Five Year 9 boys who devoted their summer holidays to preparing for a new season of robotics have been rewarded with early success in a competition – a victory which takes them straight through to national championship level.
The five, comprising team 21549E, put their holiday planning to good effect and duly won the local VEX Robotics event hosted by Greig City Academy in Hornsey.
Head of Technology Michael Noonan said: “By the time they reached this competition, the boys definitely had the right mindset and the right strategy, having drawn on their past experience of robotics to develop a robot capable of taking on this season’s challenge. They handled the pressure on the day well and rightfully enjoyed the celebrations after their victory.”
The five team members are: Neel Bhatt; Adokshaj Magge; Ishaan Bhandhari; Anik Singh and Mukunth Natarajan.
Anik, whose role included design, explained that the task for the 2021-22 season involves shooting balls into a box to win points. It is, he says, quite different to the challenges set in previous years as it involves the “technical aspect of finding out ways of getting the scoring game object into a high goal, alongside new rules and limits”.
Teammate Neel, a designer, builder and driver of the robot, reflected on the benefits of good preparation: “Putting in hours and hours of accurate design work is necessary; it makes our robot work to the best of its abilities during competitions.”
With 21549E now set to compete against some of the best robotics teams in the country in the national championships, the boys will be hoping to follow in the footsteps of other QE teams in recent years who have gone on to take part in the international finals in the spring.
They are, however, taking nothing for granted. Mr Noonan added: “One of the main things they have learnt from this competition is that there is always something to improve on, whether that be building, driving, programming, or simply the strategy used to score the points around the pitch.”
ast drawn from Year 9 performed the play to their year group classmates in the morning and then again to parents, staff and visitors after school.
Based on Mark Haddon’s award-winning novel, the moving, darkly comic, and ultimately inspiring story centres on the challenges a boy with autism faces in navigating the world. It also explores themes of family breakdown and the mystery of who killed Wellington, the eponymous dog.
“The cast, technical crew and director were also brilliant, with the performance ‘in the round’ really drawing the audience into the heart of the action. The staging was particularly effective and was aided by the great work on the sound and lighting by Old Elizabethan Chris Newton, of School Stage.
Lesley Malpas, Founder and Chief Executive of not-for-profit organisation, Operation Future Hope, not only outlined problems around the world, but also examined environmental depredation close to home, explaining that Britain suffers some of the world’s worst biodiversity loss.
Her positive stories of rewilding included the reintroduction of beavers in Britain, the transformation of what was previously an intensive dairy farm into a wildlife haven that now boasts owls, bats and nightingales in abundance, and the steps taken by a number of schools to improve their sites.
“There seemed to be lots of scope for small initiatives that could have a positive impact and would allow interested students to get actively involved in the School’s stewardship of its grounds,” said Mr Bonham-Carter. “Generally, the site is already supporting nature quite well, she explained, so we are starting this project from a good place. We look forward to receiving her report and understanding further what would be achievable on our campus.”
During the visit – QE’s first live theatre visit since before the pandemic – all of Year 11 experienced a radical take on Shakespeare’s tragic tale of two young Italian ‘star-crossed lovers’ that eschewed romance in favour of an unsparing focus on mental health.
Throughout the play, the boys stood in the theatre yard, or pit – the area which in Elizabethan times was the cheapest part of the theatre, with no seats provided. “This meant that sometimes the actors were moving between groups of students as they performed,” said Mr King.
For his part, TimeOut’s Andrzej Lukowski’s said: “…I thought the billboard was an interesting idea in a mercurial show that often manages to be frustratingly dysfunctional and giddily fun at the exact same time….Essentially Ince’s desire to offer up two hours of hard-hitting social realism and two hours of wild escapist fantasy at the same time is not entirely reconcilable. Kitchen sink regietheatre* isn’t really a thing. But just because it doesn’t always ‘work’ doesn’t mean it’s not good: I loved the wild, irreverent roar of the ball [the scene in which Romeo first sees Juliet]; equally, I think Ince is on to something in choosing to earnestly highlight the number of references to suicide in the play – it seems quite reasonable to interpret the star-cross’d lovers as being depressed.”