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Cultural unity and diversity at the top of the world

By Avigya (Ģ����Ƶ Secondary Journalism Club)

“ Intercultural Day is an opportunity to celebrate cultures with which our Ģ����Ƶ family identifies and celebrate our diversity.”- Ms Catherine Williams, Assistant Head of Secondary.”

What do culture and identity truly mean? And why is it important?��

Some might say it is important because of keeping the legacy. Others might point out the generations of history it holds. While these are true, here at Ģ����Ƶ, these words go beyond their literal meanings, with them not only being an aspect of a student’s background but a part of their identity. Being the diverse and solidarity school we are, on Saturday, the 11th of October, Ģ����Ƶ will be hosting an intercultural day where we celebrate and learn about different cultures in our school community.

During this event, students and teachers will have the opportunity to either wear a cultural dress from their own culture or another which has special significance to them. However, this day will not only include wearing cultural clothes as a series of events will occur too, including a fashion show where students ranging from both primary and secondary will walk the catwalk in their traditional attire. An optional talent show for both primary and secondary, in which students will demonstrate a musical performance that is linked with a culture. Finally, a food festival that will have foods from different places and regions across the globe available to buy. While this event is happening, a selection of activities and games will also be available to play throughout the campus, which will be led by student leaders.

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– if you would like to view the student Foodfest website , please follow the link above

Drama Monologues

On Thursday, after two postponements the IGCSE Year 11 class performed their monologues, the first 20% of their IGCSE. Candidates have to show a range of dramatic skills and techniques in their exam and use challenging themes and situations to demonstrate the full range of their ability. The Ģ����Ƶ journalism club sent Shayann to report.

Drama Monologues

By: Shayaan (Ģ����Ƶ Secondary Journalism Club)

Monologue 1:��

A child soldier caught between actions he has been forced to take and his conscience. He carries out acts ordered that are deeply at odds with his own moral compass. Though he once hoped to be a hero, each event leaves him more mentally unstable and emotionally detached. Convicted and haunted, he struggles to justify his actions, knowing that the uniform he wears no longer shields him from guilt. His story is one of a child trying to reconcile the role he was forced into, with the person he wanted to be, and failing.

Monologue 2:��

A victim who refuses to stay quiet. She’s face-to-face with someone arrogant and selfish—someone furious about being in trouble, yet blind to the damage he’s caused. He blames others for his downfall, twisting the truth to protect his pride. But she doesn’t let him get away with it. She shouts, not out of weakness, but out of strength. Her voice cuts through his excuses, forcing him to hear what he’s tried to ignore: that his anger doesn’t make him right, and his pain doesn’t erase hers.

Monologue 3:��

A woman lies on the bed, knowing she’s close to the end, speaking to someone who barely looks up. The room feels cursed—someone else died here, and now it’s her turn. She talks about the places she wanted to go, the life she never got to live, but the person beside her doesn’t understand. She brings up her father, the way his absence shaped her, the way she kept trying to be enough for someone who never showed up. Her voice rises—not for attention, but out of desperation. She’s dying, and he still won’t listen. All she wanted was to be seen before she disappeared.

Monologue 4:��

The lead character recounts the traumatic death of his friend Adam, who was scared while approaching a mine shaft. As Adam walked toward it, a rock was suddenly thrown at him, hitting him in the head and causing him to fall to his death. He is shaken, haunted by the moment, and overwhelmed by guilt, replaying the scene and questioning whether he could’ve prevented it.

Monologue 5:��

A spoiled, erratic child living in the aftermath of an apocalypse with an obsession for chocolate—candy wrappers and half-melted bars litter the floor around her. She behaves like a much younger girl, her voice high and scattered, clinging to childish fantasies and fears. She’s speaking to a boy who seems to be her brother, though she treats him more like a toy than a sibling. Outside, foreigners have arrived, and she is terrified. She believes they kill women and marry children, a fear that’s irrational but deeply real to her. She wants to hide, dragging her brother with her, convinced that danger is just beyond the door. Her paranoia blends with her spoiled nature, creating a character who’s both unsettling and strangely vulnerable.

Monologue 6:��

A slightly unhinged news reporter locks himself in his office in Afghanistan for 30 days, using a bucket for everything and filling the time with erratic activities. Unable to go outside for fear of recrimination from the Taliban, he reads fan messages, but they’re all threats from people trying to kill him. When he calls a friend to ask for a favour and gets no response, he leaves a voicemail that starts with a threat and ends sweetly. Later, he spins a wheel and impersonates whatever it lands on— parodying the attitudes of high income countries in their response to immigration and their supposed help in ‘freeing’ his country.

Monologue 7:

Our teenage boy speaks to a girl he had previously proposed to. She rejected him, saying, “You aren’t manly enough.” In response, he performs a chaotic bar mitzvah-inspired activity, blowing a horn in an exaggerated attempt to demonstrate his transition from boyhood to manhood. He speaks erratically, trying to prove himself, but his behaviour becomes increasingly unsettling. The girl, present during this display, grows uncomfortable as he continues, unaware of how far he’s strayed from what she meant.

Monologue 8:��

An angelic guardian of the Earth, delivers his story in a formal tone, often straying into humorous tangents. He recounts how giants arrived on Earth and, after an agreement, promised to leave. However, days and months passed, and they remained. Frustrated by their refusal to go, he approaches them wearing a shirt that reads, “Take on someone your own size” blending his formal storytelling with unexpected bursts of comedy.

Monologue 9:��

A young woman in a bar attempting to flirt with a man, begins by stating that American women are statistically the worst in the world at flirting. She shares a little about herself and references social conceptions. Her tone is blunt and unfiltered, but she ends with a sincere offer: “I really like you, so how about I buy you a beer.

These monologues are powerful and unique, each showing a different kind of struggle or emotion. Some are serious and intense, like the solider’s guilt or the women’s quiet pain before death. Others are bold and confrontational, like the victim standing up to someone who hurt her. There’s dark humor in the media presenter’s�� madness, awkward comedy in the bar mitzvah boy’s attempt to be manly, and strange vulnerability in the girl’s childish fear. Our angel mixed formal storytelling with absurdity, and the young woman’s blunt flirting is both uncomfortable and honest.

Together, they made a strong set—emotional, funny, and unforgettable.​