DOCSLIB.ORG

Folklore and the Need for Intellectual Property Status: a Study of Phad Painting in Bhilwara District of Rajasthan

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Folklore and the Need for Intellectual Property Status: a Study of Phad Painting in Bhilwara District of Rajasthan International Academic Journal of Law ISSN Print: 2709-9482 | ISSN Online: 2709-9490 Frequency: Bi-Monthly Language: English Origin: Kenya Website: https://www.iarconsortium.org/journal-info/iajl Review Article Folklore and the need for Intellectual Property Status: A Study of Phad Painting in Bhilwara District of Rajasthan Article History Abstract: Humans have a propensity to generate, refine and pass on the knowledge from one generation to another, so that their tradition is conserved Received: 20.04.2021 through several generations. One of the most important aspects of traditional Revision: 30.04.2021 knowledge is “folklore”, which like other forms of traditional knowledge is under Accepted: 10.05.2021 threat of exploitation as a result of too much of technological advancement and Published: 20.05.2021 industrialization. The whole scheme of research is based on the hypothesis that Folklore is required to be protected as an Intellectual property but doesn‟t qualifies Author Details to be an Intellectual Property(IP) under the existing regime and altogether a sui- generis approach by way of legislation or amendment in the existing legislation is Divya Singh Rathor the need of the hour. The existing Intellectual Property(IP) regime is an ineffective Authors Affiliations tool to protect the diverse folklore. Through research, an argument can be primed that whether Rajasthan‟s Phad Painting, a folk art can be socially and legally Assistant Professor, Law (Research Scholar- protected in the form of folklore through a sui-generis protection system like NLUO) National Law University, Odisha Tunisian Copyright model and African Music Project. Through this research on Kathajodi Campus Sector-13, CDA, Cuttack Folklore vis-à-vis the IPR regime the researcher aims to examine if the folklore fits Corresponding Author* into the definition of “intellectual works/s” as protected under the IPR regime in India and across the globe and to look into the vulnerability of folklores like Phad Divya Singh Rathor Painting the folk art of Rajasthan and the address the need for protection. The How to Cite the Article: research is primarily based on Doctrinal method of research wherein the researcher Divya Singh Rathor; (2021); Folklore and shall carry out the detailed study of primary sources as well as secondary sources. the need for Intellectual Property Status: A The scope of research is limited to only one Folklore i.e. Phad Painting, which is the Study of Phad Painting in Bhilwara District famous folk art of Rajasthan. of Rajasthan. Int Aca. J Law; 2(3) (May- June, 2021): 6-16 Keywords: Traditional Knowledge, Exploitation , sui-generis legislation. Copyright @ 2020: This is an open-access article distributed under the terms of the Creative Commons Attribution license which INTRODUCTION permits unrestricted use, distribution, and reproduction in any medium for non In order to preserve the traditions, generating, refining and passing on commercial use (NonCommercial, or CC-BY- knowledge from one generation to the other is a natural tendency of human NC) provided the original author and source communities since time immemorial. Such knowledge based on traditions and are credited. integral to the cultural identity of the social group in which it operates is generally termed as “Traditional knowledge”. What qualifies to be termed as traditional knowledge so as to be protected under the current legal regime is subjective and varies from community to community. Broadly speaking, Traditional medicines, Tales, Ballads, folklores etc can be considered as traditional knowledge. Such traditional knowledge can be used for food security (e.g. use of Hoodia cactus as life saving food on hunting trips in Kalahari deserts), medicinal uses( e.g. antiseptic properties of neem & turmeric), religious purposes(e.g. folk arts like Phad painting), entertainment purposes (e.g. chhau dance form), therapeutic use(e.g. use of essential oils) etc. One of the most important aspect of traditional knowledge is “folklore”. “Folk” simply means people and “lore” as per the Oxford Dictionary means “a body of traditions and knowledge on a subject or held by a particular group”. Folklore primarily consists of ballads, music, recipes, oral history, proverbs, jokes, popular beliefs, fairy tales, stories, tall tales, arts and customs that are the traditions of a culture, subculture, or group and relate to the cultural identity of that group or sub-group in which they operate. It is also the set of practices through which those expressive genres are shared. For instance voodoo doll associated with some form of mythological magic, Musical tunes of African continent, practice of worshipping on the first harvest, heroic tales, Jatakas, etc are some of the folklores present in India and world. The most common example of folklore is the love tales of Arjun and the Nag-Kanya, the tale of Nanda Devi, tales about fairies visiting Khet Parvat, Aipan art etc in the state of Uttarakhand. Further, Bujhoval or questioning as a part of ancient yaksha worship and playing of Algoza( a pair of flutes operating as One) are some of the lesser known folklore of the state of Rajasthan. Available Online: https://iarconsortium.org/journal-info/iajl 6 Divya Singh Rathor; Int Aca. J Law; Vol-2: Iss-3 (May-June, 2021): 6-16 The research is based on the hypothesis that If jhijhi, natua, jhumaror jogira appear alien to a Folklore is required to be protected as an Intellectual 21st century person then it‟s not the unawareness or the property but doesn‟t qualifies to be an Intellectual lack of knowledge that is to be blamed rather it‟s the Property under the existing regime and altogether a sui- extinction of the dance form itself completely from the generis approach by way of legislation or amendment in mainland of India because of which no one knows the existing legislation is the need of the hour. about it. Through the research, the researcher shall attempt to The Guardian on 27th of January 2010 reported that discuss and deliberate upon the role and importance of the Ancient tribal Bo language has become extinct as folklore in preserving the cultural heritage of India last speaker dies”. With the death of Boa Sr, last person generally and the pristine state of Rajasthan fluent in the Bo language of the Andaman Islands, the specifically. The attempt shall be made to contrast the link with 65,000-year-old culture of island was broken view that “Folklore” can be protected under the existing with no clue about its possible preservation. IP regime, by comparing the existing regime and the Furthermore, Domni dance of Maldah, West Bengal status of Folklore by specifically discussing the unique and Chitrakathi painting of Maharashtra which is art of folk art form of Rajathan- Phad Painting. Undoubtedly, depicting stories of Mahabharata, Ramayana and Nandi the state of Rajasthan is rich not only in flora & fauna Puran on cloth with natural color are some other but also in various cultural aspects such as folk-art, folklores which are on the verge of extinction and their folk-music, folk-dance, ballads, tales etc and every art patrons are dying without even two square meal. form is unique in its own way. However, the scope of this research has been limited to only one form of With the advent of trade and commercialization the Folklore i.e. Phad Painting, which is the famous folk art folklore has started losing its significance. The of Rajasthan because not everyone is aware about the communities have started losing their traditions because uniqueness of this art form due to which it is losing its of the entry of the Multinational Companies and authenticity. The art form is an unique combination of industries, who exploit the age old traditional knowledge folk art, folktales, folkdance and folk music. The art in form of folklore to the detriment of the community form is perfect example where lacunae of the existing possessing such folklore. IP regime in protecting the folklore can be put forth and the reasoning for sui-generis approach in protecting The original possessor of these folklores i.e. the folklore can be proved. indigenous communities are deprived not only of the economic rights but also the moral right. The NEED FOR PROTECTION knowledge which is possessed by the indigenous Folklores are an integral part of cultural heritage and community and should be used for the betterment of a valuable resource for historical and contemporary community possessing it, is being exploited by big comparative folk narrative studies. They reflect moral players e.g. folk music is very often alleged to be copied values, beliefs, and identities of groups and individuals and used in commercial cinemas for earning profits over time. In addition, folklores can be studied to which generally never passes on to the community to understand variability in transmission of narratives over which the original folk music belonged. time. Because of the rapid misuse and misutilization there In today‟s world of globalization the most urgent is a huge debate across the globe about status of folklore concern is probably the alarmingly rapid disappearance as an independent IP. Most significant challenges have of folklore and the traditional knowledge imbibed in it. been to the countries like India, Brazil and the African At a time when Traditional Knowledge especially union which have got plethora of traditional knowledge folklore has started enjoying mainstream acceptance it in form of folklore. has not had before, human culture is eroding at an unprecedented and alarming rate. In light of this debate about protection of folklore, there are two views which find place, the first one being According to the IUCN Inter-Commission Task that the folklore needs to be recognized as an Force on Indigenous Peoples: independent Intellectual Property & to be protected “cultures are dying out faster than the under sui- generis legislation.
Load more

Recommended publications
  • “Aipan” Creative Art of Kumaon Received: 28-03-2017 Accepted: 30-04-2017 Amrita Kaushik and Dr
    International Journal of Home Science 2017; 3(2): 640-642 ISSN: 2395-7476 IJHS 2017; 3(2): 640-642 © 2017 IJHS “Aipan” Creative Art of Kumaon www.homesciencejournal.com Received: 28-03-2017 Accepted: 30-04-2017 Amrita Kaushik and Dr. Meenakshi Gupta Amrita kaushik Research Scholar, Dept. of Home Abstract science, Banasthali University, Aipan or Alpana is an art which has special place in all kumaoni homes. It is traditional folk art (painting Vanasthali, Rajasthan, India form) of Uttarakhand. This art belong to kumaon region.it has great degree of social, cultural as well as religious significance It is very popular art form of kumaon, and walls, papers and pieces of cloth are Dr. Meenakshi Gupta decorated by the drawing of various geometric and other figures belonging to gods, goddesses and Associate Professor, Shilp objects of nature The raw material used is simple ochre ( Geru ) color and rice paste. It is mostly women Mandir, Banasthali University, who paint the designs on the floors and walls of their homes using the last three fingers of the right hand. Vanasthali, Rajasthan, India Ones the Geru base is ready the artist draws the pattern free hand. Popularly drawn at place of worship, houses and main entry doors of house and in front of courtyard. Aipan are known by different names and is in popular in many parts of India with larger variations. It is called alpana in Bengal Satiya in Gujrat, Rangoli in Maharashtra, Chowk pooran in UP, Kolam in South India, Madne in Rajasthan, Arichan in Bihar and Bhuggul in Andhra likewise Aipan in Uttarakhand Keywords: Aipan, Art, Kumaon Introduction Aipan is one of the traditional folk art (painting form) of Uttarakhand.
    [Show full text]
  • Dileep Singh Chauhan
    Dileep Singh Chauhan Born 1954, Rajasthan, India Received STATE AWARDS by Rajasthan Lalit kala Akademi in the years 1981/82/86/88. Received ALL INDIA AWARD by Rajasthan Lalit Kala Akademi in 1991. Participating in the state annual exhibitions and various other exhibitions organized by Rajasthan Lalit Kala Akademi, Jaipur since 1974-75. Takhman - 28 Group Exhibitions in Rajasthan and at major art centers in India since 1979. Exhibited in a number of group shows and in almost all the major All India Exhibitions including National Exhibition of Art, New Delhi. 1. Exhibited in The First Bharat Bhawan Biennial of Contemporary Indian Art, 1986. 2. ALL INDIA ART EXHIBITION organized by AIFACS, New Delhi, 1987. 3. Exhibition CONTEMPORARY ART OF RAJASTHAN, Jehangir Art Gallery Bombay, organized by RLKA, 1990. 4. CONTEMPORARY ART EXHIBITION OF RAJASTHAN at Kala Akademi - Panjim Goa, organized by RLKA, 1995. 5. CONTEMPORARY ART OF RAJASTHAN at Sirjana Contemporary Art Gallery, Kathmandu, organized by RLKA, 1996. 6. Exhibited in Colour of Rajasthan organized by RLKA and JKK, Jaipur, 1998. 7. Exhibited in GRAPHIC EXPRESSIONS Print Show 2000, presented by Cymroza Art Gallery, at Mumbai, Chennai, Calcutta, New Delhi. 8. REGIONAL ART EXHIBITION 2000-01 at Ravishankar Kala Bhawan, Ahmedabad, organized by Rashtriya Lalit Kala Kendra Lucknow. 9. Exhibited in WE13 Printmakers 2000-01, at Jaipur, New Delhi, Chandigarh, Bangalore and Ahmedabad. 10. Exhibited in THE DESERT AND BEYOND EXHIBITION, presented by The British Council, at The Queen's Gallery, New Delhi, 1999. 11. Exhibited in Contemporary Art of Rajasthan – chain exhibition by Jawahar Kala Kendra, Jaipur, Chandigarh, Patiala, 2003.
    [Show full text]
  • Skill Study Report Published by PHDCCI for State Govt
    A REPORT SKILL GAP ANALYSIS OF THE RELEVANT SKILLS OF UTTARAKHAND GOVT. OF UTTARAKHAND An initiative by Uttarakhand Skill Development Mission Address: 26, Mahila ITI, Near Survey Chowk, EC Road, Dehradun, Uttarakhand 248001 [email protected] Background Research Based Study for the Survey on Skill-Gap Analysis of the Traditional Skills/Non SSC listed Job Roles which are Unique to Uttarakhand, proposed by PHD Chamber of Commerce and Industry was initiated by Uttarakhand Skill Development Mission directorate. The broad objective of the study was to address the state challenges in relation to its unique demographics to complimenting skill development. For identifying need of State specific job roles not in SSC list, the state SSDMs is mandated to work closely with SSCs for development of QPs, curriculum and model contents. MES courses not mapped to SSC QP-NoS, can be taken up under these provisions by the respective states. It’s the responsibility of MSDE to ensure development of the QPs for such innovative job roles identified by respective state governments in a time bound manner. The initiative was supported by Economics and Statistics directorate, Department of Planning & Directorate of Industry of the Govt. of Uttarakhand. Copyright Information Technical Team authors herein are responsible for the authenticity of their materials and for obtaining written permissions from publishers or persons who own the copyright to any previously published or copyrighted materials used herein. All rights reserved, no part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher and Uttarakhand Skill Development Mission - Govt.
    [Show full text]
  • PT-365-Updated-Classroom-Material-March-May-20.Pdf
    Dear Students, Hope your preparation is going well. We wish to communicate our plan, at part of PT 365, for the upcoming prelims examination. Given that Prelims examination is now scheduled for 4th October, we will be covering current affairs till the month of August in the following manner - • PT 365 Updation - o Coverage - Current affairs for the months of March, April and May • PT 365 Extended - o Tentative date of release - 10th September o Coverage - Current affairs for the months of June, July and August Hope these documents help you in boosting your preparation and building up your confidence further as you wind up your preparations. Best Wishes Team Vision IAS Table of Contents 1. POLITY AND CONSTITUTION __________ 4 2.2.2. Organisation for the Prohibition of Chemical 1.1. Issues Related to Constitution ________ 4 Weapons _____________________________ 15 1.1.1. Right to Property____________________ 4 2.2.3. Multilateral Development Banks ______ 15 1.1.2. Reservation in Scheduled Areas ________ 4 2.2.4. WHO ____________________________ 16 1.1.3. Jammu & Kashmir Domicile Rules_______ 5 2.2.4.1. World Health Assembly (WHA) ____ 16 1.1.4. Constitutional Articles in News _________ 5 2.2.4.2. WHO executive board ___________ 16 1.2. Issues Related to Functioning of 2.2.4.3. World Health Organization Funding 16 Parliament/ State Legislature/Local 2.3. International Events _______________ 17 2.3.1. UN75 ___________________________ 17 Government __________________________ 6 2.3.2. Open Skies Treaty __________________ 17 1.2.1. Rajya Sabha Elections ________________ 6 2.3.3.
    [Show full text]
  • Download Full Paper
    RSU International Research Conference 2019 https://rsucon.rsu.ac.th/proceedings 26 April 2019 The Study of the History and the Characteristic of the Glorious Wall Paintings of Bundi Chitrasala Reetika Garg Department of Drawing & Painting, University of Rajasthan, Jaipur, Rajasthan, India E-mail: [email protected] ________________________________________________________________________________________________ Abstract The civilization of India is one of the most important events in the history of mankind. Wall paintings were a normal feature of ancient India. An unbroken stream of references to wall paintings is evidenced in the literary texts. Bundi is a town of Rajasthan, an Indian state, which is famous for its forts and fresco. There is a rich treasure trove of wall paintings of magnificent palace complexes of Bundi in Rajasthan. The chitrashala of Bundi fort is fully decorated with beautiful wall paintings. It has a variety of themes, both religious and secular. The walls also show a much wider range of subjects than is to be found in the miniatures. The traditional subjects were related to Ramayana, Krishna – leela, Shiv-Parvati and the lord Bramha, but the most striking impression is conveyed by more than thirty-six panels devoted to the paintings of Nayikas. The Chitrasala not only presents an astonishing world of people engaged in various amusements, religious beliefs, social customs etc. but it also presents a great tradition of Bundi style of painting. Keywords: Chitrasala, treasure, wall paintings, Nayikas, Ramayana, miniatures _______________________________________________________________________________________________ 1. Introduction India is unique in its art traditions. No country in the world has until now preserved its age-old traditions as vigorously and stead-fastly as India has done.
    [Show full text]
  • Rajasthan Public Service Commission, Ajmer
    RAJASTHAN PUBLIC SERVICE COMMISSION, AJMER SYLLABUS FOR SCREENING TEST FOR THE POST OF ASSISTANT TESTING OFFICER (GEOLOGY) FOR PUBLIC WORKS DEPARTMENT PART-A (General Knowledge of Rajasthan) History, Art, Culture, Literature and Heritage of Rajasthan:- Prehistoric Rajasthan: Harappan and chalcolithic settlements. Cultural Achievements of the Rulers of Rajasthan from Early Medieval period to British period. Political Resistance of Rajput Rulers: Sultanate, Mughal and other regional powers with special reference to Rawal Ratan Singh, Hammir Chauhan, Maharan Kumbha, Rao Maldev and Maharana Pratap. Commencement of Modernity in Rajasthan: Agents of social and political awakening. Peasant, Tribal and Praja Mandal movements. Process of Integration: The constructive contribution of rulers of princely states, various phases of integration. Performing Art of Rajasthan: Folk music, folk instruments and folk dances. Visual Art of Rajasthan: Schools of painting and architecture (temples, forts, palaces, Havelis and Baories (stepwells). Social Life in Rajasthan: Religious belief with reference to folk deities, fairs and festivals, customs and traditions, dresses and ornaments. Language and Literature of Rajasthan: Main dialects and related regions, famous authors of Rajasthani literature and their works. Geography of Rajasthan:- Physiographic Regions, Rivers and Lakes. Climate, Natural Vegetation, Soil types, Major Minerals and Energy Resources – Renewable and Non-renewable. Population – Growth, distribution and density. Production and Distribution of Major Crops, Major Irrigation Projects, Major Industries. Drought and Famines, Desertification, Environmental Problems. Economy of Rajasthan:- Characteristics of state economy. Agricultural Sector: Characteristics of agricultural sector in Rajasthan. Major Rabi and Kharif crops with special reference to oil seeds and spices. Irrigated area and trends. Health programmes of state government.
    [Show full text]
  • GI Journal No. 138 1 June 30, 2020
    GI Journal No. 138 1 June 30, 2020 GOVERNMENT OF INDIA GEOGRAPHICAL INDICATIONS JOURNAL NO. 138 JUNE 30, 2020 / ASHADHA 09, SAKA 1942 GI Journal No. 138 2 June 30, 2020 INDEX S. No. Particulars Page No. 1 Official Notices 4 2 New G.I Application Details 5 3 Public Notice 6 4 GI Applications Uttarakhand Aipan - GI Application No. 648 7 Munsyari Rajma - - GI Application No. 651 Uttarakhand Ringal Craft - GI Application No. 652 Uttarakhand Tamta Product - GI Application No. 653 Uttarakhand Thulma - GI Application No. 654 Myndoli Banana- GI Application No. 680 5 General Information 6 Registration Process GI Journal No. 138 3 June 30, 2020 OFFICIAL NOTICES Sub: Notice is given under Rule 41(1) of Geographical Indications of Goods (Registration & Protection) Rules, 2002. 1. As per the requirement of Rule 41(1) it is informed that the issue of Journal 138 of the Geographical Indications Journal dated 30th June, 2020 / Ashadha 09, Saka 1942 has been made available to the public from 30th June, 2020. NEW G.I APPLICATION DETAILS GI Journal No. 138 4 June 30, 2020 App.No. Geographical Indications Class Goods 665 Bakhira Metal Product 21 Handicraft 666 Banda Shazar Patthar Craft 14 Handicraft 667 Nagina Wood Craft of Uttar Pradesh 20 Handicraft 668 Pratapgarh Aonla 31 Agricultural 669 Nagri Dubraj 30 Agricultural 670 Amroha Dholak 15 Handicraft 671 Mahoba Gaura Patthar 14 Handicraft 672 Hathras Hing 30 Food Stuff 673 Mainpuri Tarkashi 20 Handicraft 674 Sambhal Horn Craft 20 Handicraft 675 Kanyakumari Cloves 30 Agricultural 676 Bengal Muslin 24 & 25 Textiles 677 Patchwork of Rampur 24, 25 & 26 Textiles 678 Bareilly Terracott 21 Handicraft 680 Myndoli Banana 31 Agricultural 681 Morena Gajak 30 Food Stuff 682 Assamese Gamocha 24 & 25 Textiles 683 Osmanabadi Goat 31 Agricultural 684 Spiti Chharma (Seabuckthorn) 31 Agricultural 685 Alibag White Onion 31 Agricultural 686 Attappady Aattukombu Avara 31 Agricultural 687 Attappady Thuvara 31 Agricultural 688 Bhandara Chinnor Rice 31 Agricultural GI Journal No.
    [Show full text]
  • Review of Research Impact Factor : 5.2331(Uif) Ugc Approved Journal No
    Review Of ReseaRch impact factOR : 5.2331(Uif) UGc appROved JOURnal nO. 48514 issn: 2249-894X vOlUme - 7 | issUe - 9 | JUne - 2018 __________________________________________________________________________________________________________________________ INDIAN OLD MURAL PAINTINGS Kashinath D. W. Faculty, Department of Visual Art, Gulbarga University, Kalaburagi. ABSTRACT : Indian painting has a very long tradition and history in Indian art. The earliest Indian paintings were the rock paintings of pre-historic times, the petroglyphs as found in places like Bhimbetka rock shelters, some of the Stone Age rock paintings found among the Bhimbetka rock shelters are approximately 30,000 years old.[1] India's Buddhist literature is replete with examples of texts which describe palaces of the army and the aristocratic class embellished with paintings, but the paintings of the Ajanta Caves are the most significant of the few survivals. Smaller scale painting in manuscripts was probably also practised in this period, though the earliest survivals are from the medieval period. Mughal painting represented a fusion of the Persian miniature with older Indian traditions, and from the 17th century its style was diffused across Indian princely courts of all religions, each developing a local style. Company paintings were made for British clients under the British raj, which from the 19th century also introduced art schools along Western lines, leading to modern Indian painting, which is increasingly returning to its Indian roots. KEYWORDS : Indian painting , rock paintings , Indian traditions. INTRODUCTION : Indian paintings provide an aesthetic continuum that extends from the early civilization to the present day. From being essentially religious in purpose in the beginning, Indian painting has evolved over the years to become a fusion of various cultures and traditions.
    [Show full text]
  • Click to Read Online
    Editorial Board Contents Patron EDITORIAL Dr. Babli Moitra Environmental Education: Jack of All Trades, Saviour of the World 1-2 Govind Singh Saraf Principal Indraprastha College for Women University of Delhi, India RESEARCH ARTICLES Sustainable Offering Practices Through Stakeholders Engagement 3-9 Editorial Adviser Bijay Prasad Kushwaha Dr. Anindita Roy Saha Associate Professor Global Warming: Threat to Sundarbans and the Silence of 10-14 Indraprastha College for Women Indo-Bangladesh Mass Media University of Delhi, India Moumita Basu Analysing the Great Urban Divide: Turning the Lens to Rural to 15-25 Editor-in-Chief Understand Slums Praveen Dhanda and Shruti Dubey Dr. Govind Singh Email: [email protected] Fostering Perspectives on Swedish and Indian Culture 26-30 Harveen Kaur Editorial Team Dr. Abhinandan Saikia Delimiting the Boundary of Delhi for Effective Urban Political 31-39 Ecology Investigations Dr. Asani Bhaduri Govind Singh, Mihir Deb, Chirashree Ghosh Dr. Clara Duca GENERAL ARTICLE Dr. Darpa Saurav Jyethi Seeking Sustainable Heights in the Lives of Women Through 40-44 Aipan: Case Study of Enactus IP College Initiative Dr. Satya Prakash Mehra Meeta Virmani and Nitansha Bansal RESEARCH COMMUNICATION Editorial Assistants Exploring the Scope of Agro-based Industries in Manipur and 45-48 Dr. Aditi Madan the Miracle of Chakhao Chingkheinganbi Lambalmayum Ms. Jayanthi A. Pushkaran Ms. Konsam Nirmala Devi OPINION Theorizing Disaster: A Historian’s Perspective 49-51 Mr. Nawin K. Tiwary Meena Bhargava NEWS Copy-Editors Interdisciplinary
    [Show full text]
  • Seeking Sustainable Heights in the Lives of Women Through Aipan: a Case Study of an Enactus IP College Initiative
    GENERAL ARTICLE Seeking Sustainable Heights in the Lives of Women Through Aipan: Case Study of Enactus IP College Initiative Meeta Virmani* and Nitansha Bansal Indraprastha College for Women, University of Delhi Abstract: India is home to a multitude of art forms. The “India is the cradle of human race, the birthplace of rich cultural diversity of India lies at the very root of its human speech, the mother of history, the grandmother of existence. However, many of these art forms have either legend, and the great grandmother of tradition. Our most completely vanished into the unknown or are on the verge valuable and most constructive materials in the history of of extinction. This paper provides a brief account of one man are treasured up in India only” (1896). The such art forms called, Aipan, a Kumaoni folk art practised manifestations of art in India can be seen in various forms in the North Indian state of Uttarakhand. This is discussed of handicrafts, food, clothing etc. By looking at paintings in the backdrop of ‘Project Aipan’, initiated by the or the pallu (veil) of a saree, one can identify if it is Enactus team of Indraprastha College for Women, Madhubani painting (of Bihar) or a patola saree (of University of Delhi. Consisting of rhythmic geometrical Gujrat) respectively. The names in the previous sentence patterns made of lines and dots, Aipan is traditionally not only connote the representation of art, but also display made on Geru (an earthy-red surface) with white rice complete history and culture associated with it. It takes paste.
    [Show full text]
  • Skill Gap Analysis for Relevant Skills of Uttarakhand
    SKILL GAP ANALYSIS FOR RELEVANT SKILLS OF UTTARAKHAND A STUDY BY PHD CHAMBER OF COMMERCE AND INDUSTRY UTTARAKHAND STATE CHAPTER Study Background Objectives,Method, Approach, Surveys Key Objectives ➢ Identify Traditional Skill Sets not listed in the SSC job roles. ➢ Identify the skill development needs & preparing a catalogue of these type of skills, range and depth of skills. ➢ To cover all the promising traditional sectors specific to the state and assess their potential in terms of growth, employment generation, trade enhancement and investment attraction. ➢ To analyze the current scenario of skilling and facilities available for traditional artisan’s/craftsmen based on the survey analysis. ➢ To document about the sector wise deficiency and demand in various skills in the next 5 years. ➢ Define the status of current skill available in the state under different job areas and current Industries demand. It will also focus on how to fill the gap between demand and supply of the Skill under different job roles. ➢ Outline outcome-based approach towards quality skilling that results in increased employability and translates into improved productivity ➢ To draw conclusion of study and point wise recommendations for filling the skill gap found in the state. Methodology Literature and Data Gathering - A wide variety of literature has been referred to pin down 217 interviews the precincts of the study : • 6th Economic Survey of the State of Uttarakhand, 2013 • Economic Survey and State Budget Notes, 2017-18 • Uttarakhand ke Shilpkaar by Shri Chaman Lal Pradyot, Shri. Pravin Kumar Bhatt and Arun Kuksaal. • World Skills Report, World Bank • Human Resource Requirements Sectorial Studies, NSDC.
    [Show full text]
  • Nutes of Meeting of the Expert Advisory Committee Himalayan Scheme
    -{ r'rv a- ,. hva \./ I ,,nutes of Meeting of the Expert Advisory committee of Himalayan Scheme held on 16.11 .2017 at10.30 A.M. in the conference Room, Stt' Floor, Puratatav Bhawan, D-Block, GPO Gomplex lNA, New Delhi. Government of lndia Ministry of Culture BTI Section i I W 1 \ ll *"?S#5|,:I,I'T: ^ 1t -"g#ffiSilJi"i#" \ \" NF MINUIES OF THE MEETING OF THE EXPERT ADV|SoRY CoMMITTEE HELD ON 16.11.2017 TO CONSTDER ROPOSALS FOR GRANT OF FUNDS . ^THE-, UNDER THE SCHEME OF FINANCIAL ASSISTANCE FOR THE PRESERVATION AND DEVELOPMENT OF CULTURAL HERIATGE OF HIMALAYAS FORTHE YEAR 2017.18, The Meeting of the Expert Advisory Committee on the Scheme of Financial Assistance for the Preservation and Development of Cultural Heritage of Himalayas was held on 16.11.2017 at 10.30 A.M, in the Conference Hall, 5rr Floor, Puratatav Bhawan, D-Block, GPO Complex, lNA, New Delhi under the Chairpersonship of Ms. Sujata Prasad, ' Additional Secretary, Ministry of Culture, New Delhi. The list of participants is enclosed at Annex.l. 2. At the outset, the Chairperson welcomed all the members of the Expert Advisory Committee and informed about the guidelines of the Scheme and availability of budget under General Head, TSP and the NER Head. 3. The Committee considered 97 eligible applications, in detailrcovering all relevant aspects, based on criteria and inputs of the Members present and recommended total 69 proposals under North East Head, Tribal Sub Plan Head and General Head. The proposals covered under Tribal Sub Plan are based on the confirmation of the proposals by representatives of the State Government and Members of the EAC.
    [Show full text]