- UNESCO · PDF fileadministration more pertinent to the Indian ethos; to elucidate the formative and dynamic factors in the complex web of interactions between diverse social strata,

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AIMS

to serve as a major resource centre for the arts, especially written, oral and visual source materials;

to undertake research and publication programmes of reference works, glossaries, dictionaries and encyclopaediaconcerning the arts and the humanities;

to establish a tribal and folk arts division with a core collection for conducting systematic scientific studies and for live presentations.

to provide a forum for a creative and critical dialogue through performances, exhibitions, multi-media projections, conferences, seminars and workshops between and amongst the diverse arts, traditional and cotemporary;

AIMS

to foster dialogue between arts and current ideas in philosophy, science and technology, with a view toward bridging the gap in intellectual understanding between modern sciences and arts and culture;

to evolve models of research programmes and arts administration more pertinent to the Indian ethos;

to elucidate the formative and dynamic factors in the complex web of interactions between diverse social strata, communities and regions;

to promote an network with national and international institutions; and

to conduct related research in the arts, humanities and culture.

VILLAGE INDIA:

Identification and Identification and EnhancementEnhancement

of of

IndiaIndia’’s Cultural Heritage:s Cultural Heritage:

An Internal Necessity in the An Internal Necessity in the

Management of DevelopmentManagement of Development

VILLAGES STUDIED

Village India: Quintessential Features of Intangible Cultural HeVillage India: Quintessential Features of Intangible Cultural Heritageritage

ABOUT THE PROJECT

The Project Village India: Identification and Enhancement of Cultural Heritage, was launched in 1999 as part of the UNESCO Chair’s activities. The approach of this work is somewhat new. Here the village was taken as an entry point for understanding India’s cultural heritage. It differs from other studies insofar it treats the village as an individual identity,cosmos, a world heritage, and thus related to “boundless existence.” The villages were studied under different characteristic category of the villages:

Artist Village

Shrine Village

Epic Village

ABOUT THE PROJECT..

The studies presented were based on an emperical study of 87 villages from all the States and some Union Territories of India. While selecting a village, the following procedures were adopted: average size, about 1,000-3,000 people; sufficiently distant from the mega cities; significant ecological, social andreligious variations; and uniqueness in terms of ethnic, occupational and cultural characteristics. We set as our goal the study of India’s cultural heritage, the pole around which the true life of the village people revolves. The working methods were clearly of a socio-cultural nature. The justification for the use of traditional thought made in this study of philosophia perennisresides in the power of its truth to summon the human heart and mind.:

ABOUT THE PROJECT…

The three major objectives of this study were to explore the frontiers of the sacred science of man; to develop a new theory and research tools; and to improve a proper understanding of thevillage. Its output may be used as input for applied research. As a portrait of standard noble culture it may also be used as source book of Indian civilization.

VILLAGE INDIA:

Quintessential FeaturesQuintessential Features

OfOf

Intangible Intangible

Cultural HeritageCultural Heritage

OUTLINE

Defining Intangible

Overview

Habitation

Subsistence

Dress & Ornaments

Traditional Knowledge System (Describing various art forms)

Safeguarding the Intangible Cultural Heritage

DEFINING INTANGIBLEThe Intangible Cultural Heritage is defined as the practices,

representations, expressions, as well as the knowledge and skills, that communities, groups and, in some cases, individuals recognize as a part of their cultural heritage.

It is sometimes called living cultural heritage. Fables, ballads, rural adages, music, dances, dramas, shadow plays, puppetry, folk history, paper-cut, paintings, sculptures, embroidery, printings and dyeing, as well as rituals and festive events are all included in the scope of intangible cultural heritage .

It is also defined in association to tangible heritage as it adds value and meaning to it .

Intangible is also described as a form of heritage that pertains to ideas, practices, beliefs by a group of community over a long stretch of time, etc.,


SETTLEMENT PATTERN



SETTLEMENT PATTERN

SETTLEMENT PATTERN



SETTLEMENT PATTERN

SUBSISTENCE


From food created things are born.By food, when born, do they grow up.It both is eaten and eats things.Because of that it is called food.Food does, indeed, prevent decay,Food is allaying ‘tis declared.Food is the life of animals,Is foremost, healing, ‘tis declared.

- Maitri Upanishad

Food is the source of this whole world, that is, both life and death. By food one lives, and life is the food of death. Thus, food is the ultimate reality (Brahman). Food is the lord of creation (Prajapati). The Goddess of food (anna) is named Annapurna, the one who gives food.

CROPPING PATTERN



DRESS & ORNAMENTS


DRESS & ORNAMENTS

TRADITIONAL TECHNOLOGY


Boat Making

SUBSISTENCE:Traditional Technology


Fishing Net

SMITHY


Creative Art

NARRATIVE


PERFORMING ART 1



Kathak

PERFORMING ART 2


PERFORMING ART 3


PERFORMING ART 4

VERSE 1


Who verily knows and who can here declare it, whence it was born and whence comes this creative?

The Gods are later than this world’s production. Who knows then whence it first came into being?

He, the first origin of this creation, whether he formed it all or did not form it,

Whose eye controls this world in highest heaven, he verily knows it, or perhaps he knows not.

Rigveda


POTTERY


POTTERY..


POTTERY…

VERSE 2


The sacrifice drawn out with threads on every side, stretched by a hundred sacred ministers and one,-

This do these Fathers weave who hitherwards are come : they sit beside the warp and cry, Weave forth, weave back.

Rigveda


WEAVING


WEAVING..


WEAVING…

CAVE PAINTING: Raisen


WALL PAINTING


WALL PAINTING..


WALL PAINTING…


WALL PAINTING….


PAINTING


PAINTING


OUTLINE


PRESENTED BY

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Documents

- UNESCO · PDF fileadministration more pertinent to the Indian ethos; to elucidate the formative and dynamic factors in the complex web of interactions between diverse social strata,