art village thesis

• Deepshikha Apte
• Dec 31, 2020

REDEVELOPMENT OF DEVRAI ARTS VILLAGE, PANCHGANI

This thesis topic talks about the design development of Devrai Art Village, located in Panchgani, Maharashtra where Rock Dhokra art – a unique invention born out of traditional dhokra art form is being currently developed and practiced within the artisans and craftsmen of Devrai.

This project focuses on developing a best possible design planning for this arts village for the craftsmen of Devrai, motivating them to create and practice unique and exceptional art forms like Devrai Rock Dhokra. This will also instigate the recognition of Devrai rock dhokra art form within the public realm as well as spread the knowledge and awareness of the art form across India.

The research involves an in-depth study of the tribal arts and craft forms and their artisans/craftsmen present in this area, their living environment and indigenous development and the future demands to conserve their skills and techniques by providing a platform to educate the young generation and even housing them for their better living standards.

Recent Posts

AQUAVILLE - FLOATING HABITATS

REASENTAMIENTO EN SITIO, RESIDENCIAL PROJECT FOR POTOSI COMMUNITY - BOGOTA, COLOMBIA.

COHESION- LABOR COMMUNITY HUB

An Artisan Village, Surat, India: Safeguarding the Art & Craft Heritage of India

• AUTHORS Shastri, Jinal Pretty, Annabel
• CATEGORIES 2019 Conference Papers Conference Papers Sustainable Architectural Design-An Interdisciplinary Approach

This paper aims to strategise a comprehensive design, establishing a link between urban and rural sectors through preservation and revitalisation of the craft sector of India. The intent is to unite the various typologies of artisan crafts, scattered throughout the country, to build a community cherishing the Indian heritage: a place to practise, teach, demonstrate culture. With the aim of fostering this heritage community, the concept of crafts village has been selected as the cornerstone of this design. Thus, the sub-question: How to create an artist village, providing a platform for vocational training and retail, a mixed-use organic development, cherishing the Art and Craft heritage of India? Notwithstanding Industrialization, a large population of India still depend on long-established traditional methods of manufacturing using traditional techniques to earn a living based on handmade products. These craftspeople/artisans are the backbone of the non-farm rural economy of India. There is a crucial necessity for philanthropy to understand the potential to monetise the crafts sector by the financing of high impact scalable models that can sustainably strengthen livelihoods. By harnessing the potential of the craftsperson/artisan sector, the concept of artist village promotes forgotten values of art in the modern world and re-examines the role of architecture. An artisan village reinforces the upliftment of rural craftsmen/Artisans by providing them with a place to reside, practice and earn with their skills.

Keywords: Sustainable buildings, Artisan Heritage, Incremental Architecture, India

• Architecture and Design
• Asian and Pacific Studies
• Business and Economics
• Classical and Ancient Near Eastern Studies
• Computer Sciences
• Cultural Studies
• Engineering
• General Interest
• Geosciences
• Industrial Chemistry
• Islamic and Middle Eastern Studies
• Jewish Studies
• Library and Information Science, Book Studies
• Life Sciences
• Linguistics and Semiotics
• Literary Studies
• Materials Sciences
• Mathematics
• Social Sciences
• Sports and Recreation
• Theology and Religion
• Publish your article
• The role of authors
• Promoting your article
• Abstracting & indexing
• Publishing Ethics
• Why publish with De Gruyter
• How to publish with De Gruyter
• Our book series
• Our subject areas
• Your digital product at De Gruyter
• Contribute to our reference works
• Product information
• Tools & resources
• Product Information
• Promotional Materials
• Orders and Inquiries
• FAQ for Library Suppliers and Book Sellers
• Repository Policy
• Free access policy
• Open Access agreements
• Database portals
• For Authors
• Customer service
• People + Culture
• Journal Management
• How to join us
• Working at De Gruyter
• Mission & Vision
• De Gruyter Foundation
• De Gruyter Ebound
• Our Responsibility
• Partner publishers

Your purchase has been completed. Your documents are now available to view.

The Artists Village: Openly Intervening in the Public Spaces of the City of Singapore

This paper focuses on how the social, dialogical and collaborative strategies and practices of The Artists Village openly intervened in the public spaces of Singapore at various times in the city-state’s history from 1989 to 2015. The objective of this paper is to draw out how the artists collective used social situations to openly produce relational, participatory and socially engaged art in public spaces with specific functions, history and importance. These various forms of artistic interventions took place on a farm, in shopping malls, on public transport networks and at national monuments during different moments in Singapore’s rapid urban transformation. From these examples, one is able to understand why The Artists Village openly intervened in the public spaces of Singapore and how these interventions functioned in their limited scope. Through this study we are able to assess how the varying levels of collaboration, openness and criticality present in their public art projects enabled them to grow outside the centralised system of the nation-state in inserting their practice into the public sphere and engaging the masses.

Birchall, Michael. “Socially engaged art in the 1990s and beyond”. http://www.on-curating.org/issue-25-reader/socially-engaged-art-in-the-1990s-and-beyond.html#.W2wCeNj-hTY (accessed 21 March 2018). Search in Google Scholar

Bishop, Claire. Artificial Hells: Participatory Art and the Politics of Spectatorship , London: Verso Books, 2012. Search in Google Scholar

Bishop, Claire. “Antagonism and Relational Aesthetics.” October , no.110, fall (2004), 51-79. 10.1162/0162287042379810 Search in Google Scholar

Bourriaud, Nicolas. Relational Aesthetics . Les Dijon, France: Presses du reel, 2002. Search in Google Scholar

Chen, Patricia. “T.K. Sabapathy on Singapore: The circumstances in which [art] production takes place have not been sufficiently cultivated”. https://patchenlaw.wordpress.com/2013/05/19/video-t-k-sabapathy-on-singapore-the-circumstances-in-which-art-production-takes-place-have-not-been-sufficiently-cultivated-2/ (accessed 17 July 2018). Search in Google Scholar

Chong, Terence (editor). The State and The Arts In Singapore: Policies and Institutions, New Jersey: World Scientific, 2018. 10.1142/10899 Search in Google Scholar

Cvejic, Bojana. “Collectivity? You Mean collaboration?” http://republicart.net/disc/aap/cvejic01_en.htm (accessed 21 March 2018). Search in Google Scholar

Eco, Umberto. The Open Work. MA Cambridge: Harvard University Press, 1989. Search in Google Scholar

Ewington, Julie. “Five Elements: An Abbreviated Account of Installation Art in South-East Asia.” ART AsiaPacific Vol.2 No.1, (1995), 108-15. Search in Google Scholar

Flores, Patrick and Low Sze Wee (editors). Essays on art in Southeast Asia: Charting Thoughts , Singapore: National Gallery Singapore, 2017. Search in Google Scholar

Gibson, William. “Disneyland with the Death Penalty”. https://www.wired.com/1993/04/gibson-2/ (accessed 11 April 2018). Search in Google Scholar

Habermas, Jurgen. The Structural Transformation of the Public Sphere – An Inquiry into a Category of Bourgeois Society, Cambridge, MA: MIT Press, 1989. Search in Google Scholar

Ho, Su Fern. “Global Ambitions: Positioning Singapore as a Contemporary Arts Hub.” In The State and the Arts in Singapore: Policies and Institutions edited by Chong, Terence, 351-386. New Jersey: World Scientific, 2018. Search in Google Scholar

Kester, Grant. Conversation Piece: Community and Conversation in Modern Art , Berkeley: University of California Press, 2004. Search in Google Scholar

Kester, Grant. The One and the Many: Contemporary Collaborative Art in a Global Context , Durham, NC: Duke University Press, 2011. 10.1515/9780822394037 Search in Google Scholar

Koh, Nguang How. “Early Performance Works by Tang Da Wu in Singapore.” Art Journal , vol. 77, no. 4, (2018), 49–61. 10.1080/00043249.2018.1549876 Search in Google Scholar

Kwok, Kian Woon. “Introduction- Locating and Positioning The Artists Village in Singapore and Beyond.” In Artists Village, The: 20 Years On , co-edited by Kwok, Kian Woon and Lee Wen, 1-3. Singapore: Singapore Art Museum, The Artists Village, 2009. Search in Google Scholar

Kwok, Kian Woon and Lee Wen (co-editors). Artists Village, The: 20 Years On , Singapore: Singapore Art Museum, The Artists Village, 2009. Search in Google Scholar

Kwon, M. One Place After Another: Site Specific Art and Locational Identity , Cambridge, MA and London: MIT Press, 2002. 10.7551/mitpress/5138.001.0001 Search in Google Scholar

Lacy, Suzanne (editor). Mapping the Terrain: New Genre Public Art . Seattle: Bay Press, 1995. Search in Google Scholar

Langenbach, Ray William. Performing the Singapore state 1988-1995 , Ph.D. thesis, Sydney: University of Western Sydney, 2003. Search in Google Scholar

Lee, Wen. Performance Art in Context: A Singaporean Perspective . M.A. thesis, Singapore: LASALLE-SIA College of the Arts, 2006. Search in Google Scholar

Lenzi, Iola. Concept Context Contestation: Art and the collective in Southeast Asia , Bangkok: Bangkok Art and Culture Centre, 2017. Search in Google Scholar

Lingham, Susie. “Art Interpreting Heritage (Of Effacements, Pilgrimages, Exhumations & Effigies).” In Artists Village, The: 20 Years On , co-edited by Kwok, Kian Woon and Lee Wen, 21-23. Singapore: Singapore Art Museum, The Artists Village, 2009. Search in Google Scholar

Marchart, O. “Art, Space and the Public Sphere(s). Some basic observations on the difficult relation of public art, urbanism and political theory”. http://eipcp.net/transversal/0102/marchart/en (accessed 16 June 2018). Search in Google Scholar

Sabapathy, T.K. “Provocative Things”, In Writing the Modern: Selected Texts on Art & Art History in Singapore, Malaysia & Southeast Asia 1973 - 2015 , 277-285. Singapore: Singapore Art Museum, Singapore, 2018. Search in Google Scholar

Sabapathy, T.K. “Regarding Exhibitions.” In Artists Village, The: 20 Years On , co-edited by Kwok, Kian Woon and Lee Wen, 7-10. Singapore: Singapore Art Museum, The Artists Village, 2009. Search in Google Scholar

Say, Jeffery and Seng Yu Jin (editors). Histories, Practices, Interventions: A Reader in Singapore Contemporary Art , Singapore: Institute of Contemporary Art, LASALLE, 2016. Search in Google Scholar

Seng, Yu Jin. “Re-visiting the Emergence of The Artists Village.” In Artists Village, The: 20 Years On , co-edited by Kwok, Kian Woon and Lee Wen, 11-15. Singapore: Singapore Art Museum, The Artists Village, 2009. Search in Google Scholar

Seng, Yu Jin. “The Primacy of Exhibitionary Discourse: Contemporaneity in Southeast Asian Art, 1992 – 2002”. http://www.asianarthistories.com/site/the-primacy-of-exhibitionary-discourses-contemporaneity-in-southeast-asian-art-1992-2002/ (accessed 21 March 2018). Search in Google Scholar

Stimson, Blake and Gregory Sholette (editors). Collectivism After Modernism: The Art of Social Imagination After 1945, Minneapolis: University of Minnesota Press, 2007. Search in Google Scholar

Taylor, Nora A and Ly Boreth. (editors.) Modern and Contemporary Southeast Asian Art , Ithaca, New York: Southeast Asia Program Publications, Cornell University, 2012. Search in Google Scholar

Tom Finkelpearl. What We Made: Conversations on Art and Social Cooperation , Durham & London: Duke University Press, 2013. 10.1515/9780822395515 Search in Google Scholar

Tomii, Reiko. Radicalism in the Wilderness: International Contemporaneity and 1960s Art in Japan, Cambridge, MA: MIT Press, 2016. Search in Google Scholar

Wee, C. J. W. -L. “Body and Communication: The ‘Ordinary’ Art of Tang Da Wu.” In Theatre Research International Vol.42 No.3, (2018), 286-306. 10.1017/S0307883317000591 Search in Google Scholar

Wee, C. J. W. -L. “Tang Da Wu and Contemporary Art in Singapore.” In Artists Village, The: 20 Years On , co-edited by Kwok, Kian Woon and Lee Wen, 16-20. Singapore: Singapore Art Museum, The Artists Village, 2009. Search in Google Scholar

Yap, June. A Historiographical Aesthetic in Contemporary Singapore and Malaysia , Ph.D. thesis, Singapore: NUS Cultural Studies, 2014. Search in Google Scholar

© 2019 Adrian Tan, published by De Gruyter

This work is licensed under the Creative Commons Attribution 4.0 International License.

• X / Twitter

Supplementary Materials

Please login or register with De Gruyter to order this product.

Journal and Issue

Articles in the same issue.

RE[V[I]V]AL : An Attempt to Re-think of an Ideal Village | Architecture Thesis on Community Development

Information

• Project Name: RE[V[I]V]AL : An Attempt to Re-think of an Ideal Village
• Student Name: Pradyumna Lalit Vikharankar
• Awards: Winner in Eduwik Architecture Excellence Awards 2022 | Second Place Winner in Mango Architectural Thesis Award 2022 | Special Mention in Archmello Thesis of the Year 2023
• Softwares/Plugins: AutoCAD , Adobe Photoshop
• Discipline: Architecture
• Level: Bachelors Design Thesis
• Institute: Rachana Sansad’s Academy of Architecture
• University: University of Mumbai
• Location: Mumbai
• Country: India

Excerpt: ‘ RE[V[I]V]AL : An Attempt to Re-think of an Ideal Village ’ is an architecture thesis based on community development by Pradyumna Lalit Vikharankar from the Rachana Sansad’s Academy of Architecture , that seeks to improve the quality of life through natural and self-sustaining practices and attain an ideal village. By taking the Sindhi Sirasgaon settlement as a model, the thesis addresses the paradigm shift caused by a centrally planned economy. Through specific landscape and architectural techniques, the project presents an opportunity to deal with the issue in an ecological manner.

Introduction: Argument : A Paradigm Drift – India’s rural settlements are renowned for their ability to survive on their own. Since economic liberalisation, the definition of wealth has changed and is now limited to monetary factors. This has had a rapid impact throughout the country, with 70% of the population living in rural areas, and has ultimately led to the rise in dependency.

The progress rate is arguably faster in the metropolitan regions since they serve as the country’s economic centres. This is because economics is linear, and the regions’ growth rate is primarily based on consumerism. Village industries stagnate because they are unable to find a quick market, which is the responsibility of an urban centre.

A direct result of a centrally planned economy is that people from lower socioeconomic backgrounds move to more urban areas in search of opportunities to be exploited, while others in rural areas experience a sense of deprivation. The tension that results from this change between these communities’ goals and customs gives rise to the paradigm shift.

Site Context

A  rural settlement named Sindhi Sirasgaon, located 25 km west to the main city of Chhatrapati Sambhaji Nagar [then Aurangabad], Maharashtra is identified as a potential site for the dissertation intervention. Agriculture is the primary source of income in the community, according to an analysis of its economic patterns, with a profit-loss margin of zero.

Design Process

At present, a resilient community operates on nine parameters: food, security, healthcare, education, shelter, trade, clothing, connectivity, energy and disaster management.

Final Outcome

Since the government is the one proposing the intervention by means of KVIC, there is a higher level of authority involved. In light of this, it is considered an opportunity to work with specific architectural elements that serve as models for reviving these archaic practices from a modern perspective, while also responding to the ecological context and drawing inspiration from the cultural roots of rural practices.

02 Residences : Wada & Aalay

[This Academic Project has been published with text submitted by the student]

​​To submit your academic project for publication at ArchiDiaries, please visit the following link >> Submit

More Projects

3rd Space Metamorphosis | Architecture Thesis on Community Development

Water & Culture, Adaptation & Integration: Integrated Urban Transformation for River Flood Resilience and Sustainable Leisure Industry in the City of Maastricht | Urban Design Thesis

Du’a’ – Water research center at Saint Catherine, Egypt | Architecture Thesis

Leave a reply cancel reply.

Login to post a comment.

Privacy Overview

The Captable

Social Story

Enterprise Story

The Decrypting Story

Daily Newsletter

By providing your information, you agree to our Terms of Use and our Privacy Policy. We use vendors that may also process your information to help provide our services. This site is protected by reCAPTCHA Enterprise and the Google Privacy Policy and Terms of Service apply.

Founder first

Announcement

Startup Sectors

Women in tech

Entertainment

Art & Culture

Travel & Leisure

Curtain Raiser

Wine and Food

Panchgani-based Devrai Art Village is reviving and nurturing Adivasi art, providing livelihoods

Monday January 22, 2018 , 5 min Read

Devrai Art Villageworks with Adivasi craftsmen to make new products suited to contemporary tastes using traditional means.

Located in the scenic hill station of Panchgani in Maharashtra , is a haven for rural artists and craftsmen. Devrai Art Village , founded by Mandakini Mathur (57) and Suresh Pungati  (34), is a place where artists can practise their craft, train apprentices and students, and create an environment for the preservation of the Adivasi culture.

Celebrating creativity

Mandakinisays, “If I think of the inspiration for Devrai Art village, it is the old tree of Ficus Glomerata (Umbar) in our garden, which created an inviting space under its canopy. Its spreading branches almost touching the ground made a natural cave of green-dappled light. This magical space was an invitation to sit under the tree, and soon a platform was created.”

Suresh, an Adivasi artist from the Madhia tribe, decided to open a space for art and craft work . And that’s how Devrai Art Village came into being, after the monsoon of 2008 , with five Adivasi craftsmen with the desire to connect with nature and celebrate creativity .

Suresh has a passion for community development and was awarded the ‘Adivasi Sevak Puruskar’ by the Government of Maharashtra in 2002. He is the only person in his village who works as a teacher and is making all effortsto educate the locals, and expose them to more opportunities in terms of what they want to do.

Raised in Baba Amte’s ashram in Anandvan, he comes from the Naxalite-hit district of Gadchiroli in northern Maharashtra, where Adivasis are often caught in the crossfire between the state and the insurgents.

Bringing in his experiences and expertise, Suresh envisaged a place for Adivasis to practise their craft away from their difficult lives, and also from the Naxalite-hit regions of Gadchiroli and Chhattisgarh.

“We welcome the youth as apprentices so that the traditional art continues with the younger generation as well. Now we have artisans from Chhattisgarh joining us," says Suresh.

"Devrai Art Village strives to empower the craftsmen by giving them new design ideas and marketing possibilities. More than that, we seek to nurture a way of living where nature is not looked upon as a mere resource, but where plants, animals and humans are seen as interdependent and where art can reflect the sacredness of nature.”

Devrai Art Village has been able to generate about Rs 3-4 lakh per month . Although it is touch-and-go each month, the team sure is proud to say that they have sustained themselves for about nine years without any donations or help from the government.

Many of them at the Devrai Art Village, especially the interns, are first generation craftsmen . Several of the young men would possibly have been forcibly recruited by Naxalites had they not come here.

Earning potential in their respective areas is very limited as there is little work . If they do their traditional dhokra work, they get poor rates, often selling the pieces according to how much they weigh. With Devrai Art Village,they are assured of a steady income to send home to their families every month.

“We especially focus on training Adivasi girls; we now have eight such trainees in our team. Sonki Katlami, who came to us as an intern, is a confident young woman and a master craftsman who trains others."

"We are now collaborating with the Forest Department and will soon open a Devrai Art Village branch in Gadchiroli to train the locals there itself,” says Mandakini.

Empowering craftsmen

Devrai Art Village is a self-funded initiative , and believes in empowering craftsmen and acts as an environment to facilitate their interaction with design schools , and resource persons from other areas to enable the cross-pollination of ideas .

It also acts a place for craftsmen to facilitate direct interaction with customers in order to obtain insights into the marketing and sale process.

It has allowed Adivasis to explore linkages between indigenous art and nature . It hosts a training centre where the craftsmen induct and train apprentices, students, and local people.

“Apart from sustaining the heritage art of metal casting using the lost wax technique by constant innovation in technique and design, we are also trying to help the Adivasi artist by offering him/her a livelihood option,” says Mandakini.

“The unique and distinctive style of our product range comes out through combinations of different mediums such as iron, brass, stone, wood, bamboo, and fabric ,” she adds.

Some of the other forms of artwork that the craftsmen here have primarily been working on are the dhokra metal casting, beaten iron work, bamboo, and woodcraft .

One of the main objectives of the art village has been to document and explore , using the film medium, the tribal way of living , the beliefs of the Adivasi culture, crafts and work processes to spread awareness and for use as teaching aids.

Devrai Art Village is constantly experimenting with new design ideas and mediums as well. Most of the inspiration comes from observing, or rather communing with nature . The art village strives to kindle love and respect for nature through art.

“In the true spirit of a ‘Devrai’,or a sacred grove, the centre is trying to nurture a variety of plants, shrubs and creepers so that it offers a glimpse into a way of being where the man-nature connect is not severed under the onslaught of modernity,” says Mandakini.

The art village has retail stores in Pune , a museum shop in Mumbai , and participates in exhibitions and festivals in cities like Mumbai, Pune, and Ahmedabad. The team has trained around 45 craftsmen , and has 35 craftsmen working with them.

At the art village, there are students from design colleges, architectural colleges, art and craft colleges, and even school students who take up internships and residency programmes.

“Looking at the near future, we are planning to open up another centre in Gadchiroli so that more and more Adivasis canhave access to such opportunities,” says Mandakini.

MOST VIEWED STORIES

7 Daily Habits That Help Keep The Mind Young And Sharp

38 startups founded by SC/ST youth get funding from Tamil Nadu government

Achieving Success Through Growth: Embrace Continuous Improvement

Precision conservation: using technology to enhance wildlife management in agricultural landscapes

Academia.edu no longer supports Internet Explorer.

To browse Academia.edu and the wider internet faster and more securely, please take a few seconds to  upgrade your browser .

Enter the email address you signed up with and we'll email you a reset link.

• We're Hiring!
• Help Center

An Artisan Heritage Crafts Village: Indigenous Sustainability of Raghurajpur

The paper is a case study of Raghurajpur which is a heritage crafts village in the district of Puri in the state of Odisha. This village is recognized for its folk art called Pattachitra, an art form which dates back to 5 th Century B.C. and Gotipua dance which existed as a predecessor before the emergence of Odissi dance and is hence the home of a prominent visual art as well as a performing art. The artisans of this village are also engaged in crafting various other craft objects like wooden toys and masks, palm leaf engravings, wood carvings, etc. These activities have provided them income opportunities outside their state and even in foreign lands. The master dancer Guru Kelucharan Mohapatra, belonging to this village, is the person responsible for the popularity of the Odissi dance form today. The village was given the status of heritage village, the first in the state, by INTACH in the year 2000. Though the state government has attempted to improve the physical conditions so as to make them tourist friendly but the impacts of these interventions have been. The purpose of the research is to show how the practices and traditions of the residents make it an open air museum for the outsiders but a home for the residents. These practices are also the very essence of sustainability, a trend catching up throughout the world, as seen from the raw materials used in the painting process, in the colours, canvases, etc. and the manner in which the painting is done. This is an example of the complex relationship which the village shares with the environment and is exclusive to the place, making it an important focus of rural tourism in the state.

Related Papers

SC/ST Research & Training Institute, Odisha

Anup Mohapatra

Professor Biswaranjan Mistri , Dr. Ayanika Sarkar

Human culture is produced and reproduced by interaction of man and environment. Cultural aspect becomes resource when it meets the needs of man. Folk art tradition has continuously been recreated and regenerated from one generation to another by the concerned community due to change in livelihood and perception of aesthetic environment. By this way, the folk art tradition becomes a folk resource of man-environment symbiosis and the culture based folk resource utilization helps in sustaining the life and livelihood of the people. Among many regional masked folk dances of West Bengal, Purulia Chhau dance of Purulia District is characterized by the most elegant and gorgeous masks. The masks of Purulia Chhau is not only an essential part of the dance but also have gained popularity as a separate work of art. The paper pulp mask is mainly made up by a community, called, Sutradhars who have been basically engaged in the profession by generation after generation. This field based empirical investigation has highlighted the dynamics of mask-making art in the context of global consumerism and changing nature of the concerned community through the arduous door to door survey.

Lipsa Mohapatra

banita behera

The displays of ethnographic specimens in the museums are primarily redundant to indicate their potential role to the persistence of cultural values of the communities who are very rich in the oral literature. This is equally true for the curators as a penchant who tries to collect various fussy objects without paying importance to the objects that narrates the rich engravings of oral literatures of the communities. Anthropological and Museum studies on the oral narratives of tribal communities have a very distinct place that throws light into the connectedness of the intangible heritage with the tangible aspects of culture. The curators, as a museum practitioner, however adopt some key indicators to create brownie points for representation of tribal narratives that are reflected in their Art and Craft. This paper is an attempt to describe and illustrate the contents of rich tribal literature which are preserved through oral transmission and the invisible role of curators who plays a vital role in expanding and preserving their literatures that remain concealed in the Art and Craft traditions. The paper deals with museum documentation among the PTGs of Odisha especially on the collection of Kapadaganda-embroided shawl of Dongaria Kondh and Majang-the youth dormitory of Juang tribe. The reflections of their oral narratives in these material aspects of culture are filled with astounded traditional wisdom and the paper examines the empathetic ties between their narratives and its tangible reflections which persist in the contemporary changing situation and cultural practices among these PTGs of Odisha.

Journal of Cultural Heritage Management and Sustainable Development

ANISA AZHARUNNISA

Purpose-The purpose of this paper is to create optimally located Facilitation Centers on this tourist circuit, evaluated through network analysis, thus creating an effective linkage between tourism and economic activities of the craftsmen who are the custodians of the cultural heritage of Puri. Design/methodology/approach-The craft villages lying in and around this tourist circuit are surveyed to establish socioeconomic condition of artisans, significance of the craft and spatial distribution of craft villages and the willingness of artisans to travel closer to the transport spine. Network analysis is used to assess the suitability of Facilitation Center location using travel time and distance as parameters. Finally, the sustainability of the Facilitation Centers is evaluated using a cost-benefit analysis (CBA). Findings-The Facilitation Centers can be spatially developed at the strategic locations to expand tourist market. This will help in leveraging the economic benefits of tourism to a marginalized rural artisan community by creating a sustainable model. Originality/value-The focus on festival can help to protect local cultural traditions, develop tourism and promote the economic, social and cultural developments of the destination. Dispersal strategies adopted aim to increase visitors' satisfaction with the product and thus entice them to stay longer in the destination.

Yash Siroliya

Art is an expression of thoughts. It is a way to represent the socio-behavioral characteristics & knowledge of a particular group or society that shapes culture in a particular way, wherein artists as an individual or group showcase the ability to manipulate the art form and its experiences by every individual perceiving it. Thus Art, Culture with Artist forms a significant whole in shaping society. There also seems to be a strong similarity an overlap between art and public space which is a space for people so is the art of creative expressions resulting in the cultural identity of the space. There is a continuous exchange of expression that triggers an act of cohesion happening at the same moment of time, forming a dialogue and thus shaping the spaces around it. In Present scenario there is a rising need to sensitize visitors towards aesthetic and cultural norms that govern all the creative personas by creating an interdisciplinary approach for experimentation and innovation. This can be done via reviving defunct art settlements as they showcase a cultural connection with the setting. The crux of the project here aims at ‘Development of Andretta artist's village near Palampur in Himachal Pradesh, India’ with a focus on reviving its lost cultural attribute of being an artist settlement. The idea here aims at creating a global meeting platform for artists, art lovers from all the creative personas to interact, learn and showcase their work to the outside world. This idea can be efficiently perceived via development of Andretta village with an emphasis on social, economic and cultural growth, which further provides a progressive growth pattern to the village.

Interal Res journa Managt Sci Tech

Indigenous Technical knowledge (ITK) is now in search for blending of traditional technology with model idea to make living more comfortable and save the generation as a whole and particularly among tribal communities from degradation. It is believed that our traditional tribal wisdom was of much value and now also can deliver effective results. It is so in case of tribal art & craft and other life supporting systems. This paper tries to discover, rationalize and blend the traditional tribal artisans with modern ones to make use these ITK through some research mythology

This paper specifies propositions to explain the occurrence of Anthropology of Arts specifically Sambalpuri Ikat Textile in Odisha. It focuses one specific category of antecedents-Sambalpuri Ikat textile-Technique, Motifs and Designs and method of production of Ikat in Odisha. It covers five broad aspects work-related to Sambalpuri Ikat Textile in Odisha. These are History of Ikat Technique in Odisha , Specific Motifs and designs, weavers and their Background, Ikat Technique used for weaving Sambalpuri Fabrics, Uniqueness of Sambalpuri Fabrics. It specifies an integrated model that provides a comprehensive representation of Sambalpuri Ikat Textile in Odisha.

Ms. Shanta Samanta

Loading Preview

Sorry, preview is currently unavailable. You can download the paper by clicking the button above.

RELATED PAPERS

IAEME PUBLICATION

IAEME Publication

pradosh mishra

RELATED TOPICS

•   We're Hiring!
•   Help Center
• Find new research papers in:
• Health Sciences
• Earth Sciences
• Cognitive Science
• Mathematics
• Computer Science
• Academia ©2024