Good day, Dr. Suraj Nandkumar Dhumal. I'm Arjun. I've had a look through your background and your professional record. I'm interested in hearing more about your work and how you see yourself fitting in here with our faculty. Ready to start?

So good evening everyone. My name is Doctor Suraj. As far as my work is concerned, I have been teaching for last 10 years. I'm also a good researcher. I I'm doing my research in ESL studies. So far I have published 3 research papers. As far as my other work is concerned, I have quite a quite a good interest in.

Field such as folk literature. So one of my research paper that is called enable ESL learners language speaking anxiety is already published in Scopus and I am right now I'm also working on another project that is called as language testing and assessment with ESL learners. So when we talk about my area of interest. I I'm keenly interested in how I can remove language.

Anxiety among ESL learners. So that is a major work I have done so far. Then I also do research in folk literature, as I said. So as far as folk literature is concerned, I'm right now I'm working on a research project that is called, as you know, unheard oral narratives of Indian folk literature. So basically I'm trying to capture the stories that. That are from.

A very remote, remote areas of India. And then I'm trying to understand the cultural values and how these values are going or moving from one generation to another generation. And how there is a gap, which is a very important gap. Because these days what is happening is the the cultural knowledge which used to, you know, transfer from one generation to another generation. And I was oral in nature, but because of the documentation, because of the education, that oral tradition has got break. And by because of that, there is a lot of, there is a lot of issues in, in this process. And as a result, most of the traditions are evaporating. So right now my area, my, my aim is to work on such traditions, such cultural values, which are.

You know, just getting evaporated. So this is 1 area right now I'm working. Apart from that I have also published my.

Research work in English pedagogy and also teacher education. So as far as the teacher education is concerned, I have worked very seriously with the teacher prospective teachers. I did research with prospective teachers, especially those who are doing B Ed and I'm trying to, I, I was trying to identify how bilingual method can be taken up and enhanced further.

Yes. So this is what I am mainly working on these three to four areas of research and teaching. Thank you.

To teach students, you know, in a very powerful manner.

Yeah. Uh, so thank you so much, uh, for this question. Uh, right now I'm using, uh, quite a few digital tools to preserve, uh, the folk literature, for example, uh, you know, to, to give you one of the examples, like for example, the, the Telangana state got freedom. It, it got freedom because of the oral songs that they have, right. So what we did is whenever there, there, there used to be a movement when I was doing my.

Thank you, Professor Dhumal. Your work certainly spans a diverse range of meaningful projects, addressing fundamental issues in language learning, cultural preservation, and pedagogy. Your research on ESL learners' speaking anxiety and the unpublished study on language testing and assessment demonstrate a clear focus on addressing critical challenges in English Language Teaching (ELT). Similarly, your work in folk literature delves into an important cultural and academic task of capturing and analyzing the nuances of disappearing oral traditions. Now, let’s proceed with specific questions to assess your technical depth and teaching approach. First, regarding your expertise in **Digital Humanities**, could you explain how digital tools or platforms might be incorporated into your work, particularly in your exploration of oral narratives in folk literature? For example, are there any specific technologies or methods you’re utilizing to document or preserve these traditions?

T in the English and foreign languages University Hyderabad, uh, there used to be, uh, you know, uh, a number group of people who used to come and they used to sing songs. These songs were oral in tradition and these songs had a lot of, uh, motivation in getting freedom. So what I did as part of my study is I recorded these songs and these songs I have put them in the online platform. So, uh, online platforms such as you, you have you YouTube, you have.

Instagram, you have Facebook. And then then through these songs, I'm trying to inspire other people to record the oral tradition, the oral, the songs that they have. OK, so this is how I'm trying to utilize the digital things in my project.

Yeah, yes, Actually the question that you asked to be who was, I was about to answer, but then I thought I should be limited to your. I should answer, I should limit my answer to your question only. So as far as challenges are concerned, one of the major challenges that I addressed during the documentation of these folk songs is the, you know, the cultural tone. Sometimes and multi multiculturalism. So for example. If I'm, I'm documenting songs from Telangana, so it will be in Telugu and if I'm documenting songs from Maharashtra, it will be in Marathi. So the depth or the knowledge of that language, right? And the translation, I, I, I do use Google translator for transcribing the, the language that they are singing. But when it comes to the understanding of that.

Understood, Professor. Using digital platforms like YouTube, Instagram, and Facebook to document and distribute oral traditions is quite a commendable approach. By doing so, you ensure both preservation and wider engagement with these cultural artifacts. A follow-up: When recording and archiving such oral traditions digitally, how do you address challenges of authenticity or the risk of losing

Particular transcription and the meaning it becomes really difficult for me to connect with that particular aspiration or the cultural value that the song gives or the OR the idea that the the original writer intend to do so this was a major challenge so in order to address actually when I started this I didn't didn't realize but when I was in the middle then I realized so I started another new.

That is taking life in interviews of the authors, those who are alive and understanding what actually they meant. And then connecting with the original songs. So this is how I address that challenge. The second challenge I faced when I was trying to, you know, document these songs was related to the geographic location. Because there are certain terms, there are certain words which are very specific to that particular location. And when it comes to that location, if if the person is not aware about the oral. The the history of that.

The complete meaning of that particular song. So that was actually one of the second challenge that I faced.

Particular geographical location the person will miss that the the the actual.

Thank you.

You're welcome, Professor. Let’s move to another area of expertise. Considering your background in **Commonwealth Literature**, could you discuss how you incorporate texts from this tradition into your curriculum to create an engaging learning experience for your students?

Yeah, so, so basically when we talk about text, we have a lot of texts in our, you know, history. So for example, when you talk about the text coming from.

Shivaji Maharaj, right? So whenever if I'm trying to teach students the cultural values, So what I do is I take some certain kind of text to class and then I ask the students to read the text and also act.

That particular, you know, the text. So the one of the ways in which I, I believe students will understand or students will learn is through the acting and the exposure given to them. So for example, if I'm teaching a lesson on Chhatrapati Shivaji, so I actually asked them to act that particular, you know lesson in class so maybe. Acting in terms of theatre, such as like somebody. The the characters in the text will come and deliver the dialogues. They will, you know, come with their attire and then they will have.

Umm, uh, you know that particular, uh, drama on stage in, in the class, it did not just related to the having drama in the class, but actually after the drama we have uh.

Learning, learning session. So where we try to ask the characters how you know they have done the play, what was what was the learning out of outcome from that particular text. So this is how I feel if if you take text to the class and if you perform that text you know it, it becomes really easy for the learners to understand what is given in the text and what they need to apply to their life.

This practical application comes only when they apply the learning lesson to their life. So how to apply that lesson to life is is one of the great challenge. And for that I usually design.

Certain tasks which are totally based on the experience.

Yeah. Thank you.

Thank you, Professor. Your method of integrating performance and experiential learning into the study of Commonwealth Literature is both innovative and impactful, particularly for fostering deeper connections between students and the cultural values embedded within the texts. A follow-up: how do you ensure inclusivity and sensitivity when selecting texts from varied Commonwealth traditions, given the diversity and complexity of the cultural and historical contexts?

Yeah. So as far as?

The text is concerned whenever you are trying to understand, you know. The adaptability of the text depends on how well students are familiar with the text. So for example, if I'm teaching at Vit Vellore so I will have to take a text which. The VIT well lower students are aware of. So for example at VIT Vellore we have a crowd coming across India. So they they are like multicultural. Students, but when we talk about any other local universities such as you know you have. State universities where the crowd is only bilingual or monolingual, it becomes easy for for for me to choose anyone text which they know. For example, if I'm teaching in Maharashtra, I would choose the text from Chhatrapati Shivaji Maharaj. But if I'm teaching in Vellore, I I have to take a text which is. Something which is global in nature.

Because the crowd which comes there is not very much interested or very much their understanding is not very much limited to the local, but they are more prone towards the global understanding. So whenever I am selecting a text, I will definitely make sure whether what kind of crowd what, what kind of students I am going to teach.

So I have to understand the students uh background and then select the text.

Understood, Professor. Your adaptability in tailoring the selection of texts to the cultural and linguistic diversity of your students demonstrates a thoughtful and inclusive approach to teaching Commonwealth Literature. By aligning the curriculum with your audience, you ensure relevance and deeper engagement. Next, let’s discuss **English Language Teaching**. Could you elaborate on your teaching methodologies for improving both receptive (listening, reading) and productive (speaking, writing) language skills among ESL learners? How do you balance these areas in your approach?

Yeah, So as far as receptive skills are concerned and productive skills are concerned with, with my experience, I I truly believe if we are if, if I want to improve the receptive skills, right, for example, reading and listening, what I have to focus more is on practice. I mean all the all the four skills require practice. For example, listening now. If I have to improve my listening, I need to really pay attention.

On how I listen to any particular speech. And then it is not just limited to the listening to the speech or text, but how I am reflecting on that actually enhances my listening. So if if I have to improve somebody's listening, I have to teach him or her to be how how to be alert, paying attention to the text or the listen. Or any audio and then think on that at the same time.

And then come up with your opinion, right? So usually this is how I do in my class. So for example, every after teaching 10 to 15 minutes, I ask students reflect on what I have taught them.

So usually students will come up with certain answers and then I ask them how it is related to their life. So this is how their listening still improves. So when it is it comes to reading, this one of the regular practice that I usually follow at my current institute and that is I, I asked them we have we have started a reading club.

So I asked them in, in one day you have to read minimum of one page and you have to write down what you have learned. So what happens there? Reading improves day by day. So most of the students come up, come to me after a month and say because of you I started reading this book. I have completed this book so. Their reading improves and writing also improves. So as far as speaking is concerned, practice, as I said.

That is very important. So in which I, I usually ask my students to, you know, have a dialogue with, with their fellow students. So whatever you listen, you have to speak, right? Whatever you whatever you read, you have to write or whatever you listen, you can write. So actually, I believe you can actually integrate all the four skills receptive and. Productive skills. If you integrate these skills, it becomes easy for the learner.

To improve his or her language, whether it is a second language, whether it is a foreign language. So integrating these four skills is a key to success in language learning.

Thank you, Professor. Your methodology of integrating receptive and productive skills through reflective practice, dialogue, and structured tasks, such as maintaining a reading club, is an effective and holistic approach for ESL learners. Encouraging students to connect their learning with their personal experiences ensures deeper engagement and practical application. A follow-up: When dealing with students who struggle significantly, especially with speaking skills, how do you adapt your methods to build their confidence and competence, particularly in anxiety-inducing situations?

Yeah. So thank you very much for this question. So usually what I did, what I do is I focus mostly on giving them vocabulary that they require. Usually a lot of students feel anxious whether they answer questions in the class or whether they are on the desk on on the stage. They feel anxious because of two reasons. First one is the language input and the second one is their vocabulary.

Right. So when, when they have language input with them, such as like what I they need to speak, right? So if they have language input, they're half of language anxiety disappears. So what I usually do is I train them in getting language input that they require for the speech or the production. So for example, I'm going to give a speech on let's say. Humanities or digital humanities? So I asked them to note down four to five points.

That are connected to language humanities. And then I ask them to learn the vocabulary that they require, right And then I also teach them certain transitional markers that they can use to give their speech, right. So this is one thing second thing I asked them to do practice. So with the help of language input with the help of practicing that with with the transitional markers help them. Give confidence.

And when they practice with this planning, their confidence level goes up and their language anxiety comes down. When we talk about language anxiety, I feel nobody on this earth is not anxious. Everybody is anxious, even me or anybody who is who, who who who has the mastery on language. So it is just the language input and the confidence that helps them to reduce language anxiety. That is what I try to do in all my language training classes.

Now that practice can be among group, the small groups, it can be in terms of pair work and it can be last. It will be in front of a lot of big crowds. So structured practice, pair work, group work and then in front of the entire class or crowd that their their, their language anxiety will be reduced with these three stages.

Yes.

Thank you, Professor. Moving on, let's focus on your **ability to guide student projects and research**. Could you provide an example of how you have mentored students in designing a research project, particularly in the field of English Language Education or Folk Literature? What strategies did you employ to ensure their success?

Yeah, So I have two research scholar, uh, scholars under me. Uh, the one is, is working in the area of folk literature. So he's trying to understand how the folk stories have enhanced, uh, the values among the society and, and in the current age, how these stories are evaporating. So what I told him like when we started this research paper.

I asked him to find out how. How many stories do you know these old people?

Especially 50s and 60s people know so.

How they are telling stories and how these stories can be documented. So what we did is we found some 15 to 20 houses in one particular locality. And then we went to each and every home and wherever we found a elderly person, we asked them to tell a story. And then we recorded the story story. And then we'll we asked them how do you tell these stories to their next generation? So I, I, I helped him in doing one particular way, such as finding how to find a sample and then how to connect with the sample, getting signature for the constraint form and then getting recording the data that they provide. So after that he started finding out the same, you know, structure and get get collected the data. Then once he he. Came back, we sat and then.

We worked on the data, whatever data we have collected, we trans transcribed that data and then we started analyzing that data. And then based on the thematic coding, we have come up with the answer so and after this analysis, we wrote that particular paper and that paper is actually now published in Scopus paper. This is one example of. Folk literature. I have also one another research scholar who is. Working on language.

Task based language teaching so she when we sat together I asked her to find out how you can get the gap in this area. So I asked her to select quite a few. Research papers research papers from Scopus database we have science database and find out what is actual gap in task based language teaching. So she downloaded, she read, and she.

She came to me and then she said this is this is the area where there is a lot of gap in research work. So then she started working on it. So I first I asked her to find out the gap with the help of reading published papers. Then we planned certain amount of. Pre intervention and post intervention tasks.

And then based on the data that we collected, we wrote article and then that is also no, it is it is not yet published but it is under review. So based on my experience, how I usually ask my scholars is to first two things. Whenever you want to do any research, you first find out what has been done in the area that you can do it with the help of reading literature, literature.

Sorry, the published papers especially from Q1 and Q2 and then I asked them what is their interest among the red papers. Then they come up with the their interest. Then I asked them to find out what kind of samples you are going to select, what kind of?

Theoretical framework will you be selecting and then moving on to other planning such as designing tools, how to analyze the collected data, findings and then discussion?

Yes, thank you.

Your structured and meticulous mentorship approach ensures that your research scholars not only identify meaningful gaps in their respective fields but also navigate each stage of the research process effectively—from literature review to data collection, analysis, and publication. It's evident that you invest significant effort in guiding them comprehensively. Next, I'd like to discuss your ability to teach both **theoretical and laboratory courses**. Could you explain how you balance theoretical instruction with practical application, particularly in courses like English Phonetics or Curriculum and Syllabus Design?

Yeah. So, uh, when we talk about, uh, curriculum and syllabus design, a lot of things are really important in, in this, because when we talk about syllabus, uh, we have to really understand the theories that they, that are based on syllabus design and the curriculum design. So you can take example of cunning Cunningswark. He, he says whenever you have to design A syllabus, you have to design A syllabus based on.

The kind of background that you are in. So based on the students background only you should design A syllabus and that syllabus should be 1 plus right. So when I refer to 1 plus that means the questions theory. So based on the theories that are usually important in syllabus design and curriculum development. I will teach the concepts that come in the theories.

Very theoretically, I I will try to add the analytical aspect into it also. But when it comes to the practical laboratories, I have to give more focus on practice and also more focus on understanding. When it comes to theory, more focus on understanding is very much important because the concept and.

Its application understanding is most important, but when it comes to elaborately laboratory.

The application of that, that theoretical part is most essential in laboratory. For example, when it comes to phonetics, if if you if I'm teaching phonological sounds such as fur, so I have to actually give them more practice in how to pronounce the sound fur. So it's your lower lip will touch to to the upper teeth.

Fur it is, it is not pan.

Most of the Indian students have this problem. They use both the lips to pronounce the the sound fur. So it is purr not fur it is fan not it is pan right. So the the practical approach is most important in the in the pronunciation so. I will, I will, I will try my level best to give them the practical, you know, approach while while teaching I, I will use the practical approach while teaching phonetics. One more thing which is important is how to give more exposure to them to use these sounds by using their own organs. Because usually what happens the more you practice, the more you become expert in it and when it comes to phonetics. You have to be very accurate in terms of using your. You know the speech organs. If you misplace them, the the practice becomes very.

It won't give us the the results that we expect.

Yeah, so.

This is how I will try to.

Balance the theoretical and practical practical laboratory courses.

Thank you, Professor. Your focus on aligning theoretical foundations with their practical applications, as seen in your approach to curriculum design and phonetics, highlights your ability to create a balanced and impactful learning experience. You emphasize not only understanding but also the mastery of concepts through structured practice, which is vital for subjects like phonetics where accuracy is key. Next, let’s address your **experience in student evaluation and exam duties**. Can you elaborate on how you design assessments to evaluate both theoretical understanding and practical skills comprehensively? Could you also touch on how you ensure fairness and accuracy in scoring?

Time is up! Ending the interview now.