part II, the last instalment of the series of films that follow Stephanie Meyer’s books, we should pause to reflect on what Twilight as an institution has done to an industry now seemingly dominated by the correlation between book sales and immediate movie franchises. It would seem that, rather than fostering cinematic talent, the production of films seems to now focus solely on target demographics. In many ways what Meyer created with her books can be seen as an almighty success, sneaking through the door left ajar by the global best-selling Harry Potter and following the formula of book sale statistics translating into box office mega-earnings, and it has literally put a spell on the publishing, film and TV genres. With Twilight, they sought their fortune in the less-chartered territory of the female teenage market and struck what can only be described as cinematic gold. But what is the true cost of this sensation? Bram Stoker’s line that “... sometimes think we must be all mad and that we shall wake to sanity in strait waistcoats,” seems to have fallen on deaf ears, if indeed
the best of our online reviews Skyfall Dir. Sam Mendes
Columbia Pictures
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Daniel Craig is a full modern embodiment of Fleming’s spy, gifted here with spectacularly psychological material
Frankenweenie
it has reached them at all. Very few seem to be waking from the insanity generated by the Twilight films. Whether it’s banshee-esqe pubescent teens or their sometimes equally hysterical mothers we should see the whole sequence like a hideous warning for the rest of mankind. The series’ deceptively attractive plot, the typically clichéd world of the ‘coming-ofage’ story; the impossibly perfect characters, forms the basis for a tale spun excruciatingly out over four books and five films.
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From Eclipse, the second in the series, the films got increasingly engrossed in teenage angst
In essence, it is difficult to raise any particular objection to the Twilight series. Many, including myself, have read their way through all of them. What can one not find attractive about a hopelessly smitten young woman and her love-interest, the pretty, filthy rich and sparkly vampire? But, what was so true for Bella Swan who is drawn inextricably towards her blood-sucking beau, so too has the world been bitten by the monster that Meyer brought forth, and it may prove a difficult poison to eradicate. Without getting too bogged down in debates on the influence of Meyer’s Mormon faith in the underlying message of the franchise, what is so upsetting about Twi-
light is the wake of disappointed hopes in a film that had looked so promising. The first film, directed by Catherine Hardwicke, seemed to usher in a new era for cinema, whereas most blockbusters had in many ways been overtly masculine, Twilight seemed to offer a more considered choice for the female audience, with the potential to take the cinematic romance out of the rut of the ‘chick-flick’ and towards something far more considered and well-written. But with the move to David Slade as director of Eclipse, the second in the series, the films get increasingly engrossed in teenage angst and self-obsession. The characters and audiences alike, do not seem to be able to break the trance of Kirsten Stewart’s mono-emotional face. Forget heralding introductions to film adaptations of a similarly gothic nature; this all has the air of ‘look at the shiny, sparkly vampire and forget everything else’. With the exception of American TV networks airing the likes of the Vampire Diaries, introducing the sex-scenes and questionable morals avoided by Meyer, one can trace back how, in an industry currently enthralled with Fifty Shades of Grey, the genre of sacrifice and suffering of a female lead was first incarnated by the un-dead. So, as the release date slowly approaches we can only hold out vain hope that with the gradual change in seasons so too will we drive a stake through Twilight and leave it as a warning of the past: beware those who watch films, for here there be monsters. The Twilight Saga: Breaking Dawn: Part 2 is on general release from 16th November
Disney Pictures
Dir. Tim Burton
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Burton treads a fine line between understanding and condemnation, and succeeds in creating a middle ground for audiences to empathise with
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For more reviews of new releases and features on the latest Film & TV news, check out palatinate. org.uk
INDIGO | Tuesday 13th November 2012
Visual Arts Editor: Lucy Edwardes-Jones visual.arts@palatinate.org.uk
visual arts 15
Showing art snobbery the gallery door The Director of the National Gallery, Nicholas Penny, recently dismissed the artistic value of contemporary art. David Siesage argues against cultural elitism
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hat is art? Unfortunately for mankind, this perennial question seems to be impossible to answer. Debate has merely intensified throughout the last century, in response to the rise of contemporary art. Art covers such a broad spectrum that any attempt at a definition automatically limits and restricts some aspect of it. It has no single definition, and it is pointless trying to impose one on it. Art critic Arthur Danto, on seeing Andy Warhol’s “Brillo Boxes”, proclaimed in a style usually reserved for a monarchical death, “Long live art.” Art as we knew it is dead. No longer is it simply a representation of the world as we see it; no longer are there any restrictions. Art is free, and we should not limit this freedom. Yet Nicholas Penny, respected art historian and director of the National Gallery, controversially dismissed contemporary art in recent interviews with The Art Newspaper and Freize Masters. Video can be one of the most powerful forms of contemporary art, but Penny has cast it aside as merely “an incompetent form of films.” Whilst this may apply to some examples of video art, it is wrong to discount the medium entirely. Nowadays, “the radical pluralism” of art (a phrase used by Danto), means that no one can be an expert on all fields, and this is evident in Penny’s sweeping dismissal of an entire genre. Penny is equally dismissive of the contemporary art wings to be found in many galleries, talking of their “orthodoxy and predictabili-
Warhol’s Brillo Boxes are surrounded by controversy Photograph: aomccourt on Flickr ty”: “the same white walls with the same loud, large, obvious, instantly recognisable products lined up on them.” Surprisingly, given these comments, 2012 is a year of several contemporary art exhibitions at the National Gallery. Having hosted a multimedia exhibition, “Metamorphosis: Titian 2012”, they are due to show Richard Hamilton’s (undeniably contempo-
Art... at what cost? Last month, Gerhard Richter’s ‘Abstract Painting (809-4)’ sold for a staggering £21.3m at a Sotheby’s auction. This established a new record price for a piece of art by a living artist. Seb Inglis-Jones considers the inflated price of art in today’s society.
rary) final works at the end of the year, alongside the work of some contemporary photographers in “Seduced by Art: Photography Past and Present”. Hypocrisy? No. It seems Penny was simply making a rather arrogant statement that he could do it better than the dedicated contemporary art wings of other galleries. He confirmed that they “won’t be giving contemporary art
quite such a concentrated presence at the museum in the future, but what it does signal is that there are more ways in which we can show contemporary art.” Given Penny’s reluctance to put on ‘blockbuster’ exhibitions, maybe it is best that the National Gallery do not attempt to showcase contemporary art, and instead leaves this to the Tate Modern
Bojan Fajric at the Baltic Gateshead A review of Bojan Fajric’s solo exhibition at the Baltic Centre for Contemporary Art in Gateshead, Newcastle. The Serbian artist deals with the tumultuous recent history of his birth country through film and installation.
and their staggeringly successful temporary exhibitions. A populist attitude may in fact be best for contemporary art – it is art that enrages and inflames; it makes people think, and it makes people question their fundamental views on art. The more people who have access to these works, the better. Penny has also called on artists to learn lessons from the past masters, and in doing so encouraged inertia and discouraged advance. Why criticise the fact that “so many of the conventions and techniques of western European art now seem distant or alien to artists working today”? If conventions die out, let them. They are natural things which are always changing. Like changes in language, convention in art is an organic process, and trying to cling on to the old way merely discourages innovation. There are still artists emulating the great masters, using watercolours and painting on canvas, but this has been done before. That does not mean it should not be continued, but we should not be surprised that new forms of art and contemporary work is given a disproportionately large allowance in galleries. It is developing; it needs attention, interest, and innovation to continue doing so. What it does not need is an art world heavyweight dismissing it entirely. Penny may be “uneasy with some aspects of the legacy of Marcel Duchamp”, but he should be careful in making sweeping public criticism of it.
online Welcome to the Visual Arts page, a brand new section in indigo. Started over the summer exclusively online, it has gone from strength to strength and makes its debut in print today. If you would like to get involved in the section in any way, please email visual.arts@palatinate.org.uk.
Tuesday 13th November 2012 | INDIGO
the back page
crossword ACROSS 1 Against order 501, honour tucked behind small pass away beside conservationalist end of valley without direction (13) 10 On the very edge of guillotined debt period before starting cost is appended (9) 11 Expert exchange bird’s head by first of month (5) 12 Spot foreign or ancestral unawareness (9) 13 Mouldy chocolate? (7) 15 Unravel ten wine tangle (7) 17 Pleasant fruit lacking in energy (7) 19 Take chariot for a whirl – giving it beans! (7) 20 Always jealous of yearround foliage (9) 23 Enter hiding within Putney (5)
photography competition
24 Where to withdraw accountants’ pivotal ethos tip (9) 25 A small part striking C around orchestrated G meant finely splitting up (13)
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2 Announce erroneous reduction (9) 3 Monsters found in gorse (5) 4 Sensitive the day before accommodating Test Institute (7) 5 Powerful verb correctly conjugated (7) 6 Above the line of hilltop after new hesitation period (9) 7 Vile, contorted force will brighten things up (5) 8 What something easy isn’t (6,7) 9 Misjudge half of Sunday before beginning scones in time (13) 14 Juvenile fling over ledge teetered (9) 16 Cognition disguised in false identity (9) 18 Sugary treat to be had without tea ahead of foremost half of clergy (7) 19 Receiver locked in ant shed (7) 22 Eastern royal triplets divided by love by mistake (5)
they said what...?
“I like work; it fascinates me. I can sit and look at it for hours.” - Jerome K. Jerome Sudoku Puzzle - Medium
sudoku Difficulty level: medium
Winning entry: Marchers on Remembrance Sunday, by Samuel Spencer We want your best photos! Next edition’s theme will be ‘unexpected’. Email them to indigo@palatinate.org.uk by midnight Friday 16th November for the chance to be published!
www.sudoku-puzzles.net