Showing posts with label Ayesha Iqbal. BBAIII. Show all posts
Showing posts with label Ayesha Iqbal. BBAIII. Show all posts

Saturday, December 3, 2011

Our Educational System!

Until 10 years ago, Pakistani universities followed a mix of different structural approaches. Engineering programmes were designed on the US model, while science and social sciences programmes largely followed the UK model. Higher education suffered from a flawed bureaucratic structure. Research had deteriorated to a level where academics would write newspaper articles and call them research. They were more interested in grades, promotions and politics than teaching and research. Turning universities into seats of quality education and useful research was a monumental challenge, assigned to the Higher Education Commission (HEC) of Pakistan.

Its predecessor, the University Grants Commission, served more as a controller of universities, but the HEC also facilitated and promoted research.

The HEC brought structural reforms by defining a standard semester system - 128 to 136 credit hours typically taken in eight semesters over four years for a bachelor's degree, 30 credit hours for a master's degree and 18 credits in a minimum of six courses for a PhD.
It also introduced standardised qualification exams, encouraged international evaluation, and stressed publication of research in international journals. Third-party or external evaluation of research, establishment of creditation councils and quality enhancement cells in universities, and emphasis on permanent faculty for masters and PhD programmes were some of the other features of the new paradigm, based largely on the US model of higher education.

By now, Pakistan's academic landscape seems to have undergone a major change. In 2002, the number of international publications from Pakistani researches was less than 600. It rose to 5,200 in 2010. Between 2009 and 2010, there has been a fivefold increase in Finance and Economics publications by Pakistani authors. There has been a significant increase in the percentage of Pakistani articles in research literature of the world. Despite a much smaller budget for higher education, Pakistan contributes as much to international research as Egypt and Saudi Arabia, and has surpassed many other countries in the last few years. It still lags behind Iran and Turkey, however.

The number of citations per publication for Pakistani authors has remained constant over the years, and that indicates the quality has not gone down.

Today, more than 50 percent of British universities run research collaborations with Pakistan that involve about 1,000 Pakistani students
More than 5,000 students have been given scholarships for PhD programmes abroad in the last decade. About 90 percent of them returned to serve Pakistan. The HEC is pursuing 30 cases against scholars who breached the undertaking that they would return. All the returning scholars were incentivised with a guaranteed one year job with a starting salary of Rs80,000 and half a million rupees in research grant. And officials say this has worked.

But with constant political turmoil and a relatively low priority for education, Pakistan has a long way to go. In societies based on knowledge and research, the university is the core of social, economic and scientific progress. It is bound to the community, industry, and government, all of which rely on the university for policy research that impacts the entire society.

In Pakistan, there is little emphasis on knowledge, and therefore little knowledge exchange. In the words of Dr Sohail Naqvi, who used to be a senior official at the HEC and has studied and taught in the US, "We have just been barren in knowledge transfer to various segments of the society."

Sunday, November 27, 2011

Cola very D OR Kolaveri di?



OR


Whis this Kolaveri di??

"Why this Kolaveri di??"




Everyone nowadays is familiar with this song "Why this Kolaveri di". However the first question that comes in everyone's mind is what is meant by this line. Two days a go my friend posted this song on my facebook wall. The first time I listened to it I was clueless and was annoyed because I didnt understand it. I thought it was some kind of a joke but in these two days, I see everyone in my friendlist posting this song to their friends and I realised that this is becoming so popular and a trend. So then I decided to search abit about this song and actually know the meaning of the word "Kolaveri".

There are so many disparities in this world. We should think of this as one world and we find hope locked in a consuming battle with despair. This struggle has produced an anxious world. Anxiety is the prevailing global mood. Widely felt anxiety is a modern unease. It often emerges from the rubbles of damaged reason. Reason entices modern societies to become ambitious about the limits of what we can achieve by efficiently organising the abilities of the mind. If only humans could put their minds together, they would unravel the world. There are limits to human reason, especially collective human reason.

The germs of inhumanity are found in collective human reason. Each tale of damaged reason returns a disenchanted world. As people lose hope in the prose of modernity, they recoil with anxiety.
Keen habits are also cunning habits. The cunningness of reason inspires us to the Why question even when we know an answer isn’t around. The "kolaveri di" phenomenon has become a rage because it speaks to that cunning habit. Asking why the soup song, the flop song, has become so popular is also, circularly, the reason why it is so popular. What else, and I fall in the trap here, explains the exponential growth in its popularity now that people know what kolaveri di means: it really means nothing.

But it must mean something if, in just over a week, over four and a half million people find an apparent nothingness interesting. The key cultural message of the chinna surprise may be that it is serving two functions. First, it is establishing that we live anxious lives, a tad wary of being able to know the answers of the Five Ws, the one H and their cousins. One opportunity to revel in the unknown and we will do everything to resurrect the magic of not knowing it all. If we put our mind to it, it would seem absurd why people are watching something that makes no meaningful sense, again and again and again.

Second, by going viral we are also trying to heal our anxious selves. There is often so much meaning around – created, contested, demolished, recreated – that we feel it is good to transition into zones of no-meaning; to zones where meaning is absent. Kolaveri di is one such zone of no-meaning. Let us ask not why, but ‘Why this kolaveri di’ because it has no answer.

And it is proper that it has no answer!!

Saturday, November 26, 2011

The Lost Art Of Urdu Storytelling



As we all know that with the passage of time the rich culture and traditions of our country is fading away. One of such cultural art includes "Dastangoi". Last week I was talking to a friend, who told me that recently in Lahore there was a performance of dastangoi, a rich and almost lost art, performed by two very talented artists Mahmood Farooqui and Hussain. The event was held at the Ali Institute and organized by the Faiz Foundation.

The word Dastangoi refers to the art of storytelling, it is a compound of two Persian words Dastan and goi which means to tell a Dastan. Dastans were epics, often oral in nature, which were recited or read aloud and in essence were like medieval romances everywhere. Telling tales of adventure, magic and warfare, Dastans mapped new worlds and horizons, encountered the unseen and protected the hero through many travails and lovers as he moved on his quest.

Dastangoi was at its peak from the late 16th to 19th centuries, spinning tales around the adventures of Amir Hamza. The story was popularly known as Dastan-e-Amir Hamza and was based on the personality of the man who was said to be an uncle of the Prophet Muhammad (PBUH).
Dastangoi was traditionally performed in in classic white kurtas and long caps, and this was seen by Farooqui and Hussain at the event in Lahore. The performance in Lahore was a delight for many reasons. There was the dastan's fascinating highfalutin Urdu, which is one good way of traveling to late Mughal India; there was the performers' tone of voice, which swung the audience between high drama and low humour; and there was the completeness of the actors' expressions, which ranged with emotive ease from the joys of love to the wastes of war. Such events should be held more often in order to revive our rich culture.



 
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