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  1.  17
    Karaoke for social and cultural change.Payal Arora - 2006 - Journal of Information, Communication and Ethics in Society 4 (3):121-130.
    This account demonstrates the key challenges faced in producing engaging educational content for information and communication technologies deployed in rural India. The ‘Stills in Sync’ project aims to enhance literacy through the revival and proliferation of popular regional folksongs with social awareness themes in rural India. This product entails the use of the Same Language Subtitling karaoke feature that won the Worldbank Development Marketplace award in 2002 and the ‘Tech Laureate’ honor from the Technology Museum of Innovation in 2003. This (...)
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    Perspectives of Schooling through Karaoke: A metaphorical analysis.Payal Arora - 2010 - Educational Philosophy and Theory 42 (8):846-866.
    This paper plays with education through the analogy of karaoke to tease out the instructions of a situated educational practice. Here, Cremin's conceptualization of education as a deliberate, systematic and sustained effort is employed as a starting point to enable an understanding of educational practice between members elicited by karaoke. Using Garfinkel's ethnomethodological framework, the paper investigates modes of education through karaoke practice as part of the ‘live’ narrative, that of instructing and being instructed with the ‘curriculum’ of the event (...)
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  3.  36
    Perspectives of Schooling through Karaoke: A metaphorical analysis.Payal Arora - 2010 - Educational Philosophy and Theory 42 (8):846-866.
    This paper plays with education through the analogy of karaoke to tease out the instructions of a situated educational practice. Here, Cremin's conceptualization of education as a deliberate, systematic and sustained effort is employed as a starting point to enable an understanding of educational practice between members elicited by karaoke. Using Garfinkel's ethnomethodological framework, the paper investigates modes of education through karaoke practice as part of the ‘live’ narrative, that of instructing and being instructed with the ‘curriculum’ of the event (...)
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