All posts by Natasha Ryan

Collaboration and ownership in cross-cultural creativity

This post originally featured on the Creative Multilingualism blog. It was written by Julie Curtis, Professor of Russian Literature at Oxford and Fellow of Wolfson College. Prof. Curtis is also the Director of Outreach for Medieval and Modern Languages. Here, she reflects on the transformation of a Russian ‘New Drama’ play, Oxygen, by Ivan Vyrypaev, into a UK hip hop version, provoking questions about translation, transformation, and creative ownership.

2002-2018: Ivan Vyrypaev’s play Oxygen, and its 16-year journey between a basement theatre studio in Moscow and a basement rehearsal room at the Birmingham Rep Theatre.

When Ivan Vyrypaev’s play Oxygen was first performed in 2002 at Moscow’s edgiest theatre, Teatr.doc, it caused a sensation. On the one hand it depicted an act of extreme violence – a young man battering his wife to death with a shovel in order to start a new relationship with a woman he believes will offer him more ‘oxygen’ – and it also used aggressively obscene language, transgressing against one of the strongest taboos of Soviet-era theatre. On the other hand, the play had a haunting beauty, deriving from the poetic inventiveness of its use of Biblical motifs, specifically the Ten Commandments, and the musical structuring of the language around refrains, patterning and other compositional devices deriving from both classical and contemporary musical traditions, such as rap.

The play became known as the flagship play of the ‘New Drama’ movement which has arisen in the era of President Putin, and which remains one of the few spheres in which challenges are still offered to official state narratives about society, politics, gender and sexuality, national identity and international relations. It was seen at the theatre by a narrow range of Moscow intellectuals, but gained wider impact within Russia when it was turned by Vyrypaev into a film in 2009; and it also attracted attention internationally – it has been staged in many countries of the world, including a brilliant production (featuring world-champion break-dancers from Russia) staged by the RSC at Stratford in 2009.

Dr Noah Birksted-Breen is a theatre director and Russian scholar who has for many years been exploring contemporary Russian drama and staging it at his London-base Sputnik Theatre. When he joined the Creative Multilingualism team, he attended an event organised by Professor Rajinder Dudrah which brought the grime artists RTKAL, Ky’orion and Royalty from Birmingham to perform on the stage of the Taylor Institution. Their verbal ingenuity, the Rastafarian frame of reference they deployed in their performance, and above all the powerful and infectious rhythms of their art provided a lightbulb moment for me and Noah – we looked at each other, and wondered aloud what would happen if we introduced them to Vyrypaev’s work….

A couple of years later, and that thought has translated into reality, with a performance based on extracts from Vyrypaev’s work being rehearsed in the Birmingham Rep by the brilliant UK rap, hiphop and grime artists Lady Sanity and Stanza Divan, directed by Noah. On Thursday I went along to watch the final research and development session, before the performance later that day curated by Rajinder at Birmingham City University. It prompted all sorts of thoughts in my mind about how issues of ownership and collaboration came together to produce this spectacular meeting of minds across two very different cultures:

  • Vyrypaev owns his text, and is very protective about performances of it across the world;
  • But Noah is one of the most admired directors of contemporary Russian drama in Britain, so Vyrypaev willingly licensed the text for Noah’s project in Sasha Dugdale’s translation, trusting to both Noah’s knowledge of Russian culture and his artistic gifts to create something which would be both new and true to the original;
  • Rajinder knows the rap and hiphop scene in Birmingham via our project partners Punch Records also from the city, and together they recruited artists who would bring their talents to bear on very unfamiliar material, originating from an entirely alien society;
  • Once Lady Sanity and Stanza Divan got to know the text, they worked with Noah on how to make it their own, retaining the skeleton of the piece and certain elements of the refrains, playing with the ideas of the male and female characters with the same name – the two Sashas became the two Jordans…
  • Lady Sanity and Stanza Divan have focused less on the violence and the obscenity, but have translated the relationship between the two to fit into the witty ‘clashing’ routines typical of rap/hiphop/grime performances; this allows them to develop a gendered rivalry which is absent from the original, with Stanza Divan using sarcasm (‘Calm down!..’ – to use a phrase typical of some male politicians…) to scorn and disparage the sharp-tongued teasing of Lady Sanity;
  • But they retain the relative social positions of the two Russian protagonists; she more educated, and from a more comfortable, secure background, he instead from a disadvantaged, broken family and dropping out of secondary education;
  • And above all they retain the message of the final section of Vyrypaev’s original, concerning the difficulties faced by the young in today’s world, where so many threats loom;
  • Did their UK hiphop theatre work absorb Vyrypaev into their British world? Or did Vyrypaev lead Birmingham’s hiphop performers into new areas? Above all, they said, they recognised that elements in the text of the original were primarily about the freedom of self-expression, and that chimed in with the same preoccupation in British hip-hop and grime art.
  • The generosity of very many different people’s collaborations brought this work of art into being: but who ‘owns’ the creative result? Is cultural transposition different from translation?

Watch the below film to find out more about the hip hop theatre version of the Russian play Oxygen.

career profile: working in the arts

This week we continue our series on career profiles. We hear from Daniel Milnes, who studied German and Russian at Somerville College and graduated in 2011. Orginally from Leeds, Daniel now works as a Curator for modern and contemporary art at the Hamburger Bahnhof Museum for Contemporary Art in Berlin. Daniel tells us how his languages have fed into his career path…

After graduating from Oxford in 2011 I completed a Master’s degree in Art History at the Albert-Ludwigs-Universität Freiburg with a research period at the European University at Saint Petersburg (2011-2013). This proved to be the first step toward my current career as a curator for contemporary art. After graduation I completed a two-year traineeship in curatorial practice at the Kunstmuseum in Stuttgart where I served as assistant curator on two large-scale exhibition projects as well as curating my own exhibition with the artist Raphael Sbrzesny. This led to my next position as Assistant Curator at Haus der Kunst, Munich, a leading international institution for the display and discussion of contemporary art and culture.

Photo by M(e)ister Eiskalt, used under Creative Commons (https://creativecommons.org/licenses/by-sa/4.0/) via Wikimedia.org

At Haus der Kunst I served as assistant curator for the project “Postwar: Art between the Pacific and the Atlantic, 1945-1965” which redefined the art historical canon of the postwar period from a multifocal and global perspective, deconstructing the traditional narrative that has until recently been dominated by the work of white male artists from the West. For this project I was responsible for the selection of art from the Soviet Union, liaising with artists, curators, theoreticians, and museum workers in Russia. My contact to the contemporary Russian art world was further strengthened through the development of a solo exhibition with media artist Polina Kanis, who works between Moscow and Amsterdam. In addition, I curated two further exhibition projects which analysed how models of identity have changed since digital forms of mediation have come to dominate daily life.

Since 2018 I am working as Assistant Curator at the Hamburger Bahnhof Museum for Contemporary Art in Berlin, where I am currently organizing the exhibition of the winner of the National Gallery Prize, Agnieszka Polska.

In my day-to-day working life I am constantly travelling and shifting between languages in order to coordinate exhibitions, write academic articles, proofread catalogues, give tours through exhibitions, deliver presentations and speeches, and liaise with artists. This would all be unthinkable without my training in Modern Languages and the sensibility for the nuances of language and culture that it fostered.

More open days – come and try us out

A couple of weeks ago, we posted about our upcoming German open day, a chance for you to learn about the German course at Oxford. This week, we continue the theme by bringing you news of our open days in Spanish and Portuguese (Thursday 28 February at The Queen’s College), and Russian and other Slavonic Languages (Saturday 2 March at Wadham College).

As with the German open day, these events are a fantastic opportunity for you to explore what an Oxford degree in those languages looks like. They offer a mixture of academic tasters so you can get a feel for the content of the degree, information about applying to Oxford, and interactions with tutors and current students, who will be happy to answer any questions you have about languages at Oxford.

Highlights of the Spanish and Portuguese open day include: an introduction to Portuguese in 15 minutes, an introduction to other peninsular languages (Catalan and Galician – for more on Galician, see our post here); a spotlight on Portuguese-speaking Africa; and a Spanish Translation workshop.

Highlights of the open day in Russian and other Slavonic Languages include: a mini lecture on ‘Home from home: Russian writers in interwar Paris’; a mini lecture on ‘Russian Grammar in Time and Space’; and a parallel discussion for parents and teachers.

The open days are open to anyone in Year 12 who is interested in studying those languages at Oxford, including if you are interested in picking up the language from scratch (with the exception of Spanish, which we do not offer from scratch). Sessions will be suitable for learners who have no prior knowledge of the language, as well as those hoping to apply post-A Level. There are a limited number of places for accompanying parents and teachers. The events are free of charge but a place must be booked through the faculty’s website.

The full programmes are below, or available to view at https://www.mod-langs.ox.ac.uk/schools/meet-us

a uniq opportunity

We’ve posted on here before about UNIQ, Oxford University’s flagship outreach programme. The UNIQ programme, which is for Year 12 students at UK state schools/ colleges, is a fantastic opportunity to immerse yourself in the Oxford environment, sample some of our teaching, and try out life as an Oxford student. The big news this year is that UNIQ has expanded and the University is now able to take double the amount of students for this programme than in previous years. So if you’re in your first year of further education and are thinking Oxford might be for you, send in your application to UNIQ by 28 January 2019. Read on to find out more or check out the UNIQ website….

What is UNIQ?

UNIQ is open to students studying in their first year of further education, who are based at UK state schools/colleges. Students make a single application between December and January and can be selected to participate in one of two activities: UNIQ Digital or UNIQ Spring and Summer.

UNIQ Spring and Summer gives you a taste of the Oxford undergraduate student experience. You will live in an Oxford college for a week, attend lectures and seminars in your chosen subject area, and receive expert advice on the Oxford application and interview process. The timetable also allows plenty of time for social activities; in the evenings you are free to tour the city, sample some of the University’s sports and cultural facilities, and let your hair down at the farewell party.

UNIQ Digital provides comprehensive information and guidance on the university admissions process, and aims to give you a realistic view of Oxford student life through videos, activities and quizzes. The platform offers a range of forums where you can discuss both academic and social topics. These forums are monitored by student ambassadors, who are always on hand to answer questions and offer support.

What does this look like for Modern Languages?

The in-person Modern Languages UNIQ courses have been slightly restructured during the UNIQ expansion. This year, we will be offering courses in French, German, and Spanish, with each of those courses also incorporating an introduction to a language from scratch (Italian, Portuguese, Russian, or German*). What this means is that you will apply for a course in French, German, or Spanish but you will effectively cover two languages during the summer school. The first two days of the course will be spent focussing on the language you study at A Level (or equivalent), including sessions to hone your language skills and knowledge of grammar, as well as lectures and seminars introducing you to an exciting array of topics in literature, culture, or linguistics, from the medieval period to the present day. During the final two days, meanwhile, you will be given the opportunity to study an unfamiliar language from scratch, learning some beginners’ grammar and new phrases, and exploring a new culture through its literature, film, or linguistics. The dates for the Modern Languages UNIQ courses are 14 – 18 July and 21 – 25 July.

* Participants will be allocated to a ‘new’ language by us. Those already studying German at school will not be allocated to German as a new language.

How do I apply?

To be eligible for UNIQ you must be studying in your first year of further education at a UK state school or college and you must reside in the UK. For Modern Languages UNIQ courses, we would expect you to be studying the language for which you apply to A2 Level. Although we would generally expect you to have high GCSE grades, we are aware that, sometimes, circumstances arise which mean you do not perform to the best of your ability at GCSE. If this is the case, you should fill in the extenuating circumstances section of the application form. This doesn’t guarantee you a place on UNIQ, but when we look at the applications we will take this into account.

You should apply online through the UNIQ website. You will need:

  • At least six GCSE/National 5 (or equivalent) qualifications, with a preference for 8-9/A-A* grades
  • A short statement detailing interest in your chosen course
  • School Information (Current UK state school/college and a past school)
  • Your current A-level/Scottish Higher (or equivalent) courses
  • Contact details of a current teaching referee
  • Contact details of a parent/guardian referee

You will receive an email on the 25 February containing the result of your application.

Good Luck!

calling all germanists: come and meet us…

Happy New Year from Adventures on the Bookshelf! To kick off the blog in 2019, we’re diving in at the deep end and bringing you news of our German open day. If you’re thinking about applying to study German as an undergraduate at Oxford, this is an excellent opportunity to meet some of the tutors, try out a couple of academic taster sessions which will give you a flavour of what it’s like to study German, and take a look around Oxford. See below for the full details and programme. If you would like to attend, please book a place via our website.

What? The 2019 German Open Day, designed to showcase the Oxford German course and answer any questions you might have.

Who? If you study German at school and would like to continue it at university, this is your chance to see what degree-level German is like, and how we go about teaching it. But equally, even if you do not already study German but think it could be something you’d like to pick up at university, this event is a chance for you to ask any questions about studying German from scratch, and see whether it’s for you. In short, all budding Germanists are welcome, regardless of whether you have already studied German in the past.

Where? The event will start and finish at the Taylor Institution on St Giles, and the middle portion of the day will be spent at Worcester College.

When? Saturday 23 February 2019, 10:30am – 3pm

How? Book a place by registering on our website and signing up for the event.

Here’s the programme…

Keep your eyes peeled for our other open days coming up later in the term.

A Prague Christmas

This post was written by Dr James Partridge, Teaching Fellow in Czech (with Slovak) at Oxford. Here, James tells us about Christmas in the Czech Republic.

My first Christmas in the Czech Republic was back in 1993, when I was still an undergraduate, 3 months into my year abroad in Brno. Christmas customs, though, are usually measured in decades and centuries, so 25 years later my Czech students at Oxford on their years abroad will still see most of the same things I did.

Much of the run up to Christmas (Vánoce) will be familiar to anyone from the UK: packed shops, panic buying, mildly disappointing Christmas markets. Early in December, though, the first Czech Christmas ritual begins: the baking of cukroví – Christmas biscuits. There are many different kinds of cukroví, and most are usually quick and easy to make, but they are made in large quantities. Most families take great pride in baking their own cukroví and have their own favourite recipes, often handed down through the generations. Vanilkové rohličky (vanilla rolls) are made from a simple dough of butter, flour, sugar, egg yolk, a little vanilla sugar, perhaps some ground nuts, pressed into moulds and baked quickly. Medvědí tlapičky (‘bears’ paws’) are made from a similar dough, but flavoured with cocoa. Colourfully decorated gingerbreads are also very popular, and some cukroví such as kokosové kuličky (coconut balls) aren’t baked at all. However you make them, the idea is to make as many as possible so that there will always be a selection available for family and guests for the whole Christmas period, if they last that long.

Christmas day itself (Štědrý den, literally ‘Generous / Bountiful day’) is on December 24th. In the past, Štědrý den was a day of fast and people would eat nothing (or very little) until the evening. In the middle ages, the custom was not to eat meat during the day, but something plain like barley groats with mushrooms. Those who honoured this custom faithfully were rewarded by seeing a vision of a zlaté prasátko (golden pig) in the early evening. Traditionally, the pig is a symbol of abundance and prosperity, and gold represented the passing of the winter solstice, however people nowadays usually just tell their children that you see the golden pig because you are so hungry by sunset that you start hallucinating.

Once you’ve seen the golden pig it’s time to sit down to Christmas dinner and eat until you can eat no more, and the centrepiece of the meal should always be carp. The Czech tradition of eating carp is a very old one, probably dating back a thousand years or more to the early Christian period, when monasteries would construct special fish-ponds for raising carp to eat. The cultivation of carp really took off in southern Bohemia after the early 15th century on the estates of the powerful Rožmberk family, and especially thanks to the work of their celebrated Master of Fisheries Jakub Krčín (1535-1604), who oversaw the building of a network of lakes that still supply carp to this day.

Buying carp before Christmas is a task that many westerners find… disturbing. A week or two before Štědrý den, large blue plastic vats overflowing with water begin to appear outside supermarkets, on street corners and in other places in villages, towns and cities across the country, and these vats are filled with carp, brought up from the lakes of Southern Bohemia. These are big fish: 5-8 kg is a pretty standard size. Long queues form, regardless of freezing winds and snow, and people simply choose their carp from the small shoal swimming around in front of them. Up until quite recently, many families would take their live carp home with them and put it in the bathtub for a few days as a sort of ‘pet’, albeit one whose remaining days were very short in number. Nowadays, the fishmongers who run the carp stalls usually just hoik the animal out of the water, whack it on the head with a hammer and then either wrap it up and give it to the customer (hopefully not still flapping), or behead and gut it on the spot. Once they get going, it doesn’t take long before the pavement is running red with fish blood.

The fish itself is prepared by being filleted, breaded and fried until golden brown, and it is always served with remarkable quantities of potato salad. This may sound easy, but filleting a big carp is serious manual labour, and nothing can go to waste: fish giblet soup is one of the highlights of the whole meal.

Olomouc at Christmastime. Image by Labenord on Pixabay

The other essential component to any Czech Christmas is watching pohádky, which are filmed versions of classic fairy tales. This is a tradition that really took off in the early years of the communist period, and one of the first pohádky is still one of the most loved: Císařův pekař a pekařův císař (The Emperor’s Baker and the Baker’s Emperor, 1951), written by and starring Jan Werich – an actor and writer of great importance in Czech theatre and film history. I should also mention Pyšná princezna (The Proud Princess, 1952), Princezna se zlatou hvězdou (The Princess with the Golden Star, 1959), the extraordinary, expressionist (and genuinely scary) Tři zlaté vlasy Děda Vševěda (The Three Golden Hairs of Grandpa Knowall, 1963), not forgetting the delightful and hugely popular Tři oříšky pro Popelku (Three Hazelnuts for Cinderella, 1973). And no Christmas would be complete without the Russian fairy tale Mrazík (Old Father Frost, 1967). I first saw it in the cinema during that first Christmas in Brno in 1993 and the atmosphere was like a late-night showing of The Rocky Horror Show here in England: the audience knew every word of the story of Ivanko and the lovely Nastěnka, and sang along to the soundtrack of the film.

These classic pohádky are an integral part of the Czech Christmas ritual. The TV papers are eagerly scanned to see when Tři oříšky or Pyšná princezna are showing, and on that basis lunch, supper, or visits to and from friends and family are carefully arranged. More surprisingly still for the uninitiated foreigner, the same films are watched religiously every year and enjoyed just as much as they were in previous years. Pohádky, in short, are as much a part of Christmas as cukroví and carp.

Adventures on the Bookshelf will be taking a break now for Christmas but we’ll be back on 9th January. Have a great festive period and Merry Christmas – or, as they say in Czech, ‘Veselé Vánoce!’

Launching the 2019 French & Spanish Competitions!

This year, instead of our usual French Film competition, we will be running a Flash Fiction Competition in both French and Spanish. If you are in Years 7-13, you are invited to send us a very short story to be in with a chance of winning up to £100. Read on to find out more…

What is Flash Fiction?

We’re looking for a complete story, written in French or Spanish, using NO MORE THAN 100 WORDS.

How short can it be?

Well, candidates for the World’s Shortest Story include a six-word story in English by Ernest Hemingway:

‘For sale: baby shoes, never worn.’

Or a seven-word story in Spanish by Augusto Monterroso, called El dinosaurio:

‘Cuando despertó, el dinosaurio todavía estaba allí.’

You don’t have to be as brief as that, but anything from six to a hundred words will do. Just not a single word more.

What are the judges looking for?

We’ll be looking for imagination and creativity, as well as your ability to write in French or Spanish. Your use of French or Spanish will be considered in the context of your age and year group: in other words, we will not expect younger pupils to compete against older pupils linguistically.

What do I win?

There are two categories: Years 7-11 and Years 12-13. A first prize of £100 will be awarded to the winning entry in each category, with runner-up prizes of £25. The winning entries will be published on our website.

How do I enter?

The deadline for submissions is noon on Sunday 31st March 2019.

If you would like to submit a story in French please do so via our online sumission portal here.

If you would like to submit a story in Spanish please do so here.

You may only submit one story per language but you are welcome to submit one story in French AND one story in Spanish if you would like to. Your submission should be uploaded as a Word document or pdf.

The online page will ask you to fill in some details, which are used for the purpose of administering our outreach activity. To understand how your data is used for this purpose, please read the Privacy Policy.
You will then be sent an automated email (check your spam folder if you can’t find this), which will include a link to validate your email address. Please click this link, which will take you to the Modern Languages Faculty website (you will be given an option to sign up to the newsletter. You do not have to sign up to the newsletter in order to enter the competition, although you are welcome to do so). Once you have clicked the confirmation link in the email, your entry has been submitted.

If you have any questions, please email us at schools.liaison@mod-langs.ox.ac.uk

Good luck! Bonne chance! ¡ Mucha suerte!

 

BERLIN AND THE BRITISH COUNCIL: Notes on a Year Abroad and Teaching English with the British Council

Alannah Burns, a fourth-year Philosophy & German student at Lady Margaret Hall, loved teaching English at a secondary school in Berlin on her Year Abroad. Here she tells us why.

‘Too many choices of what to do on a Year Abroad?! But one obviously stands out…’

Berlin’s ‘Karneval der Kulturen’ (Carnival of Cultures), May 2018]

Nine months. One city. One school. One job. One language.

  • Today, it’s the game ‘werewolves’ in English for Grade 8 at 12pm.
  • Tomorrow, it’s one-to-one English speaking exam practice with Grade 10 at 2pm – this will be the first time they are learning what the exam is really like.
  • This morning it was going through the answers to the English class test from last week with Grade 8 step-by-step.
  • Tonight I’ll have to look up the lyrics to a Disney song and create a gap-fill exercise from it to help Grade 7 students practise listening to and understanding American accents.

For nine months I was paid to assist Grade 7, 8 and 10 English lessons at a ‘community school’ [Gemeinschaftsschule] in Berlin. I worked at the school for just over 12 hours a week (that’s right! Only 12 hours a week minimum and 20 hours a week maximum are required of you!). I did this as part of the British Council’s English Language Assistant programme. This is a very popular choice for those doing a Year Abroad, and I’m here to show you why.

I had never been to Berlin before I started my Year Abroad. I lived in nine different flats in eight (very different) areas of Berlin, for periods ranging from only five days, to four months straight (try doing the maths on that one!). I saw so much of the city this way, and experienced so many different kinds of city environments. I was paid 850 Euros a month for the teaching and (amazingly) never paid a cent more than 500 Euros for an entire flat to myself in Berlin with all bills included… Student life certainly does not get better than that! Teachers I worked with let me stay with them at the start of my time in Berlin, and helped me open a bank account, register my addresses, and find new places to live. The English Language Assistant placement with the British Council is also part of the Erasmus+ Scheme (which most universities are signed up to), meaning that you have access to extra funding and can continue to receive your maintenance loan from Student Finance as usual! I even still received funding, as I do every year, from Oxford University’s Moritz-Heyman Scholarship which is for students from backgrounds with a low household income. Put all these things together and see just how quickly my financial worries about a year of moving to a new country by myself were extinguished!

‘Living abroad for a year?! But how will I finance this?! How will I make friends?!’

outside the ‘Berliner Dom’ (Berlin Cathedral)

Another scary part of spending a year in a new place and new country is how to get to know new people. The British Council run training sessions before your placement which are usually (but not always) in the country you will be spending your Year Abroad. This training lasts for a few days (for which they usually provide you with accommodation etc.) and during it you work closely with the other people from different universities who are also going to be teaching English at schools in the same city/region as you. This means that you know a circle of interesting people straight away who will be doing the same job, and build good friendships with them early-on while learning how to prepare lessons, work with teachers, teach different age groups etc.

Now to the job itself. The idea behind the British Council’s English Language Assistants programme is to foster an environment of joyful learning and incredible cultural exchange abroad, with a native English speaker supporting and encouraging people abroad to enjoy learning English and about English-speaking countries.

My experience was pretty unique: I never prepared my own off-curriculum lessons on British culture (or indeed anything), and never spoke German to the students… Here’s why: Most students at the school were from migrant or economically-disadvantaged backgrounds, with many students having diagnosed behavioural problems or learning difficulties. Some students had weak levels of German, let alone English. Not knowing I can speak German thus encouraged them to practice English with me – great for the students, but not for my spoken German… We followed the curriculum strictly as the students’ English levels generally were too weak to diverge from the textbook with exams/class tests always looming. 

‘You don’t have to be crazy to work here. But it helps tremendously!’

found in the school’s staff room

As an enthusiastic native English speaker, I was told I had become a very valuable asset to this school. I led whole lessons, supported students in one-to-one speaking sessions, ran lunchtime English clubs, explained grammar, produced my own worksheets, and marked tests and homework. This experience was perfect for me as I hope to become an English teacher abroad in future. but my experience was certainly not typical! I know some people who worked at schools in Spain which asked them to teach science or other subjects in English, and others in different countries who were always preparing their own English lessons about British culture or their own background. The teaching experience is what you make of it and what you want it to be. There is always so much scope to talk with your school about what they want to get out of having a lively native English speaker in their classrooms, and what you want to learn from the experience and gain skills in. Every key skill you could ever need to show-off on your CV (such as leadership, teamwork, confidence, independence, reliability, punctuality, commitment, etc.) is what you can gain from this Year Abroad placement with the British Council. I cannot recommend it enough!

After leaving Berlin I gained a TEFL qualification through doing around 250 hours of volunteer English teaching to Polish children/teenagers in Warsaw and London, and German business professionals in Frankfurt. The English Language Assistant programme with the British Council certainly prepared me well for this.

You can find out more about the British Council programme here.

Career profile: becoming a lawyer

This week we hear from another Modern Languages graduate from Oxford, Elen Roberts. Originally from Cardiff, Elen studied French and German at St Anne’s College and is now a Trainee Solicitor at Marriott Harrison LLP, London. 

I studied French and German at St Anne’s College from 2008 until 2012. I spent my year abroad in Munich, Nantes and Grenoble (15 months in total, as I did not spend either summer at home) where I worked as a marketing intern, au pair and translator respectively. The year abroad was without doubt one of the most enriching periods of my life, as I got to travel all around France and Germany and meet so many new and interesting people.

After graduating I undertook a TEFL course in Cardiff (my home city) and then taught English for two years at various private schools and universities in Hamburg and Berlin. My first teaching job was actually at Hamburg’s French Lycée! It goes without saying that my language skills came in useful there, as I was switching between English, French and German on a daily basis to teach different groups of children of various ages.

I then came back to the UK and did the law conversion course, which took a further two years. I am now in my final few months of training to be a solicitor at a small City firm, Marriott Harrison LLP. Although we are mainly instructed on UK matters, some of our deals and disputes have a foreign element where my French and German skills have come in very handy. So far, I have been asked to translate email correspondence, and analyse the corporate documents of various French, German and Swiss companies and then explaining them to senior colleagues. This has saved the firm the time and expense of having to hire professional translators and getting them to sign non-disclosure agreements. (A lot of our work is confidential).

In a nutshell, if you are considering a career in the law, or any field where you would have to engage with foreign businesses, a working knowledge of European languages is most definitely an asset!

Galician: another way to understand Spain

This post was written by Guo-Sheng Liu, a third-year student of Spanish and Portuguese at Lincoln College. Guosh is currently on their year abroad.

I had assumed a knowledge of Spanish would suffice when I embarked on a three-month long journey backpacking around Spain. I was wrong; I soon realised the importance of regional identities, languages and histories, all indispensable for understanding Spain’s complexities.

Though a minority language, Galician has been worth learning to me. For example, reading medieval Spanish and Portuguese was easier since modern Galician preserves some words now in disuse in its modern siblings. I also feel a connection to the language whenever I read lyric poetry beautifully composed in Galician-Portuguese (also known as Old Portuguese or Old Galician). On the contemporary end, the diversity of Galician dialects and the richness of vocabulary unique to Galician continue to surprise and sustain my interest.

Cathedral of Santiago de Compostela. Photo by Miguel Saavedra on freeimages

While helping develop my thoughts on multilingualism in other places, the sociolinguistic situation in Galicia is, on its own, extremely fascinating. This includes the long, difficult struggle to preserve Galician as well as the great debates on orthography and normalisation (e.g. whether to embrace the hegemonic influence of Spanish) and on the nature of the language (is it the same language as Portuguese?). Galician is at a crucial junction as regards its survival; now is the perfect time to learn it.

Above all, perhaps, Galician is useful for understanding regional identity and history. Although Francoism (and its attendant repression of regional languages) ended decades ago, Spaniards today still grapple with comprehending the full extent of its socio-political legacy. A knowledge of Galician opens new ways to approach themes of collective memory and identity, struggles for freedoms, and current controversies over regional constitutions and politics.

Independence movements and some leftist groups exclusively use Galician for political reasons. And in my time spent in Santiago de Compostela, I have found locals most open to talking about their society when spoken to in Galician. Locals do not expect outsiders to speak their tongue; the pleasant surprise of your ability to do so translates into greater friendliness on their part and a deeper understanding of their society on yours. Galician culture and mindsets are certainly quite different from those of, say, Andalucia or Catalonia.

Compared to Catalan (let alone Basque!), Galician is even easier to learn if you already speak Spanish. This means you can start using the language sooner. The Xunta (regional government) also offers generous grants for its summer courses; I attended them twice for free, even receiving a stipend that covered accommodation.

Lastly, if themes of migration, feminism, independence, cultural identity / history, multiculturalism / multilingualism or ruralism sound appealing, Galician literature and film will be worth the effort of picking up the language.

Oxford has rich intellectual traditions, and Galician is no exception. Our university was the first one outside of Spain to offer Galician studies; language studies are open to all members of the university, while papers in its literature and linguistics are available to MML students.

More information on Galician at Oxford can be obtained at this webpage  or by contacting the the current lectora, Alba Cid at alba.cid@mod-langs.ox.ac.uk