Week 8: A Quaint Evening

I had another rather quiet weekend this week, with little fanfare and traveling. I did venture out to Fuzhou Lu to check out the stationery stores, where I got some colored brush pens. Unfortunately, the street isn’t much to look at, but the Foreign Language Bookstore is there, and it boasts the widest variety of books in Shanghai that are written in English and other languages.

I spend a lot of my time in the evenings doing calligraphy, which you may have seen on my Instagram. My calligraphy is almost always in Kannada, which is my mother tongue. I was inspired by the beauty and tradition of Chinese and Arabic calligraphy, wanting to create a new kind of art that younger Kannadigas can appreciate. A lot of the art that younger Indians consume is less textual, not always physical, and very aesthetically oriented. More traditional forms of art, like classical music and dance, are less interesting to younger Indians, simply because of a strong fascination with Western culture. I grew up in the West, and I have opposite sentiments, being rather tired of the stuff I saw in the States.

Calligraphy is a blend between the semantic qualities of language, and aesthetic qualities of art, and that’s what I love about it.

“Ameshi – Asian American” – An original coinage of mine

Chinese calligraphy (in my experience) is often about a precision that demonstrates respect for the written word, and only once you’ve mastered that do you have the creative license to innovate in writing. Arabic calligraphy is similar, and it’s often said that a student spends years learning to prepare the paper before they even learn to use the pen. Arabic calligraphy, as artwork, is a work of devotion and encourages the beholder to appreciate the semantic meaning of the writing.

These traditions are about a conscious and active appreciation of language, art, and culture. There is purposeful selection of content, skillful application of artistic skill, and an expression of cultural appreciation. I can only hope that my calligraphy will get somewhere to that level.

“Harihara” – The composite form of Shiva and Vishnu

I really want other Kannadigas to appreciate the language in a special way, one that really inspires a love for who we are and where we come from. I feel that the spread of English and Hindi makes it really easy for people of all regional backgrounds to discard their identities in favor of something expedient.

It’s like being caught between a rock and a hard place, because on one hand, using English or Hindi makes it easier to do business and get ahead in society, but when you have all the money and material things that you need, you don’t have much of a personal identity anymore. You end up spending so much time using another language for finite ends, you lose the ability to appreciate something that really lasts.

“Sankata” – The pain of separation, grief from parting, and the sorrow of nostalgia. 

The dissolution of all these identities into the whole, in my humble opinion, is not a good thing. It’s not only easy to gloss over people’s issues this way, but it also dashes an opportunity to understand more visions of the human experience.

The only ways to really keep our languages alive is by using them in art and in our media. I know that my Kannada is not absolutely perfect, but it would make it so much easier to reconnect with my culture if I knew that there was niche culture scene where it was the predominant medium of expression. There are languages that are close to dying out (and Kannada isn’t even one of them), and I can only imagine how some young people in those communities feel. The helplessness of watching your culture die before you is horrible. To have someone else essentially tell you “If you can’t beat’em, join’em” when it comes to resisting a dominant prestige culture is even worse. Hindi is not the only language of India, and English is not the only language of the world. I won’t let my language, my history, or my people be erased, if I can help it.

Japanese on Duolingo! Yay! … Or Not.

I recently read an article from Kuma Sensei, a Japanese learning blog, commenting on the recent addition of Japanese to Duolingo. I have used Duolingo in the past, both commending and criticizing it. When I saw that Japanese was added to Duolingo, I had to bite my tongue so that I wouldn’t start screaming about other languages that should be added. Before I jump into this article’s main point, I’d suggest reading the article first: https://kumasensei.net/learn-japanese-duolingo-review/.  Kuma Sensei offers a qualified and in-depth evaluation of Duolingo’s Japanese course, which, to my knowledge, is currently available only on iOS and eventually Android. Given that Duolingo is a primarily web-based application, this is a bit odd. Kuma Sensei’s overall evaluation seems to be summed up with one quote:

“Duolingo may just be what the doctor ordered for people who absolutely loathe using textbooks and want to just sit down and start learning Japanese for free.”

This is a totally fair observation, since in my experience, most language learners do not seem particularly keen on academically-oriented study programs. That said, Duolingo’s Japanese doesn’t escape Kuma Sensei unscathed. There’s a remarkable lack of grammatical explanation, which seems to be the case for most Duolingo courses.

Even for Italian and Spanish, arguably fairly simple languages in terms of grammar, the explanations of when to use certain verbal forms leaves much to be desired. And again, maybe that’s Duolingo’s appeal. But context-based translations and nuance, which are key skills to acquire as a language learner (no matter who you are) are completely lost on our beloved owl. However, Japanese’s more complex features, such as the mandatory mixed use of hiragana, katakana, and kanji are not at all explained, which I label as a serious deficiency of the course. Although, to quote Kuma Sensei: “You’re lucky you’re still in beta phase, punk.” It’s unfortunately apt that in Kannada (and most of India’s languages), being compared to an owl is to be considered unintelligent.

Which brings me to my point. I’ve been pushing for Kannada to be added to Duolingo for almost four years now, and I’ve yet to actually receive any kind of communication from Duolingo to discuss the potential project. My growing frustrations with Duolingo’s apparent disinclination to support minority languages, compounded with the flaws of the Japanese course are eating away at my faith in its ability to support language learning. I’m well aware that Duolingo is not a great tool for those aiming to become even conversational in a given language, but ostensibly, that is what Duolingo purports to do.

I want to like Duolingo, really, I do. The game-like aspects make it a really powerful starting tool for language learners, but unfortunately no more than that. There’s a lot of further work to be done on your own, which is kind of unavoidable. Duolingo has a lot of potential for bringing up minority languages, which it already has shown it can do, given the availability of Welsh, Irish, Vietnamese, and Turkish courses. Granted, these languages are rendered in Latin script anyway, so that may make things easier. But knowing that the Japanese course is so flawed, it might not be that these other courses are any better.

I’d be really glad to hear anyone’s thoughts on this, and please don’t forget to share this on your social media!

Kannada Lessons for Beginners Now Available!

After many months of tiring and seemingly endless work, my course for learning Kannada is finally complete and available for download! Granted, I will be updating the text periodically, but now that it’s available, I really hope that all sorts of people can take advantage of the text. The text is intended mostly for people from Kannada-speaking families who don’t know how to speak the language themselves, and for them to learn it and reconnect with their heritage. But don’t let that stop you! Kannada has an immense and rich cultural heritage, including the longest unbroken literary tradition in India. Carnatic music, one of the two major schools of classical Indian music, originated in Karnataka, and many of the pieces are written in poetic Kannada.

If you have any questions or comments about the text, you are welcome to leave them in the comments. I will try to continue to add resources including audio tracks, readings, and writing exercises in the future, as my schedule permits. You can download Kannada Lessons for the Beginner here.

The Art of Calligraphy

(Sorry I haven’t posted in a really long time! I’ve been studying for finals and finishing up my freshman year of university, but I’ve produced a lot of good work that I’m somewhat satisfied with. This is part of a larger work that I started as a project for a class that I’m going to expand in the future.)

Calligraphy has fascinated me as an art form because its artistic components and the analysis thereof have always mystified me. It seems like just pretty handwriting, and indeed in the case of Chinese calligraphy, it is often the case that calligraphy is used as an example of good handwriting.

The pedagogy of calligraphy in Chinese is highly focused upon small details. Stroke order, stroke rhythm, the correctness of the stroke, and the structure of the character are essential to the art. Apprentices begin by practicing 永 (yŏng, “eternal”), its eight strokes representing many of the most common ones, as well as its particular structure being good practice for learning proportion and shape. Deviation from the standard of the master or other teachers is seen as unthinkable, and to me, this presents a particularly puzzling issue. Copyright laws that impede the imitation of others’ works also make it difficult to maintain the tradition of following the work of masters. What defines the artistry of Chinese calligraphy? Where is there room for new stylistic choices? These questions are very important to the art of calligraphy, in my mind. Because different strokes represent different ideas, and the ultimate meaning of the components of a character comprise the final artwork’s meaning, it is very difficult to achieve mastery in calligraphy.

The meaning contained in Chinese characters, utterly unitary in their art, is contrasted with Arabic calligraphy. Calligraphy in the Nastaliq script is strongly connected with the expression of ideas and beliefs outlined in the Qur’an, since figurative depiction is forbidden in Islam. Calligraphic representations of verses and words can be difficult to understand, since meaning is distributed along the horizontal and vertical axes. Words and letters overlap one another and where the work begins and ends can be difficult to see, especially in non-singular compositions. Arabic, being a language written more or less phonetically from right to left is not well suited to the styles of Chinese calligraphy, seemingly separated into invisible boxes. Further contrasting with Chinese, Arabic calligraphy is significantly more free-form, with a higher rate of occurrence of curved lines, and other decorative forms added to further illustrate the beauty of the words.

The fundamental differences between Chinese and Arabic calligraphy lie also in the linguistic differences. Chinese calligraphy is composed of glyphs with meaning unto themselves, whereas Arabic is written in multiple symbols strung together for meaning. Each letter, however, does have numerological value, similar to the values assigned to strokes in Chinese, each with a unique classification and mode of formation. The consonantal roots of Arabic make it an interesting step away from the formation of meaning in Chinese. Chinese forms meaning through the construction of a glyph from multiple different strokes, but all of the meaning exists in one place. Words in Arabic are constructed from usually triconsonantal roots, inserting different vowels around the consonants.

For example, the root k-t-b is related to writing, and different insertions of vowels can change the meaning of the resulting word, within the limits of the spoken language, of course. But what this means is that meaning is suddenly abstracted, free from tense, gender, plurality, voice and other grammatical qualities. Only the vowel marks, which are not mandatory and in fact are discouraged, contextualize the root. Only in works concerning the Qur’an and other religious texts are the vowel marks included to ensure the absolute correct pronunciation and reading of the text. Here we see yet another contrast: meaning is inherent in the root in Arabic, whereas in Chinese meaning is derived by the construction of its parts.

This brings us to non-Semitic and non-ideographic scripts, where there is no inherent meaning in strokes and letters. This includes scripts like Latin, Devanagari, or Cyrillic, all three of which have small but present calligraphic traditions. English has used Latin calligraphy for older written documents, such as the Declaration of Independence or the Magna Carta, mostly for representation of heightened qualities of official documentation and aesthetic value. Sanskrit and other Indian languages have used Devanagari for transcriptions of the Vedas and other religious texts, similar to Islamic Arabic calligraphy, but mostly manifest in regional variations which evolve into different scripts in the north of India. Cyrillic languages use calligraphy in their everyday cursive handwriting, similar to the Chinese art of modeling handwriting.

Now, the reason I discuss calligraphy at such length is because of the nature of non-Semitic and non-ideographic scripts restricts the artistic scope of calligraphy in the languages in which they are written. They are purely aesthetic traditions, and there is little artistic meaning ascribed to anything inherent in the letters or the language. What I wish to do is establish a set of parameters for calligraphy in Kannada, a language near and dear to my heart, as my mother tongue. I wish to cultivate an artistic tradition with real meaning in the real world, one with which people can channel their ideas in significant ways. The word, “calligraphy” in Kannada is often translated as ಸುಂದರವದ ಅಕ್ಷರ (sundaravada akṣara), or “beautiful lettering”. This does little justice to the artistic, narrative, and semantic beauties of Arabic and Chinese calligraphy, and therefore I propose a different word: ಸುಬರಹ (subaraha). Composed of the root ಸು- (su-, good) and the word ಬರಹ (baraha “writing”). While simplistic, I wish to ascribe special significance to the “goodness” of the writing. Calligraphy is an artistic medium through which semantic meanings are conveyed through an aesthetic manipulation of its physical form, thereby invoking a more esoteric dimension in the writing. As such will ಸುಬರಹ be defined.

The basic components of ಸುಬರಹ shall be enumerated as follows:

  1. The choice of word(s) – The semantic and narrative choices of the artist; It goes without saying that the language of the word must be in Kannada, and if derived from Sanskrit or another language, it must be appropriately altered.
  2. The manipulation of the letters:
    1. The length of strokes – The expanse of meaning of the syllable or root
    2. The proportion of diacritics and components of each letter relative to the base form of the letter – The interpretive expanse of the work (narrative) or the ornamentation of the work (aesthetic)
    3. Shapes contained (depicted or not) and perceived in the letters – Associative elements meant to narrow the focus
  1. The thickness of the instrument – The levity of meaning, precision of interpretation, or intended intensity
  2. Color of the medium – Associative meanings through color
  3. Canvas or setting – Contextualizes meanings of the work as appropriate

The artist may ascribe a poem, subtitle, or other form of description to the work. The original, printed version of the work’s content should be included somewhere in the work for clarity of comprehension, along with the artist’s signature (their real name or pseudonym, whichever is preferred). While none of these rules are set in stone, they should be regarded as the core elements of the Kannada calligrapher’s repertoire. It falls to the artist to indicate special stylistic choices that are heterodox or unexpected. Below are a few example works for you to examine and understand, given this new set of criteria.

Abhirāma Ilindra – A friend’s name
Mahāmitra Arasa – Another friend’s name
H̱ūni – Murder/Death
Ēṣiyāda Paraṃpare Tingaḷu – Asian Heritage Month
Qānuna – Law
Ṛtā – Order/Harmony/”The Way” (error: should be ṛtaṃ)

A Language Few Cared to Know

Growing up in the United States as the child of immigrants has presented me with unique circumstances, particularly with respect to language and culture. Unlike the majority of my classmates in elementary and even middle school, I had grown up immersed in two different languages. When I was young, a speech problem prevented me from speaking in complete sentences. When the doctors told my parents that two languages would confuse me, my parents obviously chose English (this notion that multiple languages confuse children is patently false, by the way). As a result, my Kannada was effectively non-existent in my childhood. And it hung over my head like a rain cloud, the pangs of guilt hitting me like raindrops.

Even though I couldn’t speak Kannada very well, it was very much a part of my life. My parents used Kannada at home to talk to me, despite the fact that I would most likely respond in English. And when I tried to respond in my mother tongue, I was miserably poor at it. It was only after years of practice and many instances of trial and error that my Kannada became better. Granted, I still have problems with rhythm when I speak, and an unfortunate tendency to speak too fast. The Kannada Duolingo project that I’ve been working on has helped me in expanding my vocabulary and knowledge of the language, though.

But all the same, Kannada is very much a present language in my life. As a child, there were several words in Kannada that I thought were words in English, often leading to my teachers and classmates’ confusion. Growing up, most of my school friends spoke Tamil, Telugu, Bengali, or Gujarati. My family friends largely spoke Hindi. Kannada is a language spoke in one state in India, and the proportion of immigrants to the United States from that state is much smaller. As a result, I had little exposure to other people my age who spoke Kannada. This has change the way I view Kannada, because when I translate it, the English always feels very archaic or formal, in my mind. This might be because the only people I ever spoke it with were my older relatives, my parents, and my older brother. In the present, I try to keep in touch with my mother tongue as much as possible, because it is something that I’m passionate about passing down to my children. I speak Kannada to myself because I have very few opportunities to use it at NYU with other students or anyone else, for that matter.

Over the years, I’ve become very acutely aware of the fact that there is little demand for Kannada at all. This is a reality that I accept and deal with. But that’s not to say I like it. But it’s not even that I wish people needed Kannada more. I grew up around people who spoke different languages, and we often shared our unique cultural practices and languages with one another. But I don’t think I’ve really met anyone who was interested in Kannada, even as a polite gesture. While my Telugu and Korean speaking friends exchanged their languages, I sat silently, because no one asked. Kannada was really just a language that no one really cared to know.

Part of me hopes that this Duolingo project will help bring more awareness to the Kannada-speaking community. Kannada youth in the United States are in dire need of modernization of Kannada and the ability to converse with people their own age. The Kannada-speaking community is scattered, at least where I lived. This prevents real engagement with our language, since we don’t feel the need to use it with anyone else outside our families. I’m fairly certain that this is the case for other lesser-known languages of the world. Why would we speak the language as much if we have so few people to speak it with, and in very limited ways? I almost never talk about politics in Kannada, so my ability to discuss it in Kannada is basically non-existent. It would consist of lots of loanwords from English, to the point that an English speaker can probably still figure out what I’m saying, without any knowledge of Kannada. This is my philosophy for including a wide variety of topics in my language guides. Being able to discuss many different topics with a basic set of core vocabulary words helps with making the language more useful and more applicable to one’s daily life. The more situations you can use the language, the more likely you’re going to use it. At least, that’s what I think.

Ideally, I’d like that people of different language communities can actually find each other, instead of giving up on their language entirely. But only the future can say what will actually happen.

Loanwords: Good or Bad?

In many languages, words from other languages are frequently borrowed to supply words for meanings that either don’t already exist or the words that do exist are not sufficient. Other times, they borrow them for convenience or no real reason at all. In this post, I’m going to talk about the place of loanwords in languages.

English speakers, you may not realize it, but English has tons of words borrowed from other languages. The majority of our technical and specialized vocabulary is borrowed from Latin and Greek. Take the word “logic”, from the Greek logos (reason). Or “regal”, related to the Latin regis (king). There are other words that we are less aware of, due to their normalized pronunciations or common use. A common mistake is that loanwords are typically used only in specialized or very proper versions of a language. In English, the word for the meat of a cow, “beef” is from Norman French, bœuf, which was adopted to distinguish it from the animal in Old English, cu (cow). Less obvious borrowings include jungle” from Hindi जंगली (jangli), meaning “forest”, or “algebra”, from the Arabic الجبر (al-jabr), meaning “the reunion of broken parts”.

These words have become very normal for English speakers to say, and we hardly think about it anymore, since the origin of a word almost never has any consequence on social dynamics in English. However, in other languages, loanwords have a very consciously felt function and can be sensitive depending on how they are used.

An easy example that I’ve brought up before is Hindi-Urdu. The two main dialects of this language, Hindi and Urdu, are distinguished primarily by how much people use Perso-Arabic loanwords. Urdu in India is regarded as a poetic form of Hindi, and is heavily associated with Muslims, which can range from being good to bad, depending on the politics and sensibilities of a particular person. Urdu uses a lot of words borrowed from Farsi and Arabic. In Hindi, there are comparatively fewer, and borrows primarily from Sanskrit and English. For example, both Hindi and Urdu speakers will say gāḍi for “car”. (I’m using IAST since the scripts are different for Hindi and Urdu.) However, when saying “welcome”, Hindi speakers will say svāgat, whereas Urdu speakers will say ḥuś āmdīd. The use of Urdu versus Hindi has generated great controversy as to whether they’re different languages and questions over the social dynamic with respect to what kind of Hindi-Urdu they use.

Another dichotomy of loanwords that exists in nearly all subcontinental languages is the use of English loanwords. This usually happens in expat communities, among the children of expats who may not speak the language as well as their parents. As a Kannada speaker who lives in America, I don’t use the proper Kannada words for some thing because I either don’t know them or they’re really long and clunky to use. For example, I’m more likely to say “statistics” in English with an Indian accent (yes very stereotypical I know), but the proper word is ಸಂಖ್ಯಾಸಂಗ್ರಹಣ (sankhyāsangrahaṇa). My grandparents often advocate the use of pure Kannada because they think it’s more important to preserve the language in its original form than “corrupt” it with foreign words. But even Kannada borrows from Farsi and Arabic, so it’s questionable as to why those words are more acceptable than English. In many Indian expat communities, the use of English loanwords can be seen as a mark of not knowing the mother tongue as well (which very well may be true). To be honest, this is usually the opinion of the older generation, especially in India.

It’s unclear whether using loanwords is good or bad, especially when we don’t have words for things. I think that ideally, we should use the pure version of a language, but as is often the case, we don’t know the language that well. It would be better to teach the pure version, but as for practice of the language, we should let it take its course.

I hope you found this article informative and interesting! Please feel free to comment or share this article.

Keeping Up With the Times

So, here’s my first post in a really long time! I’ve been very busy with studying at NYU so I haven’t had time to really write on the blog, but now I’ve thought of a topic! Recently, I’ve been watching a Taiwanese drama to improve my passive understanding of Chinese and practicing parsing spoken Chinese. (I’m using a Taiwanese drama because most of my Mandarin-speaking friends at NYU speak Taiwanese Mandarin, which does have some differences from China’s variety.) This drama, the name of which is PS男 (PS Man), is from 2009 and while very helpful in practicing listening to Chinese, has aged quite a bit. They still use the first iPhones, for one! But more importantly, this brings to mind something else: changes in language. It can be as recent as four or five years ago, and a language can start exhibiting changes in the most minute details, whether it be new slang or new standards imposed by the government.

These changes require the language learner to be ever vigilant. But how, you may ask, can a novice in a language possibly recognize such things?  What you can do, is try to only use contemporary, or at least the most recent, materials available on the language. This can mean a textbook written this year or an ongoing TV show that airs every week. However, you should be careful about TV shows; some TV shows like Downton Abbey are written in an archaic or old-fashioned register of English that no one actually uses. But that doesn’t mean these types of shows aren’t helpful. At higher levels of language learning, such as a point at which one might be going to study abroad, it is important to be aware of certain cultural nuances that accompany a language’s archaic style. There may be jokes or puns that people may make in real life that are drawn from such sources, and they can help to understand the language and the culture on a deeper level.

Another important aspect of language learning as it pertains to contemporary materials is, of course, the language itself. What do people say? And how are they saying it? This is where old-time-y and historical shows fail the language learner, however fascinating they may be. You need to watch shows and movies, listen to music, and read books that someone your age who speaks your target language natively would be exposed to. This is fundamental to understanding how culture works in a modern society constantly in flux, especially in societies where ancient social structures have persisted for centuries and how that fits into everyday life. It’s important to understand the place of women in Indian society when learning Hindi, for example. You will not fully understand the content of a movie like Mardaani if you do not. It is a movie that deals with prostitution rings in India and how people deal with them, particularly the police. This is highly relevant to the average Indian that speaks Hindi, as it speaks to a prevalent issue in their society. Bollywood has seen an increase in socially conscious films that address certain issues in Indian society and that is something that directly affects the media produced by a Hindi speaking population. As such, a language learner, especially one who is not of an ethnicity or nationality that speaks that language, should be keenly aware of the social dynamics and politics of the society that uses their target language.

You may think you don’t need to understand these things in your target language, but believe me, it helps a lot when coming to understand a language. Think of a language as person who’s going to be your roommate for a while; you need to get used to them. Don’t block out the eccentricities and weirdness, but instead, learn from it. This is particularly relevant to me, a first-year university student, living with two roommates in a dorm! Getting along with your language (or a roommate for that matter) is critical to making progress and understanding the culture and society in which that language is predominant.

I hope you enjoyed this piece after a long period of no posts! Please don’t forget to share this post on whatever platform you use social media!

Supporting “The World Speaks!”

Recently, I announced that I am publishing my language guides on Amazon, with 25% of the proceeds going to the Akshayapatra Foundation, which sponsors school lunches for underprivileged students in India. This prevents children from dropping out of school early in order to make money for their families, and makes sure that they don’t go hungry.

I’ve decide that I’m going to put the guides back up for download for free. But, as I continue to publish material, I ask that you please purchase the guides from Amazon, not only to donate to Akshayapatra, but also to fund this project. The money helps support the site, as well makes sure that you all have access to more language-related content. I write these guides completely on my own, and I do my own research to bring the content to you. Also, I’m going to be university student soon, and that will take up more of my time. Please be patient with the production of new guides; I’m doing the best I can.

I hope you enjoy using this site to further your own language learning goals, and please buy the guides, either physical or Kindle copies, to support The World Speaks! and the Akshayapatra Foundation!

The Conflict of Language Purity and Language Evolution

Many people across the world feel that their mother tongues or national language is threatened by the presence of English as a universal lingua franca. Over the years, the growth of the US as a superpower, and the preponderance of Great Britain in the Imperial Age as a major power has driven English into the communities of many countries. Languages import words from English to accommodate technological advances, and in a rapidly advancing age, some languages may find it difficult to keep up.

In an effort to keep languages alive and in use, communities across the world advocate a sort of linguistic purification, in which all imported words of English origin (or other ones for that matter) are not accepted as a part of the standard language. Due to the nature of language evolution, which (as I see it) is to tend toward simplicity, efficiency, and conciseness, this view of language presents a bit of a problem.

A policy to purify language is inherently difficult to legislate anything regarding language, as it is hard to change the way one communicates every day. In places like India, where there are multiple, distinct regional languages, it would be an extremely difficult task to change even the use of Hindi, as has been proven in the past. Movements to stop using words of Arabic and Persian origin held some ground for a time in India, but ultimately fell apart, due to the difficulty of using Sanskrit-ized Hindi. Sanskrit, as a classical language that fell out of use long ago, has not had any time to develop in the modern era, which accounts for a lack of technological vocabulary. Also, it hasn’t been exposed to much colloquial or public use over an extended period of time, and therefore, the structures in the language have not simplified to suit modern use. It made little sense to import a slew of difficult-to-pronounce words into the language of everyday life and thereby slow down communication. Sure, given time, it might have worked, but Sanskrit was well past its time, and it was largely reserved to the higher classes of Indian society and liturgical use, even in its heyday. Therefore, most academic discussion in STEM fields in India is often conducted in English rather than Hindi, making it more a language of the masses than one of science and technology. This has occurred in a similar manner for the regional languages.

Despite complaints that a language is no longer, “pure”, it is important to recognize that the import of words into a language does not necessarily mean the language itself will die. Borrowing words does not imply the replacement of the language, as demonstrated by languages such as Hindi and Tagalog. Hindi developed a flourishing and beautiful literary tradition under Mughal rule and borrowed many words from Arabic and Farsi, and the language is still in rather lively use today. Tagalog’s use of many Spanish words allowed it to develop a significant urban use, as these words allowed communication about modern technology and life. As a result, Tagalog is alive and well in the Philippines.

Therefore, I believe that it is counterintuitive and counterproductive to promote or impose “purity” of a language. As much as I’d hate to admit it, it cannot be helped that English is used instead of other languages in academic fields.The only reason that English has it all, is because much of modern technology was developed, documented, and researched in English-speaking, or at least Western, countries. However, I think that this allows languages to develop in other ways. The English language and the proliferation of technology across the world has brought many societies up to speed, and open up a number of opportunities for those societies to innovate themselves. When those innovations were brought to nations without those things, such as Britain brought things to India, they were a sort of anachronism, and the languages experienced a jump in time, so to speak. It is important to recognize the nature of language evolution and that it cannot be stopped or rewound.

I hope you found this piece interesting and please don’t forget to share this on Facebook and Tumblr!

Documenting a Language

About two months ago, my grandparents arrived from India to celebrate my graduation from high school, and with them, they brought me an opportunity to practice Kannada. However, more interesting than that, was that I found that my grandparents spoke yet another language, called Sankethi. Sankethi descends from Madurai Tamil, and the migration of many Tamilians from Sengottai and Madurai facilitated the formation of this language. Sankethi is spoken by two communities in Karnataka. The two varieties are Kaushika and Bettadpura, where Kaushika Sankethi has grown away from Tamil the most.

Due to the dearth of information on Sankethi on the internet, such as the rather sparse information given in the Wikipedia article, I decided to document Sankethi for linguistic purposes. From what I’ve seen, it is merely acknowledged that Sankethi exists. As it happens, my grandparents speak Kaushika Sankethi, and I have extended family members who speak Bettadpura Sankethi. Currently, I’m getting Kaushika Sankethi done. I’ve been recording lists of nouns, verbs, and particles, as well as verb forms. Granted, it might be incomplete, as I’m assuming that grammar is almost identical to that of Kannada and Tamil. In the future, I’d like to submit the document to a linguistics professional and see if it’s a valid set of information. I’m not going to post the full document at the moment, seeing as it’s incomplete and I’d like to proofread it a few times, once it’s nearing completion.

In my search for info on Sankethi, I also discovered that there exists a Dravidian language in Pakistan, called Brahui. It borrows heavily from Arabic and Persian vocabulary, to the point that I can’t even pick out what’s supposed to be Dravidian. The Brahui language seems like it would be interesting to research, so I’d like to study it in the future, if someone doesn’t beat me to it first! If you’re interested in hearing what it sounds like, there’s a video published by the Brahui Language Board, at the University of Balochistan: https://www.youtube.com/watch?v=X_Oj1poUWXA. Oddly enough, it used to be written in the Arabic script, but now it is written in a modified Latin script, much like Vietnamese’s current form.

If you, a relative, or a friend speaks a language with little documentation, you should try to write down as much information as you can. Minority languages with little to standardization and smaller communities are much more susceptible to language death. Even if the language will die in the future, there is no wrong in trying to keep it alive. Giving up is what really kills a language. I am thankful that there is enough literature and information on Kannada that if I was so unable to teach my children, I could send them to a school where they could learn. However, some other languages, like Sankethi or Brahui, are not so fortunate.

I’ll be posting more updates on my research and I hope you found this interesting! Don’t forget to share this on Facebook and Tumblr!