While I have previously invited higher education professionals active in a number of different fields on to this blog and will do so again, I thought this time around readers might be interested in a firsthand account of English language teaching in India.

Over the last four weeks, I have had the great pleasure of being invited to conduct English language and theatre workshops at Union Chapel School in Calcutta. I was and am truly delighted to be able to do this, as it enables me to draw on not only my language teaching experience but also my background in theatre.

I teach two groups of students in the fifteen to sixteen year age group, all of whom have a first language background in either Hindi or Bengali (Hindi is the national language of India, and Bengali is the language of the state of West Bengal). When I asked my students how they related to English – and if they felt that they were dealing with a foreign language, I got some interesting answers. Most felt that in fact they were simply dealing with another “Indian” language, in the same way that they might try and deal with one of the many languages of the country, except that in the case of English they could see an immediate “use” for their knowledge.

As a teacher, I think getting this kind of reaction from a student is pure gold. Affinity is half the battle. The idea that when one starts thinking in another language one has come close to native-speaker/first language speaker status is compelling. But what about when one starts feeling in another language? It’s for this reason that using theatre exercises and the support of a Shakespearean play (“As You Like It”) in these workshops, I think is particularly useful. Functional English can never be discounted, but enabling students to tap into their imagination through the medium of a new language allows them to develop a full or active presence in it. Active language, I think, has to go beyond the somewhat limited idea we have of what constitutes a language “skill,” and become a language capacity. By capacity I mean the nuanced ability to maintain your speaking position in the face of changing circumstances (or, as some would call it outside the world of the assessment rubric – life).

The logistical pressures of moving countries and cities – from London to Calcutta – and a nasty bout of flu meant that it was sensible to stay offline for a while.

Over the next few blogs I will seek to provide an overview of the educational climate in India, and the extent to which international alliances are changing or are likely to change the university experience .

Why are British universities seeking to find a presence in India?

The Indian government has plans to increase the number of university goers from a current 12 per cent of the population to 30 per cent. In plain terms this works out to a present university student population of 12 million, and a projected increase to 30 million. This is clearly a very ambitious plan and opinions are mixed as to whether it can or should be achieved.

In this first piece though I want to present a side to the global impact of the ongoing changes in the Indian university system that is seldom seen in the media.

That is, what is the university experience in India from the point of view of the student and the lecturer?

I went to school in Calcutta and also did my first undergraduate degree in the city. When I went to the UK to do my second undergraduate degree it wasn’t the differences in the educational culture that I noticed but rather the continuities. This was probably because both the school and university I attended were established in the nineteenth century when Calcutta was the capital of British India, and at the heart of a close engagement between the cultures of India and of Britain.

What I experienced in India was a meticulousness of detail and depth of approach which I am truly grateful for. Somewhere along the way I also became firmly imbued with the idea that the big picture matters. So valuing the humanities was important because it helped one to link the puzzle pieces of the world together.

A common expectation and hope amongst the educational community in India is, I think, that alliances with British or other overseas universities will mean more flexibility for students and teaching staff. By which I mean exposure to the arts, sciences and perhaps even technical knowledges together. It seems rather harsh to expect an eighteen year old to choose a “stream” and stand by it life-long.

A simple scan-through of the weekly educational supplement to the Kolkata edition of The Times of India gives a thumbnail picture of the kinds of degrees and career pathways being offered to current undergraduates. Management and science degrees predominate but there’s a wide range of IT -related and engineering courses, along with intriguingly specialist courses in things like wine-making, chocolate making and magicianship (though not at Hogwarts).

What I wonder as a global citizen and a teacher is this – how are we going to help students join the dots? Will the view that learning has value in and of itself because it nurtures creative and critical thinking hold in the new university environment being fashioned?

This wider view of the meaning and value of education already has a space both in India and in the UK. But I have also experienced the piece meal view – in both countries – that being educated in order to find and keep a job is all that’s needed.

It’s an interesting time to be in education – and I hope in succeeding pieces to chronicle more of the changes taking place. The future – not just for the UK and India but for the world – looks an utterly different place than most would have imagined it a mere ten years ago.

So I was pleased to find Creative Writing in the Academy, a blog about creative writing research from Deanna Carlyle and Remittance Girl, who are both starting on the PhD journey.

There are two resources on here which are invaluable — the Creative Writing Conferences for Postgrad Writers list and the Resources for the Creative Writing Postgraduate Applicant page — where was this when I was agonising over my application!

It’s written in an easy-going accessible style and is specifically related to my discipline, which is rare, so I have no hesitation in recommending them to creative writers in academia. It’s also inspiring me to blog more about my personal journey through the PhD in the hope that my experiences with resonate with other students and help those who are puzzling over the mysteries of what exactly a practice-based PhD entails. More on that one soon!

Advice to writers always stresses that you will receive many, many rejections  and that you must learn to deal with them. Rejection is never nice, and it has knocked me about a bit, but I want to have a look at the positives, and how I’m going to deal with the negatives.

My letter was positive in many ways; the editor had taken the time to read and consider my initial chapters carefully and offer some suggestions. She made some lovely comments which in the main mirror what my supervisor has been saying, that my descriptive writing is good and language is evocative. Landscape, seascape and the natural world are all really important to the novel so I am cheered no end by this!

However, I need to look again at the plot and really decide what the central themes are. I am trying to fit a lot in and it’s not quite working. I think that, once I’ve finished my initial draft, I will go back and cut out one aspect of the novel which is detracting from the main coming-of-age and finding-her-place themes. This will resolve the feeling that the editor (and my supervisor) have that the reader is not sure what’s going to be important, what the tensions are and the direction of development.

She also said that the language could be a little more adventurous — with all the work I’ve done recently on trying to nail the voice, I hope this is now better.

What I sent in really, really wasn’t ready, but I was flattered to be given the chance to send something in, so I did. However, I won’t send any other work out until I’m happy with it. (Not to say it needs to be perfect, as editors are ace at spotting unpolished gems.) I’ve lost my chance with a publisher I really admire and who are perfect for my kind of lit fic, which is a shame.

I’ve always kept my writing close to my chest, to avoid being downcast when people don’t like or understand it, and so that I can just write without thinking about the audience reaction, the “What would your mother say?” issue. I find having a mentor amazing for my motivation, but I don’t want more than one right now.

So, onwards and upwards. I’m super keen to keep my momentum going; I’ve upped my work-rate dramatically in the last month so despite the problems with plot I want to keep going and complete a first draft without endlessly circling back on the start. I am not sure I can fix the problems with the beginning when I’m not even sure how the ending is going to play out! (I have a chapter plan but I don’t know what’ll change and where emphasis is going to fall as I write; things always develop as my character develops.)

I’m having my monthly meeting with my supervisor on Friday. When I said I wanted to discuss the points raised in the letter he laughed and said, we can moan about our letters together then (from the same editor)! So at least I am in good company!

As an Indian citizen who spends significant time living and working in the UK, I have been able to witness at first hand the changes taking place in the education sectors of both countries.

The Indian economy like the Chinese economy is expanding. India, like China, is investing heavily in education. New schools and universities are being founded at a steady rate.

British universities are looking to these two countries for expansion. The universities of Liverpool and Nottingham have already set up joint programmes and campuses in Xi’an Jiatong and Ningbo respectively.

I recently attended a meeting at which a reputed British university presented plans for a joint doctoral programme, to a group of senior faculty representing a number of established Indian universities. If the plan goes ahead, students will be able to show joint accreditation for their doctorates. Since a large part of the programme would be based in India, where both living expenses and tuition fees are significantly lower than in Britain, the overall cost of the doctorate would be reduced. A senior figure at the meeting remarked on the possibility that this could work not only in favour of Indian students seeking a UK degree – but also in favour of UK students wanting to cut down on university expenses.

I should mention of course that faculty at wellknown universities in India as with their counterparts in Britain, are highly distinguished. Students from both countries who are able to enroll  on such a programme should it go ahead, would also have that advantage on their side.

Are we going to see British students no longer simply taking a gap year in India but living and studying there in significant numbers? What will this mean for teaching methods, curricula and  – that impossible-to-define, mythical beast – global consciousness?

Is your department or university considering a move East?  If so, I’d love to hear your thoughts and expectations with reference to that?

Karen Kelsky runs an ‘academic-career consulting business’ to help students, basically, get jobs (writing grants, letters, CVs, publish etc.). She lambasts ‘absent’ professors for not providing this career advice. Maybe it’s different in the US, but I’ve never expected to get career advice from teachers at any level. It’s something I need, of course, but I don’t think of my supervisor as the perfect person to provide it. When I meet with him, we’re far too busy knocking my creative work and my thesis into shape — and that’s how I like it.

If and when I want more, like some help with getting the travel bursary I have my eye on, I will ask and I know I’ll get what I need. But the hour or so that we spend working on my project every month is precious, and I want to use it to focus on my writing, which is what he’s really good at.

Also, I want him to carry on being enthusiastic about my work, but also about his own. Not just so he publishes more and is therefore good to be associated with, but so that he is creatively fulfilled and satisfied, and therefore in a good place to be advising me, inspiring me, and making me feel that publication is possible. (As a creative writing student I’m talking about general publication as well as academic publishing.)

At my institution there is a Postgraduate Skills Training Programme as well as Continuing Professional Development courses, training and careers advisors. There’s a whole army of them. The system isn’t perfect, as there are so many students needing different things at different times, but it’s developing and has an essential role to play.

I feel that it’s up to me to look at my strengths and weaknesses and decide what to do about them and where to get advice. It’s also up to me to get off my backside and publish, network, write a great CV, blog, apply for grants and so on, all while I’m getting on with the main body of work. Postgrad skills training and my supervisor are both pretty clear that these are good things to do. Surely it’s obvious to any ambitious PhD student that you have to work hard and develop in all areas in order to succeed, whether you are aiming for an academic post or a corporate one.

The article is interesting, but I don’t like its hectoring tone, and it’s obviously an advert for her services. The comments section is even more telling; I am sad for the students who really do feel poorly advised. There are also quite a lot of profs pointing out just how much they have to do already without being academic career advisors as well (something which they aren’t trained for and may not know much about, not having been on the job market for a while)…and that the quality of their own research is very important to the success of the institution and their students.

Of course I want my PhD to result in a better job, I just don’t think the job-seeking part is up to my supervisors. In the main, it’s up to me.

It’s always said that you cannot be a writer unless you read, and I find that reading teaches better than any textbook. In this case, several novels were extremely instructive, with the added bonus of being unputdownable.

The Butcher Boy, which I mentioned in my last post, was a great lesson in how to deal with first person narrative, with possibly the most unreliable narrator I have ever come across.

I carried on from there, and read and learned from a couple of Welsh writing in English books. One Moonlit Night by Caradog Prichard is The Butcher Boy in a Welsh setting. There’s a young Welsh boy, a mother who goes mad and a chilling and sad finale, but the main thing it shares is an amazingly convincing voice. The gaps are intriguing, the boy’s trajectory utterly believable until the final few chapters, where you are thrown off balance by the developments.

Similarly, The Schoolboy by Holly Howitt charts the obsessions and mental instability of a boy growing up. It was shocking, but convincing all the way to the end, which again threw a curve ball. The dialogue was particularly interesting, with the monosyllabic exchanges of teenage boys used subtly and effectively. This is what I am trying to do myself, and shows that staying true to what I hear used, really used in daily conversation, will produce genuine character interactions. I actually have a notebook (in Evernote) which holds all the little sayings and original turns of phrase that I’ve heard and thought notable, and I intend to expand it.

All of these texts, as well as Rachel Tresize’s In And Out Of the Goldfish Bowl (with a narrator I didn’t like one bit) and Robert Lewis’s The Last Llanelli Train (with a total anti-hero saved for me only by his humour), have inspired me to carry on and just try to write true, keep myself out of it and let my character have her way.

Having said all this, let’s see what my supervisor says before I can say I’ve nailed first person narrative!

It may seem strange to link the two things but I hope it will become clear why I am.

As reported in The Guardian last Saturday Mr. Schmidt said, “Over the past century the UK has stopped nurturing its polymaths. You need to bring art and science back together.”

My deepest sense of where we are – as a scholar and a human being – is that we need to renew our ability to make connections.

I write this blog to make connections with people I would never have the chance to communicate with otherwise.

Maybe the riots would not have happened if we had been better at talking to each other.

Maybe this is our chance to stop them from happening again.

Art and science. The working and the not working. The very educated and the less educated.

I don’t know when the idea that life and the world can best be described in binaries took such strong hold of us.

Can we soften and expand and shape our categories – instead of allowing them to control us?

How else can we make our work – and play – relevant and enduring?

What are the binary ideas you would like to change? Are you going to let your inner polymath out?

Yes, I have been in revolt against the idea of the celebrated ivory tower – both a cradle and a grave if ever there was one – for several years. And yet, oddly enough, I was indeed ensconced in a small room in a large building working on ideas – which is to say I was marking my students’ essays- when I first understood the scale of what had happened in the country.

My brother called me to ask if I was alright and told me what was happening in London. Miles away in Leicester, I thought of areas I had lived in or spent happy evenings out in, now open to attack: Walthamstow, Camden, Hackney, Oxford Street.

Because of the things I learned in that city, wherever else I go in the world, I will always consider myself – amongst other things – a Londoner.

Why did it happen?

I don’t want to add to the analyses contributed by politicians and journalists.

I simply ask – what goes on in the mind of a child or an adult who feels so utterly disconnected from everyone around her/him that turning on a neighbour is no step at all?

My life has always been about education – it formed my mind and now I am helping to form the minds of others.

How do we draw on education to speak beyond ourselves? To those who have gone so far beyond the bounds of civil behavior that they seem to have given up on words – violence was the language of the rioters.

How do we not let silence win?

Have you got an artistic friend who can design you an eye catching flier? Think about unusual fliers – there are many online companies who will print 250 business cards very cheaply – could you use these as fliers? Do you know someone with access to b+w printing at work? Printing black on coloured paper can be eye-catching. You need to start thinking about your fliers and posters about 6 weeks before the day, so that you can get willing helpers to plant them about.

Use all your social networks – set up a Facebook page and invite people to your event, Tweet about the event, make a blog – but don’t send out too many invites from different addresses to the same event. It’s annoying. Make sure the venue has copies of your flier and lists the event on their website. If there are local writing and reading groups, let them know about it too. Libraries are a good place to put an A4 poster.

Find out the local papers contact info and get your event listed – this normally takes just an email, and a lot of listings websites have an online submission form. If your event is a bit wacky or topical you might even find yourself interviewed by the local paper, as I was for an ME4 Writers Alternative Royal Wedding Open Mic event!

Finally get your contributors to bring all their friends along! If you are charging entry maybe offer a pound off for contributors’ friends and family, using a guestlist. That way you can usually get a bit of an idea about numbers before the day – which can be quite reassuring.

Be early

On the day you have to get to the venue at least half an hour early (more really) – sometimes audience members will turn up early and you have to decide whether to let them sit there and watch you set up, or whether to ask them to go to the bar. If your venue has a bar or cafe, that’s great, but if not you have to decide if you want to risk sending that person away, as they might not come back. You might have to set up seats and move tables – so if you are concerned about spoiling your clothes – bring your best stuff to change into. Now is where it really helps if you’ve got some friends to share tasks with. Check audio is working if using a mic, (hopefully you will have a techy friend or group member who can sort the audio-visuals out for you.) Make sure you know where the toilets and the fire exit are and let people know in your introduction.

If there are a few of you – assign roles, one person to meet and greet, one person to collect entry fees, one person to look after the contributors and let them know where they are in the lineup and how long their set is. Let them know where and when they can sell their pamphlets/books if they’ve got some. If one of you is a good photographer, get them to take some photos of the event or video it, and post to Facebook and Youtube after. You should let people know that there may be photos/film taken of them and let them say no, if they don’t want to be on film.

In your intro make sure you let people know the format of the evening – eg, half an hour, followed by a break, followed by a quiz or raffle with some super second hand book prizes (it’s optional for your event, but a quiz goes down well), then another half hour of readings etc, and thank the audience and writers/readers for coming.

At the end thank everyone again and let them know they can join an email list to find out about upcoming events – have a book and pen ready at the back of the room!

So that’s the event done.

It doesn’t end there though! Now’s the time to collect some informal feedback and use it to make your next event even better. You can do this with a comment form, or just ask people what they thought and if there was anything they would like to see next time. If you enjoyed it and it went well – then do it again! Organising a literary event can be great fun and it gives you that important extra interest for your writing portfolio.

To do list