Date de création: 1996
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship
- other
- Indigenous museums

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Inde

Objectifs:
As per the 2001 census, the population of indigenous (tribal) communities in India is 84.3 million in India, i.e. 8.2% of the total population. There is, besides, a six crore population comprising communities designated as ‘denotified and nomadic’ tribes. These communities speak a variety of languages. However, of the numerous languages in India only twenty-two languages are recognized by the 8th Schedule of the Indian Constitution. There are nearly ninety-six other languages having at least 10,000 speakers, and nearly 360 languages with less than 10,000 speakers, that are not officially recognized.
Most of the languages spoken by the indigenous communities are not included in the Indian Constitution. Since many of these languages do not have a script and follow an oral tradition, they do not have a documented or ‘written’ literary tradition and are not taught in educational institutions or employed for administrative work. Due to lack of patronage, these languages are under threat of extinction. With the gradual disappearance of their languages, oral culture, traditional knowledge systems and cultural practices, the very social fabric and cultural identity of indigenous communities is under threat. There is no single University, Research Institute or Museum in India that covers all the languages, literature and the arts of indigenous communities in the country. There are in some states Tribal Research and Training Institutes but their area of operation is confined to their respective state boundaries. Therefore, the studies conducted in these Institutes remain inadequate in their scope.
Bhasha Research and Publication Centre was established in 1996 with the aim to provide ‘voice’ to the indigenous communities of India. The activities of the organization are directed towards the following objectives:
1. To undertake documentation of linguistic, literary and artistic heritage of adivasi communities in India and to publish documented materials.
2. To collaborate with national academies of art and literature and research institutes engaged in the art of adivasi related imaginative activity for the purpose of undertaking or encouraging research in adivasi art and literature.
3. To establish a national level Adivasi Training Academy for the promotion of adivasi languages, literature, arts and culture with a view to initiating formal education in the area of conservation of adivasi imagination.
4. To undertake activities related to social and economic development of adivasi communities
5. To stimulate and create awareness among citizens for the preservation of adivasi languages, art and imaginative life of adivasi communities.
Activités:
Bhasha was established by a group of people engaged in the conservation of intangible cultural heritage. These included internationally recognized artist, the late Bupen Khakhar, eminent writer, social activist and Padma Vibhusshan recipient Mahesweta Devi and former Professor of English, renowned literary critic, activist and Linguapax Award recipient Dr. Ganesh Devy.
Many of Bhasha’s networks and 86% of Bhasha’s staff members are themselves from Indigenous communities and are themselves transmitters of intangible cultural heritage so they are incredibly qualified to act in the field. The Adivasi Academy is an educational institution which draws scholars India and abroad to exchange ideas and knowledge with indigenous communities.
Bhasha has established a publication house that documents and publishes books on indigenous languages, society and culture. In 1997, Bhasha launched the Dhol magazine for documentation of oral traditions in indigenous languages. Dhol eventually became a platform for expression of indigenous imagination and came to be published in ten major indigenous languages spoken in western India, none of which had ever been documented before: Rathwi, Dungri Bhili, Panchmahali Bhili, Chaudhari, Garasia, Bhantu, Kukna, Dehwali, Pawri and Ahirani. Due to the impact of the magazine, the number analysis of Census 2001 data on these languages reveals that during the past decade speakers of indigenous languages have increased significantly compared to their figure for 1991.
Indigenous language glossaries have been brought out in fourteen indigenous languages. The glossaries are designed as a teaching aid for non-indigenous teachers teaching in indigenous areas as well as for indigenous children who, due to the influence of formal education, are gradually being alienated from their culture and language. The glossaries are used by the government as educational materials in schools.
Bhasha has set up the Adivasi (Tribal) Academy at Tejgadh, a tribal village 90 kms east of Vadodara in Gujarat state, as a national level institute exclusively devoted to conservation of languages and cultural heritage of indigenous communities. The Adivasi Academy is engaged in rescuing the dignity and respecting the cultural heritage of indigenous communities through festivals, organizing cultural performances, theatre, songs, dances, rituals and documenting folklore. The Adivasi Academy has instituted academic courses such as a Post Graduate Diploma in Tribal Culture and Development, Post Graduate Diploma in Tribal Arts and Culture and Post Graduate Diploma in Himalayan Arts and Museology. Bhasha is recognized as a Special Autonomous Centre by Indira Gandhi National Open University.
The Adivasi Academy has established a museum of indigenous communities at Tejgadh. The museum is called ‘vachaa’, meaning voice or expression. Vachaa functions as a forum for expression of creativity and offers intellectual space to indigenous communities documenting and creating dynamical displays of their expressions, both artistic and cultural, in the form of objects, artefacts, performances and digitized multimedia images. The Museum is seen as the 'laboratory' for contemporary ethnic, anthropological and artistic studies carried out from the perspective of indigenous communities themselves.
On invitation of the Government of Himachal Pradesh, Bhasha has designed a Museum for Himalayan communities at Keylong. For the conservation and protection of Himalayan culture and ecology, Bhasha has set up a national institution by the name ‘Himlok’ in Himachal Pradesh.
Bhasha has created a National Consortium of Indigenous Arts and Culture by digitally linking 14 Regional Indigenous Museums in India. The Consortium is the only single and largest database of indigenous art in India comprising a repository of craft, folktales, short films, oral narratives, songs and stories.
During the past decade Bhasha organized over a hundred conferences, seminars and workshops on indigenous languages, literature and culture. In 2008, Bhasha initiated a series of international conferences named Chotro in collaboration with European Association for Commonwealth Literature and Language Studies (EACLALS). This conference is held annually, and as the term “chotro” implies, is intended to “bring together” writers, artists and scholars interested in the languages and literatures, the cultures and histories of the indigenous peoples of the post-colonial world. So far there have been three Chotros drawing participants from over twenty six countries.

Bhasha has instituted annual cultural festivals:
Bhasha holds the Kaleshwari Cultural Festival in Panchmahals every year that is attended by denotified and nomadic communities who showcase their drama, epics, dance, music and other cultural practices.
On 1st May Bhasha holds a national Conference of Tribal Writers at Dandi.
A Cultural Festival of indigenous communities is organized at Saputara in south Gujarat on 15th October.
Bhasha has now undertaken a Peoples Linguistic Survey of India, a nationwide survey on existing languages across India, which seeks to answer the question ‘How many living languages does India have?’ The PLSI will map languages around India with the help of the speech communities themselves and linguists. This work is being carried out through a series of workshops throughout the country which bring together scholars and cultural activists to complete surveys on eight hundred languages.
Bhasha has impacted the government’s policy in relation to the Denotified and Nomadic Communities. Similarly, the Government of India’s ‘Bharat Bhasha Vikas Yojna’, Ministry of Human Resource Development, was drafted by Bhasha. The scheme is intended for promotion of the non-scheduled and threatened languages.
Coopération:
The Bhasha centre has developed a close engagement with communities, groups and intangible cultural heritage practitioners in a number of contexts.
Bhasha has had a close engagement with Tribal language groups over time. A network of indigneous writers and thinkers has been established, who regularly contribute to Bhasha’s magazines and publications. There is a network of community teachers who also contribute to magazines, publications and study material in their indigenous mother tongues. Bhasha’s publication work has created a platform for authors from within indigenous communities to publish their works, and has brought to print many previously unrecorded languages and literatures.
The Peoples Linguistic Survey India has established a national level network of language speakers not included in the 8th schedule. Language speakers, linguists, language activists and scholars are all engaged in the project.
Bhasha initiated the establishment of a Tribal Artist Cooperative which provides an opportunity for artists to practice and promote their craft. The Adivasi Academy has and Artist’s Workshop located on site for artists to create and practice their craft. There are 120 members in the cooperative, it is a registered body and is managed by adivasi graduates from the Adivasi Academy. Tribal musicians have been engaged documenting their musical instruments and recording folksongs and instrumental music. Bhasha organizes performances of adivasis artists both at the Adivasi Academy as well as in other major cultural centers throughout the country. These performances contain dance, drama, puppetry, mask plays, recitations of epics and storytelling.
Vachaa, the museum established by Bhasha is a national level Resource Centre for the conservation and promotion of the culture and craft of marginalized communities in India. The staff and curators of the museum themselves belong to indigenous communities, the museum is seen as a forum for the tribal voice.

Date de création: 2002
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship
- other
- social communication; community education; rural micro enterprise promotion

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization
- other
- promoting culture for employment and growth; using culture for innovating new goods and services

Pays principaux d'activité:

Inde

Date de création: 1999
Domaine(s):

- oral traditions and expressions
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- promotion, enhancement
- revitalization
- Dissemination / Transmission

Pays principaux d'activité:

Bangladesh, Bhoutan, Maldives

Objectifs:
The Craft Revival Trust (CRT), established in 1999 is a registered non-profit organisation
which works with craft and craftspersons. Craft Revival Trust is endeavoring to build an
information and knowledge infrastructure for the craft sector in South and South-East
Asia. In Craft Revival Trust’s experience. the exchange of information and the
subsequent interaction often carries within it the solutions to many of the challenges that
the crafts sector faces. We believe that free and open access to information is the core
that empowers and strengthens individuals and societies and leads to development.
It is our belief that knowledge and access to knowledge forms the core of growth
societies. one of our key goals is to support endangered cultural, historical and artistic
resources that form the fundamentals of those who are increasingly being marginalized
within the established modern framework.
The objectives of the Craft Revival Trust are
• To research and document knowledge and skills of oral craft traditions and craft
communities that have been transmitted from generation to generation
• To safeguard by creating a knowledge bank
• To create a network of crafts and craftspersons
• To promote respect for craft creativity, craft communities and the hand skills.
• To create a rights based platform for advocacy for the craftspersons.
• To create programs that facilitate and generate interest in the crafts by the next
generation
Activités:
enclosed
Coopération:
• Weavers of the famed Benaras brocades are facing enormous threats as their
traditional products are copied and faked and sold thereby deriving traditional
craftspersons of their livelihood and creating immense hardships. A movement,
spearheaded by CRT has been initiated to consider what response might be possible for
the future of craft communities and their values.
• Through our various engagements with persons and organizations we realized
that the concerns in the traditional craft and other disappearing and endangered
traditions extends beyond artisans to all communities involved with traditional livelihoods.
Recognizing this, we have worked with wildlife conservationist Bahar Dutt, winner of the
Green Oscar, in the rehabilitation of the Snake charmers of India whose occupation has
been outlawed by the provisions of the Wildlife (Protection) Act, 1972. It is an attempt to
transfer their existing knowledge and skills to useful and sustainable methods of earning
a living CRT worked on livelihood rehabilitation program with the Jogi Nath Snake
Charmer community. The one year project culminated in a concert with a 100 snake
charmers. The Chief Guest was the Chief Minister of Delhi. Since then the snake
charmers have received many offers to play at musical events and festivals, giving them
a reasonable livelihood. 2006-2007
• We continue with our ongoing, major long term audience engagement program of
dialogue, debate and discussion that explores issues of cultural diversity, identity and
sustainable livelihoods in collaboration with India International Center.
Titled Putting Ideas First This interactive initiative has sought to encourage debate,
exchange of information and an airing of ideas and issues that exercise us. 2005
onwards
Hands On Craft Revival Trust, over the last few years had regular workshops at large
public venues and in schools where we trained young students to respect the hand
crafts. The crafts taught have included Natural Dying; Recycling and making paper from
waste; Tie dying; Sanjhi paper cutting and jewellery making. Since 1999.
• As a member of the Tuesday Collective have interacted with the Planning
Commission and the Prime Ministers Office on issues related to weavers and
craftspersons. Since 2006

Date de création: 1989
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Inde

Objectifs:
Folkland stands for the promotion of folklore with an aim to protect the intangible cultural
heritage falls in the genres such as folksongs, folk theatre, folk dance and other oral
practices along with traditional performances which are in the verge of extinction.lt
seeks to document, conserve and disseminate to the larger audience. Folkland's main
areas are conservation,documentation and transmission of intangible cultural heritage,
research on folklore.lt organises seminars, workshops and festivals to preserve and
promote the traditional art and culture.lt publishes reserch papers, books and
magazines.it btrings together people from India and abroad for artistic engagement. It
also organises dialogues between communities and peoples of different cultural
traditions.Folklad provides forum for artists,scholars in furtherance of the intangible
cultural heritage.Folkland engages in the work that enhances universal values of
multicultrism.Folkland learns inorder to teach the traditional art and cultural practices
and thereby pass on to the coming generation.

Activités:
INSTITUTION PROFILE
Folkland, International Centre for folklore and Culture is an institution registered on
20.12.1989 under the Societies Registration Act of 1860 vide the No 406189.During the
last 16 years it has passed through various stages of growth especially in the field of
performance, production, documentation and research besides the preservation of folkart
and culture.Folkland functions as
(l) An international Centre for folklore and culture
(2) As a Cultural Organization with clearly defined objectives and targets for
research and promotion of folk arts.
Folkland has branched and reached far and wide into almost every nook and corner of
the world. 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
credit of organizing many a festival on folkarts, workshop on folklore, culture, linguistics
etc.Seminars, discussions and symposia are also conducted and thus contributed in the
process of re-kindling the folk lamps, which has shed streaks of light into our past
treasure of knowledge.
Folkland has revitalized the old and extinct art forms like
Chimmanakkali,MangalamKali,Vannankoothu,Kurathiyattam etc with the assistance of
Dept of Culture,Govt of India and Sangeeth Natak Academy, Mew Delhi.Folkland has
veritable collection in the field of folksongs, Folk Art forms,riddles,fables myths etc which
are in the verge of extinction recorder and kept in the archives for scholastic endeavors
and posterity.
Folkland has already conducted workshops on Theyyam Costumes, myths, literature,
tribal arts, Poorakkali, Ethnomusic, folk handicrafts etc.Besides its annual festivals,
Folkland has a credit of hosting 17th Indian Folklore Congress at Trivandrum 23rd to
27th December 1996.
The main activities of Foikland falls under the performance, study and research on
folklore.Folkland has more than 600 Artistes in our roll comprised of Theyyam
,ThidanmpuNirtham, Poorakkali Velakali, Kolkali, Mangalamkali ,Oppana ,Daphu muttu,
Kalaripayattu etc.
Performance
Being the premier organization in the field of performance in the traditional art
forms,Folkland has been invited by several organizations and Departments like Zonal
Cultural Centres of Dept of Culture,Govt oflndia,Dept of Tourism,Sangeetha Nataka
Academy,Tourism Promotion Council and various other organizations
Research
Folkland has initiated several research projects during the last 16 years.Major among
them are Surwey, Documentation and Research on Kerala folklore, Art forms related to
floor-al drawings, fertility cult of Kerala,Different aspects of Theyyam,poorakkali etc.
Museum
Folkland has a museum of Theyyam with major Theyyam forms made in terracotta with
full costumes and ornaments. It has around 100 different facials drawn on the clay pots
and pulp effigies and kept in the museum. Apart from that, it has calendar of events and
a directory of artistes.
Honours
Three of our artistes were awarded for their best performance in the field of folklore by
the Kerala folklore Academy,Govt of Kerala during 2001-2002.
Website
Folkiand has launched a website on Kerala folklore under the domain name
.folkland.org.website was launched by Sri G.Karthikeyan, Hon.Minister for Culture,
Govt of Merala on 18th January 2003.
Award
Folkland has been selected for the State Award for the Best Performing Centre by the
Govt Of Kerala, Dept of Tourism for the year 2001-2002.
Training to the students
Folkland is extending training to 50 students in the field of poorakkali,kolkali,velakali and
Kalampattu.Out of the above students l 1 are getting scholarships from CCRT,Govt Of
India.
Documentation
Documentation of folk music and art forms,rare ritual arts is one of the major objectives
of Folkland. It has more than 3500 hours of folk songs and about 2600 hours of rare art
forms in the audio and video formats. Apart from that 8000 paper clippings and 4300
rare photographs in the archives. Considering the vast work in the field of
documentation,Folkland is made a member of reputed organization, Archive Resource
Community housed at Delhi.
Recognitions and Affiliations
Folkland has been recognized as an eminent Institution by the Dept of Culture,Govt of
India since 1999 and 17 of its artistes and one Guru1 Director have been given salary
by the Dept of Culture.lt has been affiliated to Dept of Handicrafts, Ministry of
Textiles,GOl. Besides that ,Folkland has been affiliated to the Kerala sangeetha Nataka
academy since 1995 and Nehru Yuvak Kendra since 2000.Folkland has become an
Associate Member of ClOFF in the year 2000 and has become the member of ARC in
the year 2000.Folkland has also been recognized by the Department of Anthropology
Norway University for their research pursuits.
Source of Funding
Folkland has been recognized by the Dept of Culture, Govt of lndia and has been
giving salary grants and production grants by the Ministry of Tourism and Culture.
Folkland has also been considered for grants by Govt of Kerala for several projects.
Performance charges and public contributions are our other sources of finance.
Administration
Folkland has governing body consists of a Chairman and Chief Executive Officer as its
head. There are five directors and a secretary to lead the team. Dr V.Jayarajan (Vice President Indian Folklore Congress and Advisor to Sangeeth Natak Academy, New
Delhi) is the chairman of the Governing body and Mr K.Suresh is the Secretary.Folkland
has an advisory board consists of eminent scholars and artistes of international
reputation. Sri Kavalam Marayana Panikker ( Vice Chairman,SNA) Dr. H.K.Bhat (Mysore
University), Dr Jawaharlal Handoo, (President I FC) are the present advisory board
members.
Chapters and Liaison Officers
Folkland has several Chapters in India apart from its regional office in
Karnataka(Mysore) Rajasthan, Assam,Meghalaya,Chatishgarh,Gujarath,
Tamilnadu,New Delhi,Goa,Punjab,Madhypradesh Chapters are functioning well.
Foljkland has Chapters in Saarc countries such as Nepal, Malesia, Bengladesh and
Pakisthan. Folkland has liaison officers working in countries like
France,Germany,Peru,USA.Swedan,Japan,Holland,USSR,UK and UAE
Coopération:
Folkland has woprked with several communities such as Mavilan, Vannan, Malayan,
Pulayan who are the Teyyam performers and practionioners of Magic, ethno music,
ethnomedicine and crafts.Mangalam kali , a unique pradce performed by a hill
tribe(indigenous community) was revitalised and its artist, a lady performer was given
distinguished membership by folkland when she appears on the media at her age
of100years.Folkland has also conducted her performances at different stages and
became instrumental to bring her state award instituted by Kerala folklore academy.
Folkland has documented around 3000 hours of folkpractces.another work in which
folkland has involved is the screwpine craft. It was undertaken by the women folk of
Pulaya community. Folkland has inspired them to revitalise the traditional crafts and
given training and also extended the insurance coverage to them.Another field in which
folkland involves is the manuscripts.Folkland has surveyed around 200000 palmleaf
manuscripts and started digitization process in order to protect the same. most of the
manuscripts are community based knowledges.

Date de création: 2000
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship
- other
- Documentation and restoration of the built heritage of Goa

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization
- Actual architectural conservation

Objectifs:
We work to bring about awareness of our region's man-made and cultural, tangible and intangible heritage properties, sites and circumstances. We strive to do this through nonintrusive and participatory conservation programmes that are based on a respect for local traditions and sensitivities.
We aim to carry out inventories of such properties, sites and zones in our region (Goa, India) so that an archive of intangible cultural properties, sites and knowledge and skills may be built and understood. We aim to place this archive of knowledge in the public domain so that government and public can take ownership of our region's endangered creative traditions and expression.
We believe firmly in working with structures of governance and of community to plan for the conservation of our intangible and tangible heritage, to advocate protective legislation that will enable our society to preserve, document and find apt and respectful contemporary uses for such properties and sites.
We aim to work on a judicious mix of highly visible properties and sites in our region, so as to achieve awareness of our aims and methods, and then to sensitise both the community and the local government to adopt methods to integrate the safeguarding of such heritage.
We are committed to tracing the cultural and social traditions that lead to the rediscovery and rehabilitation of artisans and craftspeople who possess knowledge and skills that are waning or in disuse; we foster the development of teaching programmes that revive forgotten skills and reopen repositories of cultural knowledge. In so doing, our group actively seeks out former centres of such activity and finds appropriate and sympathetic
methods to promote, enhance and transmit their value to society.
We work with existing government and non-government agencies in a spirit of partnership and positive professional engagement. Our focus in such work is to ensure the durability of our cultural traditions in the communities from which they emerged, while aiding the provision of livelihoods to their practitioners, encouraging creativity and fostering adaptation.
Activités:
2000 October : prepared a list of 500 heritage houses at the request of the Government of Goa.
2000 November: Goa Heritage Festival held with lectures, an exhibition on Houses of Goa, skills demonstration by several artists and artisans, performances and interactive sessions on art and culture of Goa and a publication.
2000 December: Registration of Goa Heritage Action Group with Registrar of Societies, state Government of Goa.
2000-01: spread awareness through lectures, media and dialogue with the Government of Goa on conservation issues. Group urged the Government to frame regulations for built heritage.
2001 November: second Goa Heritage Festival held with lectures, an exhibition on Houses of Goa, skills demonstration by several artists and artisans, performances and interactive sessions on art and culture of Goa and a publication.
2002 November: held the Third Goa Heritage Festival to bring awareness on the importance of a historic city neighbourhood.
2003 February: held the first Fontainhas Festival of the Arts in the Fontainhas heritage precinct of Panaji, capital of Goa, where art was displayed in private houses. This was in co-operation with the city municipal corporation.
2003 August: A historic 16th century riverfront cross was restored with technical support from a conservation architect and funds raised from the neighbourhood.
2003 November: published the first number of its annual journal titled 'Parmal'.
2002-03: continued to dialogue with governments on several environmental and heritage conservation issues and continued insisting on the framing of heritage regulations.
2002-03: The list of heritage properties and sites in the state of Goa was further updated with the help of funding from the national body Indian National Trust for Art & Cultural Heritage (INTACH).
2004 February: The second Fontainhas Festival of the Arts held. The festival helped the Group restore buildings and raise awareness on the heritage value of Goan artefacts.
2004 March: A commemorative pillar erected approximately 150 years ago was restored in collaboration with the Panaji municipal corporation.
2004 June: The World Heritage site of Old Goa had its beginnings in a 12th century hamlet. The Group restored the markers of the 1930s used to locate sites of ruined buildings and streets.
2004 October: filed a writ of mandamus in the High Court of Bombay to save a 10th century idol from an ancient temple that was demolished.
2004 November: published the second number of the annual journal 'Parmal'.
2004 November: The third Fontainhas Festival of the Arts - combining traditional intangible heritage and contemporary art in a heritage precinct - was held in Panaji, Goa.
2004 December: Group helped the custodians of a 13th century temple - which contains artistic objects and woodwork reflective of motifs found in the 13th century Vijaynagar empire - find technical solutions for additional space.
2004 December: intervened to save the front façade of a 150-year-old Goan Baroque church.
2005 February: held a learning and organisational workshop for members.
2005 March: completed the compilation of over 1,000 heritage properties and sites in and around Panaji, Goa. The listing was published in collaboration with the Panaji city municipal corporation.
2005 April-December: inventory of heritage properties in towns threatened by rapid urbanisation
2005 November: published the third number of the annual journal 'Parmal'.
2006 February: held a Mission, Vision and Values Workshop for members and associates.
2006 September: Members attended Proposal Writing Workshop
2006 December: filed writ of mandamus against an official land use plan for the state that would have endangered heritage zones and sites in Goa.
2006: Listing exercises continued for North Goa for rural belts under threat of rapid urbanisation.
2007 January: published the fourth number of the annual journal 'Parmal'.
2007 February: the fourth Fontainhas Festival of the Arts - with a lecture series and incorporating folk art and dance - was held in the heritage precinct of Fontainhas-Mala in Panaji.
2007 March: successfully opposed a state government plan to convert the historic Old Goa Medical College building, the oldest medical school in Asia, into a commercial mall.
2007: worked at local level with a village action group to save a natural water body from rapid urbanisation.
2007: took the initiative to begin the study, documentation and restoration planning for six 'kaavi' art temples in Goa. These are privately owned and display the rare and endangered Goan inlay art form (sgraffito).
2007 December: published the state's first heritage map showing heritage homes, churches, temples, mosques, caves, caverns, Kaavi art examples, heritage villages, crafts villages and medieval and pre-medieval ruins.
2008: Listing exercises in the coastal villages of North Goa continues.
2008: Research and documentation of kaavi art temples continues with future focus on restoration.
Coopération:
The Group's work and the community first combined in the Goa Heritage festivals. We helped bring out their culture and their dances in our festivals - not performances by professionals who did not understand the essence of the dance and the story, but by people who did it right after fieldwork. These are performances of living culture which we found have been distorted in their transition to the city and its consumers. We have found that our approach has helped people make the distinction and helped performers, artistes and their supporters look for methods that retain as much as possible of the original content and context.
For our festivals that focus on skillcraft and indigenous art, the Group works closely with artisans and architectural craftsmen - like potters, carpenters, basket weavers, window makers. These dialogues pertain not only to understanding their craft but also to their social and economic problems, and to why the next generation is not taking up these professions. We have found that craftspeople have the same problems all over India: how to find a market that does not harm the roots of the cultural traditions.
We engage with community at a different level for festivals that combine art and technique in a built heritage zone, as in our 'Fontainhas festivals'. The festivals have brought together people from various streams - artists, artisans, houseowners, city civic workers, musicians and the visiting public. These have successes mainly because the interactions are based entirely on trust, which is continuously renewed by dialogue and consultation.
The variety of ownerships of sacred spaces has proved to be a rich source of community experience for our group. We have had our most memorable successes in communities that have informal structures of stewardship of sacred spaces, and less so with more formalised committees. This has been important, for we have at times met with hostility and suspicion. In all these circumstances, we have found that a continuing dialogue is one based on our recognising early the wide-ranging socio-economic influences that affect our communities.

Date de création: 1998
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Inde

Objectifs:
•To revitalize unique and fundamental cultural values through developing and promoting cultural values of human society.
•To function all its activities in line with traditional Naga Morung institute model (philanthropic institute concerns in lessons of community living, leadership, discipline, hard work and spirit of services, sports, art, music and health etc.).
•Undertake survey, research and evaluation of socio-economic, culture and religious problems and to publish documentary sources, books, periodical journals, monographs, pamphlets, souvenirs, film, videotapes, audio visual aid and CDs etc. to educate the general public.
•Provide relief and rehabilitation.
•Take up various health programme; family welfare, child welfare and help the destitute, handicapped, victims of unexpected circumstances and calamities, and economically backward people.
•Take up integrated development programme; plantation, poultry, piggery, duckery, cattle, rearing bee keeping, goat, sheep etc. for rural and village upliftment to enhance their income with proper guidance and as per geographically and climatically suitable places
•Run scale industries (small) such as food processing, yarning, dying, and handloom.
•Impart training such as cutting, weaving and knitting, handicrafts, carpentry, computer, mechanical and technical, typing and shorthand, in suitable places i.e. rural, backward and tribal areas.
•Empower women in order to bring them to the level of men-folks and to share equal privilege.
•Take up environment and ecological development activities.
•Promote games and sports among the tribals and others to provide recreational facilities and to bring about social integration.
•Open schools, colleges of different streams, Arts, Agricultural Science, Commerce, Theology and Language and cross-cultural college including adult literacy for the illiterates.
•Open care center and training centers for de-addiction cum rehabilitation, counseling, awareness center, HIV/AIDS, population control, orphan, aged and uncared by providing accommodation for such people.
•Have ecumenical set up in concept and nature in all its endeavors through networking, unity, cooperation, collaboration, and ministry.
•Advocate Human Rights for social justice, through training and motivation of the poor, and to support the cause of the poor before the government and the world community.
•Promote Right of information Act to the masses.
Activités:
I. Language, Literacy and literary programme:
Sümi Naga language course in association with Sümi literature Board, six months basic Certificate and one year advance diploma course is offered. This course is targeted to promote cross culture married couples, children, students, youth, research scholars and masses. So far ninety students in Advance and eighty students in Basic have successfully completed course and serving at different institute. At present 25 students are undergoing Advance course.

II. Cultural Research Programme
Focuses are on: Oral literature; folklore, myths, legend, wisdom sayings. Indigenous Culture: Customs & traditions, agricultural life & activities, festivity and festivals, rituals & rites, habits & diets, indigenous industries and economy.

Cross Cultural Research on Naga customs and traditions is being carried out at selected villages/places for empirical studies. Documentary and tribe affinity analysis programme has begun with seminars and workshop in collaboration with government agencies (NECC). So far two days seminar on Naga Folklores was conducted in Nov. 2007 in collaboration with NEZCC in which 12 Naga tribe participated.

Another research programme on ‘Sümi Naga folksongs documentary’, was conducted ‘at Lazami Sümi Naga ancestral village in February 2008, sponsored by NEZCC. This project has become an eye opener for awareness and promotion of cultural values.
Under this project research on oral narrative is given more importance. Networking with reputed agencies such as Sahitya Akedamy and other regional universities has developed to the level of resource person and participation at research seminars and workshops.
At present research on agricultural activities, festivity and festival are under the process.

III. Documentary & Publication work:
For documentation of oral tradition and promotion of cultural research work the society is also involved in publication work. At present the society has two research booklets in its credit, Sümi Naga work Folksong Songs book and video CD and Sümi Naga folksongs book, and video CD.

Along with the documentation work the society is also engaged in literary work for further promotional work. Thus, publish translation work as well, currently revising Sümi Naga folksongs book and video CD and English version of Naga Folklores. Apart from culture information with a view to promote vernacular literature a book entitled ‘Apostolmi chighi kini shiküka (Didache)’ was also published in 2007.

IV. Religious (Indigenous Theological) Studies:
Nagaland state is the only Christian dominated states in India with 98% of population. Whereby influence of this group of people matters a lot for the growth of the societal life. On examining such contribution and effect ICS felt responsible to initiate some avenue to check such measure. This idea leads us to realize that laypersons are untapped resource of Church and social ministry that weights special concentration. Seeing the growing need of layperson in Church ministry equipping them Biblical and Theological knowledge is encouraged. Hence, to promote built indigenous Church ICS is offering Laity Bible courses in collaboration with TESPRO International UK.: Diploma and Bachelor of Ministry course (in English & Sümi vernacular medium).

V. Human Resource Development Programme
•Personality Development: counseling, career guidance to children and youth.
•Imparting indigenous workable skill training to the unemployed youth, woman and self help groups; Handicrafts: card making, decorative items, wooden, bamboo & Cane crafts etc. Indigenous Arts, yarning, dying and weaving etc.
•Organize different training programme, workshop and seminars on different life issues and impart leadership training to leaders, woman, and youth.
•Act as consultant agency, facilitates technical and non technical trainings to national reputed Institutes for the underprivileged citizens; B.Tech. Biotechnology, B.Tech. Biochemistry, B.Tech molecular, B.Tech (food processing).B.Tech Agri. Bsc Agri., B.Sc Forestry.,Bsc. Nursing, Public Health, GNM. First aid & practical Nursing, Medical Lab tech., MCA, MA folklore studies, and Theological Studies etc. All together 78 students have been facilitated through youth empowerment programme.
•Music & arts: to the underprivileged children.
Western: Piano, Drum & drum.
Indigenous: Flute & mouth organ, Folksong and Folkdance

VI. Traditional hospitality:
1. Public Health: Care and support to HIV & AIDS victims; Mother and Child care; Aged and differently abled person.

VII Social welfare & service;
•Library cum mini cultural museum at present there are 400 members comprising of underprivileged students, researchers, scholars and general masses.
•Tobacco control in collaboration with state Government and National tobacco control Programme.
•Family counseling, technical and faith based moulding.
•Human Rights for deprived, woman and indigenous people, associated with world mountain people’s organization.
•Environment awareness & pollution control
•Asylum
a. Conference Hall (120 seat capacity)
b. Guest room (Double bed)
c. Meditation hall.
Coopération:
The project begins with a humble beginning. No state or central government nor any private agencies came forward to help neither encouraged. However, with all humility the society began the work. The method adopted for the safeguarding of cultural heritage is fourfold; research, documentation, coding and implementation. This process began with identifying the village community through survey report and analyzing the findings.

Lazami village which is believed to be the first ancestral village of Sümi Naga tribe was then selected for the said project. This village is not only the First Sümi Naga village, but also said to have been where many other Naga tribes ie: Lachepumi and Nethophumi village of Angami tribe, Zülhami and Khutsami village of Chekhasang, Longkumer clan of Ao, Kent clan of Rengma, Lotha, Sangtam, and Yimchungrü tribe are said to be immigrated from this ancestral village.

Their Language spoken is the original unpolluted language of Sümi soil, unlike any immigrant Sümis. Lazami language also has affinity with Chekhasang, Mao, Zeliang, and Rongmei. 80 percent of Sümi Cultural life is still intact, which is comparatively higher and better than any other Sümi villages or Nagas in general. Those integral characters are; language, folksong, folklore, diet, agricultural practices, household items, and furniture etc.

Largest village of Sümi tribe, of 950 household (present 2008 record). Lazami village is rightly a ‘cultural village’. Be it Naga migratory history, village topography, villager’s nature, beauty and scientific art of Sümi language, folksongs, jhum cultivation method, product of agricultural crops and dietary habits of the people, and monument of ritualistic stone platform at Iyinu khel etc. all speaks volume of the same truth. If dreamed of having such an idol Naga cultural village, Lazami village should be the model.

Their cooperation and response to our action plan is immensely contributing a lot. Reciprocal participation is a source of encouragement and growth for our project. Such impact of restoration is even better outside the community people. Their natural goodness instead of being good is the key factor of influencing others to assimilate and restore lost cultural values.

Date de création: 1987
Domaine(s):

- performing arts

Mesure de sauvegarde:

- preservation, protection
- promotion, enhancement

Pays principaux d'activité:

Inde

Objectifs:
Preservation, promotion of Indlan Classical Music; encouraging innovation and research in Theory and Practice of same. lnculcating a sense of Integration, equallty and fraternity through group music (choir and orchestra). Madhukali's patrons are globally recognlzed Practioners of Intangible Heritage like Pt. Ravishankar (Sitar), Ustad Zia Faridudddin Dagar (Dhrupad), Pt. Hariprasad Chourasiya (Flute), Pt. Shivkumar Shanna (Santoor), Dr. Smt. N. Rajam (Violin), Ustad Zakir Hussain (Tabla), Shri Ashok Vajpeyi (Poet / orator).
Activités:
Madhukali, started by disciples of Late Dr. Lalmani Misra as an informal group in 1983 and formalized in 1987 strives to document, preserve. promote Indian Classical music and encourage research and innovation. It has organized over 32 events in various Indian towns (Bhopal, Jalandhar, Chandigarh, Raipur, Bilaspur, Bhilai, Lucknow, Khandawa, Sehore, Sagar, Jabalpur etc.) individually and in collaboration with other organizations Iike Sangeet Natak Academy, New Delhi and Ministry of Human Resources, Govt. of India among others. The activities have included:

Traditional lndian Classical Music and Dance Performances. Stalwarts like Late Anand Shankar (Orcehstra), Ustad Zia Fariduddin Dagar (Dhrupad Vocal), Ustad Abdul Halirn Zafar Khan (Sitar), Pt. Hariprasad Chourasiya (Flute), Pt. Shivkurnar Shanna (Santoor), Pt. Vishwamohan Bhatt (Guitar), Savita Devi (Vocal),
Pt. Debu Choudhary (Sitar), Pt. D.K. Datar (Violin), Late Ustad Shafat Ahmed (Tabla), Late Ustad Abdul Latif Khan (Sarangi), Padmabhushan Rajan Sajan Mishra (Vocal), Padmashree Raghunath Seth (Flute), Budhaditya Mukherjee (Sitar), Late Pt. Jitendra Abhisheki (Vocal), Anindo Chaterji (Tabla), Shahid Parvez (Sitar), Late Pt. Vinay Chandra Moudgalya (Vocal), Krishnaram Choudhary (Shehnai), Late Dr. Gopal Shankar Misra (Vichitra Veena), Late Swami Pagaldas (Pakhawaj), Pt. Ajay Pollankar (Vocal), Uma Dogra (Kathak), Late Shanti Sharma (Vocal), Shubha Mudgal (Vocal) and several established and upcoming artists numbering over 325 have performed before invited audience. Amateurs like Indian Ambassador to Azarbaijan, Shri Jyoti Swaroop Pandey too have been presented.

Formation of Madhukali Choir and documenting choral rendition of ancient and modern Indian poetry. The primary objective is to encourage Indian youth towards Indian classical music, poetry and develop a sense of universal Integration. It is the endeavour to bring Indian Classical Music from being an individual activity to becoming a group one. The choir constitutes 20 - ta 25 singers and about half a dozen musician at any given
time. The age of singers varies between 18 to 40 and about eighty percent remain with choir for 2-3 years. A few choir members have been with Madhukali Vrind since inception. The choir is empanelled with Indian Council for Cultural Relation. Over three hundred singers have belonged to Madhukali choir; some are now established singers like Gundecha Brothers, Shobhana Pradhan, Sulabha Saraf, Sandeepa Pare, Nanu
Gurjar, Kirti Sood, Uma Korba etc. Recordings of Madhukali Vrind are avai/able in12
Compact Discsl Audio Cassettes. It has given over 100 stage presentations in about 12 Indian cities. Compositions of ancient poets like Tulsidas, Surdas, Kabir, Meera are traditionally sung but those of Brahmanand, Thakur, Padmakar and modern poets like Jayshankar prasad, Suryakant Tripathi Nirala, Maithili Sharan Gupta, Makhanlal Chaturvedi, Hazariprasad Dwivedi, Balkrishna Shanna Navin, Nazir Akbarabadi,
Subhadrakumari Chauhan and conternporary ones like Nagarjun, Shrikant Verma, Ashok Vajpeyi, Kedarnath Singh, Muktibodh, Agyeya, Sorndatt have been presented for the first time. Madllukali thus has represented a blend of best in language and music.

Training and Forming choral groups in schools; bringing several such choirs to perform together on a single stage. In 1984 a record number of students - 5000 in all presented songs at Ravindra Bhawan, Bhopal on 11th August. Tile concept of choirs has been firmly established in schools of Bhopal and some other towns.

Organizing discussions, symposium on various aspects of Performing Arts. Madhukali with collaboration of other organizations has initiated dialogue on various aspects of Contemporary Indian Music and Dance.

Instituting Awards to encourage talented youth. Each year a young performer in the age group of 15-16 and 17-35 in vocal, instrumental and dance is felicitated with Sangeetendu.
Dr. Lalmani Misra Award.

Coopération:
Madhukali has organized over 32 events in various Indian towns (Bhopal, Jalandhar, Chandigarh, Raipur, Bilaspur, Bhilai, Lucknow, Khandawa, Sehore, Sagar, Jabalpur etc.
ln collaboration with such organizations Iike North Central Zone Cultural Centre, Allahabad, South Central Zone Cultural Centre, Nagpur, Indira Gandhi Rashtriya Manav Sangrahalaya (a Post Colonial Museum), Bhopal, M.P. Sahitya Parishad Bhopal, Madhya Pradesh Urdu Academy, Kalidas Academy, Bharat Bhawan, Govt. of Madhya Pradesh, Uttar Pradesh Sangeet Natak Academy, Shruti Mudra, Sagar, OMENAD, Indore.

Date de création: 1987
Domaine(s):

- performing arts
- social practices, rituals and festive events

Mesure de sauvegarde:

- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Inde

Objectifs:
Objective of the Organisation:
a) To promote and develop the rural folk arts.
b) To ensure and protect the original form of the folk arts of Tamilnadu, and develop the same by involving the community, groups and individuals.
c) To protect the traditional art forms from alterations and modifications of modern era.
d) To develop and to preserve Tamil culture through the folk arts.
e) To raise awareness through cultural programs at local, regional and national levels of the importance of the intangible cultural heritage and ensure the cultural appreciation in the country.
f) To promote Tamil folk arts by conducting certificate and diploma courses, among schools and college students.
g) To conduct cultural events, seminors and youth festivels among students and enhance their participation in developing folk arts as a skill.
h) To promote literature on folk arts.
i) To promote Tamil rural folk arts among the people of other Indian states.
j) To start and promote the rural folk arts institutions.
k) To safeguard the intangible cultural heritage.
l) To work for the welfare of the folk artists and help them to avail the existing facilities in the region.
m) To participate in the national level competitions and cultural programs and get the recognition of the talented artists from government and cultural organisations.

Activités:
The organization was founded by the highly motivated youth who worked for the institutionalization and proper recognition of the filed of education as folk art in Tamilnadu with an objective to impart cultural skills to young boys and girls in an educational environment in a formal school setting. In his endeavor, he received fullest cooperation and support from the district administration and named after Tamilnadu Rural Arts Development Centre headed by the Commissioner of Madurai Corporation. Prior to this, it was functioning as a non registered body in the name of “Institute of Folk Arts and Dances” since 1987. Then it got its legal registration in the year 1991 and it is the first institution with proper syllabus on folk arts in its kind.
During those days, it was imparting “Master Craftsman Training” course which was then converted as institutionalized Training on a particular Trade “Folk arts”. This paved a way to coin a course curriculum and imparted with a certificate and diploma through the government sponsored programs called TRYSEM by DRDA. Thus it has started with a vision to impart trainings on folk arts and later developed its area of functioning with conducting Festivals and seminars on folk subjects regularly and participate in programs of local, state and national levels.
BROAD CLASIFICATIONS OF OUR ACTIVITIES:
1.TRAINING AND DEVELOPMENT.
2.CONDUCT FESTIVALS AND SEMINARS.
3.PARTICIPATE PROGRAMS AND EVENTS.
4.EXTEND AND FACILITATE TO OBTAIN WELFARE FACILITIES / AWARDS TO THE FOLK ARTISTS.
5. ORGANISE THE FOLK ARTISTS TO PROTECT THE ART FORMS.

Major activities:

1. Conducting certificate courses and trainings on folk arts among village youths on the folk arts on the land of Tamilnadu.
2. Disseminate and make aware of the public on intangible cultural heritage of Tamilnadu i.e. the folk arts of the land through festivals and seminars.
3. Recognize the folk artists through awards to encourage their talents on intangible cultural heritage of Tamilnadu.
4. Help the individual artists to obtain the grants and aids to procure music instruments and art materials.
5. Extend and help to get the welfare facilities available from the government such as “ house patta” i.e approved free land to construct house, free music instrument, art materials, identity cards, membership subscription to welfare board, loan facilities-bank linkages etc.,
6.Train the aspiring individuals on the folk art and help them to earn their livelihoods ( obtained certificate of appreciation for this initiatives from the district collector).
7. Conduct part time training programs to school and college going students on folk arts and thereby imbibe them with cultural consciousness and involvement.
8. Participated every year since 1994 in national Communal Harmony and national integration- cultural programs organized by Government of India with folk artists consisting 25 in a team and received awards every year.
9. Take the culture of Tamilnadu to different states of India since 1990.
10. Participated actively with 1250 artists in South Asian Federation Games in the year 1995 at Chennai and performed the folk arts during opening and closing ceremony which was appreciated by the government.
11. During the 8th World Tamil Conference at TANJAVUR, we participated with 1000 artists and disseminate the folk arts of Tamilnadu.
12. We participate regularly the Inter State Cultural exchange program at national level and take our folk art to different levels which in turn protect the dying and intangible folk arts of the nation.
13. This art could be developed only when those artists are protected with a regular livelihood as they does it as a traditional trade and occupation. In order to keep these artists with the same interest, we have had initiated many other welfare services which has been discussed at the above points and thus retain the growth and interest in the minds of the artists.
Through these activities, we ensure and protect the intangible cultural heritage of Tamilnadu and develop the sense of responsibility of every Indian and culture lovers as a whole.
Coopération:
Its experiences cooperating with communities, groups, and intangible cultural heritage practitioners;
Since its formation as a rural folk art development centre, it has been doing many Yoeman services to the traditional folk artists and their family especially while organize them under one roof and promote them in a climate where there is a gap between modern arts and traditional arts. In fact most of these traditional arts such as “OPPARI” which is a folk song that will be sing on the occasion of death in rural villages. The organization’s head Mr. Somasundaram ( KARAGAM ) dancer whose educational background and experience in working with these artists and the folk art, realized the need for document it as it could not be gathered once the old aged singers’ life time. Similarly, he has the vision to develop the folk art as a educational branch of Tamil folk lore, he gave much importance to the protect the intangible folk arts and culture from the influence of modern life style. It is a very precious art and it has to be protected and kept informed and imparted to those of the youth whose interest is also on the lines with the national interest. His experience while organize, work with and facilitate the role as an artist, mentor, developer and promoter, he feels that he has had done a considerable contribution to the art through his NGO which is exclusively work for the cause. The CBOs (member organizations of folk artists of different parts of Tamilnadu) that are developed and promoted by him are the best examples of his work in the field which in turn directly and in some aspects indirectly promoting the intangible cultural heritage of the Tamil folks. The organization which is widely accepted by the particular community people who are the so called folk artists of various kind as a promoter, protector and educator whose personal social and cultural life is predominantly affected by lack of education in 99% of the cases and ignorance of the social life. These artists are in need of constant help for their personal ( in their respective art ) socio-economic and political life as they are from lowest strata of the community and lack leadership. Our intervention to empower them in self sustenance and make aware of their children on importance of education and their traditional art which is giving rebirth to the intangible cultural heritage of the land. Our artist are always very cooperative and member of our Tamilnadu Rural Art Development Centre since its formation and ever growing in numbers in Tamilnadu. Thus, the art and its originality will be taken to next generation too through our education, training and continuous support to the folk artists.

Date de création: 1993
Domaine(s):

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Mesure de sauvegarde:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Pays principaux d'activité:

Inde

Objectifs:
Objectives: (As per Society's By-laws)
The main objective of this society is to promote, carry out and undertake the cultural activities of
the various Tribes of India particularly,of Chotanagpur and Santhal Pargana Region, spread across
Indian states of Jharkhand, Odisha and Chattisgarh.
The Society will organise dances and music programmes regularly, of various tribes.
Teaching and training courses of tribal music and dances will be organised.
Training and development programmes of the tribal art and craft will be conducted by the
society.
A library cum information centre will be established by the society, in which the books on
tribal languages, literature, history and various information will be preserved and made available
for study.
To do research work on the history and culture of the various tribes.
To publish the tribal festival calendar, magazines and periodicals on tribal languages and
literature.
To establish an exhibition and museum on tribal culture etc.
To organize seminars, workshop, debates, lectures, camps and study tours etc. towards
awareness building among youths.
To produce and collect the documentary film on tribal life and culture.
Teaching and training of tribal languages.
To promote the regional, national and nnternational tribal cultural meets and exchange of
tribals culture.
To help and co-operate other organizations doing similar works.
To raise fund through membership fee, donations, from the public, private agencies, aid from
government and investment in the private industries etc for the promotion of the society.
Activités:
Tribal Cultural Society has been working to promote ethnic identity and heritage in the states of
Jharkhand, Odisha and Chattisgarh in India. Popularising forgotten dances, ancient instruments,
literature, language and scripts, traditional sports and art forms are the key areas of intervention for
Tribal Cultural Society. It has implemented initiatives encompassing:
- Celebration of birth/death aniversary of the great tribal heroes:
For example we organise birth anniverasaries of Guru Gomke Pt. Raghunath Murmu, the inventor
of 01 Chiki script for Santali language; birth anniversary of Guru Kol Lako Bodra, the inventor of
Warang Kshiti script for Ho language; Hul Divas to pay tributes to the martyrdom of tribal freedom
fighers Sidho and Kanhu; Birsa Munda Jayanti and so on.
We organised 'Samvaad', a four-day pan-India tribal conclave in Jamshedpur that brought thought
leaders, academicians, cultural performers and activists on one platform at Gopal Maidan,
Jamshedpur. Organised from 15th- 18th November, 2014, the conclave, attended by nearly 1500
tribal people from all across India, showcased panel discussions (on topics like Tribal livelihoods,
Particularly Vulnerable Tribal Groups, Tribal medicinal systems, Tribal perspective on
development, Tribal languages and literature, Tribals and protection of natural habitats and a
round-table with tribal women), cultural performances, documentary film screenings and
handicrafts exhibition.
- Promotion of tribal language and scripts.
We run learning informal centres to promote tribal languages and scripts. In the last three years,
nearly 20,000 youth have learned tribal languages and scripts at these (600 centers organised in
last 3 years) centres.
- Restoration of memorials of tribal heroes and communities.
We have under taken restoration work for delapidated ancestoral house of Ho Guru Kol Lako
Bodra who was inventor of 'Warang Kshiti' script for Ho language and Memorial of Pandit
Raghunath Murmu who was inventor of '01 Chiki' for Santali language. We have also woked for
protection and beautification of places of worship (Jahers) of tribal communities.
- Promotion of traditional performing arts - Dance, Music, Song.
Through celebration of birth anivesery of great tribal heroes we events focused on showcasing and
providing platform to different traditional art form of tribal and local communities, provide them
income through these events and link them to perform at state and national level events. Through
these programmes approx 200 different groups have been involved over last 3 years.
- Revival of ancient musical instruments:
We are running training programmes to train youth on ancient musical instruments like Banam,
Tuila, Mandar and Nagara. Around 200 youth have been going through these training
programmes.
We have revived tribal musical instruments like Banam and Tuhila by running music classes.
- Revival of traditional sports:
We promote tribal sports like Kati, Sekkor, Bahu Chor, Ramdel etc that are popular in hinterlands
of Jharkhand and Odisha.
- Publication of tribal litrature.
We have published 10 books on tribal languages and litrature.
- Audio and video documentation of cultural heritage:
We have made documentaries on tribal sports, musical instruments and tribal heroes.
Coopération:
Tribal Cultural Society has many experiences such as:
- Regular interactions with Tribal Opinion Leaders to receive feedback and formulate plans.
- Reresentation of Community Representatives in the Mana in Committee of the Tribal Cultural
Society to provide inputs on its activities in the areas of operations.
- The organisation is implementing many projects in partnership with Community Based Organisations to preserve, promote and popularise languages and scripts, musical instrument, sports etc associated with tribal culture.