Improving the Student Experience

The Humanities, Languages and Social Science Learning & Teaching event, 23rd April 2013, MMU

Late in the Spring term, the Faculty of HLSS enjoyed a day sharing areas of positive learning and teaching practice from across the Faculty. Colleagues from all Departments provided a fascinating showcase of their learning and teaching innovations, giving colleagues an opportunity to reflect on the ways in which the Faculty can continue to improve the student experience.

The showcase was opened by Dr Jess Edwards (Associate Dean, Student Experience) and Dr Annabel Kiernan (Faculty Learning and Teaching Fellow). In his opening remarks, Dr Edwards highlighted that the Faculty had been shortlisted in both the overall Teacher of the Year (Debora Green) and overall Department of the year (won by History, Politics & Philosophy) categories in the 2013 MMUnion teaching awards, setting the tone for celebrating the thoughtful work of colleagues across all of our programmes.

The showcase event comprised three themes: e-learning, internationalisation and employability and a presentation on Research Methods by Dr Julie Scott-Jones & Dr John Goldring, Sociology 'TCP:  Soothing away the barriers to student learning of quantitative methods'. Colleagues presented snapshots of their practice within each theme, leaving time for questions and broad discussion reflecting on what works well, identifying challenges and identifying ways to further develop good practice.

Theme 1: E-Learning

The Faculty continues to add to the diversity of learning and teaching delivery through innovating in e-learning; from developing online courses to enabling different learning styles through technology-enhanced provision.

In this session, presentations were given on 'Using Social Media to Extend and Enhance Teaching' (Dr John Scanlan, Sociology) The Virtual Writing School: MMU’s International Online MA in Creative Writing (Dr James Draper, English) and 'Podcasting Lectures: The Lessons of History’ (Dr Gervaise Phillips, History)

Theme 2: Employability and Curriculum Enrichment

Graduate employability is a priority for our students and as a Faculty we encourage students to take advantage of the employability and curriculum enrichment activities on offer. These range from placement working to volunteering roles and improving professional skills.

Presentations were given on ‘English in Practice: Learning from our mistakes’ (Dr Lucy Burke, English), ‘Politics and the workplace’ (Dr Janet Mather, Politics) and ‘Developing Employability Skills by using Structured Ethical Reflection’ (Roz Fox, Public Services)

Theme 3: Internationalisation

This session provided a showcase of some of the international collaborations we have in the Faculty at both undergraduate and postgraduate level. The Faculty continues to internationalise the learning experience through opportunities for study abroad, collaborative curricula and international research projects.

Presentations were given on Transatlantic Public Administration and Policy (Mr Frank Carr, Public Services), ‘It’s not what you say, it’s the way that you say it’ (Jon Wright, Languages& Info Comms) ‘MA European Urban Cultures - the challenges and benefits of teaching collaboratively with other European universities' (Dr Katie Milestone & Dr Robert Grimm, Sociology), and ‘Making the obvious strange: teaching philosophy’ (Professor Joanna Hodge & Dr Anna Bergqvist, Philosophy)

‘Talking Tables’

As part of the showcase event colleagues were given the opportunity to follow-up on the themes of the day and to explore ways of further enhancing the learning and teaching practice in all programmes in the Faculty. Discussion forums were facilitated on the day by a series of ‘talking tables’ on:

·         The student journey (facilitated by Steph Taylor and Sam Connolly)

·         Feedback & Assessment (facilitated by Aiden Arrowsmith)

·         Retention (facilitated by Paula Ierston)

·         International Collaboration in teaching & Learning (facilitated by Stephanie Aldred)

·         Employability & Curriculum Enrichment (facilitated by Lucy Burke)

·         Digital, Online & Social Media (facilitated by Richard Eskins)

·         Inclusivity (facilitated by Jess Edwards

The event was a great showcase of the ways in which colleagues reflect on their practice and innovate their learning and teaching to constantly improve the student experience.

Over 100 colleagues participated in the events across the day and, as a Faculty-wide event, it also offered a good opportunity to welcome new colleagues and to identify areas for more cross-Departmental collaborative working.

The Faculty will host further learning and teaching events, in both the Autumn and Spring terms – everyone welcome!

Celebrating Young Writers' Talent

The Portico Young Writers' Competition: A celebration of writing talent in the North West.

Although you’ve probably passed it a dozen times without realising it’s there, the Portico library has sat on Mosley Street in Manchester for over two hundred years. And this week, something quite special was happening there.

For the past four years the Portico Library, with support from Manchester Metropolitan University, has run the Portico Young Writers Prize, a writing competition for 14-19 year olds across Greater Manchester. But this isn’t just a writing competition; it is a project in which entrants are selected by their schools and teachers (each school entering selects two ‘laureates’ from their most talented young writers), who are then mentored by students and alumni of MMU’s Writing School and undergraduate English and Creative Writing programmes.

Humanity Hallows has been invited down to attend the launch of this year’s competition, and find out a bit more about the prize.

Buzzed in through the door, up a few flights of steps and into the main gallery of the library, I was greeted by Richie, an MA Poetry student at MMU’s Writing School currently interning with the Portico. He administrates the prize, and took up his internship after being involved as a mentor in a previous year.

“The mentors are all at the back with Sherry,” he informs me. “We’re expecting the young writers in about half an hour.”

It’s hard to take in the Portico in one glance. If you can imagine the ‘classic’ image of a library, then the Portico certainly fits. The Gallery room is skirted with floor to ceiling bookshelves, each lined with crackling, leather-bound books. It is a perfect setting for an afternoon of writing workshops to kick start the competition.

I make my way to the back of the Gallery. Sherry sits with a group of mentors, talking them through the afternoon’s event. Sherry has been the Writer in Residence at the Portico for the past two years. Also a Creative Writing Lecturer at MMU and a published children’s author, she has overseen the project since its inception. Later, when I manage to grab her for a quick chat about the competition and the project, she explains the workings of the prize, and the mentor/mentee relationship that makes it such a unique competition.

“The Portico has always wanted to have a young person’s prize alongside their main adult prize. What makes this distinctive from other competitions for young people is that we are looking for excellence. We are looking for the best talent in young writers in Manchester.

Writing can be pretty scary for young people, as it can for anybody, so MMU provide each entrant to the Portico prize with a personal mentor, who is an MMU student who’s had experience of creative writing workshops and who are writers themselves, who they can contact for support to help make their writing the best it can be before submitting it for the competition.”

For the moment, however, she is finishing running over a few points before the young writers arrive. The student mentors all look eager to get started. For some, this is their second year mentoring a young writer, but for most this will be their first time.

I speak with Sophie, an English Literature student at MMU. “I would have jumped at the chance to get this sort of help when I was younger... the young writers are going to feel so supported with their work...”

“But as well for us as students we gain a different insight into the creative writing process...” Dan, studying English and American Literature adds. “We do writing workshops at Uni, but coming from the other side is interesting for us from a technical point of view...”

The mentees begin arriving shortly after that and take a seat under the grand white dome of the Gallery. Beneath the auspice though is a relaxed and informal atmosphere. Everyone is chatting, drinks and sandwiches are in ample supply, and as the Gallery begins to busy, there is a real sense of excitement in the air.

Emily Adams and Rachel Wood are lower sixth form students from Sir John Deans Sixth Form Centre. As hopeful writers, the competition and the mentoring offers a chance not only of exposure and a potential win, but of guidance with their writing.

“It’s one thing to write for coursework but it’s another to show people what you’ve written, and put it forward for judgement. It’s a great opportunity to get advice as well, and get feedback about our work from the mentors.”

It’s a sentiment shared by members of staff and teachers present: “It’s a really good platform for students to get mentored by young enthusiastic writers who can pass on their enthusiasm and their expertise in some way....” says Annabel Lloyd-Hughes, an English teacher from Manchester Grammar School for Girls. “The process is really interesting, and of course there’s the setting.”

For Mr Day, from Christly King High School in Preston, there’s a longer term goal in mind.

“It’s the start of something really,” he says, stood with his school’s selected Year 10 Laureates. “Once we’ve got this we can look at having students down here more. For our students here as well, it’s a relationship they start now, and they can carry this enthusiasm and this link throughout their GCSEs and into their A Levels.”

The event gets started. Sherry matches the mentors with the young writers, and begins the afternoon workshops. After today the young writers and their mentors will meet regularly at the Portico to work on their piece for the competition. They will be submitting their pieces over the summer. The winners, I’m told, will be announced in October.

I slip away from the hubbub and find Lynne Allen, the Chair of the Portico and chat with her about the library, and the wider context of this competition.

“This competition and this project means a great deal to us at the Portico, because many people have lived their lives here and don’t know about us. Our intention is to bring new audiences to the library and engage much more fully with young people of all ages, because they are future. Especially at this time when libraries are under pressure and closing all over the place, we feel it’s very important for us to engage with young people as fully as possible.”

And they are doing so hand in hand with MMU.

“It has to be said that this would not have happened without the support of MMU, the Writing School, English Department and the staff and students who’ve been involved over the last four years,” Lynne says to me.

As I leave to the chatter of workshop talk and the scribble of pens, I’m struck by how much work the Portico and MMU are doing to develop writing talent in the North West. It seems that the Portico, steeped in heritage and history, is very much looking to, and investing in, the future.

The Portico Adult Poetry and Fiction & Poetry Prize has been running for over 25 years, counting Anthony Burgess amongst its previous winners. For more information about the Portico, including its competitions and exhibitions, visit http://www.theportico.org.uk/

For more details of Manchester Metropolitan Universities Writing School and Undergraduate Creative Writing Programmes, visit: http://www2.hlss.mmu.ac.uk/english/the-manchester-writing-school/

Manchester: United

People's Assembly Meeting, Central Hall, Oldham Street, 21^st May.

Over 700 people last night crammed into Manchester's Central Hall on Oldham Street to hear Owen Jones, Mark Steel and a host of others speak out against the coalition government's crippling austerity measures and call for unifying action in opposing them.

Numerous campaigns, trade unions and activists were represented at the event under the banner of the People's Assembly Against Austerity, an initiative designed to 'develop a strategy for resistance to mobilise millions of people against the Con Dem government,' which will culminate in a mass movement at Westminster in London on the 22^nd June.

As the hall quickly filled up, the first hour of the assembly was dedicated to an open mic session, where local people had the opportunity to give voice to their own campaigns and grievances. High on the agenda, inevitably, were bedroom tax and NHS privatisation. Some speakers shared personal, often distressing stories with the audience while others, such as Wow Petition and Living Wage Campaign used the opportunity to garner support.

In a demonstration of the attention focusing capabilities of the People's Assembly, the first hour also saw members of unions Unite and Unison, as well as representatives of The Green Party and CND, leading calls for strike action and civil disobedience which would 'cross political boundaries,' - to resounding applause.



Photo courtesy of Owen Jones

By the time the main session was due to begin, the audience had swelled to the point where seats had to be made available on the stage, alongside the main speaking panel, much to the amusement of Owen Jones and Mark Steel.

Comedian Steel soon had the audience in fits of laughter with his take on the causes of the economic crisis and the current government's punitive reaction to it.

"From day one of this government it's been 'the debt, the debt, the debt! We're in so much debt! We need to get this money back because we've overspent... and who's got all the money? It's obvious! The poor!'"

“Yet it gains a sort of logic when they say it's the poor who've got the money, when they say there isn't an alternative and that [the poor] are the people to blame:”

“It's the immigrants who are to blame, it's the lollipop ladies. Do you know who caused all the debt? It's the people in A&E ... and particularly those people in comas ... who caused the economy to collapse. So it serves them right if we take their trolley away. on and on it goes...”

He goes on to express his dismay at the ineffectual Labour Party and describes “poor Ed Milliband [as] the amiable chap you meet at a service station who talks to you for a little longer than you want him to ... a Sellotape salesman. ... Surely there is someone who can get up and articulate that anger, that ideology ... in a way that doesn't [involve] looking over their shoulder and worrying about what the Daily Mail says.”

Steel's sarcastic, stand-up style contrasts nicely with next speaker, Owen Jones, who delivers a forthright and impassioned indictment of 'the politics of divide and rule,' before issuing a plea for 'a grassroots movement in every single town and city in the country.'

“It doesn't matter how angry people get. It doesn't matter how scared people get. Without hope, people don't fight back. They yell at their television sets, their anger is directed against their neighbours, but they don't have the confidence to fight back. That is where this [assembly] comes in.”

Jones would later tweet that the event had been 'the largest political meeting in the city since the miner's strike.'

Perhaps star of the event, however, was Salford resident Maria Brabiner, a former council worker who had to give up work some years ago to care for her mother and since 2010 has been unable to find work. She has become a potent voice against the bedroom tax thanks to national news coverage. She began:

“I'm just an ordinary 47-year-old lady affected by bedroom tax. I've lived in the same [two-bedroom] home since October 1978. I've worked all my life, since the age of sixteen. I'm not the stereotype 'scrounger' that the government wants to portray. How dare they call me that.”

“This government has declared war on its own people. I never thought in my lifetime I would see any legislation worse than poll tax but the bedroom tax is the most evil and vicious legislation ... the government should be ashamed. It deliberately targets the vulnerable, sick and disabled. The bedroom tax must be abolished. It is not a case of won't pay, it's can't pay!”

Maria concluded: “To coin a phrase, 'the lady is not for turning,' - well, this lady is not for turning either!”

Cue rapturous applause.

For more information visit thepeoplesassembly.org.uk

Neil Harrison is studying Social History at MMU. He is an aspiring journalist and a terrible guitar player, you can follow him on Twitter @looseriver

The Farce of 'The Book Of Mormon'

Words by Fin Murphy 

3 out of 10

Over the years it was in the making; The Book Of Mormon simmered with attention as the brainchild of Trey Parker and Matt Stone. Religion, warlords and imperialism examined by two of the most irreverent voices in pop culture through the flamboyance of musicals; a promising blend of Juvenal, Brecht and Triumph, The Insult Comic Dog. In the end, the musical has been a runaway success, garneringrave reviews, sell-out performances and an astounding nine Tony Awards. Most interestingly, though, is the lack of furore; this is no Jerry Springer: The Musical, or even The Producers. Now, The Book Of Mormon has travelled to London's plush Prince of Wales Theatre, where tickets are rarer than a whistleblower in the BBC. Surprisingly, the main problem is inoffensiveness, belying creators Parker and Stone (plus Avenue Q co-creator, Robert Lopez).

Unlike cynical children or action hero-cliché puppets, our protagonists here are Elder Kevin Price, an ideal Mormon, plus cohort, Elder Arnold Cunningham, an archetypal nerd. As characters they lack depth; their Herculean flaws are, respectively, egomania and lying, which end up being the crutches of the plot. Price, played by Gavin Creel, progresses somewhat over the course of the musical, his cosmetic sheen chipped away by his predicament. Cunningham, played by original understudy Jared Gertner is a substantially weaker character. He is continuously relied upon to chuck out a funny reference to Star Wars or simply to mispronounce a name foreign to himself. The second act is weaker as he is the focus. 

On a larger scale, the foundations of the Church are poked at by 2D representations, with Jesus and others voiced similarly to South Park. Church elders come across as 1950's dads, only without the Mad-Menian underbelly. Real sins by the Church, such as its tumultuous past with civil rights, are carted away in the forgettable songs, like a yodelling EDL. Main antagonist, General Butt-Fucking-Naked, is represented farcically in comparison to his real life equivalent, the real horrors diluted down to bibles being shoved up rectums. He is given relatively little time on stage whilst the way he is dealt with is truly ludicrous, even for a musical. Price and Cunningham's fixer, Mafala Hatimbi, is pure Uncle Tom, whilst his impassioned daughter, Nabulungi, is undermined by her earnest belief in Cunningham's mock-religion.

Imperialism is laughed at tepidly, as when the white Mormon missionaries sing 'we are Africa.' However, the temptation to assign right-wing beliefs to the work of Parker and Stone, their worldview helping spawn the South Park Conservative after all, is overwhelming. It seems that in their fascination with Mormonism, Parker and Stone have taken a shine to the happiness of its adherents and wish to spread it to others in a rather dubious way. This is reflected in their representation of the villagers. All too often the unwashed denizens are nameless and faceless, assigned to being shot in the face by General Butt-Fucking-Naked — and living amongst an infant rapist — until the plucky American lead comes along. In short, the musical doesn't look or sound like it belongs in the 21st century.

Overall, The Book Of Mormon is Spamalot with reduced fat. It tells us little we didn't know already about Mormonism or its adherents. The portrayal of Uganda and its citizens is hackneyed, whilst the political inclinations are uncomfortably preachy. Having set cartoons and puppetry alight in the past, Parker and Stone have fallen short in their attempt to roughen up musicals. If anything, the piece is a love letter. It says a lot that by curtains, many of the well-heeled audience were on their feet in applause; lefties happy enough with the fly-bitten portrayal of the Dark Continent, conservatives tickled pink by the jovial Jesus. For the two hours it consumes, little new is said in The Book Of Mormon.

Competition Double Whammy!

Do you have a tale to tell?

The Manchester Writing Competition is back and this year it’s bigger than ever with, for the first time, both Fiction and Poetry Prizes running together, and offering a £10,000first prize for the best work in each category. Every one of us has our own story to tell - a unique creation inspired by personal experiences and fuelled by imagination. Stories and poetry give us expressive power and freedom. Is it time to unleash your inner storyteller and commit to paper that tale that’s been lingering in the recesses of your mind, or perhaps display your inventiveness and feel for language through some poetry?

Under the direction of Poet Laureate Carol Ann Duffy, The Manchester Writing School at Manchester Metropolitan University has launched the 2013 Manchester Writing Competition. Once again this major, international literary competition is encouraging new poets and prose writers from across the globe to display their literary craftsmanship and show the world that poetry and fiction writing is alive and kicking. I asked Carol Ann Duffy and her team at the Manchester Writing School to tell us more about the Manchester Writing Competition.

Why is the Manchester Writing Competition so important to you?

"The Manchester Writing Competition offers the biggest prize in the UK, and possibly the world, for new, unpublished writing. And it's open to all writers age 16 or over - both new and established. A key aim of the Competition is to encourage new writing and showcase talent - it is so important that people are encouraged to express themselves creatively. The competition allows us to provide a platform from which we can share, draw attention to and celebrate, exciting, new work, and, in many cases, new voices."

Part of Carol Ann Duffy’s original vision for the Manchester Writing Competition was to establish Manchester as the focal point for a major literary award; many major UK writing awards are London-based and closed to new writing and new writers. Carol Ann felt that Manchester's vibrant cultural and literary scene provided the perfect backdrop to a global celebration of excellence in writing that sees Manchester looking out across the world and inviting writers to join this thriving creative community.

"As National Poet for Wales Gillian Clarke said when judging the first Poetry Prize, 'It’s a delight to give money to poets' - and to prose writers, too, of course. It gives them a massive confidence boost and, in many instances, buys them time out from other commitments - gives them the freedom to concentrate on their writing."

Why has the Manchester Writing Competition changed this year with both Fiction and Poetry prizes running together?

"It was always the long-term plan to run both at once, and we're now confident that there's sufficient interest to do so.  When we've alternated the prizes in recent years there’s always great demand for the strand that’s not running. By running both we can help to ensure that the brightest emerging poets and writers can get their chance to share their work.

"The funds raised through entry fees are put to good use, allowing us to hold author readings and other arts and cultural public events and courses which could not otherwise be offered, particularly as funding has been stripped away from arts and humanities. The Manchester Writing Competition helps us to address any shortfall in what we're able to offer and ensures that creativity in writing is encouraged and rewarded." 

Have any of the previous winners gone on to greatness?

"Many winners and shortlisted entrants have gone on to have their first collections published. Alison Moore, shortlisted for the Fiction Prize in 2009, went on to be shortlisted for the Man Booker Prize in 2012 for ‘The Lighthouse’."

What’s the typical profile of your entrants?

"There isn’t one. Our entrants, like our winners, come from incredibly diverse backgrounds from all over the world. Entrants from as far afield as Australia and New York have been shortlisted and we’ve had entries from 16 year olds to 96 year olds! Creativity has no upper age limit and neither has the competition."

How are the judges selected?

"A member of the team from the Manchester Writing School here at Manchester Metropolitan University always chairs the panel together with two external judges, selected because of the quality of their own work - and we aim to make sure the panels reflect a broad spectrum of tastes. It’s also worth noting that all entries are judged anonymously; the judges are blind to reputations and allegiances, and don't know the age, gender or location of the writer of each piece until the short-list and winners have been chosen. There's also no pre-selection process - every piece entered goes directly to the main judging panel."

What advice would you offer to anyone that’s considering entering?

"Read, read, read! Voracious readers consume styles and techniques and this helps to open up new options for your own storytelling and poetry. But, most importantly, we would urge you to just go for it. Mandy Coe, our joint winner from 2008, had lost confidence in her writing and submitted her entry at the very last minute, with no expectation of getting anywhere - but her poetry struck a cord with the panel, and she won. Mandy credits this win as the catalyst that transformed her approach to writing. It gave her confidence a huge boost and, crucially, afforded her the time to pursue her writing, and she has since gone on to great success."

Could the Manchester Writing Competition be your launch pad? Is it time your tale was told? To find out more about how you could get that break you’ve been looking for go to: www.manchesterwritingcompetition.co.uk   Deadline for entries:  30th August 2013.

Notes to editors: Poet Laureate Carol Ann Duffy is Professor of Contemporary Poetry and Creative Director of the Manchester Writing School and Manchester Children's Book Festival at MMU. She is a celebrated poet, playwright and librettist, has been awarded an OBE and CBE, and is a Fellow of the Royal Society of Literature. The Manchester Writing Competition is a major, international literary competition that has been celebrating excellence in creative writing since 2008.