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Month: March 2020

In conversation: Winsome Pinnock

Winsome Pinnock is an award-winning British playwright, academic and dramaturg. She has been referred to as “probably Britain’s most well known black female playwright”, with The Guardian calling her “the godmother of black British playwrights”.

When she was studying English and Drama at Goldsmiths University, she was invited to join the Royal Court’s Young Writers’ group after submitting a play she wrote to them. Her professional career was kickstarted when she was commissioned by Liverpool Playhouse Studio as a result of a rehearsed reading of her writing by the Royal Court.

Pinnock wrote her upcoming play, Rockets and Blue Lights, because of a desire to represent the Black British experience in Britain with her own personal take. Although she began this project by researching Windrush, when her mother – who was a Windrush generation immigrant – passed away, she started to think further beyond that period in history, and turned her focus to the transatlantic slave trade.

Pinnock knew that she did not want to write about famous Black Victorians, because they are associated with a narrative of triumph, about how heroic they were and how they were the first at what they did. Instead, she wanted to write about ordinary people and went about reconstructing their lives the way a historian might do.

She explained how difficult it is to reconstruct the lives of Victorian black people because their lives were not recorded in the archives, and their voices were silenced because of enslavement.

Pinnock also deeply believes that historical drama is also about the present. Therefore, she wanted to write a play where the past and present were in dialogue with each other, in the form of a narrative that moves back and forth in time.

Rockets and Blue Lights is inspired by J.M.W Turner, a British artist who produced the paintings The Slave Ship and Rockets and Blue Lights. The Slave Ship, which was originally titled Slavers Throwing overboard the Dead and Dying—Typhoon coming on, is about illustrated Black Bodies in the ocean. The painting Rockets and Blue Lights was about how sailors would send out flares to warn others that they were in shallow water, but Pinnock cryptically said that she used artistic licence to give the rockets a “different meaning”. Turner’s work on history is innovative and complex, and she wanted her play to reflect that.

Pinnock also discussed the difficulties of researching the theme of enslavement. “You don’t feel as if you are reading about something that happened hundreds of years ago; you feel as if it is happening now”, she said firmly.

Pinnock said that she found her research very depressing, and she does not want people to feel about her writing the way she felt during the research process, because she simply “can’t see the point”. She had asked herself whether her ancestors would want her to experience the trauma that they had to deal with, and she knew that the answer would be no. Instead, she wanted to deal with the suffering in a different way and hopes it will surprise people.

Though there are some challenging scenes in the play, she wanted the audience to think critically about its representation of suffering and how it is reproduced. With Rockets and Blue Lights, Pinnock wants to ask the question: What do we need to do with history?

Rockets and Blue Lights runs at the Royal Exchange Theatre from 13th March until 4th April 2020.

Coronavirus false alarm at Oak House

The University of Manchester has confirmed that a video today showing a medical practitioner in a hazmat suit entering student halls was a false alarm.

The University has issued a statement to The Mancunion certifying that the student does not have coronavirus:

“Paramedics attended the scene following a 111 call. Having examined the resident they are content that the person in question is not at risk of coronavirus. Ambulance staff have now left the site.”

The event, which took place in Fallowfield campus at around 12pm, was caught on camera by first year student Charlie Gibbs and is being shared across social media.

Charlie told The Mancunion that he does not personally know the student who was being visited but that he saw the ambulance arrive “a little before 12pm” before leaving with the patient.

He then witnessed the ambulance return, explaining that it merely “dropped off the person and drove off.”

The flat is believed to be part of Beech Court in Oak House.

Updated 15:18 March 10th.

Students occupy University Place in solidarity with UCU strikes

Students have begun a planned four-night occupation of University Place in solidarity with striking lecturers.

The occupation started on Monday evening. It is thought that at least ten students are involved. It has been organised by the University of Manchester’s branch of social justice group People and Planet.

They are protesting in support of University and College Union (UCU) members ‘four fights’ strike, which culminates in a full five days of industrial action this week.

“At 7:30pm, a group of students from People and Planet UoM and  Students Support the Strikes UoM occupied University Place in solidarity with UMUCU and all striking staff,” reads a statement on the People and Planet Facebook page.

UCU members at 74 universities across the country are striking for 14 days over pensions, pay, working conditions, and casualisation. Each night of the occupation aims to highlight a different one of the four issues, starting with the BAME and gender pay gap.

“Tonight we highlight one of UCU’s four fights: the gender and ethnic pay gap in higher education. For the University of Manchester specifically, the gender pay gap currently stands at 18.4% and the BAME pay gap at 31.4%. We support the demand to close these pay gaps and work towards full equality within higher education.”

The University has said that it “supports the right of any student to protest peacefully and legally,” and its priority is ensuring that “we do everything we can to minimise disruption to other students and to our staff.”

Simultaneous occupations are happening at other universities across the country, including Liverpool, UCL, Nottingham, and Exeter.

UoM People and Planet have carried out several previous occupations, most recently in November when they occupied the John Owens building in protest of the university’s investments in fossil fuel companies.

Photo: UoM People and Planet

The occupation has been welcomed by UCU members on twitter, with UMUCU tweeting “New rule: Minimum 90% grades for students occupying over #FourFights. You have clearly outgrown our teaching and now we are learning from you.”

A University of Manchester spokesperson said:

“The University of Manchester supports the right of any student to protest peacefully and legally. However, our responsibility as a University is to ensure that we do everything we can to minimise disruption to other students and to our staff.

“With regard to the current industrial action, the issues of pay and USS pensions are negotiated at a national level and constructive discussions are continuing at present.

“As an institution, we take our commitment to equality, diversity and inclusion extremely seriously and share many of UCU’s concerns on conditions and are seeking to address these.

“For example, this is demonstrated by our *published targets to increase the percentage of women in senior academic positions to 44% and to redress the under-representation of BAME men and women in Professional Services (PS) and academic positions.

“The actions we are taking focus on ensuring we have fair recruitment, selection and promotion policies in place. These procedures are actively reviewed to ensure they are accessible and free from bias.

“We understand there is still work to do, but we take pride in the wide range of support that is available to all our staff.”

Occupiers joined staff on the picket lines on Tuesday morning. The occupation is expected to continue until the end of the week.

“*You can find more information on these issues in our latest Gender Pay Gap report and Ethnicity Pay Gap report which we publish annually. For more information on how industrial action students can also visit Strike action: Everything you need to know.”

 

Review: Colour out of Space

It’s a miracle to think, of all Lovecraft stories, Colour out of Space is the first one to get a proper modern day film adaptation. When more well-known properties like In The Mountains of Madness and The Call of Cthulhu spent years in development hell, it’s this slightly more niche story about scary colours that fits the bill. It makes you feel lucky that this new film, directed by Richard Stanley, is as violent, scary and good as it is.

In Colour out of Space, a mysterious meteor falls into the backyard of a rural family house. Over time it starts to emit a strange neon pinkish colour that doesn’t seem of this world, and slowly begins to contaminate everything around it. Mysteriously coloured plants start growing on the land, the water starts to cause strange hallucinations and the animals on the farm begin to react weirdly to the light. Throughout the story, things are constantly escalating and becoming more bizarre and vibrant.

Stanley’s direction helps to keep things steady and the audience engaged. He seems very much influenced by Stuart Gordon’s Lovecraft adaptations of the 80’s (to the point where one of the film’s most impressive practical effects mirrors the most famous shot in From Beyond), and he does a good job of keeping a steady descent from a normal family setting into out-and-out chaos. Not to mention the use of practical effects is always a welcome shift in modern cinema, and some of the violent and painful images Stanley brings to us here will last long after the credits roll.

The film is also very well cast, with Nicolas Cage playing the father of the family and delivering his expected manic energy tinged with something far more sinister as he slowly becomes possessed by the alien force in the meteor. Cage is used very well here, able to play an offbeat wholesome dad in the film’s early moments, to an unhinged maniac as the madness takes hold. It’s great to see his wacky independent projects, considering this and Mandy are getting some considerable appreciation.

3/5

Review: Little Joe

Austrian director Jessica Hausner’s first film in the English language certainly leaves an impression. Hausner’s Little Joe takes what could be a simple B-movie plotline about a newly mutated breed of plant capable of making humans disturbingly devoted to it, and delivers one of the most visually interesting and ambitious independent films in recent memory.

Little Joe manages to capture an incredibly unnerving atmosphere. The screenplay, written by Hausner and Geraldine Bajard, follows recently divorced mum Alice (Emily Beecham) who works as a plant breeder engineering the titular organism.

As the film’s events progress and Alice starts to notice the slight changes in behaviour of those around her to care so much for the plants, including that of her own son, the film does a fantastic job of making you feel as trapped as she is.

There’s this constant dread that pervades the film and an inner understanding that something awful is soon to happen. Beecham’s performance is also important here, as she does a terrific job navigating her character from a firm objective scientist, to seemingly the only person unaffected by Little Joe, trying to make sense of what’s around her.

Beecham suits the role well, not least alongside a tremendous supporting cast including Ben Whishaw as her assistant, who manages to turn his typical geeky charm into something far more sinister as one of the film’s earliest infected characters, and we become unsure of how much we can trust him.

On a visual level, especially in terms of its use of colour, Little Joe looks gorgeous. The cinematography, with its use of long still takes, does a tremendous job of capturing the slowly ever increasing sense of dread in every scene. Moments where the camera is zooming or placed in areas just off from the character’s faces create an atmosphere where something is very wrong but you can’t always tell what.

That’s not even mentioning the film’s beautifully chilling colour design, which especially gets to shine when the Little Joe flowers bloom and we get to see them sprout into vibrant reds under warm purple lighting.

Hausner has succeeded in creating an effectively anxious film in which it’s difficult to tell who to trust. Fueled by top notch performances, an intense and nerve wracking script as well as beautiful cinematography, this may have been overshadowed by the (admittedly deserving) Parasite at Cannes, but it definitely deserves to be seen.

4/5

Death Row Dinners: Musician Edition Part 2

Back again for another installment of Death Row Dinners. Though we’ve previously covered local musicians – this time we’re going more high profile.

Prince: According to NME, the late Prince was famous for cooking breakfast. His backing singer once disclosed that his favourite breakfast was scrambled eggs, for which he had his own secret recipe: curry and cheddar cheese.

David Bowie: Food-based publication The Daily Meal claimed that Bowie’s favourite food of all time was shepherd’s pie. Gotta love him.

Mick Jagger: According to those closest to the rock legend, Mick’s favourite foods are cherries, limeade and anchovies.

Madonna: Following a strict ‘macrobiotic diet’, Madonna’s personal chef Mayumi Nishimura prepares her favourite dishes such as ‘sauerkraut with thyme’ and ‘tofu tartare’.

Lady Gaga: The Italian-American icon loves turkey burgers and pasta apparently. Her favourite dessert of all time is panna cotta.

Rihanna: According to Rihanna’s personal chef, Debbie Solomon, Rihanna loves the food of her Jamaican, Guyanese heritage – with a lot of plantain, spice and old bay seasoning. Apparently she specifically asks for the chicken exclusively from the drumstick.

 

New exec hail huge win for “underrepresented students” despite cheating controversy

In a night filled with emotion and controversy, the University of Manchester’s Students’ Union has elected its first ever all international roots executive officer team.

All eight roles were filled by either international or Black And Minority Ethnic (BAME) candidates, including two Chinese students for the first time. Seven winners were new candidates, with General Secretary Kwame Kwarteng being the only incumbent to retain his position. 

Just under 7,000 votes were cast in total, with Manchester SU’s decision to remain affiliated with the National Union of Students (NUS) and Part Time Officer (PTO) results announced alongside the exec vote.

However, the night was marred by allegations of cheating against Kwarteng and newly elected Postgraduate Officer Nana Agyeman, both of whom refused to comment. The allegations are currently being investigated by the SU.

In a Facebook status, Kwarteng wrote: “It’s yet to sink in that for the first time in Manchester Union’s history we have eight (8) international roots duly elected as Uni of Manchester Students’ Union executives for the 2020/21 academic year. 

“We were voted for by students who believed in us not by the colour of our skin or English proficiency but by the impeccable manifesto each of us had.”

Some candidates who failed to win positions reached out to The Mancunion over electoral misconduct concerns which they have raised with the Students Union. This is the second year running that cheating allegations have surrounded the elections, with Kwarteng once again among those accused of breaking rule five, which states that “Campaigners must allow voters to cast their ballot freely and must not communicate with voters in any way once they have begun to complete their ballot.”

“People should come forward if they were forced to vote or had anybody watch over them,” one candidate said.

“It’s important that people are aware of the election guidelines and that complaint forms are available – at the moment this isn’t common knowledge. We will start the fight for fairer elections, starting with getting all the information.”

Several of the winning candidates used their speeches and interviews to address issues of inclusivity and racism on campus, with incoming Welfare and Community Officer Junior Usina accusing the Union of “fail[ing] to build an inclusive and very very open community,” and incoming Liberation and Access Officer Yueru Du telling Fuse TV she would “try and work very hard [to] equip the students with the skills and the resources to tackle the institutional racism.”

In his victory speech, Kwarteng vowed to “make sure every student has the experience that they were promised before they came here”, and said he would “to still represent the voice of the diverse students that we have on campus”.

In an interview with Fuse TV, he said: “I’m representing students and usually the underrepresented students is really key for me because I’m a black person, we are the minority here, so I think maybe…people may not see exactly what our needs are.

“Re-running was to just champion this and to ensure that the underrepresented groups are well represented and that their needs are being addressed.”

The night also saw students vote for the Union to remain affiliated with the NUS, with 88% in favour. Hatty Ruddick, the current part-time Women’s officer at Manchester SU who sits on the NUS Women’s Committee, called the result “important”:

“Manchester was one of the Students’ Unions that founded the NUS – so it’s really important that we’ve stayed in, it means we can continue having national representation, we’ve still got a seat at the national table.” 

The full incoming exec team is as follows: Yueru Du, Liberation and Access Officer; Chenze Ma, Women’s Officer; Laetitia Alexandratos, Education Officer; Ecem Yalcin, International Students’ Officer; Nana Agyeman, Postgraduate Officer; Carol Tiriongo, Activities and Development Officer; Junior Usina, Welfare and Community Officer; and Kwame Kwarteng, General Secretary.

The new team will take office August 2020.

Colonial Museums in the 21st Century

‘I understand, why I went cold, people over a hundred years ago were using those items and their spirit still carries on.’

The man behind these words is Donald Bob, an Aborigine speaking to a room packed with journalists during a repatriation ceremony at the Manchester Museum. Bob is recounting the moment he prised open a dust-covered box of scared items stolen long ago. Whilst visiting a storeroom in a British museum, Donald felt he was reconnected to an eternal spirit. Such a feeling will sound alien to most Westerners, yet Donald’s words were utterly moving and made the powerful effects of repatriation clear.

The conversation surrounding where museum collections belong is growing louder and louder. The conversation is long overdue. Activists argue museums born of empire should be decolonised. Decolonisation refers to the need for museums to clearly state how they benefitted from their colonial and racist past. It also relates to the assessment of power imbalances via repatriation.

In 2017 Emmanuel Macron skyrocketed the debate into the mainstream. Macron said, “I am from a generation of the French people for whom the crimes of European colonialism are undeniable and makeup part of our history.

“I want the conditions to be created for the temporary or permanent restitution of African patrimony to Africa.”

In the Marvel blockbuster Black Panther, Eric Killmonger, corrects the snobby museum curator of the Museum of Great Britain on the provenance of an axe: “It was taken by British soldiers in Benin, but it’s from Wakanda. Don’t trip – I’m gonna take it off your hands for you.”

When the woman replies that the axe is not for sale, Killmonger responds, “How do you think your ancestors got these? Do you think they paid a fair price? Or did they take it, like they took everything else?”

A British museum returning stolen artefacts at the request of indigenous Australians. A French president seeking redemption for the crimes of European colonialism. A Marvel blockbuster making 1$ billion in 26 days while critiquing the colonial museum. Are we witnessing a cultural shift in how museums interact with their imperialist pasts?

Not quite. In Britain, progress has been patchy. Whilst university museums, such as Manchester and Edinburgh, have embraced the movement to return stolen objects. Much of the sector lags behind, sinking into a quagmire of inaction. The opening account of Donald Bob’s spiritual reunion is an example of few and far between.

In 2018, the governor of Easter Island tearfully begged the British Museum to return its Moai statue: “You have our soul,” she said. Visitors to the British Museum do not possess an intimate spiritual connection with the statues of Easter Island, passers-by see only a beautifully carved stone. Why deny those from Easter Island the connection they so deeply desire? The Museum could accept the Island’s offer of a freshly carved replacement, with little consequence except, perhaps, a loss of the statue’s aura. Which is a small price to pay, all things considered.

The British Museum has dismissively brushed aside recent pleas from Greece regarding the return of the Parthenon Marbles. The institution’s rejection of compassion has proved it to be a cavalier, cocksure bully: reactionaries still rejoice in imperial splendour. No colonial museum has the right to reject claims to stolen objects.

A common fear voiced against decolonisation is that it will trigger a ‘race to the bottom’, the endgame of which being the extinction of collections. This will not happen. Not everyone is asking for their property back and plenty of museum collections weren’t stolen. Museums will continue to thrive if they confront their past. All too often in Britain, repatriation debates are about loss. Instead, they should be focused on what there is to gain: fresh insights, deeper understanding, and a sense of global connectedness.

Those keen to protect the imperial loot of museums often fall back on the global institution argument. The artefacts they display are the common property of mankind and make up the tapestry of world culture. Only robust and long-standing institutions can preserve and contextualise such a delicate tapestry, so the argument goes. The global custodian argument doesn’t hold up. If context really matters, why not return the Pantheon Marbles to their original home?

All too often, this rosy promise goes unfulfilled. Museums fail to communicate that behind beautiful objects lies trauma. Museums sanitize the pages of history. They deny and forget. This occurs through how objects are described and classified, the luxuriousness of the building and the decision process behind what’s on display and what’s hidden. In order to survive the 21st century, colonial museums must engage with their imperial legacies properly.

Colonialism and climate change: how renewables may continue this toxic legacy

Today’s climate crisis is inextricably linked to the continuing reality of colonialism. The recognition of this is essential if we are to deconstruct the main driver of environmental degradation: capitalism. What we must be wary of, however, is the continuation of this colonial legacy and its damaging environmental impact as we attempt to make these changes, specifically in terms of our shift towards renewable energies. 

The attitude that specific peoples and land are free for exploitation due to an inherent inferiority is the basis and justification of countless colonial atrocities inflicted on both humans and the natural world, often simultaneously. This need to dominate is pervasive in Western geopolitics and economic policy.

Diamond mining across Africa, for instance, has been so lucrative because of at least a century of brutality that stems from the colonial power relations that were established during Empire. The economic interest of Western governments and companies, such as De Beers, has exacerbated and undoubtedly fueled violence, buying into the tellingly named ‘blood diamonds’ market. Not only have human lives been destroyed, but areas of Sierra Leone have seen whole ecosystems collapse around the mines due to decades of irresponsible and dangerous mining, and now have been left abandoned. 

The connection between environmental degradation and colonialism unfortunately will not just disappear with the shift towards renewable energy. Demand for lithium for instance has doubled between 2016 and 2018 alone as it is a key component of much of our green technology, such as electric cars.

Lithium is predominately located in the ‘Lithium Triangle’ that constitutes parts of Argentina, Chile and Bolivia. It is even believed that the Bolivian Andes may hold 70% of the world’s Lithium supply. The potential for a plethora of issues is apparent here, from exploitation to environmental damage, and indeed they are beginning to arise. Not only does lithium extraction require vast amounts of water in an already dry area, but both air and soil can be contaminated in the process, deeply harming both the natural world and the local communities that rely on it. 

Lithium is not the only contentious resource when it comes to renewable energy. Cobalt, another key element in electric vehicles, is sourced almost exclusively in the Democratic Republic of Congo and other areas of central Africa that have colonial histories. Cobalt is a particularly toxic metal when extracted but the ease with which this can be done means unsafe mines often spring up, some even using child labour. 

What these issues highlight is that a Western shift to renewable energy is not a quick fix and certainly will go no way in terms of evening up global inequality or solving the climate crisis. The environmental and human impacts of our supposedly green policies need to be thoroughly examined: we should not feel that we have simply done our bit because we’ve replaced our diesel-guzzling Toyota with a shiny new Tesla.

Capitalism as an economic mode is reliant on exploitation: its gestures of morality should always be scrutinised to unveil their ultimate vacuous and oftentimes violent nature.

Strike Update: signs of progress as students call for compensation

President of the University of Manchester branch of the University and Colleges Union (UMUCU), David Swanson, revealed on Monday that negotiations with the university seem to be heading in a positive direction.

Speaking to The Mancunion, he expressed his optimism for the discussions regarding the issues relating to pensions and forfeits in terms of casualization.

Heading into the third week of strikes, no concrete decisions have been released to the public due to the confidential nature of the negotiations. Nevertheless, Swanson claimed that staff are still confident that these strikes will be beneficial in the long run for fair working conditions.

In conversation with The Mancunion, he said: “Talks are kind of secretive, they’re not allowed to say what’s going on within them, but there’s a mood of optimism that what we’re doing on the picket lines and strikes is really starting to have an effect and shift the employers.”

He also expressed his awareness of the trouble caused by strikes for both staff and students: “It’s difficult for our members, 14 days is a long time to be on strike but I think people are staying very solid. Everyone’s mood is still high and we’re fairly confident we just keep going and going until we need to.”

Swanson also praised the overwhelming support for the lecturers that the students had shown thus far. He admired the number of students that put energy into joining the marches and the picket lines, as well as their efforts to attend the classes that had not been canceled.

He also urges students to “send emails to the Senior Leadership at this university and saying that you’re right behind the staff would be the most useful thing to do.”

A PhD student and part-time seminar leader at the university also encouraged students to email, recommending that “students complain to the university itself, not the lecturers.”

She also highlighted the confusion within her position studying as a student while teaching in certain classes. She said: “One of [the course unit directors] has given me more free reign to choose whether I continue to teach during the strikes. The other has asked me not to teach my seminars during the strike.

“I do feel for the students on the other course whose seminars I won’t be teaching. But as an aspiring lecturer I also fully support the strike.”

Despite the support, students are responding to the strikes with demands for compensation ranging from reimbursements to academic aid. Some called to be reimbursed for the hours missed while others requested extra revision sessions.

Many argued that asking for reimbursements would support the strikes. Law student Becca Windsor De Taboada said: “Putting pressure on the university to compensate students for missed hours doesn’t counteract the effectiveness of the strikes, it complements it.

“Universities try to claim this awkward middle ground whereby they feel it’s appropriate to charge students for their education but not appropriate for students to demand refunds if this service is denied to them.”

Other students compared the situation to a business deal, claiming students had a right to compensation due to not receiving the service they paid for. Politics and International Relations student Finlay Henderson said: “If you pay for a service and don’t get what you pay for you’re entitled to a partial refund.”

First-year law student Liam Beevor added: “You’re in a contract with the university. They agree to provide you with an education and you agree to pay fees.”

Not everyone has called for compensation, though. Many students believe the only outcome from these strikes should be a change in the treatment of staff at the university. When asked what compensation she would like to receive, student Anna Townend simply said: “For university staff to have comfortable working conditions and fair and sustainable pay and pensions.”

 

In Conversation with Mark Thomas

A lot of people have come to bemoan comedy as ‘too political’ political and overly preachy in recent years. Mark Thomas has a simple answer to this: “why the f*ck should I care?”

It’s a bold statement that could come across as nihilistic to the unaware, but Thomas, with his unique brand of comedy-activism, is upsetting exactly the right people. So much so that he’s earned himself a spot on the domestic extremist list.

His latest tour, 50 Things About Us, has just kicked off and sees Thomas playing an extraordinary number of venues from Aldershot to Winchester to Leicester Square. Far from a regular standup show that might act as a couple hours of escapism for its audience, the 50 Things tour will ask some big questions about the very fabric of our nation and who we think we are. Thomas promises ‘a show about money, history, songs, gongs, wigs, unicorns, guns, bungs, sods of soil and rich f*ckers.’

And it’s those ‘rich f*ckers’ that Thomas has spent so much of his career trying to get the best of. Approaching the arts from a multimedia standpoint, anti-establishment politics have been at the heart of much of what Thomas has produced over his career that now spans four decades. While some may feel disheartened after so long trying to effect change, Thomas simply says he does what he does “because it’s the right thing to do”, and “it’s the thing that I’m good at”.

That sense of duty came through during a lot of our conversation. Just as Thomas uses his wide array of talents well – with him producing any kind of media one could think of over the years – he believes in the ability of anyone to contribute to society, no matter how small. “People get on and do things”, he quite frankly tells me, in answer to a question about how individuals can best help to change our society.

As a fervent supporter of grassroots movements, Thomas has great faith in their power to inspire people in both art and politics, despite “no idea” where our country’s future political influences are going to come from. He believes the political sentiment within art never goes away, and smaller, community run spaces are the way forward. In the meantime, larger institutions such as the Tate, which Thomas dismissed as a “middle-class Legoland”, “can just get out of the way.”

Instead, more community focused spaces should be prioritised and supported. Thomas praised HOME in Manchester as one such example, also talking about The Foundry in London Bridge, a space that allows anyone to exhibit providing they have a large enough body of work and give one piece to the venue. Such spaces allow people without the instant name recognition needed to ensure mass ticket sales can still have their work seen and their voices heard.

This support for grassroots movements extends very much to politics. Thomas sees our current situation as an “uphill struggle against someone happy to play with race in a way that is really disturbing,” and forsees a very difficult five years ahead. But this uphill struggle is “part of the job” and not something Thomas is alien to.

The people that “get on and do things,” and continue their activism around issues like poverty and the climate, got a lot of praise from Thomas, but he believes there is still much more to be done, and much more that can be done by just about anyone.

“People take different approaches, based on how they live and the kind of people they are,” he says. This very personal, everyman approach to activism is what makes Thomas so popular and relatable to those who consume his content.

Though he himself is not afraid to make moves that most would or could not – such as walking the entire Israeli Separation Border, or leading a campaign against a hydroelectric dam in Turkey – the ‘little guy’, or those without power, are always at the heart of everything he does.

From an early age, whether attending private school with a scholarship, or joining the miners’ strikes in the North, Thomas has despised “those who bully others in a weaker position”, describing those who abuse their power as “morally reprehensible”. This staunch belief in empowering people to right the seemingly insurmountable wrongs of society is what keeps drawing people to his odd brand of charisma, that’s laced with a perfect amount of cynicism.

While being placed on a Domestic Extremist watch list would alarm most, Thomas still had much more to say about the issue of corporate surveillance. There is much to be said for how readily we sell away our privacy to companies like Google, who sell it on to anyone with a big enough wallet.

Thomas also warned about the rapid “privatization of space and private police forces” as we too often focus on worries of an authoritarian state, while those companies we empower with our rampant spending quietly grow more and more influential in aspects of our day to day life.

A man like Mark Thomas is full of wisdom, warnings and musings to make you reevaluate your place in our ridiculously complicated society. Get even more of his insight into our world at his upcoming tour, 50 Things About Us, or scour the internet to find some of his vast array of works across equally vast mediums.

Art In Mancunia: Rebekah Knox

The Art In Mancunia event is drawing nearer and looks rather promising.  The White Hotel will be hosting the event and giving a space for an array of creative individuals to exhibit their work. Rebekah Knox is a 21-year-old social anthropology student and photographer who will be present at the event.

Knox has always found creating things exciting but it was her particular love for fashion that kick-started up her photography journey. She realised that she wanted to take photography more seriously after interning at a modelling agency and being asked to style a test shoot. Her tasks included assisting with the photographer, the makeup artist and organising the model’s clothing.

This inspired her to set up photoshoots with her close friends and experimenting with different types of photography styles. After some trial and error, Rebekah found her passion: fashion photography.

What she enjoys about photography is that the photo she captures can be interpreted in ways that differ from individual to individual. She also finds it liberating, in the sense that she is able to take photos wherever she may be.

In her first year of university, she released the Warehouse Project series. Although she had only just experimented with film, she was Warehouse was a huge part of the Manchester clubbing scene and thought that shooting the scenes with a film camera would work well.

Warehouse Project - Rebekah Knox
Warehouse Project – Rebekah Knox

Her aim was to explore and portray the type of people who attended these events and as she went from corner to corner, she realised that like many spots in Manchester, The Warehouse attracts a variety of party-goers, who range in age.

Another thing that made her eager to photograph Warehouse was the fact that it was completely out of her comfort zone and so, she wanted to challenge herself. Normally, she focuses heavily on fashion photography, which means that she orchestrates everything that happens within the shoot.

On the contrary, the Warehouse Project required her to take candid shots and she chose to do the entire series in black and white to give her images a timeless look, leaving viewers wondering which year the shots were taken.

Warehouse Project - Rebekah Knox
Warehouse Project – Rebekah Knox

Knox hopes to present some of her best work at the A.I.M event, where we will be able to get a first-hand look and ask her questions ourselves.

For more of her work, follow her on Instagram @photosbyknox

Film fashion icons: Thirteen’s Evie Zamora and Tracy Freeland

There are few films that convey the power of clothes quite like Catherine Hardwicke’s little known debut, Thirteen (2003). In this gritty coming-of-age drama, the quiet but troubled Tracy Freeland falls in with the rebellious and popular Evie Zamora.

Their entire friendship is defined through clothing. Tracy begins the film in childish pastels and appliqued jeans; she is teased for her socks by Evie’s friends. As a result, she makes her distracted mother buy her some more adult clothes which catch Evie’s attention and as a result gets Tracy invited to go shopping on Melrose Avenue with her.

So begins a plot teeming with drugs, promiscuity, adolescent angst and teenage devotion. As the plot gets wilder and their antics get more dangerous, their clothes darken and rip, and their hoops and hair get progressively bigger.

The film is a time capsule. It’s an ode to a generation growing up in the dregs of grunge, around the time Avril Lavigne’s moody Let Go was released and just before the emo and scene phases really took off. It’s fantastically nostalgic in that sense, but the reason it feels so raw and hard-hitting is because every woman remembers how it felt to desperately try and dress older than you are, copying teenage girls but never quite getting it right.

Whether you grew up with Clueless or Mean Girls or Pretty Little Liars, it’s a rite of passage. What I particularly appreciate about Thirteen is how unlike other squeaky clean teen films it is, and this applies to the fashion especially.

Melrose Avenue, the epicentre of Evie and Tracy’s friendship, is filled with lewd t-shirts, glittering piercings and the perilously low slung jeans that become their staple. Evie and Tracy dress alike; the feverish obsession of a first adolescent friendship perfectly evoked by their twinned outfits, from matching nameplate necklaces to studded belts and exposed thongs.

There’s a scene I particularly like where the girls sneak out of a family film night and go out in Hollywood. It’s the peak of their friendship, just before everything begins to crash and burn. They’re both so alike, hair teased up and hanging down in pieces around their face, wearing the same shade of lipstick and frosted eyeshadow and dressed in all black.

Everyone remembers that girl you knew at thirteen, even if you’ve shrugged each other off like the clothes you used to wear.

Opinion: The continued success of Roman Polanski is a stain on the film industry

Roman Polanski has been on the run from American authorities for over 40 years after admitting the statutory rape of a 13-year-old Samantha Gailey in 1977. Polanski has since faced numerous allegations of rape and sexual assault. But unbelievably, given the cultural revolution of the MeToo movement, the Franco-Polish director has continued to make films and be celebrated for his work.

His recent Best Director win at the Césars Awards, the French equivalent of the Oscars, for his film J’Accuse (An Officer and a Spy), was seen as a huge slap in the face to feminist activists in France, with prominent women in the French film industry walking out of the ceremony when his win was announced. This walkout included actress Adèle Haenel who has recently revealed she was sexually abused as a child by another director. Haenel shouted “shame!” as she left and was later heard saying, “bravo paedophelia!”, in the lobby of the Salle Pleyel, where the awards ceremony was held. 

Feminist groups in France have been critical of the Césars since the 12 nominations for Polanski’s film were announced, leading to a protest outside of the venue before and after the ceremony. Polanski did not attend the event saying he feared a “feminist lynching”.

Alexis Poulin, a French journalist, said the award reveals a deep cultural problem in French society: “Polanski fled and found refuge in France. In France, we accept rapists on the run because they’re artists. It’s a problem of French society.” And while that certainly may be true in France, with many showing support for Polanski by choosing to focus on his ‘art’ rather than his private life –  as former actress Bridgette Bardot did on Twitter – the blatant disregard for Polanski’s crimes extends across the film industry.

Plenty of actors and actresses have worked with Polanski in the 40 years since he admitted to the rape of a minor, including Kate Winslet, who talked of her “extraordinary experience” she had working with him, explaining: “you put it to one side and just work with the person”. Winslet has since talked about the “bitter regrets” she has about working with certain individuals in the industry, saying: “Sexual abuse is a crime, it lies with all of us to listen to the smallest of voices”.

If only she knew beforehand?

But, of course, she did know. There is no ignorance in this case, not like for those who worked with Harvey Weinstein before his crimes were unveiled; there are ‘no small voices’ needed when it comes to Polanski – his crimes are clear for everyone to see. And Winslet is not the only one who can make excuses for this known rapist. Quentin Tarantino went beyond working with Polanski and instead tried to defend Polanski’s admitted rape of a 13-year-old girl. Talking to Howard Stern in an interview the director said: “He didn’t rape a 13-year-old…it was statutory rape. That’s not quite the same thing… He had sex with a minor, all right. That’s not rape.”

Further, Polanski was a member of The Academy as recently as 2018, at which point he was finally expelled alongside Bill Cosby. You just have to wonder why it took 40 years for them to finally take action? And why were they still honouring him as recently as 2003, bestowing him with the Best Director award for The Pianist? He should not have been up on the stage in the first place and he should have not have been eligible for awards for such a long period of time after his crime.

Polanski’s most recent win certainly makes Harvey Weinstein’s rape and sexual assault conviction seem like a hollow victory for survivors around the world. And while it certainly is still a massive victory for his victims, how can we say that the industry, or society at large, is making progress in tackling a culture of abuse, in finally listening to survivors, when a rapist such as Polanski can continue to hold such a powerful position in the industry? Polanski’s crimes are not new, nor have they recently been uncovered; they have been there for the world to see for over 40 years. There is no dispute over the facts, no ‘innocent until proven guilty’, no ‘she was asking for it’; no excuse or justification for people to hang their hat on – Polanski raped a 13-year-old girl and only a select few in the industry seem to care.

Polanski’s continued success tells us that the film industry doesn’t really care about survivors, it doesn’t really care about confronting a culture of abuse and it doesn’t really care about making a cultural stand. This is just another in a long line of moments in which Polanski’s crimes have been overlooked in favour of his artistic abilities, another rapist who we are told we must separate the personal from the art, so we can appreciate ‘genius’. And until we hold them to account, all of them to account, then we cannot take the film industry, or any other industries like it, seriously when it comes to tackling rape and sexual assault and the culture of men abusing their positions of power.

Trials of a new drug have shown it can ease symptoms of a chronic cough

Two trials of a new drug, referred to as Gefapixant, has shown at low doses to ease distressing symptoms of a chronic cough with very little side effects.

Chronic coughing is thought to affect between 4-10% of the population, which can be caused by several factors such as asthma, gastroesophageal reflux disease, pneumonia, bronchitis and postnasal drip.

Researcher Jacky Smith, a Professor of Respiratory Medicine at the University of Manchester and consultant at Wythenshawe Hospital, said: “This drug has exciting prospects for patients who suffer from the often distressing condition of chronic cough”.

Although the drug can reduce the sense of taste at high doses, up to 50mg the effect of the drug does not impair senses. The study, published in Lancet Respiratory Medicine Today, shows that in a 12-week trial of 253 patients, 80% of patients had a clinically significant response to a dose of 50mg.

Results showed that a dose of 7.5mg reduced the coughing by 52%, 20mg by 52% and 50mg by 67% from baseline. However, around a quarter did not respond to the drug.

Both studies were randomised and double blinded, which means that none of the participants knew who received the treatment. The drug is now in two larger, global phase 3 trials, carried out to confirm and expand on the safety and effectiveness results from previous research.

This new trial is significant because no effective treatments for coughs have met clinical needs, and no new therapies have been approved in the last 50 years, says Professor Smith.

Interestingly, the drug was initially developed as a pain killer, until the researchers discovered it impacted chronic cough quite significantly. Gefapixant targets P2X3receptors in the nerves which control coughing, which was what the team monitored to see the drug’s impact.

Professor Smith added: “We can’t yet say when or if this drug will be available on prescription, however, if the phase 3 trial is successful then it would certainly be a major step towards everyday use”.

Chronic cough can greatly impact someone’s everyday life. Retired journalist Nick Peake from Warrington, has been suffering for 25 years from the debilitating condition. He said: “Coughing has blighted my life: every day without fail I cough for the first two hours…it wears me out…I’m thoroughly fed up with it and desperate for a cure to be found”.

Review: Ghost Stories

I’m not easily scared, but I was genuinely nervous to experience this “sensory encounter” of Ghost Stories. Reviews told of its “blood-curdling” jump scares and crafty plot-line, and I thought maybe I’d finally found a clever psychological horror that would scare me out of my wits. Before the play begins, the audience is plunged into a menacing darkness, and an ominous voice warns that entrees under 15s are unadvised, and that those of a nervous disposition attend at their own risk – that was probably the scariest part.

The Lyric Hammersmith production of Ghost Stories has been spooking audiences for ten years and inspired the 2017 film adaptation, starring writer Andy Nyman. It’s got credibility in abundance, and everyone else at The Lowry seemed enthralled by mysterious parapsychologist lecturer Philip Goodman and his tales of unearthly goings-on. I was intrigued by him, and when he asked for an audience show of hands about different perceptions of the paranormal, I really thought this would be a story that made me think. In the end, it just made me think about why there are so few horror stories that can master timely jump-scares and a convincing story-line without accidentally falling into the domain of cringe.

Professor Goodman, portrayed by Joshua Higgott, initially contemplates with the audience the interplay between our own consciences and what really lies “beyond”, showing images of various oddities open to ambiguous interpretation to aptly remind us just how much your head can play tricks on you.

The mood is set as he delves into his first ghost story – a friend of a friend, Tony Matthews’ (Paul Hawkyard) paranormal experience of a doll (not at all predictable) embodying his comatose daughter. There was only one moment of real suspense in this mini-story, and the climax was hardly unexpectedly timed, but it left me in high hopes for a chilling and mind-melding plot-line. I won’t give too much away as we were all asked to “keep the secrets”, but two separate stories follow, starring Gus Gordan as hopeful teenager Simon Rifkind and Richard Sutton as the rich and staggeringly pompous Mike Priddle. The actors were a credit to the characters, bringing them to life with a likeable authenticity, wit, and often, humour.

The set was used brilliantly, transforming in seconds into a forest, a nursery, a hospital room, and an eerie drain system that looked like it could have devoured the whole audience. The sound effects complemented the moments of heightened tension impressively – the audience reactions were plenty proof of just how effective they were at instilling a feeling of genuine terror. It was quite funny to watch strangers laugh with each other in embarrassment at how much they’d just jumped and screamed, so it’s no surprise that only audience reactions are recorded/photographed, and not the production itself.

Somewhere between the three stories, host Professor Goodman starts to lose face, showing signs of demonic possession, and the three stories are, thankfully, finally tied together in a dreadful showdown. I was confused at first, but after having time to reflect, it’s clear that the premise of the story is that the paranormal feeds on feelings of guilt and can prey on even the most innocent, unsuspecting of people.

The plot twist is good and makes overall sense, but I just couldn’t take it seriously – the events leading up to the finale were hyperbolic, and I was struggling to establish clear links amongst all the frantic action. The one necessity for me to actually enjoy a horror is a believable, candid storyline, which is what I regrettably feel that Ghost Stories was devoid of, relying on chaos and momentary, transient fear instead of proper fear that leaves you paranoid all night. For me, I felt like I was watching Most Haunted live on stage – I was kind of scared but I also kind of wanted to laugh.

That said, I am a harsh critic in the horror department, and everyone else seemed to thoroughly enjoy this spooky sensation. If you want a bit of a light-hearted scare that’s going to leave you shook up a couple of times, but that doesn’t really warrant the emissions of leaving the big light on all night, Ghost Stories has just that.

Ghost Stories continues its UK tour throughout 2020.

11 confirmed cases of coronavirus in Greater Manchester

More cases of coronavirus have been confirmed in Greater Manchester, with new patients reported in Wigan, Bolton, Oldham, Wythenshawe, Bury, and Trafford, bringing the total cases in Greater Manchester to 11 (at time of writing 5/03/2020). The virus has been spreading across Asia and Europe and 115 people in the UK have been confirmed to have contracted the virus. 

Public Health England are attempting to tackle the pandemic by introducing guidelines for individuals to self-quarantine if they suspect symptoms. Special pods have also been introduced at hospitals, where you can be seen and treated by medical professionals.

The Director of Public Health for Bury Council Lesley Jones said: “I’d like to reassure people that the risk to the general public remains low and Bury Council is working with health colleagues to do everything we can to stop the virus spreading and ensure the people of Bury are protected.

Students have noticed these new pods, which have been set up at St Mary’s Hospital on Oxford Road, on their commute to university.

Individuals with links to the virus have complained about a lack of coordination in containing the outbreak. A couple who returned from a holiday in Milan told the Manchester Evening News that they felt the control over the screening of holidaymakers returning to the UK was poor. They explained that on arrival into Italy they were screened and tested for the virus however on return into Manchester Airport on the 25th February they received no checks.

The escalation of the virus in affected areas such as Italy has had a huge impact on business and trade. The couple spoke of cafes closing early and large public gatherings being cancelled. 

Tweets from Italy have shown people emptying supermarket shelves of hand sanitizer and masks as well as stocking up on food and essentials in fear of being quarantined or put on lockdown. Italy currently has over 1,000 cases of the virus confirmed and a death toll of 52.

In response to the increase of local cases, Manchester students such as UoM third year Jodie Flowers, have decided to stock up on supplies as a precaution. Jodie told The Mancunion she bought herself “several cans of tinned food and extra loo roll so that if I get quarantined I can survive for 2 weeks.”

The rising number of cases has led to frenzied reporting from media outlets.  Students have commented on the number of social media alerts and posts every time another case is confirmed in the UK, with sponsored videos targeted at washing hands and how to sneeze correctly to prevent further spread of the virus. 

The University of Manchester has suggested to students who may be worried about contracting the virus to seek advice through the NHS 111 helpline and follow the information provided by Public Health England.

Number of rough sleepers in Manchester falls by over a third in 12 months

Figures show the number of people sleeping rough in the city-region has fallen 37% in a year and almost 50% in two.

The numbers are part of a nationwide rough sleeper count. Its results are based on a one night snapshot. Between November 2018 and November 2019, the number of those sleeping rough in Manchester fell by 90, the lowest figure recorded since 2015.

The figures are the result of a boom in charity work. In particular, Manchester’s ‘A Bed Every Night’ scheme is responsible. The scheme enables people to access help and move into long-term accommodation. Initially a response to the ‘Beast from the East’ that struck in November 2018, it has supported 3,400 people since.

Andy Burnham, Machester’s mayor since 2017, commended the compassion of Mancunians, saying: “Tonight in Greater Manchester around 450 people will be in shelters across our 10 boroughs – this is only happening because Greater Manchester has pulled together and raised funds to help people sleeping rough, alongside the goodwill of hundreds of volunteers.

“These figures suggest our approach is working and that the country could end this crisis much more quickly and save lives if the government was to help us fund A Bed Every Night and adopt it more widely.

“But we now also need a much greater focus on the causes of homelessness – since 2016 housing benefit has not kept pace with rent increases. It is not enough for Government to end the freeze – they must now restore benefits to levels of actual rents.”

The figures come days after the government pledged to reduce homelessness by investing an extra £236m. Efforts to tackle the homelessness crisis are increasing. Sustained investment is required to reserve ongoing trends, which saw rough sleeping increase by 488% in Manchester since 2010.

It is important to note that these statistics represent one night and neglect forms of homelessness that don’t manifest as rough sleeping.

Hero Training Club: “A new approach to fitness and wellbeing”

Society has generally accepted that having a healthy mind is just as important as a healthy body, and yet many exercise companies still neglect the impact that exercising one’s mental side can have on training the physical. Enter Hero Training Clubs!

The company describes itself as “a new approach to fitness and wellbeing” because their facilities prioritise physical training, as well as wellness. Yes, they have four unbelievably stunning work-out studios, but their space also boasts a range of wellness opportunities too. The club offers treatments such as sports massages, hypnotherapy, and physiotherapy (amongst others!), has trained therapists which provide individual counselling sessions, and nutritionists which can help budding athletes plan better diets.

In terms of physical training the space is organised into four categories of fitness, each with its own appropriately designed studio. Though there is a ‘just train’ membership available (as you would with a normal gym) the club prides themselves on their inclusive and very carefully calculated class-structure. Classes help motivate individuals more because everyone adopts a “let’s help encourage each other” mentality, even though it’s people you’ve never met. It’s really quite inspiring.

Firstly there are Cardio classes which are focussed around spinning. The spinning studio is really something to behold, fitted with colour-changing LED lights, state of the art spinning-bikes, a full cinematic projector screen and the most enthusiastic trainers you could imagine. I was offered to attend a ‘Party on a Bike’ class and was really surprised by how good it made me feel; as someone who doesn’t work out a lot I was beyond-pleasantly surprised by how motivated I felt after. The Rejuvenate studio is a zen space that hosts what I call ‘relaxing’ exercise, like yoga, forms of Pilates, and the very intriguing and oddly freeing ‘Animal Flow’ class. With all equipment sponsored by Lulu-Lemon, not only is the space perfect to work out the body and mind, but great for a candid Instagram pic.

htc studi
HTC Studios

Athletic classes focus on combining cardio with strength-conditioning, such as HIIT exercises or boxing, which improves cardiovascular fitness. But don’t be intimidated by the “push-yourself” attitude, the reassuring coaches will make you feel encouraged and safe even if you’ve never stepped into a gym in your life. Finally, Stronger classes are about developing strength and getting lean. And again, do not be ashamed of your noodle arms – if you want to train, no one here will tell you, you can’t.

They also run ‘Lunch and Learn’ sessions. These are opportunities for you to cool down after your workout with other members and even trainers to discuss a particular wellbeing topic. For example, ‘sleep quality’, ‘stress management’ and ‘positive psychology’ are three running currently. Imagine getting super pumped up with a group of people in the gym, and then all chilling out over protein shakes to discuss mental health – how has no one thought of this already? Plus, the more you go the more you’ll recognise everyone – the vibe is essentially for everyone to feel like a part of one big mentally-and-physically-happy family.

With membership packages starting at £62 a month, it may not seem ideal for a student budget. So why not head over and try out a free class before committing? Hero Training Clubs is giving you the chance to test out the space when you use the QR code below (if you’re reading this online, you’ll have to grab a copy of our print issue!). Bring a friend, grab a juice, and feel balance between your body and mind.

 

 

How to celebrate International Women’s Day

International Women’s Day is taking place this weekend so here are some events you may be interested in attending to celebrate over the weekend! 

The Women in Media Conference: People’s History Museum – 7th & 8th 

Taking place at the People’s History Museum from 10-5 on Saturday and 10-4 on Sunday, there will be a variety of successful women in the media industry discussing their experiences and giving students advice on how to get into the industry. Guest include Nicola Thorp, who has appeared on ITV programmes and writes activist columns for the Metro, Dorothy Byrne on our news journalism panel and Emma Goswell from Gaydio. Also some pretty badass women in conflict journalism, Hannah Lucinda and Sue Turton, will be giving a talk on Sunday. If you would like to attend you can find tickets on Eventbrite or through the Women in Media 2020 Facebook page

Photo: Women in Media

Feminist Collective @ Hatch – 8th

The University of Manchester’s Feminist Society have orgainsied an International Women’s Day event taking place at Hatch from 1-6pm. Join them for a night of female performers, musicians and DJs as well as a market of Manchester’s finest female artists and entrepreneurs at Hatch on Oxford Road for International Women’s Day. In the evening there will be sets from Not Bad For A Girl. 

 

Photo: UoM Feminist Collective
Photo: UoM Feminist Collective

 

IWD Manchester Walk @ Manchester Cathedral – 7th 

Join your sisters from Manchester WI and take part in Manchester’s Walk for Women to celebrate International Women’s Day 2020! Meet us in front of Manchester Cathedral from 12pm (look out for our Manchester WI banner!) ready to set off at 12:30 in a procession through the city centre to St Peter’s Square where we’ll have the chance to enjoy the IWD marketplace, performances and events with other participants.

medieval quarter Photo: Rept0n1x via Wikimedia Commons
Photo: Rept0n1x via Wikimedia Commons

Pankhurst Centre

Visit the Pankhurst centre for IWD. We’ll be in-conversation during the afternoon with the creators of the  fabulous First In The Fight, the brilliant new book about inspirational women who helped to make Manchester the radical city we know and love! So get your questions ready for the author and cover designer, Helen Antrobus and Jane Bowyer!

Ironwork figure of a Suffragette. Photo courtesy of The Pankhurst Centre.