Politics in South Indian Cinema: A study of the use of films for political communication

Sajit M. Mathews

Introduction

            As we are exposed to the realities regarding the South Indian Cinema and related political equations through the readings and class discussions, I think it would be a fruitful exercise to dwell upon the question, ‘why politics in South Indian Cinema?’ This question is important as long as we try to understand the phenomenon of South Indian film industry and South Indian Politics under the same head.

Political background

            India is a democratic republic nation where people decide who will rule when and whom. Under such democratic circumstances, almost all those who are interested in handling power will try to influence the masses using all the available means. This is a fundamental right of every Indian citizen. This influence can be obvious when someone uses a speech to persuade people and not so obvious when someone already in power uses government machinery to please people and subtle when someone cleverly uses innovative means like the media to manipulate the masses. India gained independence from colonial rule in 1947. Much before that, political polarization started gaining momentum. The Congress Party had a well established network of activists all over the country, set up to struggle for freedom. And there were many other smaller factions of organized and unorganized set-ups which came to the lime light after the independence.

Filmy background

            Films came to India within a year of its invention- in July 1896. The new entertainment was received with mixed feelings at all quarters of the nation. Within a short time, Madras developed its own films. “The silent cinema, though it did not have any pretentions to ideological or political content, certainly had clear overtones of political consciousness.”[1] During freedom struggle, Gandhi gave emphasis to eradication of social evils, making social uplift part of political activism. Thus, films that contained social themes were clearly political in orientation. Madras films started ‘talking’ in 1931 when Kalidas was released. That marked the beginning of the production of an anthology of Tamil movies. In the beginning, all the movies were head-on shootings of the existing company drama performances. In that way, we can’t see much creativity entering studios. The first Tamil talkie with a contemporary theme was Menaka (1935). Slowly, social themes which had a special significance in the pre-independence Indian scenario gained in number, even under strict censorship of the British.[2] Cinema was seen as a danger to their power by the British and as a new opportunity to speak to the masses, by the freedom fighters.

Tamil cinema and the DMK

            DMK (Dravida Munnetra Kazhakam) was formed in 1949. The conscious use of films for political purpose began with C. N. Annadurai’s film ‘Velaikkari’ (1948). With this, the socio-political demands of the region began to be expressed through the medium of cinema. The films made by DMK had explicit atheistic and anarchic dialogues, criticizing existing religion, beliefs, political system and social evils. ‘Velaikkari’ and ‘Parasakthi’ are two of the best examples, scripted by Annadurai and M. Karunanidhi respectively.

            The DMK involvement with the film as a medium had two distinguishable phases, the first phase (1948-1957) dominated by the film scripts of Annadurai and Karunanidhi (note that it was in 1957 that DMK entered electoral politics) and a second one dominated by M.G. Ramachandran. [3] In the first phase, the oppressive character of both the society and the government was always highlighted. This was the time when villages were electrified. This paved the way for the spread of DMK ideology to every nook and corner of the state, through cinema.

Representation

            Madhava Prasad has an interesting argument regarding representation. Representation can be political and aesthetic. Political representation is a leader ‘represent’ing people in the parliament. Aesthetic or cultural representation is in the realm of discourse, texts and images, in which we ‘re-present’ our world. Such representations are within the frame of a variety of constraints and thus they neither provide direct access to reality nor are neutral. They always carry their own ideological biases and emphases.[4] Films fall under this kind of representation.

            There always existed a symbolic relationship between films and political parties in Tamil Nadu. Films were used in three ways by political parties: direct political propaganda, reference to party symbols, leaders etc and mixing of documentary footage with shots of actual film. Therefore, no wonder why actors were crowd pullers especially to party conferences.[5]      

Within films, there are subtle developments. The actors, who develop into stars govern another realm- fan following. Stars always exceed the narrative framework of the film as a story. The star exists apart from the film and depends only partially on the story. There are roles played and characters portrayed in a film. Star plays a role and portrays a character. In the end, star becomes a representation, above the role and the roles themselves begin to exceed the requirements of the characterization.[6]

            Considering what constituted the growth of MGR as an icon and idol in Tamil Nadu, we could very well say that films are much more than mere representations of social realities. MGR who believed that every man had to have an image, consciously and shrewdly drew up his own image based on the popular ballads, which appealed to the people. In his own words, “You put forward an image of yourself if you want to get anywhere.”[7] Therefore, using the popular images of heroes to reconstitute image that served elite interests, MGR reached every part of Tamil Nadu through films as a wish fulfilling hero of the masses. Adding to these, widespread popularization of him as an icon through biographies, newspapers, pamphlets and posters served in identifying the person of MGR to the images he put up on the screen.

Politicisation of films

            The article on Parasakthi tells us clearly that the film succeeded in its pro-DMK campaign. “Its anti-Congress and anti-religious postures went down well with the enthusiastic audience.”[8] People went to theatres to listen to the dialogues of M. Karunanidhi, rather than to watch the movie. Cinema hall almost fell apart with loud applause, whenever there were references to the politics of Annadurai. Particularly this film used many symbols to criticise the existing social system and government. There are references to idolatry, corrupt politicians, merchant, insincere religious, immoral society and the general degradation of once prosperous and highly moral Tamil Society (Nadu).

            Thus, a trend started with Velaikkari (1948) and Parasakthi (1952). The transition from a social movement to a political party, from DK to DMK is what Parasakthi helped in bringing about. We could see a lot of sharp criticism as well as ideological compromises, depicted cleverly in the film. These compromises were forerunners of the new political appearance of the Kazhakam. The film stood as a signboard in the historical course of the Dravidian Movement, pointing to the consensual politics DMK was destined to play in Tamil Nadu.[9]

            The political communication rendered by the DMK was political communication as persuasion, when they did not enjoy political power. This persuasion was to urge the hitherto stable masses to take a political stand in voting for the party- a kind of suggestive communication. by definition, feature films have two levels of meaning: one within the film and another in relation to the political reality of the day. DMK used the second level meaning in dramatic narrative films, without openly portraying oppresionist situations. These films had powerful psychological influence on the audience. They left cinemas with clear ideological realisations.

            These films revolutionised the structure and content of Tamil films by portraying the dynamism of the downtrodden through the fists of MGR and words of Karunanidhi. In other words, Karunanidhi gave arguments and MGR gave the ‘how’ of uplift of the downtrodden. These films, while criticising the social oppression and exploitation, also underscored the necessity to bring back those ancient virtues enshrined in Tamil culture. [10]

Conclusion

            In short, Tamil films stand as a historical image which used a popular medium for political communication. Political and literary genius acting together to influence the psyche of the masses! And the continued reign of DMK, ADMK and AIADMK tells us that this innovative method works and is very powerful. A long time film star reigned the state for over ten years. Still the memories of those subaltern heroes linger in the emotional and physical terrain of Tamil Nadu. Thus Tamil ideological front used film as an effective medium to communicate with masses.

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¹ Sivathamby, Karthigesu. The Tamil Film as a Medium of Political Communication. p: 6. New Century Book House Pvt. Ltd.; Madras, 1981.

[2] Ibid.

[3] Ibid, p:10.

[4] Prasad, Madhava. M. Cine-Politics: On the Political Significance of Cinema in South India, Journal of Moving Images, P: 51.

[5] Pandian, M.S.S. Culture and Subaltern Consciousness: An Aspect of MGR Phenomenon, Economic and Political Weekly. Vol. 24, No. 30, July 29, 1989. P: 63.

[6] Prasad, Madhava. P: 51.

[7] Pandian, M.S.S. P: 64.

[8] Pandian, M.S.S. Parasakthi: Life and Times of  DMK Film, Making Meaning in Indian Cinema, P. 74.

[9] Ibid. P:93.

[10] Sivathamby, P: 10.

A Narmada Diary

(Directed by Anand Patwardhan & Simantini Dhuru)

                ‘A Narmada Diary’ is like a river- a river that flows calmly over the ups and downs of the rugged earth with no complaints and claims. It is like the Narmada of its glorious days. Whoever came to the banks went back with their eyes full of green and hearts full of calm. A river has its own language- a language that only human spirit can understand. It is the language of nature’s care. In the case of Narmada, it was the language not understood by those who cared only for their pockets and the wealth of the rich. Narmada Diary speaks the language of the heart. It immortalizes the cries of a generation, to save a culture, a lifestyle and a people. Like a poem, it moves through scenes from one government documentary to another, through the eyes of the camera, swiping through the pleas for survival and cries for gains. Village after village they walk, gaining support for the movement. They walk. Speed and technology are suggested as the sole means of development by the government documentary which endorses the Narmada Dam Project. The activists, who slowly walk the villages are able to send waves across the globe and send the World Bank away, thus proving the government’s claim a mere stunt. Though the documentary never tries to exaggerate facts, facts themselves serve as great surprises for the viewer. Government never revealed crucial facts about the indigenous people who would be displaced and never cared for, the bio-diversity that’s at stake, the ecological crisis that awaits, economical imbalance it creates, the discrimination it propagates, and the amount of money it pushes under the carpet. When the camera looks on our behalf into the conference room of Minsiter Kamal Nath and then returns to the vandalized NBA office room, the feeling aroused is the same. It is one of silent anger towards the system. It is a system which conveniently forgets the less privileged and the less influential, for the sake of the powerful who live away from danger. The beauty of this film is that it focuses on the plight of the poor and the arrogant disinterest of the rich and the influential through impartial eyes, leaving the viewers’ hearts to join sides. The documentary has created such moments where people sitting in front of their bungalows could talk endlessly on how others should make big sacrifices to develop the nation. When the camera spans over the beautiful two storied building owned by the speaker and cuts into a river side, with a tribal song in the background, the advocate of development is slapped in his face by the simplicity of the one who has no place to sleep. We lack a heart that aches for the forgotten. Our age is a doomed one if it forgets to consider the empty stomachs of a generation who were chased out of their homeland to provide us with electricity and water. Such is modernity- it necessarily lacks conscience. It is here ‘A Narmada Diary’ has relevance. It tries to re-vitalize the conscience of a dead society which drowns its unwanted elements in a hurry to go farther and further!

Sajit M. Mathews

Politics and Poetics of the documentary – FLOW: for love of water

It has been a human characteristic all through the history that they long for whatever is better than what they have. This desire for the better is a never satisfy-able one. In fact, this is the sole reason for all the development, achievements, all cultures and civilizations we have. However, this desire to ‘be better’ and ‘have better’ takes a dangerous turn as it reaches a point where the ‘other’ is affected and sometimes eliminated. It is here that we as humans should prove our humanness. And it is precisely here that we fail too.

The documentary, ‘FLOW: for love of water,’ by Irena Salina is an in-depth gaze into the insensitive human greed for wealth. Insensitivity found here is ultimately towards oneself, because here we steal life giving water itself. For a guileless person, the concept of selling water surely would appear absurd. What surprise then, would it give him/her if he/she hears of a river being sold to an individual!

‘Flow’ succeeds in evoking that emotion towards nature, its resources and life forms, which is absent in today’s world- Love. Flowing like a stream, the documentary leaves a melancholic pain in the viewer’s heart- a pain that urges one into action. This magical flow is created using movements of colour, sound, voice, scenes and ideas. The name of the film, the idea projected, the theme and the dynamics match in a wonderful manner. In fact, ‘FLOW’ tells the story of interrupted flows. ‘FLOW’ sheds tears for the victims of greed and at the same time unleashes its anger at the corporate giants who with gnashing teeth try to devour a thousand generations’ wealth.

Apart from portraying the dangers of the impending danger of depleting fresh water resources, ‘FLOW’ also brings in expert voices to assert the fact that corporate interest sticks out like a sore thumb in this crisis. It is almost unbelievable seeing some of the very familiar and loved brand names like ‘Nestle’ engaging in such dirty politics shamelessly in order to fill their pockets.

Water is not a property to sell, we don’t own it. It is a natural resource. We need to preserve, conserve and use it with love and care. Anyone who watches this documentary with a simple heart will get this message engraved in her/his heart. At the same time, the documentary opens our eyes to the fierce waterless future, and the war multinational companies are waging against common man’s right for water. This is the beauty of the documentary. When one leaves the darkness of the theatre with tears in the eyes, I am sure there would be light in one’s inner eyes and decisions made in one’s heart regarding preservation of the most valuable gift we have- water.

Being a documentary, ‘FLOW’ had the privilege and freedom, not to conform to any existing style of narration. This well researched and excellently videographed documentary challenges all of us human beings in a subtle manner. It invites us to take to action by using water sparingly, and adopting means that ensure safety of our resources. We, the torchbearers of this generation should not be the ones destroy what the earth preserved for millions of years. 

Sajit M. Mathews

Tradition Vs. Modernity: A few reflections based on films

       Kallan Pavithran is a film by Padmarajan. The story is about a village burglar who turns rich after selling an antique Indian statue which he steals. Here the antique Golden statue enters the story as a trigger which brings in modernity. The peaceful life of Mammachan- the mill owner is turned upside down when this statue enters Pavithran’s life. The golden statue fetches him money, prosperity and status. He starts another mill in the village which represents a threat to the life and livelihood of Mammachan. The story is narrated in a realistic manner in a village set up. What interests me in the narration is the entry of the golden statue which also brings in all the pretentions and intrigue which navigate Pavithran’s life into the jail. Though the immediate cause for the ruin of Pavithran is his interest in women, that golden statue is the ultimate/distant cause.

       The mill Pavithran builds, the car he buys, his shining clothes and the aura of new money- all these stands tall representing the entry of an alien element. The soul of the village is not able to digest this, though apparently they have no problem in accepting him as a rich man. Padmarajan’s message may have been a different one. But what I gather from the movie is that modernity is not part of the village. In the end, it is the true tradition that wins. Pavithran as a poor thief was a well accepted element of the society. Without him the village was an
incomplete entity. But when he was corrupted by the golden statue’s money (modernity) he becomes an alien. He necessarily had to be dealt with. That is why, in the end when he was arrested, there was no reaction from the people as if it was the natural outcome of Pavithran’s life.

       Another instance from the same movie is when Pavithran takes his ex-wife’s sister into the city to flirt with her. He sees city as a safe place to do this. Village is home. Home is not the place to flirt. He could do this only in a place where anything is right. City is the place for this. City thus represents modernity. It is a den of all the
activists who dare not flirt at home. It is a hiding place. It is afree zone to be ‘genuine’- since they cannot be ‘genuine’ at home, in the village.

       If tradition is seen as opposite to modernity, there are many instances in our films. But if tradition is seen as more than merelythe state of being modern, or the opposition between old and new, it would be quite a task to analyze and filter instances of their coming together. Modernity is a welcoming state to development, change and new elements. It is about the creation of conditions where progress and change in culture and art are visibly made. It is about changing the attitudes and lives of human beings from within, often without their consent or willing knowledge. This lack of volition makes modernity a target of skepticism and suspicion. And it is true that
our times have seen such unwilling inflections in millions. Globalization and market culture are backed by the ideals of modernity. No wonder our films always have such elements.

       India as a ‘national’ entity has been seeing new elements being introduced into its blood for centuries. This became pronounced and painful when the colonial conquerors used our benevolence to bring us to their will. From that time onward, life for us Indians was on the pretext of the presence of foreigners in our land. The cultural, emotional, economic and psychological crisis created at the introduction of a foreign element thus is very well know to us.

       In a recent film by director ‘Santhosh Sivan’- Before the rains, this crisis is well enunciated. The plot is set in early 1930s, when freedom struggle is gaining momentum. In an interior Kerala village, there is an estate owned and managed by a British man- Henry Moores, played by Linus Roache. He lives alone. There are two native characters who help him with his life and work. One is a male assistant- Neelan played by Nahul Boss, a young bachelor. The other is a young married women- Sajani, played by Nandita Das.

       The story revolves around the construction of a road leading to the estate, which has to be completed before the rains. The presence of the English man is an uncomfortable factor in the village since he is not of the village. Especially for Sajani’s husband, who has to send his wife to Mr. Moores who lives alone, the Mr. Moores is a threat and a source of shame and suspicion. Between Sajani and the Mr. Moores, there was a warm but illicit relationship growing day by day. When the Mr. Moores’ wife comes, he had to keep her away against her will. In
the wake of events, she kills herself. But the blame falls on Neelan. Here, the village interferes, since the rules of the village is visibly infringed and its sanctity, under sacrilege. Gradually, the village elders find that the fault is with Mr. Moores. With this, village rests back in sanctity, though hurt and bleeding at the intruder’s violent and insensitive act and the loss of one of its daughters. Neelan who set out to kill Mr. Moores decides to let him go
after keeping him at gun point. The film ends when rain pours down on Mr. Moores and the incomplete road, washing away his dreams and fortune, as well as the shame of the village.

       In this movie, modernity as part of colonial power created havoc in the heart of the traditional village. They are not visibly opposed to the foreign element. But when it upsets the normal flow of the village’s life, they spring into angry but controlled action. They are engaged in an endeavour of restabilising the society- bringing
traditional society into its powerful status again. Neelan is put under trial and is asked to prove his innocence.
       It is important to note that the two characters who were in constant touch with the modernity element were always looked at with suspicion. Neelan was seen almost as a traitor. Sajani was suspected by her husband. Thus, a normal reaction to modernity that is ‘introduced’ into ‘tradition’ is suspicion.

       What is intriguing in such a discussion is the ability of people to detect what belongs to their tradition and what is alien (or modern)- in other words, what is tradition and what is modernity. It may be is subtle as in Kallan Pavithran or visible as in Before the rains. But people are able to spot it at first sight. I observe that this is because anyone can distinguish between what is one’s own self and what is alien.

       Again I am not sure whether this argument can be applied to the people and movies of our age. 21st century is changing at a pace which was never imagined by the 20th. Technology and complexity becomes surprisingly simple. Space and time are tackled through innovations. What was alien and foreign 10 year ago is part of my spirit, body and mind today. When the scenario changes like this, a study of modernity and tradition becomes even more challenging. 


       But on a second thought, I realize that nothing has actually changed. There is an exchange of roles. The oppressor and invader are not the same as in former centuries. But the concept of modernity remains the
same. In the early 1900s when film was introduced in the subcontinent, our audience was looked down upon by the people of the west as people of no taste for cultured things. Backward economic status combined
with that of a colony made Indians appear uncivilized for the oppressors. Today, more than 60 years after they have left us, we still feel colonized in many aspects of life- not because we cannot break fetters, but because we don’t want to! This is an unfortunate state of affairs. Indian society today is making an economic leap
towards becoming a super power. Technology and military power backs this leap. But the western economic and technological supremacy limits our horizons.

       Modernity is not an outsider today. What the state represents is an aggregate of all the philosophies down the centuries. Democracy serves as a safe platform wherefrom the legitimate rights of adivasis and tribals and those on the peripheries- the subalterns- can be legally denied. Rich become richer, middle class remain comfortable and the poor become poorer. This is the curse of 21st century. Polarisation of the world happens as never before. Every region on earth has a section of people who work for the rich. This was the case with colonies of last century. But its difference between today’s colonialism is that today, everybody accepts this condition.

       Mainstream films of today’s India (majority) do not reflect real asto evoke social change. These films work from the platform of a modern outlook. The camera looks from above, from the perspective of the modernity. Since the base itself is modernity it goes without saying that the values propagated are that of modernity. The most popular and money-gathering film of the year so far- ‘Three Idiots’ speaks of the necessity to let children find their own vocation- a noble ideal indeed. But the way it portrays a poor family (that of Mr. Rastogi)
tells a lot to the intelligentsia about the outlook of the movie. I was annoyed at the way it was screened. It would not have done any harm if not good to the movie if the director had given a positive impression of how a family lives in dignity and hope even when they had little to eat. It’s a matter of perspective. That is what happened
to our filmdom. Perspectives are changing. When films are made spending millions, profit is important. When profit is important, many other issues like social concern and genuineness become less important.

       That is what makes many of us look away from Malayalam movies of the day. There is a visible shift of perspective in Malayalam movies of the last decade. Elements of films have changed considerably. From
being one of the best industries, we have managed to reach a stage where we have movies with no messages at all. Adopting Hollywood assembly line technology and Bollywood dance-fight sequences made us forget quality in terms of storyline and value systems. 

Sajit M. Mathews

History of EFL University (CIEFL)

History of the English and Foreign Languages University- EFLU
(Formerly Centre for English and Foreign Languages-CIEFL)

Sajit M. Mathews

Introduction

            Words illumine everything. This is the motto and philosophy of the English and Foreign Languages University- the EFL U- the only university in India, devoted exclusively to the study of English and foreign languages. Down five decades of glorious and fruitful engagements with every aspect of pedagogical practice in India, the EFLU has proved that it lives up to its philosophy. Today’s EFL U, its glory and the finesse of its academic achievement are the results of relentless and motivated hard work, of a generation of veteran educationalists, who laid foundations of this temple of knowledge.

Phase 1

            The Central Institute of English- CIE, as it was known then, was founded in September 1958, with specific goals to improve the standard of English Teaching, to undertake relevant research and to publish materials. It was a venture of the central government of India, supported by the British council and the Ford Foundation. The formally established tasks of the CIE were Teaching, Undertaking relevant research and publishing materials.

Founding of the institute owed much to the vision of the then Prime minister of India, Jawaharlal Nehru. It was his special interest and love of Languages and of teaching, that led to the formation of the CIE. He could see the changing world and the necessity for learning a foreign language along with other Indian languages.

Phase 2

The CIE started off with 4 month Teacher Training Programmes offered twice a year. It also organized several conferences and refresher courses. Somewhat exceptionally for its day, CIE's courses provided Students, with guided group work, regular assignments, etc. which later were assimilated into the ongoing Class Room oriented research. With special focus on intermediate level syllabus design, the CIE contributed much to the nation's educational programme.

Structural Approach was the thrust of the institute in the beginning era. Later, creative and innovative thinking and research modified the philosophy of CIE several times until today. The ELE department was established in 1963 by Tickoo and company. For the first time in India, school text books were indigenized through two full length series of books by CIE starting from 1963. These books were used widely till the early 1990s, all over the country. Along with this, the institute was also setting the standard of Indian English, developing methodologies in teaching, undertaking research in inter-lingual contrastive analysis, etc. Simultaneous with these, the CIE produced a series of radio lessons [sj2] for schools of Andhra Pradesh. These programmes were later broadcast over All India Radio’s National Network  for years – English for Radio.

The EFL University pioneered the use of radio for language learning in 1963, and closed circuit television in 1973.

The Centre for Media and Communication has produced a five-year course of 75 graded programmes for learners of English at the elementary and intermediate levels of proficiency, and a course of 25 language teaching programmes for teachers.

The Centre’s radio lessons are regularly broadcast by All India Radio. Video programmes for advanced learners of English are broadcast by Doordarshan on the Countrywide Classroom channel sponsored by the UGC.

On 27th March, 1966, the institute shifted to the present campus, and was inaugurated by Dr. Zakir Hussain, the then vice President of India.

(CIE to CIEFL) In 1967, Mr. Ramesh Mohan took over as the Director of the CIE. For the next 18 years, the CIE went through tremendous changes under his able leadership.

Phase 3: 1972 - 1997

            In 1972, CIE became CIEFL, with additional responsibilities to study, spread and teach several foreign languages apart from English. A year after that, CIEFL was awarded the status of a deemed university, owing to its high academic standards. This period also saw lot of new initiatives like Vernacular- English programmed materials, introduction of correspondence courses, and establishment of German, Russian, French, Arabic and Material Production Departments. Meanwhile, two new campuses were opened at Shillong and Lucknow, to cater to the other parts of the country as well. The end of 1970s saw a series of evaluations and surveys to see how effective the CIEFL was in achieving its established goals. These led to better functioning of the CIEFL in the coming years. During this decade, the CIEFL spearheaded syllabus reform and curriculum development movements for Universities all over India.

            In 1983, the Educational Media Research Center- EMRC was established at CIEFL. Its specific purpose programmes in all subjects are broadcast over TV, with a viewership of over 20 Million.

            All these years, the library was gaining strength. Named after Ramesh Mohan, the library is a pride of the University, with a collection of over a hundred and fifty thousand books and 470 journals in all the fields of interests of the University. The accompanying Publications Unit, now equipped with state-of –the –art equipments disseminates research done here.

            English 400, UGC Package course, centre for translation and interpretation, Resourse book  at tertiary level, Spanish department,  Functional English Project, etc. were the other projects of this period.

Phase 4: 1997-2007

            In 1997, Pramod Talgeri took over as the third V.C. of CIEFL. Soon afterwards, the departments of the institute were realigned and re-designated as five schools, namely, ELE, Language Sciences, Critical Humanities, Distance Education and Foreign Languages. In the year 2000, MA Programme M.Phil. and Ph. D. Programmes were introduced. International Training Programmes started off.

Phase 4: EFL University- new milestone

            In the year 2006, CIEFL was given the status of a central University. In the following year, it was renamed as the English and Foreign Languages University by an act of the Parliament. Today, the EFL University has 11 schools and 38 Departments, in 3 campuses in India and 5 off-shore study centres abroad. It has tie-ups with 10 foreign Universities all over the world.

            Apart from the formal graduate, postgraduate, B.Ed., and Research programmes, EFLU offers distance and part time mode courses in almost all disciplines, including foreign languages. Ambitious programmes like multi-lingual dictionaries and English language Materials Bank are in store.

            Another contribution of the University is the design and implementation of the All India English Language Testing Authority – AIELTA. Envisaged as a future alternative to the present day language proficiency tests offered by other countries, it develops and administers a range of English language tests to measure a language user’s functional abilities. AIELTA  will soon go international.

            District centre Scheme and English Language Training Institute Support Scheme are two other high profile English Language Teaching outreach programmes. Both are time proved programmes in action for over two decades!

Conclusion 

To sum up, the attempt is not to add one more elite institute, but rather to create a People’s University of international standards. The academic commitment will be spelt out in clear terms: galvanize people, make borders redundant.

The Act mandates the new university to advance and disseminate “instructional, research and extension facilities in the teaching of English and foreign languages and literatures in India” as well as “to take appropriate measures for inter-disciplinary studies and research in literary and cultural studies, and to develop critical intercultural understanding of civilizations.”