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A Synonym to Conservation of Intangible Cultural Heritage: Folkland, International Centre for Folklore and Culture, Heading for Its 30th Anniversary

V. Jayarajan

Folkland, International Centre for Folklore and Culture Folkland, International Centre for Folklore and Culture is an institution that was first registered on December 20, 1989 under the Societies Registration Act of 1860, vide No. 406/89. Over the last 16 years, it has passed through various stages of growth, especially in the fields of performance, production, documentation, and research, besides the preservation of folk art and culture. Since its inception in 1989, Folkland has passed through various phases of growth into a cultural organization with a global presence. As stated above, Folkland has delved deep into the fields of stage performance, production, documentation, and research, besides the preservation of folk art and culture. It has strived hard and treads the untrodden path with a clear motto of preservation and inculcation of old folk and cultural values in our society. Folkland has a veritable collection of folk songs, folk art forms, riddles, fables, myths, etc. that are on the verge of extinction. This collection has been recorded and archived well for scholastic endeavors and posterity. As such, Folkland defines itself as follows: 1. An international center for folklore and culture. 2. A cultural organization with clearly defined objectives and targets for research and the promotion of folk arts. Folkland has branched out and reached far and wide into almost every nook and corner of the world. The center has been credited with organizing many a festival on folk arts or workshop on folklore, culture, linguistics, etc. Seminars, discussions, and symposia are also conducted and have thus contributed to the process of re-kindling the folk lamps, which have shed streaks of light onto our past treasure of knowledge. ▲ Kutiyattam performance for school children

These projects aimed to create a pool of people who could act as advocates for their cultural heritage. Along with regular performances for gaining economic stability, Folkland has successfully planned long-term sustain- ability projects with documentation and archival of the resources for handing down to the next generation. he southwestern state of , , is a The Indian State of Kerala is facing various historically significant, ecologically rich, culture-related threats. In order to deal with the T socially distinct, culturally diverse, and issues in the future, there is a need to sensitize and economically poor state with many constraints. raise awareness in the performing communities Deterioration of cultural heritage is a major and make them proud of their heritage. Folkland’s problem among other issues that the state is facing project intends to create awareness of heritage due to the poor patronage compared to the feudal issues and communities in order for them to sustain system. As the present generation is being attracted themselves with the traditional art forms. These by white-collar jobs, the have no traditional art forms can be effective communica- stakeholders. Insufficient remuneration, limited tion tools for creating awareness among students days of performance, and low status are other and can also be used as a part of social awareness problems. The gender-biased nature of performing through performances in and out of the villages. arts is another issue. With this in mind, this project aims to create a To make the cultural heritage of the country pool of people who can act as advocates for their better, sustainable development through cultural cultural heritage. Along with the regular perfor- practices has a vital role. It can create enthu- mances for gaining economic stability, Folkland is siasm for protecting cultural heritage among the planning a long-term project with documentation performing community. The time has come when and archival of resources for the next generation. cultural sensitivity should be cultivated among the Folkland, International Centre for Folklore and society at large. If we generate the cultural values Culture is a non-profit, non-governmental orga- in society, we will make citizens more responsible nization devoted to the promotion of folklore and toward our cultural heritage. culture. Folkland, housed in Kerala, is a registered

87 ▲ Mangalamkali performance by the Mavila tribe of Kasargod

society under the Indian Societies Act of 1860 and been trying to conserve heritage with pride. It has been in existence since 1989. It works with also opens the door of ICH to the world outside. three main centers and several chapters in India. Folkland envisions a society that respects cultural Main domains of Folkland include performing heritage by conserving art and cultural tradition arts, oral traditions and expressions, social and passing it to the future generations. practices, rituals and festivals, traditional crafts, The objective of Folkland is to promote cultural knowledge and practices concerning nature and heritage by training younger generations to uphold the universe, and traditional craftsmanship. Folk- the cultural tradition. The philosophy guiding the land is involved in identification, documentation, institution is to delve deep into Kerala’s cultural research (including inventory-making), pres- roots and preserve its varied heritage for posterity. ervation, protection, promotion, enhancement, Since its inception, the institution has passed transmission, non-formal cultural education, and through various stages of growth, especially in the revitalization of lesser-known art forms. Folkland fields of performance, production, documentation, is dedicated to the promotion of culture with its and research, besides the preservation of folk art values, with a main focus on intangible cultural and culture. Folkland has actively provided access heritage. The center also provides access to to performing arts, cultural education, knowl- knowledge and information about ICH and has edge, and information through cultural practices.

88 4. A Synonym to Conservation of Intangible Cultural Heritage Its main domains include performing arts, oral − Udayamkali, a women’s community dance form traditions and expressions, social practices, rituals of Kerala; and festivals, and traditional crafts. The center − Mulamchenda, a made out documents the oral traditions and practices and of bamboo; and also extends training to the younger generation in − Kothamooriyattam, a song–and dance–based art order to revitalize the old and extinct traditional form popular in the and Kasargod districts art forms. of Kerala. Folkland has initiated the making of an inven- Folkland has also promoted the Kerala folk art tory of rare folklore genres in the Kerala state of forms through performances in places outside its India and has also prepared a folk culture map of arena, with ritual practices such as the following: the state. The center has revitalized those rare art − Teyyam, a ritual dance with a tale behind it prev- forms that are either on the verge of extinction alent in North Kerala, performed with elaborate or already extinct. The main art forms and heri- makeup and gorgeous costumes and headgear; tage properties revitalized thus far include the − , a circular dance performed in the following: mother goddess shrines by male folk in the − Mangalamkali, a dance ritual related to marriage Meenam month of Kerala, which falls during in the Mavila tribes of Kasargod and Kannur February to April; districts of Kerala; − , a circular folk art performance of the

▼ A dance training camp

89 Mavila community of Kerala; and workshops and training camps. − Kalaripayatt, a martial arts form of Kerala rega- The traditional dancers faced a very difficult rded as the oldest and most scientific of its kind in situation previously, as they earned only a pittance the world. from the ritual dances. The patronage by the Folkland conducts regular workshops and community had also been reduced to a minimum. training classes in order to transmit the traditional Traditional jurisdiction for the performers was art forms and oral traditions to the next genera- limited to the villages they belonged to, and they tion. It hosts regional, national, and international had no right to perform outside the village. Folk- seminars and conferences with a view to enrich land, with the help of community leaders and the its academic endeavors. The institution has been masters of the performing groups, tried to break in the forefront of bringing artists together from down barriers and open new platforms in domestic India and abroad for artistic pursuits. It also cities and outside the country. Participation in the organizes dialogues between communities and ceremonies of the National Games, Common- people of different cultural traditions. Being a wealth Games, and international festivals brought pioneer organization that has a deep influence on the artists fame and pride. the artistic community, Folkland provides a forum Folkland has worked with several communi- for artists, artisans, and scholars in furtherance of ties such as the Mavilan, a North Kerala tribal the intangible cultural heritage. It has proven that community living in the hilly areas of Kannur this work has enhanced the universal values of and Kasargod districts, and the Keralan scheduled multiculturalism. castes of Vannan, Malayan, and Pulayan, who are Folkland’s initiative in promoting folk dance Teyyam performers and practitioners of magic, is worth mentioning. Folk dances have more ethno music, ethno medicine, and crafts. Manga- functions than just entertainment. Some ritual lamkali, a unique dance performed by a hill tribe dances of Kerala are believed to have the power to (Indigenous community) was revitalized, and its make women fertile. Ritual dances of Kerala state senior artist, Ms. Karichi, a dancer aged 100 years, serve other functions beyond just dance, such as was honored by Folkland and bestowed with the to placate the gods of nature to grow more crops prestigious honor of Distinguished Membership of and rear healthy animals. Even epidemics like Folkland. The organization also advocated for her smallpox are said to be eradicated through ritual recognition by the state government, assisted Ms. dances, as they are believed to be inflicted due Karichi in appearing in the media, and became to the wrath of spirits. It is mainly marginalized instrumental in bringing about her State Award, communities who are performing ritual dances for instituted by the . bountiful crops and to eradicate spirits, thereby bringing prosperity to the society. Folkland imparts training to these ritual dancers through

90 4. A Synonym to Conservation of Intangible Cultural Heritage Promoting UNESCO-Inscribed ICH Elements

Folkland tries to promote the UNESCO-inscribed ICH elements of India such as (a form of Sanskrit theater traditionally performed in the state of Kerala), Mudiyettu (a traditional ritual and folk dance from Kerala), Kalbalia (a folk dance of snake charmers of - ▲ Folkland Teyyam museum than), and Chaau (a semi-classical Indian dance with martial, tribal, and folk origin) by conducting performances in and out of India. audio and video formats. Apart from that, Folkand has acquired more than 8,000 paper clippings and Documentation of ICH 4,300 rare photographs for archiving. Folkland Folkland has documented and archived around has a museum of Teyyam with major Teyyam 7,000 hours of rare ritual-folk practices, magic lore, forms made out of terracotta with full costumes folk songs, and interviews with senior artists to and ornaments. It has around 100 different faces pass this knowledge on to the future generations. drawn on the clay pots and pulp effigies kept in the It has documented more than 4,500 hours of folk museum. This is considered to be an innovative songs and about 2,600 hours of rare art forms in the method of archiving and documenting Teyyam

▼ Teyyam face paintings copied on clay pots

91 crafts. To this end, it has taken up the screw pine craft, Teyyam costume making, metal work, etc., as these crafts are considered languishing crafts. Folkland has inspired them to rejuvenate the folk skills by imparting training to youth and women. A craft cluster with 20 self-help groups comprising 20 craftswomen in each group was formed and used to train them with the assistance of the Handicrafts Commissioner of the Government ▲ Workshop on palm leaf handicrafts of India. Insurance coverage was also extended to each member and scholarships for their children’s education were also given to the craftswomen. face paintings, as it can be used for study purposes for the coming generations. There are many different patterns of Teyyam face Palm Leaf Manuscripts painting. Some of the patterns are called vairid- Another area of work in which Folkland has been delam, kattaram, kozhipuspam, kottumpurikam, involved is the digitization of palm leaf manu- and prakkezhuthu (different styles of face scripts. The palm leaf manuscripts contained large paintings in local names denoting the birds and volumes of wisdom. Folkland has digitized 315,000 flowers). Mostly primary and secondary colors are folios of palm leaf manuscripts from the 16th applied in contrast for face painting. This helps in and 17th centuries with the support of the British conjuring certain stylization in the dances. Library. The center initiated a project with several Besides these cultural properties, Folkland’s phases of work for the preservation of the same museum has a collection of several artifacts and manuscripts. During the course of the project, musical instruments acquired from around the manuscripts were surveyed, conserved, and digi- world. In its outreach programs, Folkland has tized, with Folkland also conducting awareness conducted photo, folk art, and material culture workshops on conservation. The rare manuscripts exhibitions in different states of India and at contained the knowledge on medicine, architec- international venues. Folkland welcomes visitors tural science, literature, epics, local history, magic from all over the world to study and do research practices, performing arts, anthropology, etc. The on Indian art and culture. rarest manuscripts containing the indigenous medicine for trees (Vrikshayurvedam) and animals such as elephants (Mathangaleela) and cattle were Folk Crafts digitized and preserved for posterity. Folkland has been involved in revitalizing folk Most significant among the total manuscripts

92 4. A Synonym to Conservation of Intangible Cultural Heritage were the medicinal manuscripts specifically pertaining to “” traditional knowledge systems. The word “Ayurveda” ayushvedah( ), meaning the knowledge of life duration and living a healthy life, proclaims such knowledge as the science of health. This discipline is not confined to health problems and their treatments concerning just human beings, but also includes all other living beings such as birds, animals, plants, and trees. All issues concerned with health ▲ Conserved palm leaf manuscripts after cleaning and digitization related to veterinary and agricultural sciences are also part of this medical science of ancient India, which is applicable in the modern age, too. In contemporary Kerala, too, all these branches 1. Taking up a survey of manuscripts in the area. of Ayurveda continue to be popularly employed, 2. Creating an electronic database with multiple and the advent of allopathic medicines has not fields such as Title, Author, Material, Script, and really diminished the popularity of Ayurvedic Subject. treatment. Traditionally, Ayurvedic knowledge 3. Making a selection of manuscripts on the basis was passed on within families, and, therefore, of their importance, condition, and potential for succeeding generations of practitioners may be future reference and application. found in various parts of Kerala. There are several 4. Taking up digital documentation of the selected communities in Kerala who practice ethnic medi- manuscripts according to specified standards. cine for the society. 5. Transferring the original manuscripts to Folk- Through this project, Folkland recovered manu- land with written consent of the owners and scripts from their imminent damage and perma- setting up the archive. nent loss and restored the vital knowledge for the future. The manuscripts were collected from the households and ethnic medical practitioners’ Empowering Women and Children houses. Most of the palm leaves were brittle and Folkland promotes various activities to empower had been eaten by insects, but manuscripts were women through cultural activities. An example returned to the community after the conserva- is the introduction of women to traditional tion and digitization process. Folkland is also percussion. (huge ) percussion was preserving manuscripts, as the storage facilities of essentially a male activity, as it was a ritual and the custodians seemed very poor. usually performed in the shrines and temples for The project has involved the following steps: religious purposes. To incorporate women in the

93 school children. Folklore quiz competitions, poster competitions, and painting competitions are conducted in schools and colleges.

Cultural Education Programs Folkland provides cultural education to school children across North Kerala. Training in the classical art forms of Kerala such as (a colorful type of narrative play), Kutiyattam (a

▲ Documentation of palm leaf manuscripts performing art combining Sanskrit theater and Tamil art), and other forms of art including shadow puppetry (Tolpavakoothu) and mural painting have been imparted to the school and college students. practice, housewives who were fully dependent Cultural heritage camps are created in different on their husbands for their livelihoods were schools under a Folkland initiative to sensitize and selected for undertaking three months of training create awareness of rich cultural heritage among in Shinkarimelam (a dancing percussion) under school children. the scheme of revival of lesser-known art forms Kathakali workshops and performances under with the support of Dorf Ketal, a Mumbai-based the cultural education programs of Folkland have industry under the center’s CSR (Corporate Social benefited 4,775 school children of Kerala, and this Responsibility) initiative. In this way, Folkland is a great step toward providing cultural aware- has extended percussion training to women, and ness to children and making them proud of their those women artists were invited for social perfor- cultural heritage. Kutiyattam workshops have mances in cities in and out of Kerala state. There similarly benefited 2,950 school children. are now around 2,000 women drummers trained Folkland also organizes a children’s camp at by Folkland, and they are earning substantial Edayilakkad every year during the summer. income from their percussion. This success story The camp is named “Kilukkampetti,” the literal became instrumental to several women’s groups in meaning of which is “rattling box.” Several folk Kerala, who are now earning their livelihood out art forms are exhibited and taught to the children of Shinkarimelam. during the camp days. Craft exhibitions and work- Intangible cultural heritage clubs have also been shops are also conducted by the institution. These opened in different schools across North Kerala camps are conducted to create awareness about under the initiative of Folkland to sensitize and folk genres among the children. create awareness of rich cultural heritage among

94 4. A Synonym to Conservation of Intangible Cultural Heritage Environmental Sustainability of wild trees. The process of manufacturing Kitaran Kitaran Paints paints is very laborious and time-consuming. But As we know, “environmental conservation” is there is evidence that these paints last for centuries an umbrella term that defines anything that we if protected well, and, since the paints are organic do to protect our planet and conserve its natural in nature, they are completely safe to use and resources so that every living thing can have an sustainable. improved quality of life. Folkland aims for sustain- Kitaran paints are applied on two different able development with environmental conserva- surfaces. One is wood. Wooden reliefs, umbrella tion. To this end, Folkland has conducted sticks, statues, pillars, etc. are painted using several workshops. The center conducted a mural- this. Another is walls. Usually, the inner wall painting workshop using natural color. Another of a sanctum sanctorum is painted with these event was a 21-day-long workshop on the Kitaran substances. It is considered as very sacred. It is painting system under the name of “Prakriti- varnam” meant to revitalize this art by extending the training and transferring this age-old tradition to the younger generation, as there are only very few artists alive in this community. Kitaran is an ethnic painter community of North Kerala whose main occupation is to prepare and paint the Teyyam shrines, wooden pillars, umbrella sticks, sacred walls of sanctum sanctorum, pedestals, and other wooden materials using natural dyes. In olden days, there were lots of painters available in each village of North Kerala, but due to the advent of synthetic paints and modern technology, this age-old painting tradition was pushed into oblivion. In this system, the paints were procured locally, and synthetic paints have no place in this. Red color is made from ground-up stones, white from calcium oxide, green from leaves, blue from indigo, yellow from turmeric, and black from black soot, and by mixing these colors, different colors are made. Glue is the main ingredient for this painting, and it is also made from the sap of ▲ A painter using natural paints

95 ▲ Kathakali workshops and performances at various schools as part of cultural exchange programs

▲ Kutiyattam performances in schools under the cultural exchange programs of Folkland

96 4. A Synonym to Conservation of Intangible Cultural Heritage performing arts are on the verge of extinction, as they fail to cater to the needs of the present gener- ation despite a strong base in the rural and city life of Kerala. Indigenous art forms can be the most efficient tools to promote sustainable development. Kerala has been a traditionally rich state in art and cultural practices, and art forms can create employment through performances. Folkland has started ▲ Preparation of environmentally-friendly natural paints projects that aim to stimulate cultural heritage and women’s empowerment. Various art forms will act as a platform to provide the right insights believed that when a design with high accuracy and allow the performers to get more income and is finished, the presence of the deity will be there. status in a constructive and innovative manner. Therefore, an oil lamp has to be lit as soon as the Artists will act as translators of cultural heritage painting is finished in order to propitiate the deity. and promote sustainable development. For the workshops, Folkland identified five senior Kitaran painters to extend the training to the younger generation. Thirty-five young artists Shinkarimelam (Dancing ) selected from all over Kerala were trained. Shinkarimelam, or “dancing drums,” is a popular art form which has evolved from traditional chendamelam (drum percussion) and dancing. As it is a demanding art form and a form of enter- Performing Arts for Sustainable tainment, it has lot of functions in society. Both Development the rural and urban communities and both the business and the entertainment worlds are looking for Shinkarimelam troupes for performance. Male The need and desire for performing arts for ritual and female troupes both perform, and this art and entertainment purposes must have propelled form fetches a good income for the performers. our forefathers to solve different problems in Anybody can master this art form if he/she human life and to express feelings and commu- undergoes a six-to-eight-month training. Folkland nicate different situations. Traditional folk perfor- extends Shinkarimelam training to women in mances in Kerala, other parts of India, and abroad different districts and also designs distinct chore- have deep-rooted histories. Such performances ography and costumes for each group. With this have survived to date and are still in use. These training program, Folkland intends to provide

97 ▲ Mudiyettu, a traditional ritual theatre and folk dance drama from Kerala

98 4. A Synonym to Conservation of Intangible Cultural Heritage direct benefits to many women who are traditional high and turning the bright red and pink umbrellas art performers and to thereby assure economic in the last five rows of their stage formation. stability and sustainability. This initiative also It was in April 2006 that Shanta (who is from helps in conserving the cultural heritage of Kerala, the of Kerala), along with two which will in turn increase artists’ inclination to other housewives, approached a group of male join traditional art forms. Shinkarimelam artists who had come from the Shinkarimelam is an art form performed in a district. “We were really drawn by the group. It inculcates the spirit of shared respon- beats and I wondered why women couldn’t also sibilities and collective actions among artists. By learn and perform,” she said. She then convinced focusing on performing artists, the project will the men to teach them and learned how to play. ensure social inclusion. Their participation will Soon, the members increased from three to seven, result in a socially cohesive society. including women from Kasargod district, to the 22 Shinkarimelam is not much different from the they stand at today. traditional chendamelam (drum percussion), as Shinkarimelam back then was a male-domi- Shinkarimelam includes the beating of drums nated art form. In fact, any form of drumming in a rhythmic style with dancing. Chendamelam was restricted to men, whether it was for religious is considered to be a classical performance with rituals in temples or even social purposes. “In a various musical instruments that are common in way, it started as a challenge, to say that we could Kerala. The performance of Shinkarimelam has do it too, understand rhythm, pick up the chenda, become an integral part of the festivals in Kerala, play and earn,” said Shanta. especially in Central and North Kerala, as it They were housewives, primarily with an agri- attracts thousands of spectators. cultural background, and were largely dependent Sixty-year-old Ms. Shanta, the oldest and one of on their husbands for money. Once they took the first batch of members of the Shinkarimelam up Shinkarimelam, there were protests in the training initiative of Folkland, shared her experi- community. The men (outside their families) ence from the project. In her hands was a manjeera could not tolerate it, but as the women got more (small hand cymbal also known as ilathalam), performances and fame, the men had to give in. a less imposing instrument when compared Folkland has largely supported the group since to the 10-13 kilogram chenda (the traditional its formation. Some of the women who were part percussion drum) the others throw onto their left of the group have had to leave along the way shoulders. That is not to say that Shanta couldn’t because of family problems, but there are always handle the chenda anymore. “I still play it in other many more willing to join. These women now performances,” she beamed, adding that it is on have a status in their society in that they perform a a rotational basis that members switch between traditional art and earn for their families. the chenda or manjeera or even the job of holding After each member learned how to play

99 ▲ The group of women trained in Folkland during their performance in Kenya

the chenda and the manjeera, the women even training in Shinkarimelam from Folkland went improvised their performances to add line dances, on to perform at the international level: a group of even though the beats run fast, then slow, then 12 women was chosen to perform Shinkarimelam suddenly rapidly once again. There is not a trace of at the Festival of India in Kenya and Tanzania in fatigue even as the drummers entertain a chorus of 2016. “once more” after a 40-minute performance. More Performing for about 15 days in a month, each remarkable still is that the women thrust back member earns anything between Rs 400-800 per their right away and proceed to present day for multiple shows that span a maximum of a different routine, 20 minutes long, all the same, one-and-a-half hours per day. When asked how it after having already performed thrice in the day. works with all but two of them being housewives The groups started out with small performances and away from home for so often and long, group at local-level processions and social occasions, member Ms. Anisha (32) replied, “People are very but they have now traveled to cultural festivals progressive in Kerala, so we are encouraged by our across the country, including in , Goa, families. We tour for about two weeks and then , and Delhi. A milestone achievement come home for two, but sometimes we may be was when a group of women who had received away for a month. But our husbands and families

100 4. A Synonym to Conservation of Intangible Cultural Heritage support us.” Of course, it must help that Anisha’s 25-year-old sister Ms. Vijisha and 60-year-old mother Ms. Karthyayani are also part of the group. Presently, Folkland provides Shinkarimelam training in six districts of Kerala: Kasargod, Kannur, , , Wayanad, and Palakkadu. Thousands of women attended a six-month course in Shinkarimelam training, and it became a source of income for most of the ▲ Shinkarimelam training classes trainees, as the women who received training were from poor families. Ms. Asha, a housewife and presently the leader class and mastered the art of Shinkarimelam. of a Shinkarimelam troupe, also shared her Today she travels across the country, has a large experience from the training period and became circle of friends, and walks with a spring in her eloquent about how Shinkarimelam had helped step and a smile on her face. Chenda, a percussion and changed her life. In her words: instrument played widely across Kerala, has added I woke up in low moods every day as I was struggling a happy rhythm to lives of women like her. They to give food to my children. My husband is a farmer have formed a Shinkarimelam troupe, Vady- who once took land for rent and cultivated plan- asangam Kalichampothi, under the initiative of tain. Unfortunately our plantain cultivation [was] Folkland. Chendamelam has long been associated destroyed due to bad climate, and we did not get with men. The women’s troupe Vadyasangam enough money. We were struggling to come out of this Kalichampothi is breaking all the gender barriers state and my husband was not willing to send me out in this field. to work. It was during this time that I heard about Folkland approached the women from - this training class and shared with my husband, but champothi and gave them Shinkarimelam he was not happy and he did not support me. I joined training for six months. Ms. Sreeja, Ms. Reenu- against his will and got myself trained. Today my kumari, Ms. Radhamani, Ms. Ajitha Kumari, Ms. husband is very happy, as I support him in running Vanaja, Ms. Usha, and Ms. Asha, among others, our family. I earn between 500 and 700 rupees for a studied Shinkarimelam. “The instrument would performance and have been receiving [a] good number keep slipping from my grip,” said Ms. Ajitha. “It of stage programs every month. I am thankful to God was quite heavy,” recollected Ms. Reenu. Ms. and Folkland for giving me a great comeback in life. Radhamani said she developed pain in the thighs In a similar situation, three years ago, Ms. Sree- and shoulders: the chenda is slung across the left ja’s life revolved around her husband, a taxi driver. shoulder and balanced on the thigh. She joined Folkland’s Shinkarimelam training Not all of their fellow villagers were supportive.

101 ▲ Shinkarimelam performance at Kasargod by the batch of women trained at Folkland

102 4. A Synonym to Conservation of Intangible Cultural Heritage “Some of them mocked us. They said women Ms. Rajitha is a 32-year-old Shinkarimelam should keep away from the instruments as they artist from North Kerala. She received training would affect their health. A lot of people discour- in Shinkarimelam from Folkland as a part of aged us,” Radhamani added. But all this did the sustainable development project for one year. nothing to the women―they continued practicing Rajitha then started taking up stage programs their art. In fact, it only urged them to work harder, and has performed Shinkarimelam on different according to Ms. Sreeja. Today, the Vadyasangam stages within the country and abroad. Her troupe Kalichampothi team has 20 members. was invited by the High Commission of India in Among the group, five members are children. Kenya to perform Shinkarimelam in Kenya and They have had more opportunity to perform Tanzania. She has also performed in Iran. Rajitha Shinkarimelam in different places. Latha, one of manages to earn a meaningful income from this the children in the group, had always wanted to art form. learn an art form. She grabbed the opportunity But Rajitha’s contribution to the field of when it came her way. “It feels so good,” she Shinkarimelam does not stop there. She is also said. “All of us are here because of support from actively involved in training other unemployed our family. Those who made fun of us have been women of her locality and thereby helping them silenced. They are even asking if they can join us earn a living. A few of them, like Ms. Premalatha, now.” Ms. Meenakshi, and Ms. Sarada, who learned Another member, Ms. Reenu, felt that playing Shinkarimelam with the support of Folkland, have the instruments had made her stronger. “I am not become teachers to train the other women of their going to pay to get fit at a gym or exercise on my localities. own. But the chenda makes me work out.” Ms. Ms. Sarada is a 23-year-old housewife who has Sreeja also felt that she was financially, physically, faced a lot of difficulties in life due to poverty. and mentally stronger since learning the craft. “I She lost her father at a very early age and was had difficulties initially, but chenda has made me brought up by her mother. Sarada saw her mother financially independent,” Sreeja said. She added, “I struggle to provide daily food to the family of five, never thought that I would be the woman that I including her aged paternal grandparents, who had am now.” health issues. She discontinued her schooling and Pattena Janasakthi Vadyasangam, Ambala- went to earn daily wages with her mother, and it thara Vadyasangam, Ramanchira Vadhyasangam, was last year that she heard about Shinkarimelam Avolam Vadyasangam, Vallarkulagaravadyasa- training being given to interested people near her ngam, Kalari Vadyasangam, etc. are house at Navodaya Vayanasala. She wanted to some of the other trained groups of women from attend these classes. Her mother was reluctant to Folkland who perform Shinkarimelam in different send her initially but later agreed that she could places. attend classes if she completed her daily work

103 ▲ Mural painting classes at various centers

early. Premachandran, a Shinkarimelam teacher, depicting mythology and legends that are drawn identified Sarada’s hidden talent and helped her on the walls of temples and churches in South master this art. He gave her extra classes, and she India, principally in Kerala’s ancient temples, excelled as an artist. Sarada said, “When I got my churches, and palaces. displays an first income from a Shinkarimelam performance abundant mural-painting tradition, mostly dating I had given 500 rupees to my mother. My mother back to between the 9th and 12th centuries, when cried out of joy and now I am a Shinkarimelam this form of art enjoyed royal patronage. teacher today.” Folkland gives training to apply this traditional style of art to garments. Basics of the mural art are taught as well as how to apply that art to the Mural Painting design of such clothing as shirts, t-shirts, skirts, Folkland provides training in mural painting to blouses, and sarees, a traditional South Asian the women of Kerala with an aim of empowering women’s garment consisting of cotton or silk them by helping them earn a living while also draped elaborately around the body. Presently, preserving this traditional art form and promoting there are thousands of students, mostly women, intangible cultural heritage. Training programs who take training and apply it to garment design are in progress for women’s groups at 10 centers to earn money. The artists get work orders from across Kerala. people, especially to make mural paintings on In general, murals are large-scale pieces of art, wedding dresses and party wear. A total of 1,350 most often using paint as a medium, which deco- women have registered and have been receiving rate building surfaces. Despite their different styles training in mural painting under Folkland. This is depending on culture and purpose, typically all a great step toward empowering women, as many intend to create beauty. Kerala mural paintings are of them can take up work orders and earn a living no exception. Kerala mural paintings are frescos after they complete the training.

104 4. A Synonym to Conservation of Intangible Cultural Heritage ▼ Mural designs on shirts and sarees by the women who received training from Folkland

105 Former students and instructors praised the normally call myself a “teacher” before an “artist,” trainings and the resurgence of the art form. Mr. as I work five days in teaching and two days in art. I Sabareesan Kuttan is a 38-year-old mural artist am not trained in art and developed my style through who earns money from mural art and a teacher trial and error. As the subject is normally about past who taught around 400 female students. He does memories and imaginary scenes, I try to paint them painting based on the orders, and he feels there as [realistically] as possible. But I will not say that I is more demand for mural paintings on sarees in am a successful person in mural art. Success to me is the market. He says it is great that people love and the warm appreciation and recognition by my family, come back to the traditions of Kerala. Another other artists, relatives, and people. male artist, Mr. Ranjith, is a 28-year-old teacher Mural artists Ms. Syamala, Ms. Sandya, Ms. who has around 300 students under him. He Rajitha, Ms. Kala, and Ms. Vijisha are a few others also conducts exhibitions on mural paintings in who received mural training from Folkland. Vijisha different parts of India. is a 25-year-old young entrepreneur from North As for the women, Ms. Karthika, Ms. Gand- Kerala who has also received training in mural hara, and Ms. Saudamini are mural artists from painting from Folkland. She underwent training Kozhikode district. They joined the classes for fun for eight months and gradually started taking up during their break from college, but now four of work orders. She started doing mural painting on them have started taking up work orders. They feel fabric, including shirts and sarees. Mural-painted independent and happy to be standing on their sarees have a huge demand across Kerala, and the own feet and not depending on their parents for demand increases ten times during festive seasons their education. such as and . Vijisha opened a small Ms. Sreelatha, who was a teacher by profession, boutique in Kanhangad town and has two other has only been active in mural painting since women working under her. She wishes to expand 2015. She shared how her journey as an artist had her business and give employment to more and started. In her words; more women from her locality. She even gives It happened in August 2015 when I decided to take a training to a batch of housewives near her house. break from my 10 years of work as a school teacher. I wanted to try different things, including painting and film-making. In 2014, I had an opportunity to Folkland aims to inculcate in artists the necessary meet a famous mural artist from Kerala, Mr. K. R. skills and knowledge for cultural heritage and Babu, at Calicut. I was so inspired by his work. I was sustainable development through various activities interested in painting since childhood but had not and capacity-building measures. The center works [been given] guidance or support from my family. to enhance people’s awareness to make informed It was Mr. K. R. Babu who identified my talent and decisions that affect quality and self-sufficiency in gave [an] opportunity to work with him. However, I the cultural heritage sector.

106 4. A Synonym to Conservation of Intangible Cultural Heritage To make the cultural heritage of the country better, sustainable development through cultural practices has a vital role. It can create enthu- siasm for protecting cultural heritage among the performing community. The time has come that cultural sensitivity should be cultivated among the society at large. If we generate cultural values in the society, we will make citizens more responsible toward our cultural heritage. The southwestern state of India, Kerala, is facing various culture-related threats. In order to deal with the issues in the future, there is a need to sensitize and raise awareness in the performing communities and make them proud of their heritage. The projects described here are intended to create awareness of heritage issues and train participants in order to sustain themselves with the traditional art forms. Traditional art forms can be effective commu- nication tools for creating awareness among students. Even the school curriculum can be easily taught through the art forms. Puppetry, for instance, is considered to be the best medium of education for small children. Music and dance can also be used as a part of social awareness through performances in and out of the villages. These projects aimed to create a pool of people who could act as advocates for their cultural heri- tage. Along with regular performances for gaining economic stability, Folkland has successfully planned long-term sustainability projects with documentation and archival of the resources for handing down to the next generation.

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