Using ICT for Learning the Punjabi Language: A Case Study

Sandeep Kaur

Lovely Professional University. Email:

Volume 9, Number 1, 2017 I Full Text PDF

DOI: 10.21659/rupkatha.v9n1.32

Received January 19, 2017; Revised April 28, 2017; Accepted April 30, 2017; Published May 7, 2017.


In the context of the relevance of regional languages in modern era, many modern tools have come into circulation. ICT has so for not been introduced in the realm of regional languages properly. It is widely assumed that computer based programs, software and web links do not support students in their learning of Punjabi.  However, this paper offers a contesting yet positive view. This study is designed to prove that laptop, mobile phones, internet- connectivity and projector based learning is very effective for students in learning of Punjabi. This research paper is based on findings of qualitative nature. For this research purpose case studies have been used. Questionnaires are used to collect data. Data are analysed by using descriptive numerical techniques made to express frequency, percentage and mean. On the basis of findings few suggestions are made.

 Keywords:  Pedagogy, Learning, Language, ICT, Skills, technology.

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The Portability of Indianness: Some Propositions

Pramod K. Nayar,  University of Hyderabad, India

We live in the age of portability. When the Government of India (GoI) offered Mobile Number Portability (commonly abbreviated as MNP) and the eventual abolition of national ‘roaming charges’ it was only one more instance of what might be called the portability-ethos of our everyday lives. Our everyday lives can go with us anywhere we go in India. Indeed, I am proposing here that we perform Indianness in the form of a certain portability.

Poems and Paintings by Rob Harle


the potential,
for creating digital autonomy;
an insistence,
directed by a Gabriel clone
about the inequity of reality;
and then sadly,
transmitted orally to one person (a life);
this dying is about a postmodern body
a lonely body, alone;
the situation becomes more impersonal
and still yet?
Transhuman potential,

The Astronomer’s Palace: an Instrument for the Observation of the Sky

Maria Elisa Navarro Morales, McGill University, Canada


As a result of the improvement in observational astronomy in the seventeenth century, particularly with the advent of the telescope, astronomical observatories started to be built to house the instruments for the observation of the heavens. With Tycho Brahe’s Uraniborg as precedent in the XVI century, the astronomical observatories of the XVII century were mainly institutional buildings with a political agenda. In contrast, the project for an Astronomical Palace by Juan Caramuel de Lobkowitz (1678-9), was neither a building to contain instruments, nor did it follow an institutional program.  In Caramuel’s project, the building serves as an instrument for the observation and measurement of the celestial movements, integrating the instruments traditionally housed in the building and the building itself into a single structure.  The present paper will look at the Astronomical Palace as an instance of architecture as an instrument to inquire into the natural world. 

What is Performance Studies?

Richard Schechner, Tisch School of the Arts, New York University

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Because performance studies is so broad-ranging and open to new possibilities, no one can actually grasp its totality or press all its vastness and variety into a single writing book. My points of departure are my own teaching, research, artistic practice, and life experiences.

Performances are actions. As a discipline, performance studies takes actions very seriously in four ways. First, behavior is the “object of study” of performance studies. Although performance studies scholars use the “archive” extensively – what’s in books, photographs, the archaeological record, historical remains, etc. – their dedicated focus is on the “repertory,” namely, what people do in the activity of their doing it. Second, artistic practice is a big part of the performance studies project. A number of performance studies scholars are also practicing artists working in the avant-garde, in community-based performance, and elsewhere; others have mastered a variety of non-Western and Western traditional forms. The relationship between studying performance and doing performance is integral. Third, fieldwork as “participant observation” is a much-prized method adapted from anthropology and put to new uses. In anthropological fieldwork, participant observation is a way of learning about cultures other than that of the field-worker. In anthropology, for the most part, the “home culture” is Western, the “other” non-Western. But in performance studies, the “other” may be a part of one’s own culture (non-Western or Western), or even an aspect of one’s own behavior. That positions the performance studies fieldworker at a Brechtian distance, allowing for criticism, irony, and personal commentary as well as sympathetic participation. In this active way, one performs fieldwork. Taking a critical distance from the objects of study and self invites revision, the recognition that social circumstances– including knowledge itself – are not fixed, but subject to the “rehearsal process” of testing and revising. Fourth, it follows that performance studies is actively involved in social practices and advocacies. Many who practice performance studies do not aspire to ideological neutrality. In fact, a basic theoretical claim is that no approach or position is “neutral”. There is no such thing as unbiased. The challenge is to become as aware as possible of one’s own stances in relation to the positions of others – and then take steps to maintain or change positions.

Creative: Dancing the 5th Dimension

By Rob Harle

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Dancing the 5th Dimension is a techno-surrealist work combining traditional drawing with computer generated figures. The background hints at objects of the 3D material world—molecules, pyramids, a page (knowledge), a musical horn and organic life forms. The figures are androids dancing through a higher dimension such as the Occultists’ Akashic Record. The 3D world we perceive is not the only reality! In the words (paraphrased) of T. S . Eliot:

Modern Rendition of Ancient Arts: Negotiating Values in Traditional Odissi Dance

Shreelina Ghosh, Dakota State University

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Recent innovations in remediating performances allow dancers to perform, collaborate, teach, learn and forge new inter-body relationships that substitute the traditional Guru-Shishya or master-disciple relationship. The divide between technologized and traditional practices in dance creates a productive space that can help scholars understand how digital and networked technologies are transforming embodied cultural memory. Tradition-technology encounters and formations of a deviant discourse challenge the dominant (traditional) norms of embodied cultural memory. My qualitative study of the field reveals that innovation has been encouraged by the most members of the dance community. However, if mediated dance compromises values associated with the dance, like its sacredness, the importance of the body, and the importance of the Guru, it can be potentially subversive to the traditional practice. The main points of conflict between traditional dance and technologically mediated practices indicate moments of compromise in the traditional values.

Book Review: Mechanisms of Desire by Rob Harle

  Mechanisms of Desire by Rob HarlePublisher: Spinning Spider Publications, Australia

Published in 2012


Price: Not mentioned.


Review by

Tarun Tapas Mukherjee

Bhatter College, Dantan, India

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Evolutionary history of mankind is interrelated with the evolution of technology in a very complex way and so much so that in order to understand patterns of cultures of the distant prehistoric times researchers resort to understanding techno-complex, the archaeological imprint of technology to be found across scattered evidences. Technology, again, creates epochs and can cause massive changes in the ways of life. While people adopt new ways of life with every major technological changes, concerns about the outcome of application of a new technology are also are heard. It was, however, not until the implementation of digital technology in embedded systems serious moral and ethical questions would be raised about using technology in popular media and serious literature. In the present century, with the introduction of embedded systems, many of which function in networked environments, use of technology has increased at unprecedented rate. Even sometimes some gadgets are being treated as an extension of our bodily organs and mental faculties. This sometimes is interpreted as mindless rush for consumerism. On a more serious note, many see the human-machine proximity and even incorporation of digital parts as another stage of evolution, set to bring about unexpected and unpredicted changes.

Drama and the Politics of Climate Change in Nigeria: A Critical Appraisal of Greg Mbajiorgu’s Wake Up Everyone

Norbert Oyibo Eze, University Of Nigeria, Nsukka

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Johnny Igbonekwu observes that ‘an obvious primal instinctive human quest” is to “conquer the world” but he equally notes that man has not been able to achieve this goal, in spite of his “formidable intellectual assaults on the multifarious stupendous mysteries of the world” (Talk About Man 1). The quest for all manner of domination-economic, political, territorial, and spatial, etc, has driven man into invention and mindless application of technology which in choking nature, cause it to frequently retaliate through global warming, tsunami, landslide, erosion, and flooding of different dimensions. The constant decimation of human lives, businesses, buildings, and municipal services as well as the emergence of perturbing diseases owing to these palpable effects of natural disaster, force the issue of climate change to occupy a significant place in the world of environmental studies and research. This paper seeks to explain the place of drama in tackling the problem of climate change through a detailed analysis and interpretation of Greg Mbajiorgu’s Wake Up Everyone considered to be a giant impact assessment study and provocative wake-up call.

Rabindrasangeet Today: a Sociological Approach

Saurav Dasthakur, Visva-Bharati, Santiniketan, India

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Through a cursory discussion of the history of production, dissemination and reception of Rabindrasangeet since the early twentieth century till date, this article tries to question the dominant (middle class) notion of traditional wide Bengali “popularity” of Rabindrasangeet and a gradual “decline” in its culture in recent times. In the process it attempts a brief exploration of the complex relationship of Tagore’s music with the tradition of north Indian classical music and local “folk” musical traditions on the one hand and the larger logic of aggressive, Eurocentric, hegemonic and homogenising colonial modernity on the other. The dual role of technological modernity in strengthening as well as weakening the tradition of rendition and reception of Rabindrasangeet in this context makes any simplistic perception of the relationship of music and modernity banal. Tagore’s music, thus, the article argues, constructs a space of “alternative modernity” that has conspicuous affinity with his “non-modern” ideas of education and social development. So far as Rabindrasangeet holds an element of critique of and “protest” against the cultural logic of capitalism, despite its unavoidable participation in the market-dynamics today, it will remain close to the heart of those still on the lookout for a cultural space outside the Hollywood-spawned “culture industry.”

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