Is ‘hard maths’ really putting girls off Physics?

WHS Physics Lesson

Physics teacher Helen Sinclair investigates the claim that ‘hard maths’ puts off girls from studying Physics, and finds that the truth is much more complex than this, and is not limited to gender. She explains how she makes lessons and clubs inclusive.

In April, the Government’s Social Mobility Advisor, Katherine Birbalsingh, told MPs that girls are less likely to choose Physics A-Level because it contains too much “hard maths”. She added, “Research generally, they say that’s just a natural thing… I mean I don’t know. I can’t say – I mean, I’m not an expert at that sort of thing. That’s what they say.”

This provoked unsurprising outrage from those who have spent their working lives trying to understand and solve this problem. Dame Athene Donald, Professor Emerita of Experimental Physics at the University of Cambridge, summed up some of the key points when she spoke to the same committee a few days later.

“[It] starts really young, the message society gives is that they (Physicists) are white males, and I think there is evidence to show that if you are black or if you are a woman, you don’t see yourself fitting in… The internal messages that girls may believe – if teachers aren’t actively trying to counter that, they may not realise that the girls are being driven by things that aren’t their natural choices.”

Whilst Ms Birbalsingh may have subsequently backtracked somewhat from her comments, the question still lingers – why is there such a gender gap in Physics?

A diversity gap

The problem of diversity in Physics is not new. The percentage of female A-Level Physics students has stubbornly remained around 20% for nearly 30 years. In 2011 the Institute of Physics reported that almost half of all mixed schools had no girls studying Physics A-Level and that girls were almost two and a half times more likely to study Physics if they came from a girls’ school rather than a co-ed school. Five years later, the picture had barely changed. Their detailed research over the last decade shows that the causes extend far beyond the Physics classroom: schools with low numbers of girls in Physics often showed gender imbalances in other subjects too, such as English. Furthermore, their research revealed that it wasn’t simply a problem of gender. All kinds of minorities are less likely to study Physics.

Girls often enter the Physics classroom with a narrower range of early, concrete preparations for Physics compared to boys, stemming from the very different toys and pursuits that they are still often exposed to in their early years. This can make it hard for them to easily identify links between core ideas studied in the classroom and their applications to their lives and career ambitions. Research shows that by exploring these applications within lessons, all students (and particularly girls) are better able to see the relevance of Physics as a subject.

Making Physics teaching more inclusive

Girls are also more likely to see value in subjects that link to social and human concerns. Because Physics tends to simplify situations in order to understand key principles, these links can often be lost, making concepts seem irrelevant to students’ lives. By making a conscious effort to link concepts to real-world problems and societal challenges, we can convey the subject’s importance more effectively to girls. For example, this year we have explored Energy Use and Climate Change with Year 9; the Chernobyl disaster, the USSR and the war in Ukraine with Year 10; and the how seatbelts are designed for men and Tonga’s damaged data cable with Year 11.

Research has shown that girls’ self-concept is lower than boys. They also are more interested in achieving mastery of a subject. This is particularly noticeable in our students, who often try to judge their success by comparing their achievements with others’, and who can look at anything other than perfection as a failure. This culture of perfection (which extends well beyond the Physics classroom) can make it harder for students initially to engage with more challenging problems. One of the key ways of supporting students through this is to create a more relaxed atmosphere, allowing them to discuss different approaches, and identify and learn from their mistakes. Embedded use of the Isaac Physics website in lessons has proved a powerful tool to help our students feel successful and identify areas for improvement quickly.

Wimbledon High School Physics

Our Physics lunch club was formed in partnership with some Year 10s who wanted to tackle challenging problems. At first it was run in an ordinary classroom, but it soon became clear that in this formal environment, students were on edge. The following week we relocated to the new private dining room on site. Students ate their lunch and chatted at the same time as completing questions. The informal atmosphere encouraged them to discuss problems, rather than try to solve them individually. It was fascinating to see how the setting and approach of the session had such a significant impact on students’ enjoyment and engagement.

Whilst there are many things an individual teacher can do, it is important to remember that the impacts of these interventions are likely to be limited. Above all, the research consistently shows that girls’ views on Physics are shaped by their interactions in wider society and the bias that is still pervasive there. Surely it is our responsibility as educators to openly address this, not just for the benefit of our students, but also for the benefit of our society.

Preventing a dangerous game of hide-and-seek in medical trials

Helen S reveals how the pharmaceutical industry hides unfavourable results from medical trials. She warns of the risks to human health, and proposes how we can make medical research more robust and trustworthy

Have you ever questioned the little pills prescribed by your doctors? I had not, until I began working on this article – and the truth is, we know less than we should about them. It is scary to think that, though these medications are supposed to heal us when we are feeling poorly, in reality, that it is not always the case.

Clinical trials are experiments or observations done for clinical research that compare the effects of one treatment with another. They may involve patients, healthy people, or both. Some are funded by pharmaceutical companies, and some are funded by the government. I will mainly focus on the phenomenon of hiding negative data in industry-funded trials.

Research done in 2005 by Evelyne Decullier, Senior Research Fellow at Hospices Civils de Lyon, compared registered trials that have failed and those that have succeeded, and which ones appear in the medical journals and academic literature. They consistently found that only half of trials are ever published and that positive results are 2.5 times more likely to be published than negative results.

Now, you might say, ‘how can those trials possibly affect me or other ordinary people?’ Well, read on…

Why this matters for your health

Lorcainide is an anti-arrhythmic heart drug and was tested in clinical trials in the 1980s. The results showed that patients given Lorcainide were far more likely to die than patients who weren’t.  But those results were not published until 10 years later, and during that time, doctors had been prescribing the drug to patients. According to Dr Ben Goldacre, director of DataLab at Oxford University, it has been estimated that more than 100,000 people who had taken Lorcainide died in America as a result. And Lorcainide is not a single case. Similar things may be happening to other clinical trials relating to drugs such as anti-depressants or cancer treatment.

The lack of transparency can also affect decisions on government spending. From 2006 to 2013, the UK government was advised to buy a drug called Tamiflu which was supposed to reduce pneumonia and death caused by influenza. The UK government went on to spend £424 million stockpiling this drug. But when the systematic reviewers tried to gather up all the trials that have been done on Tamiflu, they realised that the government had only seen a small number of the trials. They battled for years to get the trials from the drug company, and when they had finally got all of them, they found that Tamiflu was not sufficiently effective to justify that large a cost. If companies continue to withhold trials, similar expensive trials are going to be repeated, putting the volunteers, patients and doctors in danger.

Pharmaceutical companies have failed us, so what about the law? In America, it is required that medical trials held in the US need to be registered and have their results submitted within one year of the trial finishing. However, when scientists looked back at the data in 2015, they found out that only 20% of trials were submitted and reported.

Industry-funded research is not the complete villain in this situation. During these types of research, discoveries are more likely to occur (Adam, 2005; Adam, Carrier, & Wilholt, 2006; Carrier, 2004). And thanks to funding from industry, scientists are less pressured to present something that is directly linked to real‐world use, compared to public or government-funded projects (Carrier, 2011). And as we all know, new technologies all start with discoveries.

Finding remedies

Here are some suggestions from scientists for improving the current situation: to increase the transparency, to increase reproducibility and the most doable one, effective criticism (Elliott,2018). Out of these, the criterion that is the easiest to modify is to have more effective criticism. It is important to acknowledge that criticism doesn’t need always to be negative. Though the agencies that are usually responsible for evaluation can be limited by a variety of reasons, such as  understaffing or political issues, “they can get more involved in designing the safety studies performed by industry in specific cases,” suggests Philosopher of Science, Kevin Elliott. (A safety study is a study carried out after a medicine has been authorised, to obtain further information on a medicine’s safety, or to measure the effectiveness of risk-management measures.)

Luckily we have the technologies in our hands. Alpha Fold is leading the scene: it has done some amazing and accurate predictions on predicting the 3D shape of proteins, meaning scientists can facilitate the design of stable protein. It can also help to make sense of X-ray data to determine crystals structure; before Alpha Fold was invented, determining the structure of proteins to do structure-based drug design could take 3-4 years. Now they are presented in front of you in less than an hour.

Everyone is different, some people might have allergies, and some drugs might not even work for some people. To avoid these situations, technologies such as AI could make your prescription personalised to you. By analysing your DNA information sent to your pharmacy, AI would analyse the dosage and the drug suitable for you. The 3D printed “polypill” is a single pill that has all the personalised medication you need in one day in one pill, which is remarkable. 

Hopefully, now it is a little easier to understand the importance of transparency in clinical testing. Trial results were never just numbers – they are directly linked to the lives of millions. Pharmaceutical companies were not simply hiding data – they were hiding the deaths of the volunteers and patients, and the money of families wasted on more expensive but less effective treatments. There must be, without doubt, serious consequences if companies don’t follow regulations.  I believe there will be hope if the scientists use technology effectively and if a better research environment is created for future generations.

Why was the cat a cultural icon in ancient Egyptian culture?

Elsa P traces the history of cats in Ancient Egypt – from humble ratcatcher to god, and from pet to votive offering – exploring both how they were represented, and how they lived within Egyptian society

Animals are an important presence in many aspects of society, culture and religion. They act as companions but also symbols, idols and gods. Their significance goes back centuries and their role in the development of cultures can be felt today. What I want to look at in this piece is the question, why is the cat so important?

The earliest historical depiction of the upright tail, pointing ears and triangular face of the domesticated cat appeared around 1950 BCE, in a painting on the back wall of a limestone tomb around 250 kilometres south of Cairo, Egypt. After this first feature, cats soon became a fixture of Egyptian paintings and sculptures and were even immortalized as mummies. Cats possessed the art of social climbing as they rose in status from rodent killer to pet to representations of gods. Does this mean the domesticated cat had a significant impact on the development of ancient Egypt?

Most ancient Egyptian artistic representations of cats were based on the African wildcat. With a light build, grey coat and black or light-coloured spots and stripes, the African wildcat is very similar to the tabby cat that we see in most domestic homes today.

With a prominent farming culture in ancient Egyptian society, cats were a useful tool to chase away dangerous animals such as venomous snakes and scorpions but progressively became symbols of divinity and protection in the ancient Egyptian world.

Paintings on Egyptian tombs show cats lying or sitting below chairs and chasing birds and playing. A recently discovered pet cemetery[1] (dating to the 1st and 2nd centuries CE) found on the outskirts of Berenice, on Egypt’s Red Sea coast holds the remains of cats with remarkable iron and beaded collars, which are believed to have died of old age. These discoveries suggest that cats were probably kept as companions and were loved and respected animals in Egyptian society.

“The ancient Egyptians, in general, did not worship animals. Rather, they saw animals as representations of divine aspects of their gods,” according to Julia Troche, an Egyptologist, assistant professor of history at Missouri State University[2]. In addition to domestic companionship, cats were seen as vessels that the Egyptian gods chose to inhabit, and whose likeness such gods chose to adopt. One god that was depicted as a cat was Bastet, the goddess of the home, domesticity, women’s secrets, cats, fertility, and childbirth. Bastet was first depicted as a fierce lioness, but later as a domestic cat and as dutiful mother with several kittens and a protector of the family. In tomb paintings, a representation of fertility was a cat sitting under a women’s chair, possibly arising from the fact that a female cat gives birth to a relatively large litter. Around 5th century BCE a large cult of Bastet devotees developed in the city of Bubastis near the modern-day city of Zagazig, north of Cairo. They would gather around a massive temple and would leave small cat statues as offerings for the Bastet. This popularity for Bastet persisted for almost another 1,500 years which further reinforces why the Ancient Egyptians respected and honoured the cat in their society. Ancient Egyptians thought of cats more generally, as protectors, while at the same time they respected their ferocity. The god Sekhmet, the goddess of war, is depicted as a lioness and was said to be a warrior and protector deity who kept the enemies of the sun god Ra at bay. “In some mortuary texts, cats are shown with a dagger, cutting through Apopis: the snake deity who threatens Ra at night in the Underworld,” Julia Troche explains[3].

As cats were fierce protectors in the eyes of the ancient Egyptians, it comes as no surprise that they played a vital role in the afterlife. Because of their highly respected status, the killing of cats in ancient Egypt was illegal. However, killing for mummification may have been an exception. A recent study[4] reported the carrying out of X-ray micro-CT scanning on ancient Egyptian mummified animals. The study explored the skeletal structure of a mummified cat and the materials used in the mummification process. The results showed that the cat was smaller than expected and that 50 percent of the mummy was made up of wrapping. Through dissection of the teeth of the cat, the scientists deduced that it was around 5 months old when it died and that the cause of the death was deliberate breaking of the neck. The study concluded that the cat was most likely purposely bred for mummification to provide votive offerings for the gods with cat associations. For example, the cat was used as a votive offering for the god Bastet. Mummified cats were bought by temples to sell to pilgrims who may have offered the mummified animals to the gods in a similar way that candles may be offered in churches today. Egyptologists have also suggested that the mummified cats were meant to act as messengers between people on earth and the gods. To uphold the demand for such offerings, entire industries were devoted to the breeding of millions of cats to be killed and mummified, and also so that they could be buried alongside people. This happened largely between about 700 BCE and 300 CE.

Cats were respected creatures in ancient Egyptian society. The representation of the ancient Egyptian gods as cats influenced the citizens’ behaviour towards these animals and played an integral part of religious practice. They also were a useful tool in the agriculture industry, keeping pests away from farmland. This admiration is still prominent in today’s western culture as many people keep cats as home companions and as pest control.


Bibliography

El-Kilany, Engy, Mahran, Heba, What Lies Under the Chair! A study in ancient Egyptian private tomb scenes, part 1, American Research Centre in Egypt, 2015

What Lies Under the Chair! A Study in Ancient Egyptian Private Tomb Scenes, Part I on JSTOR

Geggel, Laura, World’s oldest ‘pet cemetery’ discovered in ancient Egypt, Live Science online, 08 March 2021

World’s oldest ‘pet cemetery’ discovered in ancient Egypt | Live Science

Johnston, Richard, Thomas, Richard, Jones, Rhys, Graves-Brown, Carolyn, Goodridge, Wendy and North, Laura, Evidence of diet, deification, and death within ancient Egyptian mummified animals, Scientific Reports, 10(1) online, 20 August 2020

Evidence of diet, deification, and death within ancient Egyptian mummified animals | Scientific Reports (nature.com)

MacDonald, James, Why Ancient Egyptians Loved Cats So Much, JSTOR Daily online, 27 November 2018

Why Ancient Egyptians Loved Cats So Much – JSTOR Daily

Plackett, Benjamin, Why were the ancient Egyptians obsessed with cats?, Live Science online, 17 April 2021

Why were the ancient Egyptians obsessed with cats? | Live Science

Yuko, Elizabeth, How Cats Became Divine Symbols in Ancient Egypt, HISTORY online, 17 August 2021


[1] Geggel, Laura, World’s oldest ‘pet cemetery’ discovered in ancient Egypt, Live Science online, 08 March 2021

World’s oldest ‘pet cemetery’ discovered in ancient Egypt | Live Science

[2] Yuko, Elizabeth, How Cats Became Divine Symbols in Ancient Egypt, HISTORY online, 17 August 2021

[3] ibid footnote 2

[4] Johnston, Richard, Thomas, Richard, Jones, Rhys, Graves-Brown, Carolyn, Goodridge, Wendy and North, Laura, Evidence of diet, deification, and death within ancient Egyptian mummified animals, Scientific Reports, 10(1) online, 20 August 2020

Evidence of diet, deification, and death within ancient Egyptian mummified animals | Scientific Reports (nature.com)

How connecting the stage, the page and current events enlivens the Classics

Classics teacher Callista McLaughlin examines the deeply enriching influence that a school production of a drama from Classical literature has had on learning in Years 10 and 12.

A major focus of my teaching of the Classics this year has been the Tragedy genre, in the Greek Theatre paper in A-Level Classical Civilisation, and the Verse Literature component of Greek GCSE. The Year 10 production of Euripides’ Women of Troy invigorated this task in more ways than one.

Women of Troy is set in the aftermath of the capture of Troy by the Greeks, which ended the conflict that is depicted most famously in Homer’s Iliad. As one Year 10 remarked when Hattie Franklin and I were team-teaching an A-Level taster on Homer’s epic, ‘Euripidesdramatises the fate the women fear in the Iliad’. Our eyes were widening at breadth of knowledge of Classical literature suggested by this observation, when we remembered that this pupil was in the play. This was the first of many gifts from this production to reach our Classics classrooms.

WHS Women of Troy

Beyond the classroom

While its dramatic content comes, like much of Tragedy, from myth, Euripides wrote and produced this play during the Peloponnesian War of the 5th Century, and it has been considered his response to its horrors.[1] His ever-empathetic, strikingly universal expressions have apparently enabled others to satisfy the same longing. Thus, millennia later, the play was notably produced with an astonishingly pacifistic slant, in Berlin in 1916.[2] In fact, the text has been re-translated and re-produced over time with constant urgency, in response to various world events, including the Boer war, European imperialism in Asia, the September 11 attacks and the US invasion of Iraq.[3] This term our school production of the tragedy was shot through with meaning and impact by the war in Ukraine.

The pain expressed by the chorus of women on the destruction of their homeland, and their questions for the future– where might they live? who might forcibly take them as a wife or lover? what might become of their children? – echoed the anxieties we see expressed by Ukrainian refugees on the news all too closely. Deb McDowell’s choice to set the production in a modern-day refugee camp meant it looked like what we see on television too: in class Year 12 remarked on the poignancy of each chorus member bearing baggage. The blue and yellow flag draped over the tiny casket of a slaughtered innocent towards the end of the play wove together the connections it was impossible to avoid throughout, as an audience member.

WHS Women of Troy

Inside the classroom

The unanimous observation of the Year 12 Classical Civilisation students who watched the production, and the Year 10 Greek students who were in it, was that these allusions increased their empathy with and understanding of Euripides’ characters. Moreover, just as powerfully as the modern setting brought the ancient tragedy to life, the tragic dialogues in turn brought the modern setting to life, with the potential to inform our understanding of the current state of war.

The play yielded high-level discussion from the Year 12 audience, from exploring their set author Euripides more deeply to making inspired proposals for setting their set plays in 2022. For the Year 10 actors, it was invaluable immersion. They have produced articulate, thoughtful responses to what they learned from the process, but also shown me what they learned, through the heightened emotion and energy with which they have tackled the – often tough and trying –[4] task of translating their set text.

The fantastic production set me up for an increased engagement with its content – though  their spontaneously wailing like a tragic chorus when a character disrespected a Greek god surpassed my expectations! Less anticipated, and truly exciting, is the effect it has had on their handling of what is challenging Greek, particularly for students who have been learning the language for less than a year. Seeing a play, rather than a mere puzzle of particles and irregular verbs, they have begun to use their instinct and intuition to make logical connections between the different lines of dialogue. I am also taking advantage of the now-revealed acting skills of the class. The activity of performing a dialogue, proven effective for studying plays in translation,[5] has in some ways even more exciting potential when tackling the original Greek.

Conclusions on co-curricular cultivation

With the theatre coming back into our lives, the Classics pupils will have seen two external productions this year (the Bacchae in January and an Oedipus / Antigone mash-up later this month). Such trips and exposure are inspiring, especially when trying to bring such ancient texts back to life, but co-curricular immersion, right here at school, magnifies this potential marvellously. And for the non-Classicists starring in the tragedy, it has been a brilliant intellectual and creative challenge, which will have allowed them to grow as students, whatever their field of interest.


[1] Croally, Neil (2007). Euripidean Polemic: The Trojan Women and the Function of TragedyCambridge University PressISBN 0-521-04112-0

[2] Sharp, IE (2018) “A Peace Play in Wartime Germany? Pacifism in Franz Werfel’s The Trojan Women, Berlin 1916.” Classical Receptions Journal, 10 (4). pp. 476-495. ISSN 1759-5134 (https://eprints.whiterose.ac.uk/129895/).

[3]https://en.wikipedia.org/wiki/The_Trojan_Women#Modern_treatments_and_adaptations

[4] Hunt, S. (2016), Starting to Teach Latin. London: Bloomsbury p.126.

[5] Speers, C. (2020). “How can teachers effectively use student dialogue to drive engagement with ancient drama? An analysis of a Year 12 Classical Civilisation class studying Aristophanes’ Frogs.” Journal of Classics Teaching, 21(41), 19-32. doi:10.1017/S2058631020000112

Why ideas matter: the calculated uses of British ‘civilisation’ in Africa

Josie M, Transition Representative on the WHS Student Leadership Team, explores how ideologies are constructed in order to justify atrocity, in relation to Britain’s exploitation and colonisation of Africa

Throughout history, and particularly in relation to the British empire, Britain’s international dominance has been obtained and developed through the enforcement of British beliefs and culture. When Africa became the object of Britain’s desire in the late 17th century, as an integral part of the transatlantic slave trade, Africa’s apparent lack of ‘civilisation’ – as determined by Britain’s definition – was used to justify the horrendous treatment of African slaves and was later instrumental in gaining public support for African colonisation.

This reflects the wider phenomenon of how the ‘western’ notion and interpretation of what constitutes a respectable civilisation has been severely damaging to the periphery during colonisation and European land acquisition. I am taking the term ‘western’ to refer to ideas that have been popularised in economically developed areas in Europe; and ‘periphery’ to refer to countries that are viewed as less economically developed nations with ‘poor communications and sparse populations’: ‘Defined in geographical or sociological terms, the centre represents the locus of power and dominance and importantly, the source of prestige, while the periphery is subordinate’ (Mayhew, 2009).

The British Empire and Commonwealth

A widely circulated definition describes civilisation as a complex society, concerned with so-called civilised things; Money, Art, Law, Power, Culture, Organised belief systems, Education, Hierarchy, Trade and Agriculture (Dictionary.com, 2022).This proposed definition contains only a limited range of categories for observation: 17th and 18th century Britain also used similar definitions to decide what constituted a respectable civilisation. When British explorers and leaders arrived in Africa, they found peoples and cultures that operated very differently to the commercial towns and cities of Britain. Technological advancements within Britain meant that emerging industrialisation within towns and cities was considered a major manifestation of civilisation, so Africa’s lack of these particular trademarks led to the continent being branded as ‘Darkest Africa’, which was the idea that the people were savage and brutal and incapable of governing themselves.

As a result of this racist ideology, African people were then portrayed as uncivilised and inferior to the white British classes who sought to rule and profit from them. As the cradle of humanity, African kingdoms and tribes had been evolving for thousands of years, all the while developing rich histories and cultures that oversaw daily life. However, this vibrant tapestry of language, music, art, customs, trade, and religion was not seen as such – in the eyes of the British, the tribal system and Africa’s lack of advanced weaponry and technology meant that it was their ‘rightful place’ to be subservient to the colonising powers, and slavery was a means of achieving this submission.

The shifting uses of ideology

The development of the transatlantic slave trade and the eventual European colonisation of Africa are heavily intertwined, with the racist ideology developed during the slave trading period resurfacing and being used to justify colonisation. Across Europe, Christianity had long since been associated with civilised society and as being the pinnacle of world religion. Christian teachings were used to justify the poor treatment of slaves and their forced removal from their homelands. Propaganda that Africans “worshipped the devil, practiced witchcraft, and sorcery” among other evils was rife, these practises directly opposing many values held by religious Europeans. As a result, one of the foremost Christian missions was employed: to evangelise and spread the word of God.

Pseudo-scientific race theories were also beginning to emerge at this time, suggesting that black races were genetically inferior to white races and so God required that they serve their white masters. Christianity’s evangelical mission was utilised in justifying the removal of African people from their ‘devil worshipping’ cultures and bringing the ‘heathens’ to Christian lands where they could be saved by the Gospel and brought into the light, thereby spreading the faith and achieving one of the primary objectives of the religion.

These race theories and evangelising missions were later turned on their head when slavery was abolished on 1 May 1807. The trade did not stop instantaneously: Britain continued to expand its economic horizons through increased trade with India and the Far East, in order to maximise its global reach. By the later 1800’s, colonial expansion into Africa became the new object of European interest and the ‘Scramble for Africa’ formally began with the Berlin Conference in 1885.

Cecil Rhodes (1892)

During African colonisation, the popular Christian mission altered from justifying ferrying slaves to Christian countries to deliver them liberation through the Word of God, to directly opposing slavery and all the evils associated with the practice. This altering of common Christian beliefs about slavery was employed by British leaders to gain support for direct British involvement in Africa. David Livingstone was an extremely popular and influential explorer and missionary at the time; calling for a worldwide crusade to defeat the slave trade controlled by Arabs in East Africa. The British were then able to turn the tide of belief by establishing their own moral authority on the issue, they created another enemy in the Arabs and were then able to present their quest for land acquisition as ethical because they were supposedly assisting in the eradication of slavery – a system they had exacerbated enormously – by fuelling colonisation and increasing their involvement in Africa.

Livingstone’s three C’s: Commerce, Christianity and Civilisation were then employed as the main objectives of British administration in Africa. In this way, Britain portrayed itself as a more innocent party that was merely extending a great opportunity to Africa to modernise in the same way it had. However, this was not the reality of the situation and the true motives behind imperial expansion: competition, and profit, were often disguised behind this veil of apparent moral authority. The plight of many African nations that suffered at the hands of European expansion was then blamed on themselves, on their own ‘savage’ ways, when in fact European nations were instrumental in causing many of the issues of corruption, instability and poverty, which persist as legacies of colonisation today.

In conclusion, the western definition of civilisation was warped and used by the British to justify a campaign of control and submission throughout Africa. This method of obtaining control allowed Britain to profit and develop on an immense scale, whilst the African nations that Britain occupied had their natural resources exploited, their people dehumanised, and their cultures and ways of life demonised as savage and barbaric. In many cases, Christianity was used as a means to justify these actions because it was seen as such a pinnacle of civilisation by the Europeans, and was believed to go hand-in-hand with respectable society.

Over 12 million African people were forcibly removed from their homeland and sold into slavery during the transatlantic trade, and millions more suffered as a result of colonisation and extortionate land acquisition by global powers. And critical in enabling human suffering and exploitation on such as massive scale, was the damaging western definition of civilisation, which resulted in extraordinary pseudo-scientific race theories being used to justify horrific actions.


Bibliography

Oxford reference: Core-periphery, (Azaryahu (2008) Soc. & Cult. Geog. 9, 4).

https://www.oxfordreference.com/view/10.1093/oi/authority.20110803095639465

Olusoga, David: The roots of European racism lie in the slave trade, colonialism – and Edward Long, The Guardian

https://www.theguardian.com/commentisfree/2015/sep/08/european-racism-africa-slavery

David, Dr Saul: Slavery and the ‘Scramble for Africa’, BBC History

https://www.bbc.co.uk/history/british/abolition/scramble_for_africa_article_01.shtml

St John’s College: The Scramble for Africa, Europeans called Africa the ‘Dark Continent’ because it was unknown to them, University of Cambridge

https://www.joh.cam.ac.uk/library/library_exhibitions/schoolresources/exploration/scramble_for_africa#:~:text=states%20and%20peoples.-,The%20Europeans%20called%20Africa%20the%20’Dark%20Continent’%20because,it%20was%20unknown%20to%20them.&text=African%20peoples%20did%20not%20have,their%20rich%20histories%20and%20cultures.

Raypole, Crystal: A Saviour No One Needs: Unpacking and Overcoming the White Saviour Complex, Healthline

https://www.healthline.com/health/white-saviorism

Christian History: Why did so many Christians support slavery?, Christianity Today

https://www.christianitytoday.com/history/issues/issue-33/why-christians-supported-slavery.html

Farmer, Alan: The British Empire c1857-1967, Access to History, Hodder Education, 2018

Oxford AQA History: The British Empire c1857-1967, A Level and AS, Oxford University Press, 2015

How does collaboration give students vital life skills?

WHS Director of Drama, Deb McDowell, reflects on how Drama can help students understand the importance of recognising your limitations and engaging in productive conflict to achieve the best outcomes

At this point of the year, as another cohort of students prepare to stride out into the world beyond WHS, I always ask them for their reflections on the best and also the most challenging things about the Drama experience. Then comes the frown, a sigh or two and a blowing out of lips, followed by thoughtful raised eyebrows, a gentle shaking of the head and a wry smile: ‘Devising! For both!’

The students are referring to the exam requirement at both GCSE and A level to create a 20-minute piece of Drama for performance in a group.

Experiencing the highs and lows of collaboration, in a high-stakes situation, usefully prepares Drama students for the world beyond school, where the value of well-honed, independent study skills – key for fantastic exam results – so often depreciates rapidly, while the need to negotiate and work with others becomes more crucial to success.

Let’s take a moment to consider some of the wonderful things collaboration offers, as evidenced by the powerful devised work created by Drama students each year:  

  • It provides an inclusive and productive experience for everyone.
  • It teaches those who have confident voices to listen to those who are less extrovert, but also requires everyone to take responsibility for the work in progress, not just to sit back and let the ‘leaders’ take over.
  • It provides a positive platform for problem-solving, as a result of experiencing a range of perspectives; learning that that by pooling knowledge, skills and expertise, a group response can be nuanced and powerful.
Anastasia by Year 10-13 Wimbledon High students

However, actually learning how to collaborate is not easy. Negotiating the unavoidable personal and practical challenges of working with others must not be underestimated. Commentators cite the need to trust and respect each other as the most important part of a group dynamic, but in discussion, WHS Drama students perceptively commented that this trust and respect cannot truly exist at the outset of any collaborative project, neither can it be forced, but will only grow over time in the most effective groups.

Together we agreed on the following.

First, we must understand that collaboration is more than simply ‘working with others to produce something’. There must be a shared intention, which in Drama is to produce high quality work that has social, cultural, moral value.  There must also be specific agreed objectives, which for us means being precise about what we want the audience to think about or feel as a result of experiencing the performance.  

Collaboration also requires agreed acceptance of the need for organisation, and a methodical way of working, even if the actual responsibility for active time management and group discipline falls to the individuals within the group best suited for these roles.

Furthermore, outstanding outcomes are only achieved a result of ambitious thinking and a determination to achieve the highest standards of execution, where the process must allow for risk-taking and also tolerance of missteps along the way, both in terms of the work in progress, but also in relation to group interaction.  

Learning the personal qualities for collaboration

Many people have a deep-seated need to please, to be liked by others and to avoid conflict. Unfortunately – ironically perhaps – these traits undermine the very process of positive collaboration. Collaborations that aspire to be entirely harmonious soon find themselves mired in complacency, buoyed up by a cosy morale which ultimately leads to work that is clichéd, less sophisticated and ultimately unsatisfying.

What often lies behind the feelings of anger and frustration that can emerge is a perfectly reasonable anxiety about progress, or a sense of injustice borne from perceived unequal effort, or disappointment in the quality of input from others. We must accept that these feelings will bubble up when the stakes are high. It is really challenging to find a way to allow for them to be acknowledged properly as an integral part of the process, but when they are managed effectively, they can lead to collaboration of the highest order, which will make possible that fantastic sense of achievement and high morale experienced by so many of our students…in the end.

Positive collaboration forces us to understand our own limits; to recognise our own reluctance to be vulnerable; to be able to admit mistakes; and to see that challenges or failures along the way are not crises but a necessary part of the process.

And we have to truly respect others and evaluate their ideas openly and objectively. This is harder than it sounds, especially when we are often so used to measuring our progress relative to others, seeking out personal indications of approval to bolster our self-esteem, and becoming increasingly ‘set in our ways’ to feel more ‘in control’. Through collaboration we have an opportunity to learn from each other. The process should encourage us to see the value in asking for help, something far too many of us find very difficult (often perceiving this as an admission of weakness, when actually the opposite is true).

Working with others can allow us to become the kind of person we would want to work with ourselves – someone who can understand and respect others’ points of view, including across differences of background or expertise. And when faced with complex and demanding situations, we have to be able to admit when we need help. A confident, positive approach to collaboration makes all the difference. Listening to this year’s departing Drama cohort reflecting on why the experience of Devising embraced the worst of times but ultimately led to the best of times, I am happy that these students are striding out better equipped for life beyond WHS.

Why being a great linguist means broadening your horizons beyond the exam

WHS Linguistica Club

WHS Head of French and Mandarin, Claire Baty, extols the crucial, intrinsic importance for linguists of broadening their cultural and imaginative horizons, and discusses two school initiatives to support this – Linguistica magazine and its associated club, Linguistica and Friends

My MFL colleagues and I are currently busy proof-reading articles for the summer edition of the department’s Linguistica magazine. Each term, as the deadline for submissions comes and goes, I feel a sense of curiosity tinged with apprehension. I am excited to read the fruits of students’ efforts beyond the language classroom but I can’t escape the underlying worry that they may not feel sufficiently impassioned to actually submit articles for publication. Why is that?

Linguistica was created to be more than just a magazine – it is a space to explore language learning and the myriad opportunities this affords. Fortunately, post-covid, our classrooms have once again become inspiring, collaborative spaces where students can assimilate new language through role plays, and can put their heads together, literally, to work out the rules of a new grammatical structure. Whilst rote learning of vocabulary and grammar rules is important, language learning is and should be much more than this. An understanding of the music, film, fashion, food, history, politics, literature, geography of the country is just as significant as being able to use the words correctly.

It is this cultural understanding, coupled with strong syntactical awareness, that ultimately creates an expert communicator. In a world that is increasingly driven by technology, it is our ability as human beings to empathise and communicate with each other that will become the most important 21st century skill. Linguistica is a platform for our students to engage with the cultural, social and political world of the country they are studying.

Students learning about the Hanfu

This term our ‘Linguistica and Friends’ club has whole-heartedly embraced the STEAM+ ethos by inviting other departments to deliver workshops, seminars and lectures exploring the interplay between their subject and MFL. Our aim, to enrich our students’ understanding of the world around them. We have encouraged them to ask big questions which force them to make connections between their subjects such as:

  • How does Maths help me with translation in a foreign language? 
  • Does learning Latin mean I am better at French?
  • If we all spoke the same language would there be less conflict in the world? 
  • What helps me understand people better – learning their language or learning their history?
  • Science has nothing to do with languages: discuss.
  • Is computer code a language? 

We have enticed them to see things through a different lens. Ultimately no discipline can exist in isolation and learning a language really does entail learning a whole other perspective on the world.

Why does this matter?

The WHS Civil Discourse programme has as its core aim for our students “to be truly flexible, robust and open in their thinking, and for the world to re-awaken itself to the notion of real debate and discussion, based on authentic encounters between enquiring hearts and minds”. Exploring topics we thought we understood from a new perspective allows for nuanced thinking and offers access to opinions which differ from our own.

We all start out with a ‘blik’ or worldview, informed by our upbringing, circumstances and personal experiences. Our ‘blik’ tells us how to interpret the world, and we then choose to embrace the facts that support our ‘blik’ whilst selectively ignoring or explaining away those that go against it (R.M Hare in his response to Anthony Flew’s 1971 Symposium). Our job as teachers is to challenge a student’s ‘blik’ by offering them diverse ways to engage with subject material outside of the classroom. To stride out into the world, our students need to be able to see that world and how concepts connect with in it. This was exactly the aim of ‘Linguistica and Friends’ this term when we offered sessions designed to show the connections between subjects that the students in KS3 at least, often see as disparate.

But why do I worry our students won’t engage? Why am I concerned they won’t be as excited as I am about the opportunity to spend my lunchtime time considering the flaws of a translation of the New Testament? As teachers we can see the value of inter-connected thinking, we are excited by this opportunity to engage with the big picture, and we are frustrated by how exam specifications can thwart and potentially diminish a student’s desire to explore. For the students, however, “c’est l’arbre qui cache la forêt” and the demands of exams can hinder true scholarship, taking away the passion, the willingness to engage and explore just for the fun of it.

An Introduction to Semitic Languages

And this is precisely why Linguistica matters. It is in this co-curricular space that we can open our students’ minds to new concepts, encourage them to challenge their pre-existing ideas without the judgement of an exam. Here they can discover their passions, find out who they are and what inspires them.

So look out for this term’s edition of Linguistica, which will be published in hard copy before the summer holidays. It will showcase the creative and eloquent writing of our fantastic MFL students, who have had success in all manner of competitions. You can find out more about how our students engaged with the inspiring ‘Linguistica and Friends’ workshops, as well as the big questions considered by Years 8 and 9. Here is a flavour of what they explored.

  • The interplay between Maths and language exemplified by the deciphering work done at Bletchley Park during WW2
  • How textiles and fashion are inextricably linked to culture and history, as demonstrated by traditional Chinese Hanfu
  • The use of Greek in the New Testament: symbolism and translation. How the meaning of a text is not separate from the language in which it is written.
  • Furthering our understanding of scientific concepts by exploring the derivation of scientific words and their language of origin.
  • The role of cognates, body language and demonstration when making sense of a language you don’t speak. (Loom weaving in Italian.)
  • How Semitic languages fit into the European languages we commonly learn in school.
  • How the use of language in popular film could be used as a way of raising awareness of languages at risk of dying out. With a focus on Polynesian languages and the Disney film Moana.
  • The recent presidential elections in France and how language can be used to persuade, convince and influence.

Reflections on decolonising the curriculum in A Level English

Following the introduction of a postcolonial literature unit in English Literature this year at A Level, Sarah Lindon writes up reflections from a discussion she had with fellow English teacher James Courtenay Clack and students in Year 13, to reflect on what has been valuable about it and what needs further thought

As part of an informal review of the English Department’s work so far on decolonising the curriculum at A Level, we met with Year 13 English Literature students to ask for their feedback before they went on study leave. Those who took part were from the first cohort to undertake the unit on postcolonial texts and theories, which culminated in a coursework task comparing Kiran Desai’s ‘An Inheritance of Loss’ and the poetry of Derek Walcott. We were keen to hear what they thought was of value academically and on a wider human level, and what some of the problems were.

Exploring human experiences

Students told us that while historical accounts gave them factual understanding of aspects of empire, what they valued about looking at Literature was gaining a sense of the plurality of human experiences under colonisation, and appreciating the imaginative depth involved in exploring individual lives through narrative and metaphor. When studying historical facts and following debates in the media, they felt it was easy to become distanced from the subject matter, particularly for those without their own experiences that might resonate with those of oppressed people.

Though they felt in some respects more ‘in touch’ with experiences of colonisation as represented in literature, through having them presented on a ‘narrative plane’, they were nonetheless alert to the danger of becoming ‘narrative tourists’. With Walcott’s poetry especially, metaphor was pinpointed as a powerful vehicle for conveying experiences and ideas. Desai’s use of narrative flashbacks as a tool for interrogating colonialism was highly effective in allowing exploration of the fracturing and evolution of identity. These were methods that they felt gave them deeper insight into the perspectives, thoughts and feelings relating to experiences of imperial domination.

These observations connect with debates about the role literature can play in developing empathy and altruism in readers. Ann Jurecic has suggested that while reading literature does not automatically produce empathy, ‘educators can encourage readers to take advantage of the invitation to dwell in uncertainty and to explore the difficulties of knowing, acknowledging, and responding to others’[i]. Building on this, Omri Cohen suggests the importance of exploring ‘the ways in which reading literature may curb or defeat empathic motivations’[ii]. Both writers engage with Raymond Williams’ view that ‘sympathy experienced [while] reading about…suffering…privatises a social emotion, counteracting the motivation for public action’, and the observations of Lauren Berlant that empathy can be a ‘civic-minded but passive ideal’ and a form of ‘false knowledge’ (cited in Jurecic), and that reading can even provide a ‘false transcendence’ through ‘passive empathy’ (cited in Cohen). Students didn’t seem to have reached a firm standpoint in this regard, but were indeed dwelling in uncertainty.

The importance of listening

Our Year 13s had learnt that the legacy of empire is very much present in the world around them now, which was new to them. All of them had reflected more deeply on their own identities. For those with mixed heritage, this brought increased interest in both areas of privilege and areas of difficulty that their identities entail for them, when considered through exploring figures in the poetry and the novel.

And yet, when the group reflected on whether they now felt more equipped to engage in discussions of empire and its ramifications, they were cautious. While they might have gained a stronger sense of its importance and meanings as a topic, they also felt that such discussions had become harder for them in some ways.

Rather than feeling more inclined to contribute to discussions on topics around empire, racial politics, social justice and inclusion, some students felt they would now have a strong preference for contributing less and listening more, to learn from others. They were aware of how they, like any other group, bring a very specific perspective to these conversations, as members of the majority culture. They had a new appreciation for the strong value of words and their unintended meanings. And they valued what they characterised as a new atmosphere in lessons, where they took more time to listen and connect, saying it wasn’t enough just to bring bubbly energy. They knew that they didn’t always have the answers, and that collaboration and taking in others’ views was essential.

They contrasted this with a kind of complacency they feel susceptible to in relation to the ‘Women in Literature’ component of the course, where their identification with female characters potentially blunts their critical attention and alertness to differences across texts, oeuvres, time periods and cultures. With new awareness of different kinds of oppression, they could now make connections and distinctions in relation to reading for ‘Women in Literature’. They were very engaged by finding new perspectives on more traditionally canonical texts such as Jane Eyre too. Overall, they felt a key legacy of this unit for them as readers was that they would be more aware of the benefits of reconsidering their first reading of a text and exploring other viewpoints.

Reading in the round

One of the most important areas for us to think about as teachers now is how the comparison aspect of the task often led students to read the poetry through their interpretations of Desai’s novel, which meant that the full richness of Walcott’s work and ideas was not brought out as much as we hoped. For practical reasons, students read the novel before turning to the poetry, and we would like to reconsider this for next year, especially since Desai arguably emphasises the traumatic aspect of postcolonial experience above all, while Walcott’s vision acknowledges this but also allows for a generative, creative, plural response to it, and looks to forms of identity that are not just constricted, defined or distorted by colonial legacies

In this vein, we are keen to think further about the dangers of looking at identity in reductive ways. Literature is by its nature multivocal, dialogic, intertextual and complex. The risk of ‘flattening’ texts with one-dimensional readings is one that we need to push against continually, and we will be thinking afresh about this after seeing how that tendency worked out sometimes in this unit to reduce Caribbean literature only to its representation of oppression and suffering , as it sometime does with ‘Women in Literature’ as well. This is diminishing of authors and texts, of what literary craft is about, and of our understanding of human diversity, creativity and identity. We will work further on bringing out more powerfully the communicative and recreative powers of literature, which allow it to ‘talk back’ to power, to social and cultural currents, and to difficult histories and experiences.


[i] Jurecic, Ann. “Empathy and the Critic.” College English, vol. 74, no. 1, 2011, pp. 10–27, http://www.jstor.org/stable/23052371. Accessed 12 May 2022.

[ii] Omri Cohen (2021) Teaching self-critical empathy: lessons drawn from The Tortilla Curtain and Half of a Yellow Sun, English in Education, 55:2, 132-148, DOI: 10.1080/04250494.2019.1686953

Could digital learning be the key to a truly inclusive curriculum?

Mrs Rebecca Brown, GDST Maths Trust Consultant Teacher and Teacher of Maths at WHS, looks at how effective use of digital learning could have the potential to give all students personalised learning experiences.

The use of online video tutorials for learning, especially in Maths, can, if used carefully, provide an individualised learning experience where students study concepts at their own pace, allowing them to review, reflect, pause or accelerate. This in turn enables learners to learn in their own way, giving them more confidence to delve deeper into the subject, embed knowledge and solve problems. Suggestions like this evoke a range of strong emotions and opinions among teachers. Is digital learning the future of education? Or does it mean the de-skilling of teachers and students alike?

How do you learn something new?

If I asked you to learn how to make magic milk, how would you begin?  My own first step would be to Google it and watch a top-rated video. Then I would have a go myself. If a student can watch a carefully selected video at their own pace, pause, rewind, replay until they have good understanding of a concept, then surely this is potentially a beneficial personalised learning experience that can be inclusive of the needs of all learners. Moreover, it can help students to overcome anxieties they may face in the classroom.

Video tutorials also give the opportunity for recap, review and consolidation after a lesson or topic has been taught. During the pandemic we saw an increase in online learning and use of video tutorials that supported student and teacher absences and gaps in learning. Now back in the classroom, instead of reverting to what we have always done, what if we considered a different future? How can crisis turn into opportunity, as we use technology in different ways?

Why use digital learning?

Evidence shows that many digital learning resources can be used to develop students’ mathematical capabilities, especially when they are integrated into a rich teaching environment. In a nutshell, the students pre-learn the new content mostly independently, often as homework, and then most of the precious classroom time is spent practicing, asking questions and doing activities with the teacher there to support and guide them.

After watching appropriate, rigorous, considered tutorials, students can engage in richer in-class discussions that help them develop deeper conceptual understanding of Mathematics. This releases lesson time for social interaction, which Vygotsky’s theory of learning as a social process places so much emphasis on.It can also create more time for one-to-one support and direction from teachers. This is a good example of flipped learning, which can be a very powerful pedagogical process.

Fluency gives students the capability to be confident in their calculations and the cognitive capacity to focus on more complex, problem-solving aspects of the curriculum (Foster, 2019).

What could possibly go wrong?

This does all come with an important warning. We need to select the resources that we direct students to use very carefully. I am sure that you know the pitfalls of a YouTube search! This is where selecting and inserting videos into One Note lessons, Google Classroom, Firefly or using resources such as Ed Puzzle can be helpful. Ed Puzzle is an online video editor tool. Your students watch a video, selected by you, at their own pace. You hold every student accountable, observing who is watching and who answers the questions. They are not able to skip ahead or open other tabs. The process is simple – find a video, add questions, and assign it to your class. Watch as they progress, and hold them accountable on their learning journey.

Wimbledon High School Maths Lesson

Another drawback is relying solely on digital resources as a method of instruction for students to learn. While flipped learning does give you the opportunity to dive into applying the content rapidly, the teacher must assess learning quickly and be able to rectify misunderstandings. This method also centralises the role of homework. Students need recreation time for holistic development, so it could also become detrimental when only used outside of lessons, as the commitments of learners beyond the classroom could limit the time available, hindering progress. For it to work properly, parents also need to be fully informed and engaged to support this method.

To conclude

We want to empower our learners to become critical thinkers, curious problem solvers and resilient creatives. Perhaps a flipped learning approach, if rigorously thought out and planned, could help address anxieties, give more opportunities to accommodate different learning styles and needs, and give more time for complex, deeper thinking in the classroom. Developed in this way, it could become the future of a truly inclusive education.

You can learn more about Flipped Learning at the GDST EdTech25 event on 25th May – hosted by Trust Consultant Teachers Fiona Kempton and Rebecca Brown. Sign up here

How Classical Western Architecture has inspired the world

Agnes P. in Year 9 takes us on a lively whistle-stop tour of key features and sights in the history of Classical Western Architecture, looking at the three main styles – Ancient Greek, Roman and Byzantine – that underpin the architecture we see around us today

Architecture governs our lives. We live in a metropolis and everywhere we turn there is a new street with buildings from a variety of eras that give us the ability to eat, sleep and to live. In the Palaeolithic period, roughly 2.5 million years ago, when humans lived in huts and hunted wildlife for food, the key purpose of architecture was to provide shelter, but now, we have many uses for it, due to the wealth, wisdom and resources amassed by humanity over 2.5 million years. But we can still trace the roots of much modern architecture back to ancient times.

Archaic architecture from as early as the 6th century BC has influenced many architects over the past two millennia. If you have ever been to the British Museum, a building designed to mimic the Greek style, and looked up at the columns just before the entrance, you will have noticed the ornate capitals, decorated with scrolls and Acanthus leaves. They are derived from the two principal orders in Archaic architecture: Doric and Ionic. The Doric order occurred more often on the Greek mainland where Greek colonies were founded. The Ionic order was more common among Greeks in Asia Minor and the Islands of Greece. These orders were crucial if you were an architect living in 600 BC. Temples were buildings that defined Greek architecture. They were oblong with rows of columns along all sides. The pediment (the triangular bit at the top) often showed friezes of famous scenes in the bible or victories achieved by the Greeks. The wealth that was accumulated by Athens after the Persian Wars enabled extensive building programs. The Parthenon in Athens shows the balance of symmetry, harmony, and culture within Greek architecture; it was the centre of religious life and was built especially for the Gods to show the strength in their beliefs. Greek architecture is very logical and organised. Many basic theories were founded by Greeks and they were able to develop interesting supportive structures. They also had a good grasp of the importance of foundation and were able to use physics to build stable housing.

Image from Pexels

The Romans were innovators. They developed new construction techniques and materials with complex and creative designs. They were skilled mathematicians, designers and rulers who continued the legacy left by Greek architects. Or as the Greeks might put it: pretentious copycats who stole their ideas and claimed them as their own. We sometimes forget that the origins of Roman Architecture lay within Greek history. Nonetheless, brand new architectural structures were produced, such as the triumphal arch, the aqueduct, and the amphitheatre. The Pantheon is the best-preserved building from Ancient Rome, with a magnificent concrete dome. The purpose of the pantheon is unclear but the decoration on the pediment shows that it must have been a temple. Like many monuments, it has a chequered past. In 1207 a bell tower was added to the porch roof and then removed. In the Middle Ages, the left side of the porch was damaged and three columns were replaced. But despite further changes, the Pantheon still remains one of the most famous buildings and the best preserved ancient monument in the world. It even contains the tombs of the Italian monarchy and the tomb of Raphael, an Italian renaissance painter. Roman architecture is known for being flamboyant, and many features reflect the great pride of this culture, such as the great pediments, columns, and statues of Romans doing impressive things. These all show off their understanding of mathematics, physics, art, and architecture. Many American designs have been inspired by this legacy, including the White House and the Jefferson Memorial, which couldn’t look more Roman if it tried.

Byzantine architecture was the style that emerged in Constantinople. Buildings included soaring spaces, marble columns and inlay, mosaics, and gold-coffered ceilings. The architecture spread from Constantinople throughout the Christian East and in Russia. Hagia Sophia is a basilica with a 32-metre main dome, dedicated to the Holy Wisdom of God. The original church was built during the reign of Constantine I in 325 AD. His son then consecrated it in 360 AD and it was damaged by a fire during a riot in 404 AD. In 558 AD an earthquake nearly destroyed the entire dome and so it was rebuilt on a smaller scale. It was looted in 1204 by the Venetians and the Crusaders until after the Turkish conquest of Constantinople in 1453. Mehmed II converted it into a mosque but in 1935 it was made a museum. But then it was converted back into a mosque in 2020. The history of the Pantheon looks paltry compared to the history of Hagia Sophia!

Byzantine architecture remains as a reminder of the spiritual and cultural life of people who lived in the Byzantine era. The use of mosaic during the Byzantine era has inspired modern architects to create themed works using gold mosaic to evoke beauty, religiosity, and purity.


Sources:
Encyclopædia Britannica
The London Library
MetMuseum – The Metropolitan Museum of Art Website