DOCSLIB.ORG

A Case Study on the Heritage of Purulia Chhau Dance from India

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Case Study on the Heritage of Purulia Chhau Dance from India Intangible heritage and livelihoods: a case study on the heritage of Purulia chhau dance from India. Cardinale S. Doctor of Philosophy in Culture, Tourism and Development School of Business and Law, London Metropolitan University August 2019 Table of Contents Table of Contents ________________________________________________________ 2 Abstract ________________________________________________________________ 6 Acknowledgements _______________________________________________________ 7 Preface _________________________________________________________________ 8 List of Figures ___________________________________________________________ 9 Glossary of Abbreviations ________________________________________________ 10 Chapter 1 ______________________________________________________________ 11 1 General Introduction and Rationale for this PhD ___________________________ 11 1.1 What Type of Cultural Heritage? _____________________________________________________ 12 1.2 Why an Investigation of Intangible Heritage in Livelihoods Development Context _______________ 13 1.3 The Case Study ___________________________________________________________________ 17 1.3.1 The Development Project _______________________________________________________ 18 1.3.2 The Origin of Purulia Chhau Dance ________________________________________________ 19 1.3.3 The Research Team and the Researcher as Project Partner _____________________________ 20 1.4 Purulia Political Context and Research Field Work in 2011 _________________________________ 22 1.5 Objectives of the Study and Research Questions _________________________________________ 24 1.6 Research Approach _______________________________________________________________ 26 1.7 Thesis Structure __________________________________________________________________ 28 Chapter 2 ______________________________________________________________ 31 2. Politics and Social Productions Around the AL Development Project __________ 31 2.1 From Purulia Town to the Villages ____________________________________________________ 32 2.1.1 Bamnia village ________________________________________________________________ 33 2.1.2 Tunta village and the landless fight _______________________________________________ 36 2.1.3 Towards North: Chelyama, SagarKa and ChaKra Village ________________________________ 38 2.1.4 Festivals, Celebrations and FolK Dances ____________________________________________ 41 2.2 Field Project Networking Actors in Purulia ______________________________________________ 45 2.2.1 The Ladder of Local Social Structures ______________________________________________ 47 2.2.2 Chhau Dance by Caste and Tribe _________________________________________________ 48 2.2.3 Balancing Distance: Outsiders, Insiders and Social Distance ____________________________ 51 2.2.4 Powerful Discourses, Social Distance and Points of Controversies________________________ 53 2.3 Conclusion ______________________________________________________________________ 55 Chapter 3 ______________________________________________________________ 57 3. Researching Intangible Heritage Practice: From Safeguarding to Development Networks ______________________________________________________________ 57 3.1 The Global Intangible Cultural Heritage Debate _________________________________________ 58 LacK of conversation in academic research ______________________________________________ 58 3.1.1 The Debate on Definition: Realist versus Constructed Heritage __________________________ 59 3.1.1.1 The Objectivist (or Realist) Paradigm ___________________________________________ 60 3.1.1.2 The Constructionist (or Social) Paradigm ________________________________________ 60 3.1.2 Intangible Heritage Recognition and Safeguarding ___________________________________ 62 3.1.2.1 Lists and Heritagisation of Intangible Heritage ___________________________________ 63 3.1.2.2 Museum Studies and Intangible Heritage Safeguarding ____________________________ 64 3.1.3 What Does Safeguarding Intangible Heritage Entail? __________________________________ 66 3.1.4 The Issue of Defining the Intangible Heritage Community’ _____________________________ 68 3.2 From Intangible Heritage Safeguarding to Development Actions ____________________________ 70 3.2.1 The Cultural Turn of Development ________________________________________________ 70 2 3.2.1.1 Investigating Culture in the Development Context ________________________________ 72 3.2.1.2 From Traditional Culture as Opposing Development, to Heritage as Driver of Development 73 3.2.2 Tourism and Development ______________________________________________________ 74 3.2.2.1 Does Intangible Heritage Tourism Exist as a Field of Inquiry? ________________________ 75 3.2.3 Intangible Heritage and the Cultural Commodification Debate __________________________ 76 3.2.4 LacK of research on Culture-Based Alternative Livelihood Strategies _____________________ 78 3.2.4.1 Sustainable Livelihood FrameworK and Development Project Investigation ____________ 81 3.3 Conclusion ______________________________________________________________________ 82 Chapter 4 ______________________________________________________________ 85 4. Research Methodology and Methods _____________________________________ 85 4.1 Research Path ___________________________________________________________________ 86 4.1.1 Me as a Researcher, Ethnographer and Project Partner _______________________________ 87 4.1.2 From WorKing Field Mission to Research FieldworK ___________________________________ 88 4.1.3 The Subject Positioning and the Questions _________________________________________ 90 4.2 Justification of Methodology Adopted _________________________________________________ 91 4.3 Playing the Role of the Ethnographer _________________________________________________ 93 4.4 The Analytical Framework of ANT Applied to Intangible Heritage Study ______________________ 94 4.5 Research Methods and Data ________________________________________________________ 97 4.6 Selection of Informants ____________________________________________________________ 99 4.7 Informal Conversation and Direct Observation _________________________________________ 100 4.8 Textual Analysis and Non-Human Agencies ____________________________________________ 102 4.9 Data Analysis and Interpretation: The Meaning Behind the Action __________________________ 102 4.9.1 Positionality and Reflexivity ____________________________________________________ 103 4.10 Limitations of This Study _________________________________________________________ 104 4.11 Conclusion ____________________________________________________________________ 106 Chapter 5 _____________________________________________________________ 108 5. Drawing an Actor-Network Reconstruction of Intangible Heritage Based Development __________________________________________________________ 108 5.1 International Development Actions as Arena for Intangible Heritage ________________________ 109 5.1.1 Applying ANT to the Ontology of Development targeting Intangible Heritage _____________ 110 5.2 Project Phases and Modes of Ordering of Intangible Heritage _____________________________ 113 5.2.1 Opening the BlacK-box of Culture as Livelihood _____________________________________ 114 5.2.2 The Obligatory Passage Point and the Alignment of other Actors _______________________ 116 5.3 Conclusion _____________________________________________________________________ 118 Chapter 6 _____________________________________________________________ 121 6. Locating the Community of Intangible Heritage in the Development Action ___ 121 6.1 Where is the Community of the Intangible Heritage of Purulia chhau? ______________________ 122 6.2 The Issues of Defining the Intangible Heritage Community ________________________________ 124 6.2.1 Who MaKes the Intangible Heritage Community? ___________________________________ 125 6.3 Identifying the Actors of the AL Project Actor-Network ___________________________________ 126 6.3.1 The Social Enterprise (SE) and the Project Manager __________________________________ 128 6.3.2 The Dance and the Dancers as Beneficiaries of the Development Project _________________ 132 6.3.2.1 Features of the Dance _____________________________________________________ 132 6.3.2.2 The Dancers _____________________________________________________________ 133 6.3.3 The Research Team: Partners, Builders and Sharers of Knowledge ______________________ 135 6.3.4 The Project Associate: UNESCO, the Nomination File and the Inscription _________________ 137 6.3.4.1 Implementing a Vision: Intangible Heritage for Sustainable Development _____________ 140 6.4 Conclusion _____________________________________________________________________ 141 3 Chapter 7 _____________________________________________________________ 144 7. Intangible Heritage Livelihood Assets: Shaping the Lives and Livelihoods of Rural Artists _______________________________________________________________ 144 7.1 Rural Livelihoods Investigation and Intangible Heritage __________________________________ 146 7.2 Reconstructing the Rural Livelihood Patterns of Purulia __________________________________ 148 7.2.1 A lifetime as a Dancer: Sacredness and Symbolism of Doing Purulia Chhau _______________ 151 7.2.2 Purulia Chhau as a Societal Resource _____________________________________________ 156 7.2.3 Purulia Chhau Dance and the Household Economy __________________________________ 158 7.3 Intangible Heritage as a Sustainable Rural Livelihood ____________________________________ 161 7.4 Developing
Load more

Recommended publications
  • Dr.Shyamal Kanti Mallick Designation
    Dr.Shyamal Kanti Mallick M.Sc,B.Ed., Ph.D.,FTE Designation: Associate Professor Department: Botany Ramananda College, Bishnupur Bankura, West Bengal, India E-mail:[email protected] AREAS OF INTEREST/SPECIALISATION • Ecology and Taxonomy of Angiosperms • Ethnobotany • Plant diversity ACADEMIC ACHIEVEMENTS • B.Sc. (Hons.in Botany) degree from Vidyasagar University • M. Sc.( Botany) degree from Vidyasagar University • Ph,D. ( Botany) degree from Vidyasagar University RESEARCH EXPERIENCE From To Name and Address of Funding Position held Agency / Organization 1997 2002 Vidyasagar University Scholar 2008 2020 Burdwan University & Project Supervisor at Bankura University PG level 2017 Till date Bankura University Ph.D. Supervisor ACADEMIC EXPERIENCE • Teaching experience at H.S. School level from 10.12.91 to 21.03.2005 • Teaching experience at UG level from 22.03.2005 to till date • Teaching experience at PG level from 2008 to till date • PG level Supervisor from 2008 to till date • Ph. D. Level Supervisor from 28.11.17 to till date ADMINISTRATIVE EXPERIENCE • PGBS Member of Burdwan University • UGBS & PGBS Member of Bankura University • Departmental Head of Ramananda College from 01.07.2012 to30.06.2014 • Syllabus Committee ( P.G.) of Midnapore College ( Autonomous) • Member of Ph.D. committee of Bankura University. PUBLICATIONS (List of Journals/Proceedings/Chapter in Books) 1. Mukherjee,S. and Mallick, S.K.(2020 ). An Ethnobotanica study of Ajodhya Forest Range of Purulia District, West Bengal. “Asian Resonance ” 9(4): 104-107. 2. Mallick, S.K.(2020 ). An Ethnobotanical stydy on Tajpur Village of Bankura District “Asian Resonance ” 9(3): 1-6. 3. Mallick, S.K.(2017 ).
    [Show full text]
  • Monitoring Vegetation Change Detection of Mayurbhanj District, Odisha by Using Geoinformatics
    Int. J. Adv. Res. Biol. Sci. (2016). 3(10): 151-170 International Journal of Advanced Research in Biological Sciences ISSN: 2348-8069 www.ijarbs.com DOI: 10.22192/ijarbs Coden: IJARQG(USA) Volume 3, Issue 10 - 2016 Research Article DOI: http://dx.doi.org/10.22192/ijarbs.2016.03.10.022 Monitoring vegetation change detection of Mayurbhanj district, Odisha by using Geoinformatics R. Dash1, M. K. Swain1, M. Routray2, B.K.Samal2, D. Nandi1, I.Mohanta1, S.S.Patra3 and S. Rout3 1Department of Remote Sensing & GIS, North Orissa University, Takatpur, Baripada, Mayurbhanj, Odisha- 757003 2National Informatics Center (NIC), Bhubaneswar, Odisha-751001 3School of Forestry & Environment, Sam Higginbottom Institute of Agriculture Technology & Sciences, Allahabad, Uttar Pradesh-211007 *Corresponding author: [email protected] Abstract The study was conducted to detect vegetation changes using Gioinformatics in Mayurbhanj district, Odisha. It was conducted using Landsat 5 TM, and Landsat 7 ETM, images. For the vegetation change ERDAS Imagine 9.2 was used. for raw images and Arc GIS 10.1 for creating new feature for mapping was used. The result showed that during the year 2009-2014, there was an increase in vegetation cover in dense forest (13%). Over all, there was an increase in the dense forest vegetation cover of Mayurbhanj district of Odisha. Key words: Dense forest, Geoinformatics, Monitoring, Vegetation. Introduction Vegetation coverage change is a very important Forest and land cover change detection are one of the indication of the ecological environment change. major applications of satellite-based remote sensing. Vegetation change, which can be readily detected and Satellite images from different dates for a particular mapped by satellite remote sensing data (Xiao et al., geographic area are analyzed for changes in spectral 2004).
    [Show full text]
  • 78 Mites on Some Medicinal Plants Occurring in Purulia and Bankura Districts of South Bengal with Two New Reports from India
    Vol. 21 (3), September, 2019 BIONOTES MITES ON SOME MEDICINAL PLANTS OCCURRING IN PURULIA AND BANKURA DISTRICTS OF SOUTH BENGAL WITH TWO NEW REPORTS FROM INDIA ALONG WITH KEYS TO DIFFERENT TAXONOMIC CATEGORIES AFSANA MONDAL1 & S.K. GUPTA2 Medicinal Plants Research and Extension Centre, Ramakrishna Mission Ashrama, Narendrapur, Kolkata – 700103 [email protected] Reviewer: Peter Smetacek Introduction The two districts, viz. Purulia and Bankura, reported, of those, 11 being phytophagous, 17 come under South Bengal and both are being predatory and 2 being fungal feeders. It considered as drought prone areas. Purulia is has also included 2 species, viz. Amblyseius located between 22.60° and 23.50° North sakalava Blommers and Orthotydeus latitude, 85.75° and 76.65° East longitude. caudatus (Duges), the records of which were Bankura district is located in 22.38° and earlier unknown from India. These apart, 23.38° North latitude and between 86.36° and Raoeilla pandanae Mohanasundaram has also 87.46° East longitude. The collection spots in been reported for the first time from West Purulia district were Bundwan, Baghmundi, Bengal. All the measurements given in the text Jalda-I, Santuri and those in Bankura district are in microns. A key to all taxonomic were Chhatna, Bishnupur, Simlapal. The total categories has also been provided. land areas of these two districts are 6259 and Materials and Methods 6882 sq. km., respectively. The climatic The mites including both phytophagous and conditions of the two districts are tropical to predatory groups were collected during July, sub-tropical. Although both the districts are 2018 to April, 2019 from medicinal plants very dry areas but they are good habitats for encountered in Purulia and Bankura districts many medicinal plants.
    [Show full text]
  • Chapter--- 2 Chapter-2
    CHAPTER--- 2 CHAPTER-2 THE LAND AND THE PEOPLE THE REGION The District of Maida was a part of Jalpaiguri Division in the state of West Bengal. It is located in the northern sector of the state of West Bengal. The District is formed by northern sector of the river Ganges and included in the delta formed by river Ganges and Mahananda, the two most vital rivers of the district. It occupies a strategic position in the administrative map of West Bengal for its location and communication facilities. It appears that in the District of Maida, there is a small town named "Old Maida" and it is commonly followed that the district has been derived from this town. The word "Old Maida" comes from the Arabic word 'Mal' which means 'capital' or 'wealth.' So Maida in Arabic indicates a place where financial transactions were performed and where wealth is concentrated in the hands of a large number of persons. Maida has a very rich past of its own. The history of the district is interlinked with different periods of history. In 1813, Maida was created as a new District in Bengal , outlying portion of Purnea and Dinajpur district by the British authority. But it formally became an independent administrative unit only in 1859. In that year Maida District was formed with PS Sahibganj, Kaliachak, Bholahat and Gurguriabag of the district ofPumea in Bihar, Maida and Bamongola from the District ofDinajpur, and Rohanpur and Chhupi from Rajshahi District of the present Bangladesh. Afterward some more police stations were created out of those police station areas.
    [Show full text]
  • Rural Craft Hubsof West Bengal
    Rural Chau Mask Craft Charida Hub Purulia Chau Mukhosh Shilpi Sangha Supported by the Department of MSME&T, Government of West Bengal and West Bengal Khadi & Village Industries Board Rural Craft HubsOf West Bengal Handicrafts of Bengal embody our rich heritage of aesthetics, cr ea tivity and artistry. The craft sector provides low cost, green livelihood opportunities to more than 5.5 lakh men and women. Jalpaiguri Alipurduar The sector represents economic lifeline of the vulnerable sections of the society, with women accounting for around 50% of the crafts persons and a significant number belonging to the scheduled castes, tribes and religious minorities. In today's globalised world, the growing retail industry, fashion and luxury markets, demand for green production, potential for e-commerce have created new opportunities for developing a vibrant craft economy thereby providing increased income opportunities to the craft communities like the Patuas, potters, weavers, wood carvers, Dokra makers etc. Besides its high potential for employment, the craft sector is economically important from the point of low capital investment, high ratio of value addition, and high potential for export and foreign exchange earnings for the country. The Government of West Bengal thus aims to unleash the potential of the sector in terms of employment, enterprises, export and growth. The Department of MSME&T, Government of West Bengal in collaboration with UNESCO, New Delhi is developing 10 rural craft hubs in the state. The vision is to develop the villages with families traditionally skilled in craft traditions like Sitalpati, Madurkathi, Terracotta, Patachitra, Dokra, Wooden and Chau masks, Wooden and Clay doll making and Kantha as vibrant craft hubs connected to national and international market.
    [Show full text]
  • Programme Report for August 2020
    IB-201, Sector – III, Salt Lake, Kolkata - 700106 Report of Activities for the month of August 2020 As the Covid – 19 Pandemic restrictions continued, most programmes in August were held on- line. EZCC was able to reach out to 2478 folk, tribal and upcoming classical artistes during the month. On-line Bihar Folk Festival – 02.08.2020 to 09.08.2020 Folk Dances and Music of Bihar was presented in the 7-day on-line Folk Festival. On-line Sherpa Dance and Music Festival – 04.08.2020 An on-line Sherpa Dance and Music Festival was brought to the viewers of EZCC from Namchi, Sikkim. Puppet Theatre – 09.08.2020 Two Puppet Theatres, one by Dolls Theatre, Kolkata and the other by Tripura Puppet Theatre, Agartala, were presented on-line. Both the shows had a large viewership. On-line Folk Song Workshop – 05-08.2020 to 16.08.2020 An on-line Folk Song Workshop on the folk song genres of undivided Bengal was held from 05.08.2020 to 16.08.2020. Conducted by celebrated folk singer Amit Saha, the on-line workshop had 20 participants. On-line Dance and Music Festival – 10.08.2020 On-line Dance and Music Festival (Phase I) was held on 10.08.2020. Folk and classical dance and music forms of all the member states was presented at this festival. Lok Sanskriti Utsav (Jharkhand) – 10.08.2020 Folk art forms of Jharkhand were presented at the Lok Sanskriti Utsav (Jharkhand) on 10.08.2020. Lok Sanskriti Utsav (Assam) – 11.08.2020 to 17.08.2020 Folk and tribal dances and music of Assam were presented in the Phase III and IV of the Lok Sanskriti Utsav (Assam).
    [Show full text]
  • The Seraikella Chhau Dance
    The Seraikella Chhau Dance Text and Photographs by Mohan Khokar If the one-time princely state of Seraikella is known to the outside world, it is mainly because of the Chhau dance. For centuries the people here-rulers and commonersalike-havecherished and preservedthisextraordinarily stylised and aesthetically rich form of art. Dance traditions bearing the same name, Chhau, also obtain in nearby Mayurbhanj. in Orissa, and Purulia, in West Bengal, and certain parallel characteristics suggest a common origin for the three. Broadly, however, the Chhau of Seraikella can be said to be poetic and evocative, that of Mayurbhanj earthy and vibrant, and of Purulia robust and virile. Hara-Parvatt. 25 Seraikella lies in the heart of the Singhbhum district, formerly of Orissa and now of Bihar. Girdled as it is by the rolling Saranda and Bangriposi hills, it has for centuries maintained its own peculiar religious and cultural traditions, immune to influence from without. And these traditions find their fullest flower­ ing once every year, at the time of Chaitra Parva, the Spring Festival . Preceded by elaborate ceremonies and rituals, the Chhau is performed for four or five nights and witnessed by thousands from the city and around. The technique of the Chhau dance stems from the parikhanda system of exercise, an important part of the training of the sipahis, or warriors, of Seraikella. Pari means shield and khanda sword, and in the parikhanda the performers all hold swords and shields in their hands when doing the exercises. The parikhanda is generally performed in the early hours of the morning and, traditionally, only at one place-a stretch of raised land on the bank of the Kharkai river, known as Bhairavsal.
    [Show full text]
  • Study of Dental Fluorosis in Subjects Related to a Phosphatic Fertilizer
    Indian Journal of Traditional Knowledge Vol. 7(1), January 2008, pp. 130-133 Masks from the archives of the Indira Gandhi National Centre for the Arts Kakoli Roy Biswas Janapada Sampada DivisionIndira Gandhi National Centre for the Arts, New Delhi 110 001 E-mail: [email protected] Received 10 August 2007; Revised 30 October 2007 Mask, used since antiquity for both ceremonial and practical purposes, are normally worn on the face, typically for protection, concealment, performance, or amusement. Masks are believed to embody the spirit of an ancestor, and symbolize a message of wisdom, prosperity, security, and power. Masks have been worn in cultures throughout the world for thousands of years. Masks are made of varied materials including paper, cloth, grass, leather, metal, wood and stone. They are painted with symbolic designs and vivid colours. Masks and their manifold forms are a very significant mode of cultural expression. The Indira Gandhi National Centre for the Arts (IGNCA) has a rich collection of masks from all over the world. The paper describes historical background, material used, traditional methods of preparation and cultural significance of masks from the repository of the GNCA. The article also highlights the musicological, psychological and philosophical significance of these masks and focused description of the Chhau masks of West Bengal and Saraikela. Keywords: Masks IPC Int. Cl.8: B27, G10D Mask is an object, which helps a man to hide his own person. Traditional carvers or mask makers undergo identity and project various moods and required many years of specialized apprenticeship until images to act accordingly. The mask was invented by achieving mastery of the art.
    [Show full text]
  • Final Report
    FINAL REPORT EXTENT OF DECENTRALIZATION OF LOCAL PLANNING AND FINANCES IN WEST BENGAL To PLANNING COMMISSION SER DIVISION Government of India NEW DELHI BY Gramin Vikas Sewa Sanstha, Purba Udayrajpur, Tutepara- 24 Pg (N) West Bengal -700 129 ACKNOWLEDGEMENT At the out set we appreciate the thoughtfulness and the concern of the Adviser SER division Planning Commission Govt. of India, New Delhi for appreciating the proposed research project “EXTENT OF DECENTRALIZATION OF LOCAL PLANNING AND FINANCES IN WEST BENGAL” The cooperation and assistance provided by various functionaries like State Panchayat and Rural Development, District Zila Parishad, District magistrate office and member of Panchayat office are gratefully acknowledged. We are also grateful to the leaders and functionaries of NGOs, CBOs and Civil Society organisations working in the target districts. We are indebted to the Adviser SER, Planning Commission and the Deputy Adviser State planning for the guidance, we are thankful to Mr. S. Mukherjee Deputy Secretary SER Planning Commission. Mr. B S. Rather Senior Research Officer, and Satish Sharma Assistant. Dr. M.N. Chakraborty and Dr. Manoj Roy Choudhary helped us in the compilation and analysis of data and report preparation. I gratefully acknowledge their assistance. I extend my heartfelt thanks to the Team Leaders and their teammates, who conducted the study sincerely. Last but not the least, the cooperation and assistance of the respondents in providing required information is gratefully acknowledged. (Subrata Kumar Kundu) Study
    [Show full text]
  • Dr. Mahuya Hom Choudhury Scientist-C
    Dr. Mahuya Hom Choudhury Scientist-C Patent Information Centre-Kolkata . The first State level facility in India to provide Patent related service was set up in Kolkata in collaboration with PFC-TIFAC, DST-GoI . Inaugurated in September 1997 . PIC-Kolkata stepped in the 4th plan period during 2012-13. “Patent system added the fuel to the fire of genius”-Abrham Lincoln Our Objective Nurture Invention Grass Root Innovation Patent Search Services A geographical indication is a sign used on goods that have a specific geographical origin and possess qualities or a reputation that are due to that place of origin. Three G.I Certificate received G.I-111, Lakshmanbhog G.I-112, Khirsapati (Himsagar) G.I 113 ( Fazli) G.I Textile project at a glance Patent Information Centre Winding Weaving G.I Certificate received Glimpses of Santipore Saree Baluchari and Dhanekhali Registered in G.I registrar Registered G.I Certificates Baluchari G.I -173-Baluchari Dhanekhali G.I -173-Dhaniakhali Facilitate Filing of Joynagar Moa (G.I-381) Filed 5 G.I . Bardhaman Mihidana . Bardhaman Sitabhog . Banglar Rasogolla . Gobindabhog Rice . Tulaipanji Rice Badshah Bhog Nadia District South 24 Parganas Dudheswar District South 24 Chamormoni ParganasDistrict South 24 Kanakchur ParganasDistrict Radhunipagol Hooghly District Kalma Hooghly District Kerela Sundari Purulia District Kalonunia Jalpaiguri District FOOD PRODUCTS Food Rasogolla All over West Bengal Sarpuria ( Krishnanagar, Nadia Sweet) District. Sarbhaja Krishnanagar, Nadia (Sweet) District Nalen gur All over West Bengal Sandesh Bardhaman Mihidana Bardhaman &Sitabhog 1 Handicraft Krishnanagar, Nadia Clay doll Dist. Panchmura, Bishnupur, Terrakota Bankura Dist. Chorida, Baghmundi 2 Chhow Musk Purulia Dist.
    [Show full text]
  • IJRESS Volume 6, Issue 2
    International Journal of Research in Economics and Social Sciences (IJRESS) Available online at: http://euroasiapub.org Vol. 7 Issue 7, July- 2017 ISSN(o): 2249-7382 | Impact Factor: 6.939 | Thomson Reuters Researcher ID: L-5236-2015 Dissemination of social messages by Folk Media – A case study through folk drama Bolan of West Bengal Mr. Sudipta Paul Research Scholar, Department of Mass Communication & Videography, Rabindra Bharati University Abstract: In the vicinity of folk-culture, folk drama is of great significance because it reflects the society by maintaining a non-judgemental stance. It has a strong impact among the audience as the appeal of Bengali folk-drama is undeniable. ‘Bolan’ is a traditional folk drama of Bengal which is mainly celebrated in the month of ‘Chaitra’ (march-april). Geographically, it is prevalent in the mid- northern rural and semi-urban regions of Bengal (Rar Banga area) – mainly in Murshidabad district and some parts of Nadia, Birbhum and Bardwan districts. Although it follows the theatrical procedures, yet it is different from the same because it has no female artists. The male actors impersonate as females and play the part. Like other folk drama ‘Bolan’ is in direct contact with the audience and is often interacted and modified by them. Primarily it narrates mythological themes but now-a-days it narrates contemporary socio-politico-economical and natural issues. As it is performed different contemporary issues of immense interest audiences is deeply integrated with it and try to assimilate the messages of social importance from it. And in this way Mass (traditional) media plays an important role in shaping public opinion and forming a platform of exchange between the administration and the people they serve.
    [Show full text]
  • Current Affairs 40  40 MCQ of Computer 52
    MONTHLY ISSUE - MAY - 2015 CurrVanik’s ent Affairs Banking | Railway | Insurance | SSC | UPSC | OPSC | PSU A Complete Magazine for all Competitive ExaNEmsW SECTIONS BLUE ECONOMY Vanik’s Page Events of the month 200 Updated MCQs 100 One Liners 40 MCQs on Computers 100 GK for SSC & Railway Leading Institute for Banking, Railway & SSC New P u b l i c a t i o n s Vanik’s Knowledge Garden VANIK'S PAGE Cultural Dances In India Andhra Pradesh Ÿ Ghumra Ÿ Kuchipudi Ÿ Karma Naach Ÿ Kolattam Ÿ Keisabadi Arunachal Pradesh Puducherry Ÿ Bardo Chham Ÿ Garadi Assam Punjab Ÿ Bihu dance Ÿ Bhangra Ÿ Jumur Nach Ÿ Giddha Ÿ Bagurumba Ÿ Malwai Giddha Ÿ Ali Ai Ligang Ÿ Jhumar Chhattisgarh Ÿ Karthi Ÿ Panthi Ÿ Kikkli Ÿ Raut Nacha Ÿ Sammi Ÿ Gaur Maria Dance Ÿ Dandass Gujarat Ÿ Ludi Ÿ Garba Ÿ Jindua Ÿ Padhar Rajasthan Ÿ Raas Ÿ Ghoomar Ÿ Tippani Dance Ÿ Kalbelia Himachal Pradesh Ÿ Bhavai Ÿ Kinnauri Nati Ÿ Tera tali Ÿ Namgen Ÿ Chirami Karnataka Ÿ Gair Ÿ Yakshagana Sikkim Ÿ Bayalata Ÿ Singhi Chham Ÿ Dollu Kunitha Tamil Nadu Ÿ Veeragaase dance Ÿ Bharatanatya Kashmir Ÿ Kamandi or Kaman Pandigai Ÿ Dumhal Ÿ Devarattam Lakshadweep Ÿ Kummi Ÿ Lava Ÿ Kolattam Madhya Pradesh Ÿ Karagattam or Karagam Ÿ Tertal Ÿ Mayil Attam or Peacock dance Ÿ Charkula Ÿ Paampu attam or Snake Dance Ÿ Jawara Ÿ Oyilattam Ÿ Matki Dance Ÿ Puliyattam Ÿ Phulpati Dance Ÿ Poikal Kudirai Attam Ÿ Grida Dance Ÿ Bommalattam Ÿ Maanch Ÿ Theru Koothu Maharashtra Tripura Ÿ Pavri Nach Ÿ Hojagiri Ÿ Lavani West Bengal Manipur Ÿ Gambhira Ÿ Thang Ta Ÿ Kalikapatadi Ÿ Dhol cholom Ÿ Nacnī Mizoram Ÿ Alkap Ÿ Cheraw Dance Ÿ Domni Nagaland Others Ÿ Chang Lo or Sua Lua Ÿ Ghoomar (Rajasthan, Haryana) Odisha Ÿ Koli (Maharashtra and Goa) Ÿ Ghumura Dance Ÿ Padayani (Kerala) Ÿ Ruk Mar Nacha (& Chhau dance) North India Ÿ Goti Pua Ÿ Kathak Ÿ Nacnī Ÿ Odissi Ÿ Danda Nacha Ÿ Baagh Naach or Tiger Dance Ÿ Dalkhai Ÿ Dhap MAGAZINE FOR THE MONTH OF MAY - 2015 VANIK’S MAGAZINE FOR THE MONTH OF MAY - 2015 B – 61 A & B, Saheed Nagar & Plot-1441, Opp.
    [Show full text]