6

E D U C AT I O N T I M E S

M O N DAYO C T O B E R 5 , 2 0 0 9

We mustn’t let our passions destroy our dreams ~AnonymousSPOT

LIGHT

WHILE studying a Master’s course inVergelijkende Cultuurwetenschap (Compa-rative Science of Cultures) at GhentUniversity in Belgium, I met an Indian pro-fessor, S N Balagangadhara (a.k.a. Balu). Hisresearch, his research group, and the ques-tions he posed, fascinated me. I did myMaster’s thesis with him on the Europeandescriptions of India in the late 19th century.

Later on, he proposed that I do a PhD withhim. However, before Balu allows his studentsto do research with him, he sends them off toIndia. ‘If you want to study India,’ he said,‘you have to experience it; be confronted withcultural differences; make friendsand foes there; live amongIndians; fight; fall in love ...’ Thatis how, in August 2005, I set off, ona bilateral scholarship between the IndianCouncil of Cultural Relations (ICCR) and theFlemish government, for a year-long researchprogramme at the Centre for Studies in SocialSciences (CSSS) in Kolkata.

I took Balu’s advice to heart. I fought withtaxi drivers and shopkeepers, I fell in and outof love and I found that the romances inBollywood films weren’t always that far fromthe truth. I wore salwar kameezes and saris;waded through water-clogged streets duringthe monsoons. Once, one of my friendsaccused me of all the ills of Western civilisa-

tion and treated me as if I were responsiblefor colonialism. Yet, most often, I forgot that Iwas ‘white’ or ‘Western’ and seemed to blendin so well that they compared me to a ‘goodBengali wife.’

I was surprised by the irritation of myfriends when I said ‘thank you’ — they calledit ‘too polite’ and ‘cold.’ I laughed at the stockBengali intellectual question of ‘have youread that book?’ Jokes apart, this attitudetowards reading seemed very characteristicof Kolkata. In general, the students had readfar more of Western philosophy and historythan the average Belgian student, which is

admirable. At the same time, I alsomissed something in the curricu-lum. The courses dealt almostexclusively with Western theories,

which did not seem fit to analyse the Indianproblems. What is needed is more innovativeresearch, tailor-made for Indian reality.

Since my stay in Kolkata, I have returnedto India several times. I have organisedinternational conferences in Delhi; haveclosely collaborated with professors andPhD students at the Centre for the Study ofLocal Cultures, Kuvempu University,Karnataka; have made more friends, andperhaps — who knows — a few enemies. Butmost of all, I have learnt to love India andmade it my second home.

‘I LEARNT TO LOVE INDIA AND

MADE IT MY SECOND HOME’

AT HOME: Esther Bloch (centre) during her study trip to India

ESTHER BLOCH,RESEARCH STUDENT AT GHENT UNIVERSITY,BELGIUM,CAME TO INDIA FOR A YEAR-LONG RESEARCH PROGRAMME AT THE

CENTRE FOR STUDIES IN SOCIAL SCIENCES (CSSS),KOLKATA.SHE SHARES HER EXPERIENCE WITH MALINI SEN

THE COURSES DEALT ALMOST EXCLUSIVELY WITH WESTERN THEORIES,WHICHDID NOT SEEM FIT TO ANALYSE THE INDIAN PROBLEMS.WHAT IS NEEDED ISMORE INNOVATIVE RESEARCH,TAILOR-MADE FOR INDIAN REALITY

FIRST PERSON

ART, at one level, is allabout self-exploration anddiscovery and artists mir-ror their experiences andinfluences through theirwork. “This is where theimportance of a vast andvaried exposure lies,” saysRuchi Goyal Kaura. Shegoes on to state that pursu-ing a Master’s degree in art

at a foreign university undeniably expandsthe spectrum of influences and augmentsone’s artistic sensibilities. Explaining further,she says, “Firstly, the interaction with stu-dents from various parts of the world facili-tates an understanding of the fact that peopleare sometimes strikingly different in terms oftheir sensibilities. For instance, certaincolours and symbols are equated with joy incertain cultures while these same colours andsymbols connote grief in other cultures. Thisunderstanding eventually helps an artist toevolve and develop an individual style thattranscends differences and is universallyappreciated.” Kaura, however, adds that thereare no straitjacketed formulas towardsachieving universal acceptance. “It is impor-tant for artists to understand that interpreta-tion of art is very personal and, hence, anygiven work of art is bound to court bothappreciation and criticism. Therefore, myMaster’s degree abroad, among other things,also taught me that art can go a long way inshowing the world to respect and live with dif-ferences,” she reveals.

Talking about the other specific benefitsthat her course abroad provided, Kaura says,“Nottingham Trent University, like mostother universities abroad, employs a student-led methodology in terms of teaching art.Consequent to choosing our specialisationswe (each student) had to propose a learningagreement to the concerned teachers. These

learning agreements outlined the specific top-ics that we wanted to learn about. Thereby,each student got training in his/her specificinterest areas. We also had to frame question-naires on various subjects. This approachresulted in a more conscious involvementfrom students. In other words we knew exact-ly why we were learning a specific topic andhow we want to leverage it in our work later.”

Kaura adds that most foreign universitiesare relatively better equipped in terms ofbooks and literature pertaining to art. “I donot undermine the literary reserves found inour Indian institutions of art. But it is a factthat most foreign universities have member-ships of international libraries. This definite-ly translates to a clear benefit for students.”She further adds, “these universities alsohave a tradition of inviting guest speakers ofinternational stature and they give lessons onthe entrepreneurial aspects of art, a featurethat is largely amiss in Indian institutionsteaching art. Opportunities to visit interna-tional art fairs and galleries (aided throughdiscounts) is yet another advantage.”

Kaura sums up by saying that pursuing aMaster’s degree in fine arts abroad alsomakes it easier for one to participate in inter-national art competitions. “These competi-tions at one level help in gaining visibility forthe artist. Simultaneously, the artists getexposure to various social causes. On mypart, I had participated in a rugdesigning/making contest by RugMark — anot-for-profit organisation that is dedicated toproviding a better life for thousands of chil-dren who are illegally employed in the rugindustry of South Asia. I designed a rug (pic-ture inset) that expounds the philosophy ofproviding a conducive environment for thesechildren within mainstream society. The flow-ers symbolise the children and the patterns inthe backdrop symbolise various avenues forgrowth and development.”

Art Abroad

Ruchi GoyalKaura

PURSUING A POSTGRADUATE PROGRAMME IN FINE ARTS ABROAD DOESPROVIDE A DISTINCT EDGE.RUCHI GOYAL KAURA WHO PURSUED A

MASTER’S IN TEXTILE DESIGN AND INNOVATION FROM NOTTINGHAMTRENT UNIVERSITY,UK,SPEAKS TO PROYASHI BARUA

SUCCESSFUL BIDThe Indian School of Business (ISB) designedthe concept of ‘Shadow a CEO’ to celebratethe ‘Joy of Giving Week’ initiated by the GiveIndia Foundation wherein the managementstudents of ISB spent a day with a CEO oftheir choice by participating in an online auc-tion. The aim was to create an opportunity forthe ISB students to network with the businessleaders of India. A total of 1,196 bids broughttogether the academic, corporate and thesocial sector to celebrate the Joy of GivingWeek. Amongst the 26 business leaders who

participated, the highest bid amount was forNR Narayana Murthy. The amount raisedwould further be presented to an NGO of theCEO’s choice.

SPECIAL PERFORMANCEPresidium Senior Secondary School, part ofthe Mother’s Pride group, recently organisedan event in support of special children. Acheque of Rs 51 lakh was presented to the NGO,Sparsh, to build Savera Special School inRohini for mentally challenged children. Also,a book set on positive parenting was released.

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