The language dilemma!
But in a country where over 70 languages are spoken, it gets hard for the kids to navigate their semantics when they speak in their mother tongues at home, converse in Urdu with their teachers, and read their textbooks in English. That is why, the narrative of instruction in vernacular languages is catching on in the policy discourse. There is a growing strand of evidence in the form of studies and interventions to support the premise. There have been multiple studies in Africa and India where instruction in native languages have resulted in enhanced understanding among learners. Hence, it is safe to state here that this approach isn't just theory. Research by Unesco and renowned education experts supports the idea that when kids understand what's being taught, they're more likely to retain that information, develop critical thinking, and perform better academically. Moreover, it's not just about academics. Teaching kids in their own language boosts their self-esteem and helps them feel more connected to their culture. And we know how powerful that sense of belonging is when it comes to motivation and engagement in school.
After all, the primary objective of sending children off to schools is learning. It is more important to learn the concepts of Math well than to learn it in English. But introducing native languages as medium of instruction also comes with challenges. First and foremost, it's not a silver bullet. A small yet prevalent strand of literature also provides evidence that teacher's training, administrative issues, and quality of learning materials (primarily textbooks) plays a bigger role in effective inculcation of knowledge.
An even bigger catch is many areas of Pakistan are a melting pot of languages. Several schools are catering to students with different ethnic backgrounds and migrant families. A student in Mirkot may come from a Punjabi or Baloch family and another one in Bahawalpur may hail from Sindh. Urdu may work as a bridge in such scenarios but local languages may not cut it. So, the primary focus while shifting to vernaculars should be inclusivity.
Then comes a major concern: preparing these students for the market. Many students would enter a job market that doesn't cater to native languages. Even before that, these students would be entering universities and studying courses developed in English. At this stage, they should be prepared well to undergo such major transition. Besides, we are heading to gig economy where jobs would be transcending the national boundaries. Even currently, this model is prevailing in Pakistan where freelancers are working for international clients. Effective communication is an integral requirement of this ecosystem, which would obviously occur in lingua franca. Therefore, the importance of learning English cannot be denied.
We need to find the balance between imparting knowledge effectively to young learners and ensuring they are ready for the market when they graduate. And that balance is effective transition from vernacular at elementary level to English at higher education. However, it wouldn't be that simple to implement. The schools will need skilled teachers to make this transition effective. Moreover, the curriculum has to be designed while keeping in view the needs of the students who have studied English only as a subject before. The transition has to be gradual rather than swift to give learners time to acclimate. All this is possible only with skilled teachers and quality learning materials. To ensure that the teachers are adequately skilled, proper trainings and ensuring higher degree criteria for higher education levels is crucial.
Instead of a sudden, dramatic switch to English in the classroom, we should think of education as a journey. A gradual shift from vernacular languages at the elementary level to English in the later years of schooling is the smartest way to approach this.
This isn't a new idea. Countries like Finland and Singapore have done it. In Finland, students are taught in both Finnish and Swedish from an early age, ensuring they are comfortable in multiple languages. Similarly, in Singapore, students are taught in their mother tongue while also learning English, which has helped the country's youth thrive in a bilingual world.
The key to this approach is ensuring that students become proficient in both languages. English, as a subject, should be integrated early on so that by the time students reach high school, they are not only familiar with the language but comfortable using it to learn complex subjects.
In the end, it's not about choosing one language over the other. It's about finding a balance, giving children a strong foundation in their mother tongue while also preparing them for a future where English is a critical skill.
The solution lies in a gradual transition, starting with vernacular languages at the elementary level, then slowly incorporating English as a subject. By the time students reach higher education, they'll be ready to thrive in an English-medium environment, equipped with skills. Let's start this journey now.
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One of Hallelujah Band's most viewed tracks, 'Rab Janay,' commences with a bhangra beat and transitions into an English hook: 'You know my heart.' This musical code-switching reflects a broader diasporic sensibility: young Christians singing to both God and algorithm, to both local community and global audience. Church music has long served as a form of spiritual resistance in Pakistan. Following the 2013 bombing at All Saints Church in Peshawar, mourners gathered amidst the rubble to sing Psalm 23 in Urdu. The footage, captured on mobile phones, gained widespread attention and became a symbol of national unity. In 2015, when suicide bombers targeted Catholic and Protestant churches in Lahore's Yohannaabad neighbourhood, youth choirs responded by singing through the streets, demonstrating their resilience and determination. In response to the Joseph Colony arson in 2013, which resulted in the destruction of over 150 homes, churches held overnight Zaboor recitations using harmoniums and candles. Following the Jaranwala church burnings in 2023, where 26 churches were torched, worshippers returned to sing Psalm 91 amidst the ashes, invoking divine protection. In Sargodha in 2024, after a mob attack on a Christian household, survivors gathered in homes to chant Zaboor in whispers, resisting erasure through sacred sound. Theologians and musicians argue that these acts exemplify monumental memory: the preservation of suffering and hope through sound. Church music not only commemorates trauma but also reclaims space. In a sonic-theological perspective, lament transforms into protest through praise. Simultaneously, in the diaspora, from Toronto and Dubai to Birmingham and Melbourne, Punjabi Christians continue to practice their faith in three languages, spanning across four time zones. Diaspora churches harmoniously blend Shahbaz's Punjabi Psalms with Hillsong choruses, disseminate Sunday services on platforms such as Facebook and Instagram, and creatively remix Naya Geet Gao classics into electronic dance music (EDM) sets for youth conferences. This transnational musical fusion transcends geographical boundaries, fostering a vibrant and postcolonial liturgical community that is both multilingual and distinctly alive. Numerous Pakistani renowned musicians, including S.B. John, Saleem Raza, and A. Nayyar, initially received training in church choirs. Their contributions to Lollywood film music incorporated elements of gospel phrasing, harmonic layering, and spiritual lyricism. Presently, programmes like Coke Studio Pakistan continue this crossover legacy. For instance, Hadia Hashmi's rendition of 'Bol Hu' draws upon Christian vocal stylings and melodic structures prevalent in Urdu worship. In Pakistani Punjab, church music serves not merely as a liturgical embellishment. It constitutes a space where colonial form intersects with local expression, where Scripture is sung in folk metre, and where faith persists despite adversity. Whether through kirtan-like harmonium chants or digital mashups incorporating English refrains, this music embodies a theology that undergoes constant reimagination through resistance, sound, and community. Church music plays a pivotal role in interfaith dialogue and public memory. In various regions of Punjab, Christian worship groups are invited to perform at civic festivals or university gatherings, particularly during Christmas or interfaith harmony week. These performances, often delivered in Punjabi and Urdu, underscore the shared aesthetic and emotional language of religious music across Pakistan's diverse communities. When Zaboor is performed in a setting that also includes Sufi qawwalis or Sikh shabads, it not only demonstrates musical convergence but also fosters mutual respect. In such moments, sacred sound becomes a connecting bridge between traditions through emotion, narrative, and reverence. Another aspect worthy of note is the role of female voices in church music, which is often underrepresented in formal liturgical settings. Over the past decade, more Christian women have emerged as soloists, worship leaders, and composers. In choirs from Youhanabad to Gujranwala, female vocalists now lead Psalms in congregations and livestream performances. Their presence adds novel textures to sacred music and challenges traditional gender hierarchies within ecclesial spaces. Furthermore, youth-led worship collectives such as The Worship Project Pakistan and Rising Faith Ministries have commenced organising open-air concerts and praise nights, particularly during Easter and Christmas. These gatherings often combine classical Zaboor settings with contemporary genres such as pop-rock, acoustic folk, and even spoken word poetry. By merging tradition with experimentation, young Christians ensure that church music remains a pertinent and evolving expression of faith. Lastly, education initiatives surrounding music literacy are gaining traction. Institutions like Forman Christian College in Lahore and St. Thomas Seminary in Karachi now provide formal training in church music, composition, and theology. Through workshops, certificate programs, and performance ensembles, a new generation of trained liturgists and composers emerges equipped not only with musical proficiency but also with a profound understanding of their heritage. Church music in Pakistani Punjab encapsulates the intricate and multifaceted identity of a post-colonial nation: multilingual, devotional, politically aware, and profoundly resilient. Drawing inspiration from Bhabha's concept of hybridity, it seamlessly integrates Western liturgical practices with Punjabi emotional expressions. Through cultural memory, it effectively resists the erosion of historical recollections; through inculturation, it maintains its strong connection to its cultural roots; and through sonic theology, it effectively communicates without the need for verbal articulation. As Christian communities persistently face marginalisation, their music continues to serve as a poignant soundtrack of survival, embodying a theology not merely spoken but also manifested through the act of singing. Brian Bassanio Paul is a music enthusiast whose expertise lies at the intersection of music business, artist development, music appreciation, and cultural studies. He can be reached at and on LinkedIn @brianbassanio All facts and information are the sole responsibility of the author
