I’ve always found that my culture informed a lot of my creative decisions. Walking the streets of Southall and letting my hand sift through all the colourful and intricately embroidered sarees allowed thoughts of creating my own clothes to blossom in my mind. Hazy memories of my Ba (Grandma) at her sewing machine, the kind they don’t make anymore, sewing saree blouses for her customers.

This connection to clothing and the physical act of making clothes connects me to the many other women, in the generations before me, who also sat on their floor handstitching garments.

This is something that Palvinder Nagla, a textile artist, and I have in common, as his grandmother also introduced him to textiles.

Indian textiles remain imbued with a deep sense of history and cultural significance that dates back around 6,000 years. The vivid dyes, silks and cotton, and techniques that have been passed down through generations are still popular today.

“These fabrics that we put on our body… they have a story, and they’ve travelled and so have we”, Says Palvinder. A poetic way of putting it, I think, but I agree. The silks of Southall are light to the touch but symbolically hold the weight of thousands of years of printing and weaving techniques.

Exploring and learning about heritage

Palvinder talks fondly and enthusiastically about his art work, he refers to it as being reflective and self-healing and mentions several embroidery terms I’m left having to look up after our conversation.

When I ask him about how his heritage and culture have influenced his textile art, he mentions how he is still exploring what that term means and art “are kind of [his] own self-enquiry of [his] own heritage”

The idea of self-exploration is particularly interesting to me. As a third generation immigrant who has never been to India, my understanding of my culture is through the media I have consumed and through my family. Rather than having experienced it myself, I am relying on the input of other people’s thoughts and attitudes through a screen or through the filter of their memory. My version of my culture is formed through the. Perhaps I am still exploring my connection to my heritage, too.

Puravi, an Oxford University student, took centre stage at a creative showcase held by OxSaas (Oxford South Asian Arts Society) and performed the Indian Classical dance Odissi. She was dressed in green with bells on her ankles that chimed every time she moved.

“I’ve learnt so much about India from the languages (Odia and Sanskrit) to various temples and Hindu deities”, She mentioned. She takes great pride in her dancing and sees it as a tool of self-expression.

Art as Storytelling

Art in all its forms is a way to convey a message. To connect with whoever might see it, no matter where they see it from. Filmmaker, Shubh Garharwar said, “I was always told that filmmaking is inherently empathetic because you sit down and watch someone else’s life for one and a half to two hours”

His film The Lunchbox touches on his own experiences growing up as a British-Indian and reflects the universal feeling of not fitting in. He talks me through the process of writing the script, filming and other projects that are coming up.

“The way that the arts and creativity connected me to my culture was learning about other artists from the same culture as me”, he mentions filmmakers and painters and adds that he still relates to the same things that were filmed in the 60s.

Going beyond culture

While chatting to Shubh, he emphasised that while South Asian creatives can take from their culture and history, it does not need to be the main focus of every project.

He referenced the popular Netflix Show ‘One Day’ that stars Ambika Mod, whose character is completely separate from her South Asian identity.

While I love to draw from my culture, I recognise that sometimes the art we produce or are a part of does not necessarily need to be influenced by our culture and heritage. A person’s culture and identity are a huge part of them and often made up of many facets, including the different countries and people that we meet.

This sparked an interesting point about not only being known for or ‘typecast’ for creating or participating in art that is related to an individual’s culture, when it is such a vast and complex idea.

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As the cost of training increases and the cuts to the performing arts subjects continue, aspiring performing arts professionals face multiple barriers, particularly financial ones, leaving many aspiring talent behind.

Glitz, glamour and standing ovations; why would you not want a career in the performing arts industry? The reality is that it can be a long and expensive journey to your first curtain call or job within the performing arts industry. A 2024 study mentioned in the Guardian revealed that “fewer than one in 10 arts workers in the UK had working-class roots”, demonstrating the accessibility issues for those from non-privileged backgrounds.

The most common pathway, in terms of education, into the industry, is through drama schools or conservatoires. A three year degree course at the drama school, ArtsEd, studying either BA (Hons) Musical Theatre or BA (Hons) Acting, costs almost double the price of a traditional three year undergraduate university course.

On top of this, there are other additional costs as part of the training that are often hidden and before you know it, you have spent an additional £1000 just on audition fees and travel. What are some of the other additional costs, you might ask? The list could be endless, but examples are: dance shoes, musical instruments, different types of clothing, costumes and headshots. These extra costs, that aspiring professionals may not have considered or been aware of, highlights the additional financial stresses and anxieties that can occur when having or training for a career in the performing arts, that other jobs may not have. On top of this, the majority of drama schools, conservatoires and then professional jobs are based in and around London, where there is a higher cost of living.

Speaking to Erin Foster who performed at the Edinburgh Fringe Festival, as a part of the musical comedy FRINGE - The Musical, she said, “performing arts has always been a passion of mine and in Summer 2024 I got the opportunity to perform at the Edinburgh Fringe Festival, this involved transport costs and costume that was difficult to fund myself, a small grant from my university allowed me to perform like everyone else”.

Although there are hidden costs that aspiring professionals may not have considered, the overall cost of training and being in the performing arts industry is a known issue. The National Youth Arts Trust was established in 2013, as a result of the growing crisis in funding for performing arts education in the UK. The National Youth Arts Trust is aware that it can be extremely challenging and often unfeasible industry for young people from non-privileged backgrounds to “find expression, a voice and in many cases a career in the performing arts.” “NYAT’s aim is to provide these young people, aged between 12 and 25, with opportunities in dance, music and drama”.

I spoke to Ruth O’Brien, the Director of Operations at the National Youth Arts Trust, to ask her opinion on the issue of accessibility and how the organisation is improving the barrier of money.

The National Youth Arts Trust grants music bursaries, dance bursaries and drama bursaries, nationwide, for up to £1000 each, to 12-25 year-olds, who cannot afford to access opportunities in the arts. This bursary would typically cover year’s part time dance, music or drama classes or go towards drama school tuition fees.

Ruth said the reasons for young people reaching out to the organisation are “completely mixed”, but is “usually for our bursary scheme” and is “typically someone who’s maybe got a place somewhere (drama school or conservatoire) and isn’t able to access it because they just simply can’t afford it. There’s no way that they could access that kind of money. It’s just unheard of”.

Ruth told me, as well providing bursaries, the National Youth Arts Trust run youth theatre projects which are a “free opportunity where young people can learn the skills and hopefully that lifelong passion for the arts” who otherwise may not have had “those kind of opportunities or perhaps they were very expensive to access”.

For the performing arts industry to continue to shine and thrive, there are still barriers that need to be overcome to make it a more accessible industry. Doors need to be opened wider, so that opportunity is not reserved for the few who can afford it and those with a passion for the performing arts are not held back.

With organisations like the National Youth Arts Trust whose “main aim is to widen access to an education and a career in the performing arts for young people who are from a low income background”, they are paving the way for more opportunities for young people to access the industry and get their opportunity for their curtain call.

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I am still the same person, however, my perception towards life has completely changed.

I had a different feeling towards the character of Neil Perry and understood that the short-tempered girl is still present, but my temper has not always been the main cause of my anger. Neil was not weak because he was intense; he was just being rational in an environment that was choking him. Similar to him, most of us were branded as the difficult ones just because we were responding to individuals who did not know what to do with us. As one of my friends recently explained to me, ‘The individual I had known was actually calm, but I certainly can tell people were who made her react in such a way.’

The movie is a masterpiece in the overwhelming burden of tradition and the discovery that living the way people expect you to does not necessarily make you live the right way. Todd and Neil are devoting so much energy to fitting into the silhouettes their parents cut out of them, but the lesson that Keating gives is that there is an ultimate expiration date. Always keep in mind; whatever they say, they will be dead tomorrow and will not be there to say the same to you afterwards. Their views are resounding in a room that will ultimately be vacant. Eventually, you die alone, not having done all you desire to do.

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It is an issue of internal discourse, a drastic, obstinate hope, to survive in such a place as Welton, or in our own life. Being optimistic about everything is one of the things that I have always done. It is no uninformed, wide-eyed optimism, but the inability to allow circumstances to steal my serenity. It is the ‘so what’ aspect that keeps the boys on. Yes, we separated, but the only things I carry now are pleasant memories. Yes, I did misread a date, but what is lost? You had to have another day, all by yourself. Even when made a bad decision, you have the turnaround: I regret coming here, but what? A different experience I get now. Though the circle is diminishing, I see the silver lining: They do not come out with you, so what? You get to know the better of yourself.

But, growth is also a process of losing old skins, and the movie makes me realise that not all I was once good at was my ability at the moment. Rather, I can no longer do it. I have versions of myself that are fictional. Kabaddi? I cannot imagine that I was a player. The bodily agility of that girl reads like the biography of another person. Even the thoughts I would keep with my heart have changed. Cooking is a profession I would have loved to do for a very long time, but see what I am doing at this moment? A certain type of sorrow in the things we lost the spine to. I cannot even sing confidently in my bathroom, but once I used to enter competitions and win prizes. And there is the silence of pages now. Write? I just can’t. Once the inspiration of the film is over, the truth of this block sets in. I cannot; after two books of pouring out my feelings, after telling myself every day I will write. Do I want to? Yes. Very much, yes. But I just can’t. It is as if the well has run dry. It is a way to remind yourself that life is changing. You believe it does not, but believe me it does – in ways you can never conceive of. My 14 year old self would not be able to believe it, were she seeing me today, watching this film and nodding to its tragedies. She would not identify the trail I take or the strict fences I have forged. But, that is what it is like to live.

One risks being on the spot as the clock passes. When you wake up, many things will have already been changed and you were not even aware of it. But once more, should you know – move. You must be your own initiator. No one will ever tell you what life is like and even those who do that will not be accepted by you. Experience is an individual endeavour. So live your life, for it is to live. Learn to accept that there will be someone who will judge you in all that you do. If you understand it at one point in your life, stop blaming yourself and start to blame others. Because ultimately, somebody is going to blame somebody else. You can be that, at least you'll be able to live without concerns and constraints.

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This coming-of-age series blends intelligence, adventure, and growth into a compelling story, uncovering Holmes’ first major case as an impulsive, misunderstood, 19 year old, and combining traditional detective storytelling with action and adventure - which I must say, is written brilliantly.

Starring Hero Fiennes Tiffin, an English actor and film producer known for his roles as Hardin in the After book to screen adaptations and as young Tom Riddle in the Harry Potter series, the show portrays an already sharp, witty, and observant Holmes, still learning how to navigate friendships, emotions, and the complicated, untrustworthy world around him. This humanised side adds depth to his character, making him far more relatable to viewers.

Set in 1870s Oxford and London, Amazon Prime provides a modern cinematic feel with detailed settings, atmospheric lighting, and fast-paced storytelling. It captures both the excitement of mystery, as well as the tension of Holmes’ own personal journey. From the quiet moments of deduction, to the high stake investigations and action, the compelling visual potency brings the story to life.

At this point in Holmes’ life, he is reckless and lacks the discipline and calm logic that later defines him. When a mysterious theft and murder case threatens his freedom, Sherlock pushes to prove his innocence by uncovering the real criminal, with what later reveals to be part of something much bigger than himself, a threat to the world.

The Star-Studded Cast:

• Hero Fiennes Tiffin as young Sherlock Holmes

• Donal Finn as James Moriarty

• Zine Tseng as Princess Gulun Shou’an

• Max Irons as Mycroft Holmes

• Joseph Fiennes and Natasha McElhone as Sherlock’s parents

• Colin Firth as Sir Bucephalus Hodge

• Holly Cattle as Beatrice Holmes

One of the most interesting relationship arcs in the story is the friendship between Sherlock and Moriarty. Instead of immediate enemies, the show presents them as friends whose paths slowly begin to diverge, setting up their famous rivalry for expected later seasons.

The show also dives deeper into Sherlock’s background, including complicated family relationships and past experiences that shape his personality as his character arc develops.

Released on March 4th 2026, the eight-episode first season combines an intense emotional journey of mystery, drama, and character growth, offering both long term fans and new viewers an exciting introduction to Sherlock Holmes’ origin story.

The show, created by Peter Harness, Matthew Parkhill and Guy Ritchie, now has an IMDB rating of 7.5 stars. The story proves that even the greatest of detectives all start somewhere, and this thrilling new series shows that Sherlock Holmes’ journey to greatness is just the beginning.

Executive producers designed the series to be multi-season, and are already in early preparation stages with writers to continue the origin story following positive reviews and high viewership. For now, we can look forward to what is to come for Holmes, Moriarty, and the mystery of 1870’s crime.

To watch the series, visit: https://www.primevideo.com/offers/nonprimehomepage/ref=dv_web_force_root

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A progression on Baz Luhrmann’s 2001 film of the same name, this performance definitely delivered. Full of character, music, and everything worth immersing yourself in.

From the moment you enter the auditorium, it transports you to the Paris of the 20th century.

It is beautifully set up, with vibes that scream luxury. The atmosphere and tone is set through the cast, props, and background music. I tried to absorb as much as I could as soon as I sat down. The costumes were also remarkable.

The cast is incredibly talented, making everything seamless from the choreography to the vocals. The delivery of each individual’s lines was so effective and seemed effortless.

I found myself singing along to the hits, and laughing at the cleverly embedded jokes. The performance also nods musically to the likes of The Police, OutKast, Madonna, and Whitney Houston.

Karis Anderson plays a phenomenal Satine, and Alistair Brammer plays Christian, her dashing lover. The entire ensemble could not have done a better job!

The messages and themes enveloped within the production resonate with audiences in one way or another. There are hidden meanings and ideas that are only picked up on if full attention is paid. It does a great job of tricking you into thinking you’re in Paris, as opposed to London, and is one hell of an experience. It left me wanting more.

My favourite theatre trip yet!

‘The greatest thing you’ll ever learn is just to love and be loved in return.’ - Christian

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I had the pleasure of talking with local author Tom McDonnell about his latest publication, Dead but Awake: A collection of paranormal encounters from the shadows of Oxford. McDonnell, who is also a tour guide of The Oxford Ghost Tour, offers an insight on the inspiration behind the novel, as well as tips for budding young writers.

Here’s what he had to say:

What was the inspiration behind Dead but Awake, and was there a particular reason you chose to go down the route of interviewing others about their paranormal experiences?

‘I am a story collector with numerous projects in progress.’

‘Over the years, I have taken thousands of people on ghost tours of Oxford. Many local people on the tours have told me about their brushes with the supernatural; I thought it would be interesting to publish these stories, something different from the tired old ghost stories which are repeated year after year. Although, I have re-examined some of the more famous ghost stories in order to investigate connections with recent sightings.’

Talk me through the process of how you began your research into this subject, is this something you have personal experience/ long standing interest in?

‘When I was 5 years of age, my school report stated that I had a “disturbing interest in the paranormal”, I would argue that it’s a healthy curiosity. My mother’s side of the family had a long-standing interest in ghosts, one aunty worked for some time as a medium.’

‘After hearing people’s paranormal accounts, I would trawl through documents in the Bodleian Library, The Oxford History centre and The British Newspaper Archives, old documents pertaining to pre-existing buildings, murders and reports of paranormal activity.’

‘I also benefitted greatly from the help of five local historians.’

You’ve previously written another book based in Oxford about Shakespeare’s connection to the city. Why Oxford, what draws you to the city?

‘I divide my time between Oxford and London. Besides organising concerts, the majority of my work is in the Oxford tourism sector, so I have an in-depth knowledge of the city which aids my research on local folklore and history, although I am also working on a project based on the music hall era in Liverpool, the place of my birth.’

Were there any stories that were too unsettling to include in the book that you can tell me about?

‘All I can say is that two people who planned to share their accounts changed their minds and decided that it was too disturbing to revisit their experiences, which is a shame, but I have to respect their decisions.’

What do you think draws people to stories about ghosts and tales of the unexplained?

‘I think that there are a multitude of reasons, some people love the thrill of being scared, hence the popularity of horror films, some people may genuinely believe in ghosts, based on personal experiences, whilst others hope for a sign of life after death.’

You work with The Oxford Ghost Tour, can you tell me a little bit more about your job there, how exactly you started working in this career, and how it influenced your book?

‘I’ve worked in the tourism sector for almost three decades. Given my interest in the paranormal, it was only natural that I would become a ghost tour guide and of course, a great deal of my research material came to me by way of the local punters on the tours.’

Where are your top five most haunted places in Oxford?

‘The Oxford Castle’

‘Merton lane’

‘The Trout inn’

‘St Aldate’s street’

‘St Giles’

What are your future plans as a writer? Do you think you might write additional novels about the paranormal?

‘I have quite a few projects on the go, including a book on paranormal accounts from around the world. I’ve also written quite a few horror film scripts, some of which I need to revisit.’

What guidance or recommendations would you offer to someone interested in writing or publishing a novel?

‘Make sure that you are working on a project that really captivates you, because it always takes longer than you might imagine writing a book.’

For more information, you can join Tom McDonnell’s Dead but Awake author evening at Blackwell’s on Broad Street on the 11^th December. https://blackwells.co.uk/bookshop/events/?srsltid=AfmBOooM_6JNS8-mWn-pGue7_Q4NshBVA-XAeVYPYS9Rr7VDQrM8doQ1 In the meantime, his novel is available on Amazon.

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The month began on 3 November with a busy instore performance by Tankus who played songs by their new album Valley of Distraction. Vinyl and fans lined up to get early editions of the release with many of them remaining after the set to meet the band.

Yesterday, Oxfordshire favourites The Dreaming Spires, got back to their own soil with an intimate album release, Normal Town, where they played live their new material and allowed the audience to interact with them and sign autographs.

The bedd band is launching an exclusive in-store album titled Do Not Be Afraid on the 15 November at 6 PM. The promotional poster on display at the venue features a nature-inspired design with flowers against a scenic backdrop, reflecting the band’s atmospheric and introspective style.

In the future, on 22 November, the store will host The August List who will release their new EP Sun Pinned On Ghost Sky. This concert is expecting to attract a large number of music lovers, and is marking the continuation of the venue in honouring local musicians.

Every event has a limited edition of merchandise, first access to albums, and meet-and-greets, supporting the idea that Truck Store has become a cultural pillar of the Oxford music community.

Follow Truck Store’s socials for more announcements about the event as more live sessions will take place during this season.

Precious Mahaga is the Head of Music at Riff Raff Films, who has been nominated for various awards for her projects. In my interview with her, we delved into what it is like to be a producer working with artists like Jorja Smith and Arlo Parks, and she shared how everything unfolds behind the scenes.

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It can be extremely challenging to find your path when the whole world is laid out in front of you. When asked whether this is always what she wanted to do, Precious expressed, that she became “absolutely enthralled” by her media courses. “As soon as we learnt something I would practice these techniques, and this is what led me to go to university and do television production.” As a result, she created a portfolio early in her career, which is not usually the case. “Media industries are quite isolated, you don’t really know until you know”, she says.

Starting out in any industry, creating connections is probably the most crucial thing, and Precious shared that people usually start out as someone called a “runner”. “Like an assistant to everyone. If you are a runner on set, you are doing everything from making coffee to putting up documents, there’s just all these little things that you have to do” explains Precious.      

As tedious as running seems, Precious urges its importance. She adds: “It’s actually a great position, because you really get to see what everybody does, and it exposes you to everything without having the responsibilities”.

Another valuable tip Precious shared is to always be yourself. It might sound evident, but sometimes the simplest things are the hardest to achieve. A part of this industry is to showcase individuality and passion, and people will appreciate that. “What I learned was that if you have a good attitude and show interest in everyone, people will like having you around and so they will suggest you for their next project”.

A beneficial trait to have in work and life is to always be eager to learn, which is how Precious described herself as well. “I think that the way I work is there’s always something new to learn, there’s always a new challenge to take on. I don’t like feeling like I’ve done it all.” However, she added, that you also have to “stop and be grateful for your achievements and give yourself a pat on the back”.

Precious has worked with multiple directors before such as the Oscar-winning Aneil Karia and Marc Klasfeld, who has directed projects for artists like Red Hot Chili Peppers, so she shared the lessons she learned through them. She believes that a good director is someone, whose “visions are authentic and who doesn’t necessarily try to be like everybody else or mimic others”.

Precious has an extremely positive outlook on everything, as she believes that even when you have a bad experience, you can take something from it and turn it in a completely different direction. This is what her thought process looks like when it comes to a project: “With every production I like to have a debrief; I might sit down with the director or just by myself and think about what went well, what didn’t go well, what we could have done to prevent the things that didn’t go well, so you learn from everything”.

Furthermore, when you are working with someone, it is significant to take everything in. “When I was coming up, every production that I worked on with a new company, I would look at the way that they catalogue their folders, how they put their documents together, and I would say to myself that ‘I like that document’, so I’ll make my own version based on that. So, over time I collated this number of documents that I would use that other people would look at and say they like it, and they would like to have it.”

Even when you work together with famous artists, learning new things never stops. Precious has created projects together with artists such as Jorja Smith, and Arlo Parks, and I asked about the mindset she adopts when working on a new project with a new artist. “I go into it with the same mindset but with one that works for everybody, it’s like an open mindset. I’m used to collaboration, and I’ve learned so much about the importance of it, and giving people the space to be themselves, and to present themselves in a way that they want to. It’s not just about making people fit into your idea of how the production should run.”

Precious reiterates, that it is key to be ready to “learn” this person and “work around the way they work”. As a creative person you keep your core values, you only adapt them to the shape of whoever you are working with, since “most people just want to be listened to”, which is what it all breaks down to at the end of the day. This is also what creates a successful and working “collaborative process”, as Precious said. 

When talking about creativity, individuality, and success, it can be really tough to pinpoint where they should come from. Is it awards, is it other industry professionals reaching out? When asked about this, Precious shared that it is more important to appreciate your own work, since art is subjective. “It’s nice to get that acknowledgment from the rest of the industry and it’s nice to have further opportunities as a result, but I think that some people are making work that doesn’t necessarily speak to the wider industry”.  So, in a sense, it is more about what you as the artist take from it, not about what the world takes from it.

Going into the depths of her works, Precious shared what her experience was on the set of creating the Caroline music video by Arlo Parks. “Before you shoot, it is often stressful, because you’re trying to get everything together but what kind of brings me back time and time again is that there’s this overwhelming feeling of accomplishment and excitement when I’m on set”.

What made it special for her was “the great team of collaborators”. In the music industry it is crucial to be able to be on the same page with the people that you are working with. “It really felt like a space where people were learning, it was a really encouraging environment. It was one of those projects where everybody’s got the same mindset”.

Precious also shared her opinion on the By Any Means music video by Jorja Smith. “It was a time when the world was talking about racial prejudices and I think the approach just felt very human”, she said. “There was a lot of pain and violence, and it just got to a point where I needed to see something that felt more positive. Whilst I’m so aware of racial prejudice and have experienced it, I’ve also experienced so much joy within the community.”

It was really uplifting to hear Precious say that she wanted to create something positive out of all the hopelessness surrounding her, instead of being consumed by it; which is the beauty of art. The main concept was to film people who are a part of black communities doing their everyday tasks, and they were “standing in front of a camera and looking right down the lens”. “It’s really powerful, because it’s such a simple image, but it speaks so far against the stereotype”, she said. “It was just so beautiful, and I think it speaks so much more than the headlines”.

At the end of our interview, Precious stressed, that even if you do not have connections yet, you still have to keep going. “It’s something we all have to contend with, but there are people who make it because they work hard and they grind, they meet people, and leave a good impression on others”.

Again, she mentioned, that “you have to be excited about what you’re doing, and you’ve got to learn about what’s going on, and all of that will be noticed by people”. But also, “it is important to make good relationships in the industry, and you can do that by being the best version of yourself because that just attracts people”. 

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Datasets can be painstaking to analyse and interpret. So when it comes to presenting academic research, perhaps a performance might be the way forward? Leading academic researchers are swapping traditional datasets for showstopping plays, turning their findings into something we can all experience, understand and – even enjoy!

The Human Story Theatre  founded by Amy Enticknap and Gaye Poole in 2016 is an organisation that operates on this very premise.

‘We are passionate that theatre is for all and believe by highlighting health and social care issues within our productions, that it is an exciting way to engage, entertain and raise awareness.’

Researchers Råbu, McLeod, Tønnessen, and Moltu have views on the topic of creating art (theatre) from research, which they outlined in a journal article. It states that the impact of this non-traditional mode of communicating data is likely to have a massive impact on audiences because qualitative research is ‘largely published in academic journals that are not readily accessible to members of the public.’

When it comes to social issues, public opinion plays a major role in achieving long-term change. This means it is especially important to avoid alienating the general population and conveying research through art offers something special, experiential and useful. According to Langer: ‘Through music, movement and visual representation, the arts provide non-discursive ways of knowing’.

Two Canadian researchers, Kontos and Naglie, also found that theatre in particular has an ability to communicate information, especially within professional settings. 

The Human Story Theatre’s latest project, Three M’others, written by Dr Mackay, a Senior Lecturer at Oxford Brookes University, is based on a series of interviews conducted with women who gave birth during the COVID-19 pandemic in 2020. Mackay is hesitant to refer to herself as a playwright, instead preferring to be known as a researcher who has turned her work into a play.

When asked why she chose this particular route as opposed to traditional means of presenting her findings, Mackay highlighted the importance of needing something more engaging: ‘I had a choice between a workshop or a lecture or a seminar series and I was looking at all of the options and for some bizarre reason, in April 2023, I decided I’m not going to do the usual workshop or a lecture or a seminar series, because how boring is that?’ she says. ‘I thought I’ll do a play instead.’

Eisner explains communication via art allows for a greater ‘capacity for empathy’ and ‘openness to being moved’. Three M’others follows three women who give birth during the UK’s first lockdown and their respective antenatal and postnatal journeys. Given the topic, a play seemed like the most compelling format.

‘The short answer is it needed to be done in ways that had impact,’ says Mackay.

But there are unique challenges that come with turning testimonies from real people into performance art, particularly an ethical dilemma. Mackay’s struggle came from needing to turn her research into a complete story without misrepresenting the participants’ experiences. ‘I was very aware of the fact that I had a certain responsibility with this data and mishandling the data or not properly representing the data would be problematic,’ she says. ‘How do I create characters that have whole stories without affecting the accuracy of that testimony?’

While playwrights traditionally have authority over their work – at least during the writing process – writing based on an amalgamation of people who may very well come see the play themselves is another matter entirely. ‘Without changing their words, I had to create full stories which was very hard.’

The play focuses on the stories of three women but that doesn’t mean the play is limited to just part of the population. A male member of the audience at an early test performance approached Mackay. ’We all know that terrible things happened during the pandemic but I didn’t know that new mothers had to go through this.’

Having struck such a chord with a range of people, Mackay sees a more far reaching future for the play than she had first imagined: ‘The plan is to take this national! We would need Arts Council funding first though.’ 

The end-goal is to use the play’s profile to gather data from mothers across the country, and use that data – working with the NHS – to improve digital maternal healthcare.

While theatre companies performing stories with the intention of educating and inspiring change is not new, a researcher themselves taking the role of playwright instead of consultant is a tall order, and one Mackay has faced head on. With no boring datasets insight!

Three M’others was performed at The North Wall Arts Centre on the 30th and 31st of May, followed by a Q&A with experts on the subject on its final night. For more information and updates on the next stages of the play, check out their social media pages on Instagram, X and Facebook.

With so many people involved in the making of such an incredible experience from the playwright to the actors, how does the magic all happen?

Having just finished directing a new play, Three M’others by Dr Antonia Mackay at North Wall Arts Centre in Oxford last week, Senior Lecturer in Drama at Oxford Brookes University Laura explains that it’s less formulaic than you’d think. ‘I don’t have a set directing process, instead, I like to get the shape of the scene first by seeing how the actors would perform it, and then I give the actors exercises to try and discover together what the scene needs’. 

That might be asking her actors questions like, ‘What would happen if you did this instead of that?’ or ‘How would they have to trust you first to try that?’ This helps the actors in pushing the scene further, explains Laura. Another one consists of getting the actors together and having them talk to each other using only one sentence or helping actors find their tone of voice and work with distance and closeness by giving them the stage: ‘There’s you, there’s me and there’s the space’. She also encourages the actors to perform every single scene using a certain emotion that often comes in the lines they speak in order to help them bring the little nuances together. These exercises seem to work wonders for the actors. 

Chloe Downes, one of the actors under Higgins’ direction in the Three M’others play, told me that Higgins’ exercises really helped her understand her character - M - and enabled her to piece her together like a puzzle: ‘There’s M with her husband, M before the birth, after the birth, there’s so many different parts of life that M went through in such a short amount of time that Laura really helped me understand.’ 

Esme Anderton, another actor working on the Three M’others play with Higgins, said that she helped her connect and develop her character - A - more deeply as she was asked to look at her character’s circumstances and background. 

‘Let’s create theatrical moments’ 

Chloe describes Laura’s style as ‘explorational’ and that ‘Laura sees all the possibilities making choices that are ‘visionary and emotionally captivating’. Laura explains that she does this simply by asking herself questions, such as, ‘What is the moment in the second scene that you can make the audience really clock? And that will live in their memory?’

She often does this by working with objects. ’I believe that props are really important in order to find rhythm, peace, action and moments of comedy’. They help actors find those nuances and understand who they are talking to and interacting with. From a spectator point of view, objects also help the audience to understand and visualise a scene better.

But it’s not all down to props and exercise. The story matters. ‘When history is performed’, says Laura, ‘it makes the story matter again for a new community.’ Three M’others tells real-life stories of first-time mothers during the pandemic and Laura believes it has the potential to ‘act as a discussion piece for mental health professionals and education for people in schools’. 

A play that is more than just a performance but a milestone moment in people’s lives? Now, that’s how real magic is made on the stage.

Three M’others was performed at The North Wall Arts Centre on the 30th and 31st of May, followed by a Q&A with experts on the subject on its final night. For more information and updates on the next stages of the play, check out their social media pages on Instagram, X and Facebook.

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Creative expressions of national identity

One way to express feelings of identity and belonging, or lack thereof, is through art. This is a key theme within Oxford’s Turner Prize 2024 shortlisted Ashmolean NOW exhibition ‘To Those Sitting in Darkness’ by London-based artist Pio Abad. The collection expresses colonial history and cultural loss in a visual and understandable way through ‘poetic, personal and political’ pieces which criticise the way British institutions collect artefacts.

The exhibition highlights wider issues in contemporary society about the difficulties in balancing feelings of patriotism and national pride with awareness of Britain’s imperial past and striving for a more carefully considered future.

Venessa K Parker, a British contemporary artist experienced in exploring life, identity, and resilience through her work, explained how the individualistic nature of national identity means it ‘can be so bespoke to different people’.

‘I wanted to celebrate a part of me, of my identity. My grandparents came over from Dominica and St Lucia in the 50s… over the years I’ve learnt about the countries and their legacies… but I was just thinking it’s not something I have seen portrayed very much in art.’

‘I just really wanted to show a bit of pride for where my ancestors come from and have that reflected in my art’, achieving this through her collection with Caribbean clothing company Sakafet London in celebration of Dominican Independence Day. Sharing an alternative perspective on what it means to be British today, Parker explained that ‘although it's not what some people would think of as inherently British, I think it is, because those countries helped to fund the industrial revolution and to rebuild Britain after the war. I think it’s so intertwined that there’s no way you can say that it’s not British’.

Art ‘leaves space for people to create their own narratives’ around their individual national identity, with the two being constantly intertwined.

British identity in 2024 is a ‘melting pot’ of aspects from countless other cultures, according to Parker, which could explain generational differences in feelings of pride vs detachment from nationalist values. 

Perhaps a solution to growing divides is to embrace identity’s individual nature to each person, accepting that there is no singular definition of ‘British’.

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What does research tell us about British identity?

Dr Claudia Lueders, Lecturer in Politics at Oxford Brookes University who has extensively researched national identity, echoed this idea of British identity being difficult to define, explaining how ‘people always assume it's something very homogeneous, but it's actually so much more diverse and complex’.

She went on to suggest that over the last 10-20 years, the devolution of power to national governments in Scotland and Northern Ireland and the highly divisive political aftermath of Brexit were ‘driving forces’ in changing perceptions of national identity. Existing cultural divisions were then deepened by the global Covid-19 pandemic, which ‘surfaced a lot of inequalities within British society’, leading to increased introspection about Britain’s colonial history and ‘how fragile, actually, society is’. 

‘So how do we deal with the colonial past? Right? And obviously, there's kind of a divide between people who think we should celebrate it. Who should be proud about the history. And then other people saying, no, we need to be much more critical. And we really need to reflect. And we need to think about how do we deal with this?… There's a lot of tendencies to decolonize the curriculum in schools and universities, and actually moving away from the dominance of white men.’

‘So how do we teach this history to children in schools at universities? How do we teach it to tourists that are coming to Britain? And how do we navigate that kind of history?’

According to Dr Lueders, there is an ‘ethnic’ and a ‘civic’ understanding of national identity and belonging, with ethnic definitions often requiring individuals to be born in the UK, and civic understanding of speaking the English language and identifying with the laws of British society. She added that data shows ‘distinctions in between younger and older generations as well… We see that younger members of society tend to identify more as British compared to older people of society who identify more English’.

Back in 2011, a national identity Census question was introduced, due to ‘increased interest in national consciousness and a demand for people to be able to acknowledge their national identity’, according to the ONS. As noted by Dr Lueders, the timing of this new question is significant, because it captures data from a key moment in politics following the Devolution movement, when nationalist values were on the rise in several British nations. This can then be compared with data from the post-Brexit 2021 Census, highlighting the fluidity of national identity during a contentious political period.

‘What we already see is that there is actually a decline in people who consider themselves solely English, and we do have an increase in people who consider themselves British rather than English’ Dr Lueders summarised.

Is it possible to be both patriotic and hold liberal political views?

The answer is more complex than a simple ‘yes’ or ‘no’.

‘What we see in the studies is that people who are liberal tend to be, I wouldn't say less patriotic, but they have a different understanding of national identity’. Dr Lueders went on to suggest those with more Conservative beliefs tend to hold an ‘ethnic’ interpretation of national identity, whereas a Liberal would hold a ‘civic understanding’. Therefore, there are more factors to consider than at first glance.

At a time when politics is more fragmented and misleading than ever, art as a medium for expressing cultural memory and voices has arguably never been more important. Have we lost touch with the true meaning of ‘British values’?

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It is also, as many of the locals and staff will tell you with utterly infectious enthusiasm, the old stomping ground of the famed novelist and poet Laurie Lee (1914-1997), and it seems that the artistic energies that once fell into Lee’s cup from The Woolpack’s bar pumps are not running out anytime soon - the inn is bursting at the ‘mortar seams’ with artists.

The Woolpack, to those ‘not-in-the-know’, may seem somewhat of a classic British watering hole at face value. The out-of-the way location may seem odd. The dark green bar walls, bare stone and dark panelling may sound as if they make the establishment rather dreary inside, but in actual fact, these choices are strategic - they exacerbate The Woolpack’s breathtaking energy, standing and views in the remarkable Slad valley.

Over the years, elements have been incrementally added to this building, creating a somewhat hotch-potch floor plan, with undulating floors, tight staircases and tables squeezed into the bar area. It’s homey, and every element of the establishment seems to have been curated with a deep care - the newest addition, the dining room, was built with carefully chosen stone to match the already existing yellow ‘Oolitic Jurassic Limestone’, or, to the petrology layman, Cotswold stone. It is adorned with artistic nods to its past virtuosos - wrapped around every wall is a specially built box shelf, containing Laurie Lee’s prized - and impressively extensive - beer bottle collection. In a framed outcut on the ceiling of the dining room, you will find an embedded vintage backdrop, painted for a local pantomime and restored to its former glory.

Here, you will also inevitably get into unexpected but wonderful conversations with artists, and note the plural, because avoiding artists in this pub is almost unavoidable.

Sitting down with Raphie Barrett, a talented local oil painter and frequenter of The Woolpack, I was keen to delve into the reasons why this establishment in the rather bohemian countryside plays host to such a wide range of the creative and the curious.

An undeniable part of the artistic charm, I was told, comes from owner Daniel Chadwick. 

Raphie pointed out the design behind The Woolpack. ‘It’s like it's a social art piece - not an experimental one per say - but he's constantly refining it, in the way that an artist does to their practice’, she said in a pleasant, musical voice. This choice to treat the Woolpack as an artistic piece itself is clearly a turning point, and a fundamental element in The Woolpack’s attraction for the more creative, or even free spirited of those looking for a tipple. ‘Because of who [Dan] is, he brings a clientele to The Woolpack that is unusual [...]’, and his own connections, which can lead to quite the interesting night - ‘it’s so much fun!’, she laughs, ‘you end up with a mixture where you can be talking to a famous artist, a jockey, someone who lives next door, who’s lived there their whole life and Richard E. Grant, all in one evening. So, it’s very stimulating!’

The tone The Woolpack seems to set for itself and its clientele is that of sociable grandeur, with a strong emphasis on the social aspect. 

‘I wish there were more places like The Woolpack,’ Raphie confided in me, ‘where you would go there, and you would know that interesting people are going there to find people like you. I think that does happen in other industries, but it’s quite rare in art.’ Upon some prodding about sociability in the art world, Raphael explained it to me like this:

It seems that part of The Woolpack’s attraction then for artist’s to socialise is its ‘old-school’ traditions. Although not quite an establishment that employs a blanket ban on phone usage, you are much more likely to see conversation or an oddly named board game occurring on the bar tables.

Lhasa Collins, an artist who has sold her own art at The Woolpack’s local stand, agreed with the humanity and conversational aspect of the appeal. ‘I think socialising with people in such a remote place gives you more time to be introspective,’ she said, ‘and that kind of encourages artistic endeavours a little bit more than say if you're going to a nightclub every weekend’. Lhasa is one of the local artists who have been given an opportunity to sell their work in the pub, although, she says, that was no mean feat. ‘I think if I hadn't been given so much encouragement from other people, I probably wouldn't have ended up pushing it myself’ she told me, and that is all down to the past landlady and inhabitant of The Woolpack, Matilda Jones.

‘I would say it’s very seductive’, Matilda tells me. ‘You really do feel like you’re in this tapestry of artists, this collection of creative souls. I’ve worked with lots of creative people but this is a different kind of creativity.’ From its deep roots in poetry and literature to its extensive clientele of painters, dancers, sculptors and everything in between, The Woolpack is a living, breathing art piece, and a prime example of a location where artists are able to thrive, thanks to the weight placed it’s bohemian spirit rather than the liquor variety.

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Maureen Payne, an Academic Liaison Assistant from Oxford Brookes University shares, ‘Reading literature gives opportunity, explores other worlds, feelings, and takes me away from whatever stresses I’m dealing with.’

To delve deeper into performing literature like poetry, a Q&A was conducted with two experienced spoken-word poets, who shared their perspectives on how slam poetry has helped them with processing and releasing emotions.

The Q&A explored the nature of slam poetry that enables us to reach catharsis. Performing poetry involves risk-taking to be on stage, but equally provides a great incentive to understand our egos, and problems that bug us, consequently realising that we do not stand alone when words can resonate with an audience. Emotional resilience can be built through performing on stage, consequently enabling us to increase our self-confidence.

An interview with spoken word poets Ciarán Hodgers and Tina Sederholm

Ciarán Hodgers, a multi-award-winning spoken-word artist based in the UK, shares his journey with slam poetry and how the creative process has played a role in his mental health.

How would you describe spoken-word poetry in three words?

‘Slam poetry in three words is Life. Embodied. Urgent.’

Ciarán elaborates, ‘Life is all about the performance and being present in the room with someone. It can feel visceral for the performer and there’s very little direct contact between you and the audience’ and further expresses, ‘The best performers don’t really perform, they embody it.’

The urgency to respond to our matters through performing is where Ciarán challenges this notion, ‘You’re going to be triggered knowing you’ve gone in knowing you’re going to do this particular poem. Your heart rate will increase and your brain is aware that you’re going to be reading work about something that happened to you, so your body can’t really tell if you’re present. You’re in this trigger state of shit, what is going on?’

‘And then you perform your poem, you have that emotional release after finishing it, no one has died, and you’re still alive.’

How has slam poetry affected your overall self-esteem? When you’re on stage, what emotions do you feel? 

‘It’s forced me to understand my relationship to self-esteem, with questions like why does this scare me? Why do I like it so much?’ Ciarán shares. ‘It is best to be a little doubtful, go through all of that emotion, and try to do the work. Be present with it and enjoy those few minutes on stage expressing that.’

What about the verbal aspect of spoken-word poetry, how do you think it acts as a way for one to cope with their emotions?

‘Well, even if people don’t perform and just write poetry, it is a helpful process with the mechanics of your hand moving a pen and using powerful language to talk to yourself, like when you journal. It is like self counselling.’

The physical aspect of expressing yourself also becomes important, as Ciarán says, ‘Sometimes we know how we feel but need to physically move it out of our bodies, and those people who need catharsis often perform it like a ritual act of relieving oneself.’

Is spoken-word poetry trending? If not, do you think it deserves to be recognised more today?

Ciarán questions what is popular, and continues, ‘Slam poetry is not necessarily profitable.’ Further emphasising, ‘This art form is also struggling to come back since the pandemic because it’s a live art form and that’s criminally underfunded and under-supported.’

‘Slam became a style and genre of its own, but poetry itself is the most popular it’s ever been in modern society, overall I think it’s been down to spoken word poets as we have opened the door to a lot of people to re-engage with poetry,’ says Ciarán, suggesting the various ways spoken word poetry has provided opportunities to other forms of poetic expression.

The accessibility of slam poetry enables more individuals to try performative poetry, as Ciarán says, ‘We’re using our own voices, accents, and playing with it to engage with people. It feels more accessible because we all have our own voice.’

Would you encourage others to take on slam poetry as a way to cope with their mental health then?

Ciarán concludes the reality of trying performative poetry, stating ‘I don’t think anything can go wrong. It’s not going to cure anything, mental health is a spectrum. But it can alleviate some emotional and mental distress.’

He further explains, ‘Why would you willingly do it if there wasn’t a payoff for you emotionally? You’re not going to appear cool just because you’ve said something to an audience. The incentive is the way it brings emotional value. You will find the most loving community who will know it’s your first time, or they might just ask you.’

Tina Sederholm, another UK-based spoken-word poet shares what slam poetry is truly about, stating:

In conclusion, spoken-word poetry might be a risk worth taking with the accessibility of language, finding supportive communities that boost self-esteem, and offering a deeper understanding of one's problems and feelings. Although spoken-word poetry is not seen as profitable post-pandemic, slam poetry incentivises emotional value and purpose, and provides freedom on stage for one to decide how they choose to perform based on how they naturally tune into certain emotions. If you’ll still be alive, why not give it a shot?

Ever wondered what makeup look suits your face? Or not… 

Here it comes, another beauty trend. Another filter. This time, over 66,000 TikTok users have subscribed to the newest kid on the trending block.   

The viral sensation has changed the way people are decorating their faces, from sharp black liner, to pretty peach blush. 

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But what is visual weight theory?

The theory holds presence in art: existing in colour theory and visual fashion. It relies on a piece's ability to attract the eye and pull gravity through its weight. 

But let's talk TikTok. 

The Low vs High Visual Weight trend has manifested itself on the platform- with the aesthetics being attributed to polar opposite facial structures. In essence, Low Visual Weight consists of smaller, rounder and softer features. Think Gigi Hadid, Selena Gomez, Jennie Kim. On the other hand, individuals with High Visual Weight have striking bone structure. The likes of Angelina Jolie, Zendaya, Dua Lipa. Which would you prefer?  

This in turn impacts the makeup and beauty treatments that ‘fit’ your features and what you ‘should’  be taking into your everyday habits.  

Low visual = light, natural makeup 

High visual = bold, full coverage makeup 

Low Visual Weight 

Many users prefer the minimalist charm of natural, glowy bases.  

CORQ’s most recent Skincare Data Analysis Report in the last quarter of 2023 shows that 50% of the most engaging makeup content consists of radiant healthy looking skin, consistent with features of low visual weight. 

High Visual Weight 

The other end of the spectrum exerts a powerful allure. The 2016 style of makeup, shall we say.   

What psychological effect can these trends have? 

Beauty trends on TikTok have triggered inevitable unattainable beauty standards… 

But, let’s see what the experts have to say. 

I interviewed both Kate Ringwood: Body Image Therapist & Founder of Serendipity Counseling Services and Licensed Mental Health Professional and Founder of Tampa Counseling Place Natalie Rosado to gain their expert opinion on the impact of fleeting beauty trends.   

Rosado attributed ‘The larger idea of people - more specifically - women, being influenced by images. The concept has always been there. Before on magazines, TV ads. Nowadays, it’s on social media platforms.’ 

Rosado categorises the concept of ‘Personal core beliefs that we carry about ourselves deep inside, developed over time by messages received from others. These ‘messages’ are  triggered by internalisation of comments in childhood, be that Eg; I’m not pretty or attractive enough. This person is getting attention on social media. In what ways can I get close to and emulate that?  the way that they interact with the world/ the lens they look through will be influenced by this personal core belief.’  

I believe this is how trends take off and embed themselves deep down inside.’  

Ringwood further suggests that this is when the toxicity comes in: 

‘The thinking goes to I need to be like them and how can I change myself in order to fit in’ 

‘Through these trends, a sense of shame can be internalised: something is wrong with me, causing isolation and restriction- mental and physical.’   

Whilst the allure of these visual aesthetics may be harmless at surface level, it’s vital to maintain an open mind to the effects on each individual.  

What can we do to help? 

Rosado recommends identifying the top five personal values that you do not waiver on. She suggests always going back to these as tools to prevent from people-pleasing and becoming unauthentic.

Techniques and tools for those negatively impacted by comparison culture and social media trends can benefit from:  

Short term: 

1. Address TikTok For You page algorithm: delete followers whose content triggers you or perpetuates unhealthy practices or thoughts 

2. Set up barriers and boundaries: delete your accounts/apps and remove yourself from the space 

3. Habit replacement or behaviour modification: decreasing social media, increasing positive 

Long term: 

4. Identify patterns of unhealthy themes in content consumption  

5. Speak to mental health professional about internalised causes of attraction to this type of content 

As we scrutinise the digital space we reside in, it becomes evident that these trends not only reflect societal beauty standards, but also mould our perceptions of self-identity.

Are we just overthinking it all? 

Head of Beauty at CORQ Arabella Johnson says; ‘TikTok beauty trends are often so fleeting that you could argue the speed at which trends are replaced is making the next generation slightly immune to the chaos of it all.’

It’s clear that every swipe shapes not just our feeds, but also our sense of self. So, next time you find yourself immersed in the latest hashtag, take a moment to pause and reflect on how it has an effect on you.

Take the weight off of your future self.

If you feel affected by any of the subjects discussed in this feature, please get in contact with a licensed professional. 

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The UK's biggest export, creativity, gets ignored in schools. While core subjects like reading and math dominate the curriculum, fostering creative thinking often gets relegated to the sidelines, seen as a "nice to have" but not essential for academic success.

But new research is showing creativity is actually much more important than previously thought. It might even be a key factor in our ability to thrive in a world shaped by technology.  Creativity is a fundamental force that pushes human culture and society to evolve.

A study conducted by OECD in 2022, Thinking outside the box, defines creativity as ‘the competence to engage productively in the generation, evaluation, and improvement of ideas that can result in original and effective solutions, advances in knowledge, and impactful expressions of imagination’. 

‘Creativity is at the top of the primary teacher's list’ says Anna Rianne, a primary school teacher at the Windmill primary school in Oxford. Anna is an experienced teacher who has been in the industry since 1991. 

Experts say creativity is different in science and the arts, but both are valuable. ‘We try to combine different disciplines, like bringing English into art,’ says Anna. 

‘The curriculum should involve research, reading, listening, visualising and also performing.’ Says Vijay Pydi, the VP of education and advocacy at Oxford Brookes. Vijay has Industry experience in education, finance and technology. 

Being an international student, he brings a diverse voice. He is implementing experiential learning in Brookes. As explained by Vijay, experiential learning means learning in the live project environment. He argues that ‘some seminar sessions need to be carried out at industry locations’ Experiential learning keeps students curious and lets them learn at their own pace, not someone else's.

‘Education is essential, but it should not only be confined to the forum walls of the classroom or the books.’ - Vijay Pydi, VP of education and advocacy at Oxford Brookes.

The report states four main reasons why creative thinking is important in school. 

• Fast-changing times call for creative minds. Young people who can think outside the box will be better prepared for the future.

• Creativity unlocks potential in students.

• Creativity helps students learn by making things interesting and relevant to them.

• Creative thinking helps students in all subjects by letting them be imaginative, solve problems in new ways, and come up with their own ideas.

The report distinguishes creativity into two main types: a ‘big C’ and a ‘little c’. ‘Big C’ creativity means creating something truly groundbreaking, like a major invention or a famous work of art. 

With the ‘little c’, everyone can be creative. ‘Little c’ creativity is about using your imagination in everyday life, like making a cool photo collage, inventing a delicious new dish, or figuring out a tricky work schedule.

How can schools create a safe space which can support creative thinking?

‘Unspoken rules’ of the society

The way we grow up and what's important in our culture can affect the skills we learn, our values, and even how well we're expected to do in school and work. Vijay explains that academic structure and the environment play an important role in shaping an individual. ‘how the education system is designed’ is one of the important elements when incorporating creativity into school. 

Ways of teaching

Traditional methods of testing students and rote learning does not help students to think outside the box. ‘There are moments when children have kept trying for many years but their system doesn't necessarily fit them as well as it should or the system isn't as diverse as it should be’ explains Anna. 

Schools need to make creativity more rewarding and less risky. Leaders can create a culture where it's okay to take chances and try new things. ‘We encourage children to express their own aesthetic, their own art in their way rather than having identical bits of art.’, says Anna. 

The learning environment in a classroom

Most of the time, classroom habits do not create a space for creativity, like teaching there's only one "right" way to learn or solve problems. ‘I have seen the same content repeated in both lectures and seminars. I expected that the seminar would have more experiential or activity-based learning,’ says Vijay. 

The report recommends that teachers should value creativity as a core skill, just like reading or math. At Windmill Primary School, Anna encourages children to ‘express their own aesthetic, their own art in their way rather than having identical bits of art.’ This method encourages them to set their own goals, think creatively and share their own original ideas by creating a safe space for the kids. 

So, is our current education system failing to nurture students' creative potential?

The short answer is no. But, if the government does not take immediate action, then eventually the current education system will fail to nurture students’ creativity. Schools are too focused on test scores and not enough on the skills young people need for the real world.  

The government should bring in an unbiased person to examine what's taught in schools and how students are graded. This could lead to major changes in the curriculum and testing. Everyone deserves a good education that helps them learn lifelong skills and become the best person they can be for society.

The same problems will persist if children are not educated differently. New challenges demand a shift in the way young people are prepared. The emphasis on achieving the "correct" answer discourages experimentation and risk-taking, essential components of the creative process.  A fear of making mistakes can hinder students' ability to think outside the box, a critical skill for fostering innovation.

‘You just gotta keep writing…’

Diving into the sonic tapestry, unravelling the stories of two musicians who weave their unique narratives into melodies that resonate far beyond the speakers. Brook Ellington, a British country musician, and Maria, known musically as ‘The Bobo’, reveal what it takes to find their sound and break into the music scene. 

“I was brought up on rock and roll and country mainly, and I wanted to play keys for some particular reason” asserts Brook, as he reminisces how his musical journey began. Filtering through rock bands through his teenage years, leading him to eventually drop out of university. “I feel like I got what I needed out of the course for the short period of time I was there, but yeah, it was sort of killing my drive.”

Maria’s musical endeavour started with music from her childhood - “I have always liked music, my Dad plays a lot of music when I was younger and at home and in general so I would listen to it a lot, a lot of female artists” Maria explains while naming artists such as Melody Gardot and Narah Jones. “I just loved their voices, loved their songs, and it would be a way for me to… you know, get the emotions out.” 

For Brook, it was also his Dad that would play legends such as Springsteen and Bob Dylan, but it was Bon Jovi that stood out. “That was like my first favourite band. But then on the board they even had a country album called Lost Highways.” Later he explains that country music was always in his head. “I never fell out of love with country music, even when I was playing in rock bands. In rock bands, I would always still be listening in the country.”

When asked about the marginalisation of sub genres in music like country, Brook was quick to support the genre with his own perspective as a Country artist… 

“I would say that it's in its own lane, yeah. But I feel like the pop lane crosses into it quite a lot…I think the country's growing and growing and growing.” He further expresses the enormity of country music in the States, compared to the UK, saying that “it's enormous in the States, I think it's probably bigger than anything out there.” 

Navigating the music scene can be daunting, especially for emerging artists. According to recent statistics from IFPI (International Federation of the Phonographic Industry), the global music industry generated over $28.6 billion in revenue in 2023, with streaming platforms dominating consumption. However, amidst the cacophony of voices vying for attention, Maria and Brook offer their advice on the challenges faced when breaking into the music scene…

“It's mainly down to the playlisting of radio plays I would say” Brook suggests, “being added to streaming playlists is one of the big things and trying to get on them is a challenge in itself.” Maria explains that even beginners face challenges “I would say finances are a huge one. Music is a very expensive hobby.” Maria later explains the challenges that are faced as a female artist “There are some things that limit you and also, I think the industry is still pretty much male driven, which as a female artist, I would love for it to change, looking at line ups and in general, the dynamics.” 

But what is the secret to writing songs that are honest, true and unique to you? Brook and Maria both offer their advice to what they think the key to songwriting is and finding your sound amongst a world of noise…

When talking to Maria, she explained that it was experimentation that holds great importance when trying to create music. “Just experiment. Don’t really try and put too much pressure on yourself, just kind of see where it takes you.” She remarks while also suggesting that regular breaks are also a must to getting the creativity flowing. “You don’t have to do it all the time. You don’t have to get it perfect all the time. The thing is, it is very important to make mistakes and try things and also collaborate. I think sometimes amazing things come from collaboration and…don’t be scared to ask for help.”

Similarly, Brook emphasises the key ingredients to great song writing “you just gotta keep writing” he amplifies. “you're going to have songs that you really don't like…the more you write and sing and experiment with different genres or sub genres within the genre that you're in, that's when you're going to start to find your voice.” 

“Be as honest as you can…do everything from the heart, that will help you find your identity.” 

With both artists previously performing at the Jericho tavern in Oxford, famous in the city for its live gigs and great atmosphere, Oxford is the place to be this summer for music with the Music at Oxford Programme celebrating its 40th anniversary. Bringing world class musicians to the heart of Oxford, this summer is full of music with concerts diving into the theme of ‘Natural World’ and ‘Oxford Roots.’ Head to their website for more…

Visit: https://www.musicatoxford.com/

By Maddie Heal

In the Oxford Brookes University drama studio, rehearsals are underway for a play which shines a very new sort of light on the realities of modern day, post-pandemic motherhood.

Written by academic Dr Antonia Mackay, Three M’Others follows the struggles of three different new mums, as they navigate mental health struggles, identity issues and social pressures during the onset of the pandemic. It’s not all joyous, it’s complicated and it’s messy, something that we don’t see a lot in creative expressions of motherhood.

The play is based on Dr Mackay’s own experiences of first time motherhood during lockdown. ‘That is the horror of motherhood’, she explains, ‘that fear of being responsible entirely for someone; it’s terrifying’. And it’s not something she alone felt; on top of the natural fears and worries of being responsible for a new little one, recent years have altered the social expectations of women, and how they identify as mothers.

According to the Institute for Fiscal Studies and the World Economic forum, the pandemic saw 23% more British mothers than fathers lose their jobs, with 75% of UK mothers having to decrease their working hours. Research shows that modern women were ‘finding themselves taking on roles that are “at odds” with their feminist identity’, as they were forced back into the home environment in a manner which blended their identities as mothers and professionals. Yet in a neoliberal society, a lot of women equally now feel the need to defend their choice to stay at home.

Professor Tina Miller is a professor of sociology, studying parenthood transitions and gendered identities; her recent work has focused on the effects of the pandemic and the current social ideas around the identities of motherhood. ‘Some of my mother’s loved lockdown,’ she reflects on her research, ‘you don’t have to try and navigate that public world with a new baby’. She contrasts this with the other experiences some women had; ‘they couldn’t wait to return to the opportunities of being back at work. So what’s emerged as well, is that when they were in lockdown, their sense of self separate to being a mother was really, really hard to hang on to. Because the motherhood elements of their identity were heightened.’

‘Once you’re a mother, once you’re out with children, or a toddler, or a pram, your whole self is really seen through the prism of motherhood… I think it’s really important that we realise that motherhood is just one aspect to a woman’s identity.’

The play centres around three women who have recently given birth during the COVID-19 lockdowns; in one scene, a mum shares her struggle of losing herself within her new role as mum. She shares her struggles on an online chat forum, where she faces bullying and judgment, as well as acceptance and support from other mums. Professor Miller describes this pressure as the striving towards the ‘normative ideal’ of ‘the good mother’. It’s an ideal that changes along with society, and Professor Miller has identified that the modern ‘good mother is not and probably isn’t someone who stays at home full time, it probably is someone who is economically active too’. Yet consistently, the good mother narrative, also described as ‘intensive mother ideology’, is one that expects mums to lose all of their identity, including their capacity for being flawed, struggling human beings, else they are deemed a ‘bad mother’.

Mum Chloe faced a similar adjustment, and the opinions of others, when her son was born; ‘it’s impacted my life quite a bit actually (obviously I’m not complaining, I love being a mum). I don’t actually get out and do stuff for myself. I feel like I get judged quite a bit sometimes on the school run as I’m only 23 and all the other mums are like nearly 40. I also get mums older than me trying to tell me how to parent my child as if I don’t know how to be a mum’.  

‘Three M’Others’ is not the only piece of modern media to tackle the realities of motherhood in a modern social climate; Mahalia Belo’s 2023 survival film, ‘The End We Start From’, follows a new mother, played by Jodie Comer, navigating a climate crisis whilst trying to protect her new-born infant. ‘Soldier, Sailor’, a  2024 novel by Claire Kilroy, explores the feelings of a mother through a monologue directed towards her son. In the wake of the pandemic and the difficulties mothers faced psychologically, socially and medically, the creative industries seem to have found a new perspective and experience of motherhood to explore.

Yet despite the many complexities modern mums face on a daily basis, Chloe wouldn’t change a thing. ‘Honestly the thought of being a mum while I was pregnant was so scary; I felt like I wasn’t ready…but as soon as you hold your newborn in your arms it honestly feels like there is no one else in the room or in the world for that matter’.

‘Three M’Others’ debuts at the North Wall Theatre in Summertown, Oxford, running for two nights on Thursday 30^th May, and Friday 31^st May. Tickets are on sale now.

By Rowan Speakman

Magnificent Oxford, known as the ‘City of Dreaming Spires’, an ancestral home of education, a beautiful English city.

It should also be known as the home of the oddest Facebook Marketplace, countrywide.

I love Facebook Marketplace. It’s the ideal place to get some seriously good deals on furniture, tech and accessories - I personally used it to furnish my entire house from scratch in a matter or weeks - but, as I’ve found, you have to be quite selective with your searches, or your feed gets a little…weird.

It may be a hobby only I have, but I trawl through my FB marketplace feed weekly on an oddities hunt, just for kicks.

But you know, the world is stressful, university is hard, life is expensive and the news is depressing, so why not share an arguably entertaining hobby instead? I have rounded up the 13 best(?) second hand purchases available to you on the Oxford side of FB’s insane second-hand site this week, just so you too, can share in the joy/insanity.

Let’s dive in, shall we?

1. Let’s start this wonderful garden ornament, perfect for adding a little finesse and class to your uni accommodation:

2. This unique opportunity to own an authentic piece of British-American history, for the low, low price of £40:

3. This elegantly dressed sensei, who could be used for a myriad of day to day activities:

4. These… lovely clothes, presented in an aesthetic way for your window shopping:

5. It’s Mr! The ultimate haunted companion for your room, kitchen or basement:

6. This Zebra print television, which, if I’m being candid with myself, I am really tempted by:

7. This mountain of staple food which is only slightly out of date, if rice can even be out of date?*

*no, Google says ‘not really’.

8. This costume (‘that could do with a wash’- the seller) that will 100% have you upstaging the bride at every wedding in a five mile radius:

9. This second costume option for a classier look at your next family function:

10. This… gentleman, who has apparently seen both world wars from the front line:

Now that’s what I call a thousand-yard stare.

11. This ultimate free design elevation to the university student garden, or kitchen, or bathroom (grime and lack of function included):

8. This ‘Coco de Mer’ SEED, which is apparently valuable and certainly a talking point for your home (if you were looking for some odd conversations):

(EDITORIAL NOTE: Someone walked behind me whilst I was putting this image in the article and took such a hard double take I think they have given themselves whiplash. Formal apologies to them.)

13. And last, but certainly not least, this £30 Inside Out Telly Tubby:

‘It’s a Teletubby that’s inside out’

Yeah, at this point I closed Facebook.

Well, there you have it. Have you been convinced to go traipsing around Oxford to collect some of these magnificent items? Or have you been scared off of the infernal shambles that is Oxford’s Facebook Marketplace?

Yeah, I think the latter applies to me for a little while.

You’re so welcome.

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The London Fashion Weeks main event, Burberry, starts the show submerged in darkness with the iconic Agyness Deyn being the first to step foot on the runway which was completely disguised in wood chippings allowing for a dark and sinister atmosphere to fill the tent which Burberry pitched up in Victoria Park for this London fashion week show. 

Daniel Lee said in a pre-show interview that he “wanted this collection to feel warm and protective”, ditching the warehouse runways most top fashion houses go for was a step in the right direction for Lee trying to attain this ‘warm’ feel.

The atmosphere only deepened as the show was covered in a sinister loop of deceased British icon Amy Whinehouses “Back to Black”, the ominous choice of voice and setting perfectly fitting the dark toned coloured collection Daniel Lee had designed and was showcasing.

Burberry’s winding runway removed all sense of social hierarchy from the room, no tiering system left for a completely oblivious crowd all being sat on fleece cushions spread across the perimeter of the runway. 

Daniel Lee did include a diverse range of models across the entirety of the show with a variety of ethnicities and ages all being displayed on the runway, staying true to Burberry’s morals that they “believe in Diversity, Equity and inclusion” and Lee’s 2024 Autumn/Winter fashion show was no acception of that.

Agyness Deyn strutted out of retirement wearing a slate-grey button down trench coat with a golden zip accompanying the buttons, paired with the matching slate-grey wide leg trousers upturned at the bottom to reveal a yellow and khaki tarten pattern to compliment the vocal point her coat.

Burberry’s Fall Winter 2024/25 range is full of a variety of trench coats and jackets all with a range of fur, buttons, and zip detailing. Designer Daniel Lee has drawn back on plastering his collection full of the Burberry equestrian knight design and classic neural tone tartan checked pattern which they have been famous for since Burberry was founded in 1856.

Daniel Lee stays consistent and on theme to what Burberry is known for by showcasing their most popular items both the trench coats and cashmere tartan scarf, but putting his own unique spin on them with a variety of fur trims, zips and shoulder straps. The shoulder straps and buttons were a design which was introduced in the mid 1800s to allow soldiers to fasten their bags to their shoulders for a means of practicality.

The full Autumn/Winter collection displays a war inspired look with models being dressed head to toe in khaki, big industrial boots and shoes detailed with silver buckles, aviator sunglasses which have been associated with fighter pilots since the  1900s. 

Not only are they escorting the waresque khaki they are also wearing a significant amount of brown. The mixture of the two colours can be a link to wars which are happening across the globe, the use of brown and khaki perfectly fits what soldiers wear in battlefields to blend into their surrounding terrain. As well as linking back to Lee’s aim to create a “warm” outerwear collection.

It showcases a lot of very accessible fashion which you can imagine walking straight from the runway to the streets of London with a range of oversized blazer looks and wide leg trousers which nobody can seem to shake off from the last few seasons and are still a wardrobe must-have this 2024/2025 winter season. 

Daniel Lee since leaving Bottega has put great efforts into making Burberry a more daily wear, weather appropriate brand by bringing Burberry back to it’s outwear origins. This clearly reflects in this line where he ditches impractical fashion only based garments and instead makes a line full of actual coats, jackets, scarfs and boots which will be practical warm winter essentials.

Retired supermodel Naomi Campell was the last model to leave the runway showcasing a strapless slate-grey evening gown, with a glittery fringe throughout, leaving the audience in awe. 

Many familiar faces were spotted at the event from football star Gareth Bale to supermodel come actor Cara Delevinge who was sporting a red tartan jacket and the matching tights.

Lee’s number one aim in designing garments is giving his buyers what they want “people want to look hot” is what he described in an interview with W magazine, that’s exactly what he’s done with this collection.

From the darkness, began the show, taking place in an outside tent, on freshly cut grass, the models walked out onto the symbolic outside catwalk. The tent set the scene for the show with the models looking ready to combat the classic gloomy British weather, wearing long trench coats, long skirts, field jackets and duffle coats. Opening the show, Agyness Deyn returned to the runway from retirement, wearing a classic high-neck Burberry style trench coat and grey suit pants with tartan detailing above the boots. The return of trench coats as a timeless piece and a wardrobe staple for most in 2024, empowers the Burberry classic in this ready to wear collection. For Burberry, being cold has never looked so stylish, and this was no different for accessories. With oversized bags and waterproof boots, the looks cater for any outdoor event and Daniel Lee continues to combine practicality with fashion.

This fashion masterpiece bought back familiar faces of models walking the catwalk, with British models taking over the runaway. Edie Campbell, Lily Donaldson and Lily Cole, took centre stage on the grass catwalk in long coats, high boots and the classic Burberry print scarfs.

The show ironically embraced British culture, we all know that British weather is cold and bitter, so when the classic accessory of an umbrella appeared within the show, it beautifully portrayed the brand’s commitment to its British heritage by using a mundane accessory and incorporating it within the fashion world. ‘I wanted the collection to feel warm and protective’ Lee said, and from the positive and powerful response to the show, we can see his vision succeed. Lee’s commitment to the countryside and nostalgic vision is apparent throughout the show, every aspect portrayed this, including the new neutral colour palette of khaki green, browns, greys and the influential choice of the venue for the show.

Textures played a huge role in London Fashion Week 2024, and this was no different for Burberry’s closing autumn winter show, focusing on conventional materials. ‘I wanted to take a traditional approach to the fabrics and how each piece is made’, said Lee ‘the collection itself is inspired by British and Irish wool and fabric, centred around protection and warmth’. This beautifully combines with the origins of the brand, focusing on the nostalgia of the show and Thomas Burberry’s aim for people to move freely outdoors, wearing comfortable outwear. The warm feeling created by the nostalgia of the show extended further to the clothes; the wool and original material ensuring the shoes and clothes are functional and fit for the outdoors.

Differing from the nostalgia of the show, a new face closed the show, Maya Wigram, 18-year-old daughter of Phoebe Philo. In her first catwalk debut she wore a high neck leather trench coat, paired with a floor length tartan kilt, further accompanied by an umbrella, a clear symbol of classic British culture. The new face created quite the impression, leaving viewers puzzled by who this final model was. The Burberry show really sparked discussions among the audience, with everyone talking about all aspects of the show, a success for Daniel Lee.

Burberry maintaining its position as one of the highest profile brands in London Fashion Week did not disappoint with the guest list, with old icons and rising stars sat front row at the outdoor show. Skepta, Barry Keoghan and Cara Delevingne all appeared at the show. Rapper Skepta commented on Lee’s commitment to his work ‘he still turns up for people, you can see his heart’s in it for real’. Their presence demonstrated heartfelt support for both the show and Lee’s artistic endeavours.

This season Daniel Lee certainly covered all bases, taking the audience on an incredible journey looking back at the history of Burberry.